LAMA's 20th Anniversary Auction

OCTOBER 7, 2012

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PR E V IE W September 19 - October 6, 201210 a.m. - 6 p.m.

AUC T ION Sunday, October 7, 2012 12 p.m. (PST)

16145 Hart StreetVan Nuys, CA 91406

1992-201220th Anniversary Auction

front cover: Lot 137 Karl Benjamin#19, 1978

back cover: Lot 169 Le Corbusier Bogota, 1950

right: Lot 334 Chuck CloseSeLf-portrait, 2006

May 6, 2012Modern Art & Design Auction

April 25 - May 5, 2012Auction Preview for the Modern Art & Design Auction

© 2012 Modern Auctions, Inc. All rights reserved.

ISBN 978-0-9848067-1-3

Since my first auction in 1992, I have always tried to curate the sales with objects of decora-tive and fine art with a simple philosophy: If an object was rejecting historical precedent, reducing unnecessary ornament, embracing a new material, or using a new method of construction, then I generally thought that was good.

The Museum of Modern Art first used the phrase “Good Design” in the late 1940s to honor thoughtfully conceived and well-executed objects of functional use. These humble chairs, lamps, and other household items were beginning to form a unique style, and MoMA was fostering a movement that had intellectual roots in Vienna, Weimar, Copenhagen, and beyond. But it was in America during those post-war years that the movement caught fire with young consumers, a decidedly young generation that saw the appeal in functional, beautiful, and reasonably priced objects for everyday use. Likewise in the 1980s, another young generation began buying Vintage Good Design for the exact same reasons.

As a young man, I recognized a wide appeal for all things that were designed with the object’s form being dictated by the function or solution of a design problem. It is not surprising then, after 20 years of auctioning Good Design, to see yet another young generation entering the market. This generation of collectors is armed with an impressive knowledge and understanding of the history of design. They have unlimited information at their fingertips. They have the benefit of world-class museum shows on the subject (Thank you, Wendy Kaplan). But most of all, they recognize what the original buyers recognized: Good Design is still good. For anyone who has invested in Vintage Good Design, this should be a very comforting thought. It seems to always appeal to young consumers.

In the past 20 years, design and art have increasingly been merging, the lines blurring even further in the vintage markets. Collectors of vintage design are also increasingly collecting art and vice-versa. The reason is simple. To paraphrase Adolf Loos, “We don’t dress like our ancestors, why should our interiors?” In other words, if you embrace a modern way of living, then it follows that modern art (or fashion, or architecture, or cuisine) should also be embraced.

Going forward, I hope to curate auctions the same way for the next 20 years, not by providing works from a single period or style or region, but by offering works through a single philosophy. Whether it is a chair or a vase or even a painting, it must be good.

PETER LOUGHREY, FOUNDER

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HANS J. WEGNERDROP-LEAF DINING TABLE

Andreas Tuck, designed 1957Teak, oak, brassBranded “Fabrikat: Andr. Tuck/Hans J. Wegner/Denmark”28” x 34” x 90” (extended)

$4,000-6,000

2

BORGE MOGENSENDINING CHAIRS (6)

Model no. 122Soborg Mobelfabrik, designed 1952Laminated teak, solid oakStamped “Made in Denmark” to underside of seatEach 30” x 19.75” x 17”

Literature: JALK, GRETA , DANSK

MØBELKUNST GENNEM 40 AAR:

KØBENHAVNS SNEDKERLAUGS

MØBELUDSTILLINGER 1927-1966,

COPENHAGEN, P 153 (DESIGN

ILLUSTRATED).

$2,000-3,000

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4

HANS J. WEGNERPAPA BEAR CHAIR

Model no. AP 19P.P. Mobler, designed 1951-53

Teak, wool upholstery38.5” x 36” x 36”

Literature: ODA , NORITSUGU, HANS J

WEGNER’S 100 CHAIRS, JAPAN: CORONA

BOOKS, 2002, P 68.

$4,000-6,000

3

HANS J. WEGNERPAPA BEAR CHAIR

Model no. AP 19P.P. Mobler, designed 1951-53Teak, Danish wool upholstery38.5” x 36” x 36”

Literature: ODA , NORITSUGU, HANS J

WEGNER’S 100 CHAIRS, JAPAN: CORONA

BOOKS, 2002, P 68.

Purchased by the vendor’s parents in New York City, 1962.

$4,000-6,000

5

BRUNO MATHSSONMARIA FOLDING TABLE

Firma Karl Mathsson, designed c. 1960Teak, beechBranded “Firma Karl Mathsson/Made in Varnamo - Sweden” and “Bruno Maths-son Design/Made in Sweden”28.5” x 110” (extended) x 35.5”

$3,000-5,000

8

KAARE KLINTSETTEE

Cabinet-Maker Rud. Rasmussen, designed c. 1935, this example of early manufactureClose-nailed Nigerian leather, Cuban mahogany understructure28” x 81.5” x 29.25”

Provenance: MR DUSTIN HOFFMAN

$6,000-8,000

In 1917 Kaare Klint began working as an independent furniture designer, having originally studied as a painter and trained as an apprentice in the Copenhagen architectural partnership of Nielsen & Petersen. Later in 1924, Klint established the Furniture Design department at the Royal Danish Academy of Arts where many of the pupils that he taught would become some of the most influential Danish designers of the 1940s and 50s, such as Borge Mogensen, Hans Wegner, Poul Kjaerholm, and Ole Wanscher.

Klint's own designs were handmade in limited quantities or to order during the 1930s by the skilled cabinetmaker Rud. Rasmussen. His furniture designs articulated a deep understanding of 18th century English furniture forms, and laid the foundations for the revival of Danish design after the Second World War.

7

BERNDT FRIBERGVASES (4 )

Gustavsberg, designed c. 1950Stoneware with shaded hare’s fur glazeEach with incised maker’s and designer’s mark to undersideSold together with seven miniature Gustavsberg glazed stoneware vases, not illustrated.Vase: 7.5” x 3.5” diameter

Literature: MCFADDEN, DR (ED), SCANDI-

NAVIAN MODERN DESIGN 1880 -1980, NEW

YORK , 1983, P 163 (EXAMPLES ILLUS-

TRATED).

$3,000-4,000

6

POUL HENNINGSENEARLY PROUCTION WALL SCONCES (2)

Model no. 1/2/3Louis Poulsen, designed 1967Patinated copper18” diameter

$1,500-2,000

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9

HANS J. WEGNERDINING SUITE ( 11 )

Andreas Tuck, designed 1951Teak, oak, Danish paper-cord seatsEach branded “Fabrikat: Andr. Tuck/Hans J. Wegner/Denmark”Comprising a pair of “Wishbone” chairs (not illustrated), eight “CH23” chairs and a dining table with two extension leavesTable: 28.5” x 34” x 63”; Chairs: 30” x 18.5” x 19”

$3,000-5,000

PARTIAL LOT ILLUSTRATION

11

HANS J. WEGNEROCCASIONAL CHAIR

Model no. AP 215AP Stolen, designed 195433.5” x 27.5” x 24”

$2,000-3,000

12

POUL HUNDEVADBOOKSHELF UNITS (2)

HU Mobelfabrik, designed c. 1965RosewoodInk stamp “HU Made in Denmark” and “Danish Control”Each 77” x 54.5” x 17”

$3,000-5,000

10

DANISH MODERNARTICULATED TEA TROLLEY

Model no. AH18Arrebo Mobler, 1962Brazilian rosewoodManufacturer’s label to underside and branded mark “Made in Denmark”21.5” x 27.5” x 35” (opened)

Purchased by the vendor’s parents in New York City, 1962

$800-1,200

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13

HANS J. WEGNERDAYBED

Getama, designed c. 1965Teak, woven-cane, wool upholsteryImpressed “Getama Gedsted Denmark Design Hans J. Wegner”28” x 78” x 37”

$2,000-3,000

14

JENS QUISTGAARDDE-MOUNTABLE ARMCHAIRS (2)

Richard Nissen, designed c. 1960sBrazilian rosewood, chrome-plated steel, upholstered seat, and back cushion29” x 23.875” x 20.25”

$7,000-9,000

15

JOHN BALDESSARISTONEHENGE ( WITH TWO PERSONS) BLUE

2005Mixografia print on handmade paperHC #6 of 6; aside from the edition of 60Mixografia, Los Angeles, publisher and printerSigned “Baldessari” lower left marginImage: 26.25” x 29.5”; Sheet: 28.5” x 31.5”; Frame: 33.75” x 36.5”

Literature: HUROWITZ, JOHN BALDESSARI :

A CATALOGUE RAISONNÈ OF PRINTS AND

MULTIPLES, 1971-2007, HUDSON HILLS

PRESS, 2009, PP 410 - 411 , #156.

$5,000-7,000

16

JOHN BALDESSARIOBJECT ( WITH FLAW )

1988Lithograph on three sheets of Somerset and Arches 88 cut paper and one irregularly shaped sheet of Plexiglas, all printed to the edges#1 of 2 printer’s proofs; aside from the edition of 35Cirrus Editions, Los Angeles and Mul-tiples, Inc., New York, publishers; Cirrus Editions, printerLargest piece signed in pencil “Baldessari” lower right; “Printers Proof” lower leftOverall: 52” x 109”

Literature: HUROWITZ, SHARON COPLAN,

JOHN BALDESSARI : A CATALOGUE RAISON-

NÉ OF PRINTS AND MULTIPLES, 1971-2007,

NEW YORK: HUDSON HILL PRESS, 2010, CAT

NO 40; DAVIS, BRUCE, MADE IN LA : THE

PRINTS OF CIRRUS EDITIONS, NEW YORK:

DAP, 1995, P 89.

$14,000-16,000

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17

JOHN BALDESSARIJUGGLER’S HAND ( WITH DIVER)

1988Lithograph and screenprint on torn, irregularly shaped Arches 88Printer’s proof; aside from the edition of 60Cirrus Editions, Los Angeles, publisher and printerSigned and dated in pencil lower right; edition lower leftImage: 49.5” x 22.5”; Sheet: 54.5” x 27”

Literature: HUROWITZ, SHARON COPLAN,

JOHN BALDESSARI : A CATALOGUE RAISON-

N É OF PRINTS AND MULTIPLES, 1971-2007,

NEW YORK: HUDSON HILL PRESS, 2010, CAT

NO 39; DAVIS, BRUCE, MADE IN LA : THE

PRINTS OF CIRRUS EDITIONS, NEW YORK:

DAP, 1995, P 89.

$3,000-5,000

PART OF LOT 16

18

ED RUSCHAGALLERY ANNOUNCEMENTS (6)

1963-1969Offset lithograph on white paperUnknown edition sizeA, F: Ferus Gallery, publisher; B, D: Irving Blum Gallery, publisherCollection of Ed Ruscha gallery an-nouncements, including one from his first Ferus Gallery exhibition in 1963. The announcement for his 1969 show at Irving Blum was specially created by Ruscha for the announcement.A. Ruscha at Ferus, 1965; B. Irving Blum Gallery, 1968; C. Double-Standard; D. Irving Blum Gallery, 1969; E. Alexandre Iolas, 1967; F. Ruscha at Ferus, 1963A: 9.75” x 13.25”; B: 9” x 12.375”; C: 12.875” x 10”; D: 12.375” x 9.25”; E: 11.5” x 9.75”; F: 10” x 13.5”

Literature: ENGBERG AND PHILLPOT,

EDWARD RUSCHA: EDITIONS 1959-1999

CATALOGUE RAISONNÉ, WALKER ART CEN-

TER , 1999, #M8, #M13; ALLAN, KENNETH

D, MAKING THE SCENE: ASSEMBLAGE, POP

ART AND LOCALIT Y IN 1960S LOS ANGELES,

CHICAGO: UNIVERSIT Y OF CHICAGO PRESS,

VOL 1 , 2005, P 214.

$10,000-12,000

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21

EDWARD RUSCHAV.

20033-color lithograph on German etching paper#10 of 20Denver Art Museum, publisher; Ed Ham-ilton/Hamilton Press, printerSigned and dated “Ed Ruscha 2003” in pencil lower right sheet; edition with printer blindstamp lower leftSold with print documentation.Sheet: 22.5” x 30”; Frame: 32.5” x 24.625”

$5,000-7,000

20

ED RUSCHAPICO AND SEPULVEDA

20013-color screenprint on Rives BFK Gray#11 of 70Gemini G.E.L., publisherSigned and dated lower right; edition lower leftGemini G.E.L. #45.25Image/Sheet: 16” x 25.75”; Frame: 21” x 31”

$4,000-6,000

19

ED RUSCHAOK (STATE I I)

1990Lithograph in colors on white Rives BFK#12 of 25Published by the artist; Ed Hamilton, Hollywood, printerTitle inscribed lower left; signed and dated lower rightSheet: 19.5” x 23”

Literature: ENGBERG AND PHILLPOT,

EDWARD RUSCHA : EDITIONS 1959 -1999

CATALOGUE RAISONNÈ, WALKER ART CEN-

TER , 1999, #198.

$5,000-7,000

22

CY TWOMBLYUNTITLED

1983Lithograph and aquatint etching on White Arches#61 of 150Visconti Art Spectrum, Wien, publisher; Pressing Room Company, Rome, printerInitialed lower right; edition lower left in pencilImage: 29” x 21.25”; Sheet (vis.): 32.5” x 23.25”; Frame: 42.25” x 33.125”

Literature: BASTIAN, HEINER , DAS

GRAPHISCHE WERK 1953 -1984, MU-

NICH: EDITION SCHELLMANN, 1984,

#76.

$2,000-3,000

23

WILLEM DE KOONINGUNTITLED

1975Serigraph#16 of 25Signed lower right; edition lower leftImage: 23” x 29”; Sheet (vis.): 27.25” x 35.25”; Frame: 36.75” x 44.5”

$4,000-6,000

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24

ROBERT RAUSCHENBERGONE MORE AND WE WILL BE MORE THAN HALF WAY THERE (FROM A SUITE OF NINE PRINTS)

1979Screenprint in colors with fabric collage#71 of 100Styria Studio Inc, New York, publisherSigned and dated in pencil with edition lower center; Styria Studio blindstamp lower rightSheet: 30” x 23”; Frame: 38” x 30”

$1,200-1,800

25

ROBERT RAUSCHENBERGARCANUM VI (FROM ARCANUM)

1981Silkscreen in colors with handcoloring and collage on wove paper#45 of 85Styria Studio Inc, New York, publisherSigned and dated with edition in pencil lower left; Styria Studio blindstamp lower rightSheet: 22.75” x 15.75”; Frame: 37.5” x 28.25”

$1,500-2,000

26

ROBERT RAUSCHENBERGFLOWER RE-RUN

19683-color lithographArtist’s proof #5 of 9; aside from the edition of 52Gemini G.E.L., publisherSigned “RRauschenberg 68” in pencil lower right; retains The Merryman Col-lection label on verso of frameSheet: 23.375” x 18.375”; Frame: 24.5” x 19.5”

Literature: ROBERT RAUSCHENBERG:

PRINTS 1948 -1970, EXHIBITION CATALOG,

WALKER ART CENTER , MINNEAPOLIS, 1970,

NO 56.

$2,500-3,500

27

BOB ZOELLI WISH I WAS HAPPY (6)

2007Complete suite of aluminum parking signsBoxed suite #2 of 3 artist's proof; aside from the edition of 60Each signedSold with the original box.Each 18” x 18”

$3,000-5,000

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29

ELLSWORTH KELLYUNTITLED (FROM WORKS BY ARTISTS IN THE NEW YORK COLLECTION FOR STOCKHOLM)

1973Screenprint on Rives BFK#107 of 300Experiments in Art and Technology, Inc., New York, publisher; Styria Studio, Inc., New York, printerInitialed in pencil “EK” lower right sheet; edition lower leftThis was included as one of thirty works selected by K.G.P. Hulten for the Mod-erna Museet, Stockholm. Other works in the portfolio included works by John Chamberlain, Roy Lichtenstein, Richard Serra, and Cy Twombly.Sheet: 11.75” x 8.75”; Frame: 15.25” x 12.25”

Literature: AXSOM, RICHARD H, THE

PRINTS OF ELLSWORTH KELLY A CATA-

LOGUE RAISONNÈ 1949 -1985, NEW YORK:

HUDSON HILLS PRESS, 1987, #92.

$1,500-2,000

28

ELLSWORTH KELLYYELLOW (FROM SECOND CURVE SERIES)

19751-color lithograph on 300-gram Rives BFKArtist’s proof #7 of 11; aside from the edition of 48Gemini G.E.L., Los Angeles, publisherSigned “AP VII Kelly” in pencil lower right margin; retains Gemini G.E.L. blindstamp lower right marginGemini G.E.L. #28.39Sheet: 38.625” x 38”; Frame: 46.5” x 46.5”

Literature: AXSOM, THE PRINTS OF ELLS-

WORTH KELLY: A CATALOGUE RAISONNÉ,

1949 -1985, NEW YORK: HUDSON HILLS

PRESS, 1ST EDITION, 1999, #107.

$3,500-4,500

31

PAUL WONNERTULIP

1982Lithograph#6 of 36Signed lower right; edition lower leftSheet: 7.5” x 6.25”; Frame: 13” x 14.25”

$600-900

30

ELLSWORTH KELLYCAMELLIA I I (FROM SUITE OF PLANT LITHOGRAPHS)

1964-65Transfer lithograph on Rives BFK#64 of 75Maeght Editeur, Paris, publisher; Marcel Durassier, Paris, printerSigned in pencil lower right; edition lower leftAxsom #42Sheet: 35.25” x 24.25”; Frame: 38.25” x 27.25”

Literature: AXSOM, THE PRINTS OF ELLS-

WORTH KELLY CATALOGUE RAISONNÈ 1949 -

1985, NEW YORK: HUDSON HILL PRESS,

1987, P 60, #42.

$4,000-6,000

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32

ROBERT MAPPLETHORPEUNTITLED (ROSE)

1988Photogravure#12 of 90Limited Editions Club, New York, publisherInitialed “RM” and dated “86” in pencil lower right; edition lower leftImage: 4.5” x 4.5”; Sheet: 11” x 14”; Frame: 16.25” x 12.75”

$2,000-3,000

33

ANDY WARHOLFLOWERS

1970ScreenprintFrom the edition of 250Factory Additions, New York, publisher; Aetna Silkscreen Products, Inc., New York, printerSigned and inscribed versoFS #II/70Image/Sheet: 35.75” x 35.75”; Frame: 36.75” x 36.75”

The owner, an associate of Andy Warhol, states that this work was given to him by Warhol in the late 1960s and suggests that this example was made prior to 1970.

Provenance: GIFT OF THE ARTIST TO

SI LITVINOFF; AT TORNEY FOR ANDY WAR-

HOL DURING THE 1960S

Literature: FELDMAN, FRAYDA AND JORG

SCHELLMANN, ANDY WARHOL PRINTS: A

CATALOGUE RAISONNÈ 1962-1987, 4TH EDI-

TION, NEW YORK: DAP, 2003, #I I /70.

$15,000-20,000

34

ARNALDO POMODOROSCULPTURE AND PRINT (2)

c. 1975 and 1976Sculpture: Silver patinated bronzePrint ("7-Lettere-Lettera a Meta"): Embossing on Fabriano Rosaspina paperSculpture: #7 of 12; Print: #31 of 90Sculpture: Incised “A. Pomodoro” with edition lower right; Print: Signed in pencil lower center; edition lower leftSculpture: 9.625” x 6.5” x 1” Sheet: 13” x 9.5”; Frame: 15.25” x 11.25”;

$5,000-7,000

36

PAUL EVANSCIT YSCAPE BAR CABINET

Paul Evans Studio for Directional, designed c. 1970Burr-walnut and maple, brass, mirror glass84” x 66” x 22”

$8,000-12,000

35

PAUL EVANSCIT YSCAPE EXECUTIVE DESK

Paul Evans Studio for Directional, designed c. 1970Burr-walnut and maple, brassSigned “Paul Evans” on base29” x 96” x 66”

$10,000-12,000

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PAUL EVANSCIT YSCAPE EXTENDED DINING TABLE

Paul Evans Studio for Directional, designed c. 1970Burr-walnut and maple, brass with two extension leavesSigned “Paul Evans” underneath29.5” x 96” x 48”; Extended: 29.5” x 111” x 48”

$8,000-12,000

37

AMERICAN MODERN MONUMENTAL ATOMIC HANGING LAMP

Lightolier, designed c. 1970Chrome-plated steel30” x 103” x 30”

$6,000-8,000

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PAUL JENKINSPHENOMENA STARCROSS

1978WatercolorSigned lower right; signature, date, and title versoSheet: 29.25” x 22.25”; Frame: 38” x 30.25”

$2,000-4,000

40

PAUL JENKINSPHENOMENA WINGED GLOBE

1980WatercolorSigned “Paul Jenkins” in ink lower center; back of frame inscribed “St. Croix, 1980”Sheet (vis.): 28.75” x 40.75”; Frame: 40.5" x 52"

$4,000-6,000

39

PAUL JENKINSPHENOMENA WHITE TAIL SOUND

1977WatercolorSignature lower leftSheet: 43” x 31”; Frame: 52.125” x 40.125”

$4,000-6,000

44

STAN BITTERSTHUMB POTS (2)

Hans Sumpf, executed c. 1995Glazed stonewareEach stamped “C24 HS CO”Each 26.5” x 24” diameter

$2,000-3,000

43

STAN BITTERSTHUMB POTS (2)

Hans Sumpf, executed c. 1995Brown stonewareStamped “Hans Sumpf, Fresno Cali-fornia”Each 17” x 25.5” diameter

$2,000-3,000

42

STAN BITTERSDECORATED PLANTERS (2)

Hans Sumpf, executed 2008Glazed stonewareSigned “Bitters ‘08”22” x 20.5” diameter

$4,000-6,000

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47

STAN BITTERSSUN PEOPLE

Hans Sumpf, executed c. 1990sPartially glazed clay sculptureSigned “Bitters”24” x 10” diameter at base

Literature: BIT TERS, STAN, ENVIRON-

MENTAL CERAMICS, LIT TON EDUCATIONAL

PUBLISHING, 1976, P 87 FOR A SIMILAR

EXAMPLE.

$900-1,200

46

STAN BITTERSLOW RELIEF MURAL

Studio, 1967Glazed ceramicSigned lower left33.25” x 44” x 3.5”

$2,500-3,500

45

STAN BITTERSBIRD FEEDERS ( 7 )

Hans Sumpf, designed c. 1960Porous low-fire clay with cordVarious dimensions

$1,500-2,000

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SheilaHicks(b.1934), internationallyrenownedfiberartist,hastraveledtheworldto

learn theweavingpracticesofadiversegroupof indigenouscultures.Along theway, “shehas

absorbedthetone,respecteditstradition,andrespondedtoitspotentials.”Forthepastfiftyyears,

she’sactedonthesepotentialsthroughavarietyofmaterialsandtechniques,creatingbothsmall

woventapestriesandmassivegalleryinstallations.

Originally fromNebraska, she studied atYaleUniversityunder JosefAlbers andwas

awardedmultiplescholarships to researchpre-Incaicculturesaswellaspaintingandweaving

inMexicoandFrance.Sheeventuallysettled inPariswhereshehasresidedsince1964.Along

withcommissionsandexhibitionsthroughoutEurope,inthe1960sand70s,Hicksutilizedlocal

resources inChileandMexico toestablishworkshops thatproducedwallhangingsandprayer

rugs.Oneof these rugs, originallydisplayed in theCBSBuilding inManhattan, isnow in the

permanentcollectionattheMuseumofModernArt,NewYork.Throughoutthefollowingdecades,

Hicks,operatingoutofherAtelierdesGrandsAugustinsinParis,workedwithdesignfirmssuch

asKnollandarchitectsaroundtheworld,makingheroneofthefirstsuccessfulfiberartists,both

criticallyandcommercially.Amongtheforemostarchitectsshehasthereputationofbeingable

to“walk intoanysituation,evaluate thepotentialof localartisansandresources, factor in the

demandsofthemarket,takeintoaccountthesensibilityofthevariousplayers,andproposedesign

solutionsthatwerenotonlyadaptedbutinnovative.”

InTahoeWall(c.1970),Hicksillustratesherabilitytotransformasurfaceintoavibranttapestry, teemingwithwarmth and fluidity.Her scrupulous attention to the properties of the

materials has resulted in a seamless transition of colorful silk interrupted by smooth tufts of

natural linen.CriticMildredConstantine and fabric designer JackLenorLarsendescribe this

pieceas“repletewiththerhythmiccadenceofmusic.”Hicks’workcanbeviewedinthepermanent

collectionsattheMetropolitanMuseumofArtinNewYork,theRhodeIslandSchoolofDesign

Museum,andtheCentrePompidouinParis.Aretrospective,entitled“SheilaHicks:50Years,”was

onviewattheInstituteofContemporaryArtinPhiladelphiain2011.>>

48

SHEILA HICKSTAHOE WALLc. 1970Rayon, linen, and cotton on three panels89” x 128” assembled

A variant of the design was included in an interior scheme by Michel Boyer for the Rothschilds Bank refurbishment, Paris, 1970.

Literature: CONSTANTINE, MILDRED AND

LARSEN, JACK LENOR , BEYOND CRAFT: THE

ART FABRIC, KODANSHA INTERNATIONAL ,

SAN FRANCISCO, 1986, PP 188-189.

$20,000-30,000

49

SHEILA HICKSTAHOE (RAINBOW )

c. 1975Linen, rayon, and gold-coated silk thread over bobbins123” x 57”

$20,000-30,000

SheilaHicks,alongwithotherfiberartists in the60sand70s,challenged

theconventionaldefinitionoffiber–a“craft”material–bymanipulatingit

beyond itscommonmanifestations.Adensevisual landscapeconstructed

of hundreds of fibrous nodes, Tahoe (Rainbow) (c. 1975) demonstratesa progression in weaving techniques that Hicks had amassed over her

extensivetravels.

Constantine, Mildred, and Jack Lenor Larsen. Beyond Craft: The Art of Fabric. San Francisco: Kodansha International, 1986. Print.Falino, Jeannine, ed. Crafting Modernism: Midcentury American Art and Design. New York: Abrams, 2011. Print.Vienne, Veronique. “Sheila Hicks: The Art of the Yarn.” Metropolismag.com. Metropolis June 2011. Web. 12 Aug. 2012.

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27

ZAHARA SCHATZPAIR OF TABLE LAMPS

Lucite Studio, designed c. 195528” x 11” diameter

Literature: KAPLAN, WENDY, CALIFORNIA

DESIGN 1930-1965, L IVING IN A MODERN

WAY, EXHIBITION CATALOG, LOS ANGELES

COUNT Y MUSEUM OF ART, CAMBRIDGE:

MIT PRESS, 2011 , PG 212 FOR A SIMILAR

EXAMPLE.

$3,000-5,000

50

GEORGE NELSONEXECUTIVE DESK & RETURN

Model no. 6720/7230Herman Miller, c. 1955Oak, lacquered Masonite, steelDesk: 29.75” x 84.25” x 30”; Return: 25.5” x 67” x 18.5”; Assembled: 29.75” x 84.25” x 67”

Literature: GEORGE NELSON: ARCHITECT,

WRITER , DESIGNER , TEACHER , VITRA DE-

SIGN MUSEUM, 2008, P 272.

$2,000-3,000

51

GEORGE NELSONSPEAKER CABINET

Herman Miller, designed 1946Birch, tambour top22.5” x 34” x 17.25”

$1,000-2,000

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52

GEORGE NELSONRARE STEELFRAME SIDE CHAIR

Model no. 5068Herman Miller, designed c. 1955Enameled steel, birch, woven-cane29.25” x 21.25” x 21.25”


WRITER , DESIGNER , TEACHER , VITRA

DESIGN MUSEUM, 2008, PG 247; ALOI ,

ROBERT, L’ARREDAMENTO MODERNO SESTA

SERIE, MILAN: ULRICO HOEPLI , 1955, P 146

(DESIGN ILLUSTRATED).

$1,000-1,500

53

GEORGE NELSONSWAG LEG CHAIR

Model no. DAAHerman Miller, designed 1954Fiberglass, enameled metalRetains “Herman Miller Furniture Company” label34” x 28” x 21”




$1,800-2,200

54

GEORGE NELSONHOME OFFICE DESK

Model no. 4658 & 601Herman Miller, designed 1946This example contains the original Pendaflex file basket which was a special order40.5” x 54.5” x 28”




$4,000-6,000

57

GEORGE NELSONPLATFORM BENCH

Model no. 4690Herman Miller, designed 1947Ebonised and polished birch14” x 48” x 18.5”




$800-1,200

55

CHARLES & RAY EAMESROCKING CHAIR

Model no. RARHerman Miller, designed 195126.5” x 25” x 29.5”

$1,000-1,500

56

CHARLES & RAY EAMESLOUNGE ARMCHAIR

Model no. LARZenith Plastics Co. for Herman Miller, designed 1950Seafoam green molded fiberglass shell with wire rod base24” x 24.75” x 24”

Literature: NEUHART, MARILYN, THE

STORY OF EAMES FURNITURE, BOOK 2,

BERLIN: GESTALTEN, 2010, P 576.

$800-1,200

3 5

60

GEORGE NELSONHEADBOARD

From the Thin Edge seriesHerman Miller, designed 1956Rosewood, vinyl, steel, lacquered woodRetains manufacturer’s label39.625” x 116.25” x 12”

$3,000-5,000

58

GEORGE NELSONSWAG LEG HOME DESK

Model no. 5850Herman Miller, designed 1958-6434.5” x 39” x 29”



SIGN MUSEUM, 2008, P 261 .

$4,000-6,000

59

CHARLES & RAY EAMESWIRE MESH CHAIR

Model no. DKR-2 and naugahyde bikini padHerman Miller, designed 1951-5332” x 18.75” x 15.5”

Literature: NEUHART, JOHN AND MARILYN,

EAMES DESIGN: THE WORK OF THE OFFICE

OF CHARLES AND RAY EAMES, NEW YORK:

ABRAMS, 1989, P 152.

$250-350

61

CHARLES & RAY EAMESEARLY ARMSHELL DINING CHAIRS (6)

Model no. DAXHerman Miller/Zenith Plastics, designed 1950-53, these examples executed c. 1952Sea-foam green fiberglass with rope-edge, enameled-steel, large shock mountsLabel to underside of two chairs “Designed by Charles Eames Herman Miller Michigan Shipped from Venice California”Each 31” x 24.5” x 22”

$3,000-5,000

3 7

62

FABIO NOVEMBREORG CONSOLE/DINING TABLE

Capellini, designed 2001Polypropylene rope, steel, glass28.75” x 78.75” x 39.25”

Literature: CARLO DUCCI (CURATOR),

LUXURY IN LIVING: ITALIAN DESIGN FOR

ITALIAN INDUSTRIES, EXHIBITION BOOK ,

PHOENIX , JANUARY 14TH - FEBRUARY 5TH,

2006, P 18 (DESIGN ILLUSTRATED).

$3,000-4,000

64

FREDERICK HAMMERSLEYUNTITLED

November 1949Lithograph#9 of 22Signed “F. Hammersley” verso with date “20 Nov 1949”; inscribed “9/22 2nd” and “29B” versoLithograph: 3” x 3”; Mount: 7” x 7”

$3,000-5,000

63

FREDERICK HAMMERSLEYUNTITLED

April 1949LithographUnknown edition sizeSigned verso “F. Hammersley” with date “9 Apr 1949”; inscribed “8A” and “6” versoLithograph: 3” x 3”; Mount: 7” x 7”

$3,000-5,000

DETAIL OF VERSO DETAIL OF VERSO

3 9

65

FREDERICK HAMMERSLEYDIFFERENT QUARTERS #12

1959Oil on canvasSigned and dated “F. Hammersley 59” lower right; signed and dated verso; retains artist’s label verso of frameCanvas: 15.875” x 12”; Frame: 20.25” x 15.625”

$15,000-20,000

66

FREDERICK HAMMERSLEYMIDDLE EAST

1964Oil on panelSigned and dated; retains artist’s label verso; retains California State University, Los Angeles, exhibition label versoCanvas: 11.75” x 8”; Frame: 19.25” x 15.25”

Exhibited: "SMALL IMAGE EXHIBITION,"

CALIFORNIA STATE UNIVERSIT Y, LOS AN-

GELES, 1976.

$10,000-15,000

4 1

67

FREDERICK HAMMERSLEYME TO (#1 )

1975Oil on linen in artist’s own frameSigned “F. Hammersley 1975” lower right; retains Charlotte Jackson Fine Art label verso of frameCanvas: 20” x 20”; Frame: 20.875” x 20.875”

$25,000-35,000

4 369

KARL BENJAMINUNTITLED

1958Oil on canvasInitialed and dated lower left “KB ‘58”Canvas: 40” x 16”; Frame: 41” x 16.75”

$15,000-20,000

68 (OPPOSITE PAGE)

KARL BENJAMINUNTITLED ( TAPE GRID SERIES)

1961Oil on canvasInitialed and dated “KB61” upper left canvasCanvas: 13.75” x 20”; Frame: 20.75” x 14.75”

$20,000-30,000

71

JUNE HARWOODSLIVER DEVIL (SLIVER SERIES)

1963Acrylic on canvasSigned and dated verso; titled verso40.375” x 60.25”

Literature: JUNE HARWOOD, HARD -EDGE

PAINTING REVISITED: 1959 -1969, NOHO

MODERN, 2003, NP, FOR SIMILAR

EXAMPLES FROM THE SERIES.

$5,000-7,000

70

KARL BENJAMINCORRIDOR

1960Oil on canvasSigned and dated “KB60” lower right; retains Hollis Galleries label on wooden stretcher verso; stamped “Hollis Galleries” on wooden stretcher versoCanvas: 23.75” x 29.75”; Frame: 25” x 31”

Exhibited: HOLLIS GALLERIES, SAN

FRANCISCO, 1964

$12,000-15,000

4 5

73

DORIS LEWISWHITE, RED & GREEN (ABSTRACT )

c. 1959-65Oil on boardBoard: 28” x 22”; Frame: 28.75” x 22.75”

Provenance: COLLECTION OF THE ARTIST;

THENCE BY DESCENT; PRIVATE

COLLECTION, LOS ANGELES

$2,000-3,000

72

MAX COLEPUME

1969Acrylic on MasoniteSigned “Max Cole/Pume/1969” verso; retains Comora Gallery label versoImage (vis.): 48.25” x 40”; Frame: 49” x 40.75”

$3,000-5,000

74

ROBERT MANGOLDFRAMES AND ELLIPSES (A , B AND C)

1988Complete set of 3 soft ground etching and aquatints in colors on watermarked Fabriano, Somerset, and ArchesEach #4 of 50Each signed lower right; edition lower leftEach sheet: 22” x 29.75”; Each frame: 23.375” x 32.875”

$3,000-5,000

4 7

75

PERCIVAL LAFERSOFA

Lafer A.S. Ind. Com., designed 1958Jacaranda, leather upholsteryRetains partial “Lafer A.S. Sao Paolo...”33.5” x 75” x 34”

$3,000-5,000

76

AMERICAN CRAFTDESK AND CHAIR (2)

Studio, executed 1975MahoganyEach carved “MC 75” at baseDesk: 30” x 40” x 25”; Chair: 32” x 17.5” x 23”

$1,500-2,000

78

BEATRICE WOODCHARGER

Studio, c. 1964Glazed ceramicSigned “Beato”2.25” x 16.25” diameter

$4,000-6,000

77

SAM MALOOFENTERTAINMENT CABINET

Custom designed and executed for the Carleton Appleby residence, Alta Loma, California, 1954Walnut, Masonite32” x 72” x 20”

The Carleton Appleby family were amongst the first of Sam Maloof’s local clients.

Literature: ADAMSON, JEREMY, THE FUR-

NITURE OF SAM MALOOF, WASHINGTON DC:

SMITHSONIAN AMERICAN ART MUSEUM,

2001 , P 54 (CONTEMPORARY PHOTOGRAPH

OF CABINET IN-SITU); ASHTON, SHIRLEY,

"MALOOF DESIGNER , CRAFTSMAN OF FUR-

NITURE", CRAFT HORIZONS 14, NO 3, MAY-

JUNE 1954, P 16 (CABINET PHOTOGRAPHED

IN-SITU BY BURTON FRASER , JR).

$4,000-6,000

4 981

BEATRICE WOODBOTTLE VASE

Studio, c. 1987Iridescent glazed ceramicSigned “Beato”4.75” x 2.75” diameter

$1,500-2,000

79

BEATRICE WOODBOWL

Studio, c. 1955Black volcanic glazeSigned “Beato”3.75” x 8.5” x 6.875”

$2,000-3,000

82

BEATRICE WOODBOTTLE VASE

Studio, 1980Iridescent glazed ceramicSigned “Beato 80”3.25” x 2.5” diameter

$1,500-2,000

80

BEATRICE WOODBOWL

Studio, c. 1987Iridescent glazed ceramicSigned “Beato”4.5” x 6.875” diameter

$2,000-3,000

5 1

83

HARRISON MCINTOSHSCOTTISH RITE TEMPLE JAR

Studio, executed August 29, 1961Semi-mat glazed hand-thrown stone-ware with leopard spot decoration and blue-green & black engobes of Cobalt and Copper oxideSigned “Harrison McIntosh” with affixed label “0128”24” x 17” diameter

This was McIntosh’s largest vessel. It was commissioned by Millard Sheets and Albert Stewart for the Scottish Rite Temple in Los Angeles where it remained for 49 years.

Illustrated: COMMON GROUND: CERAMICS

IN SOUTHERN CALIFORNIA 1945 -1975, BOOK

TO ACCOMPANY THE EXHIBITION, POMONA ,

2012, P 143 (JAR ILLUSTRATED).

Exhibited: AMERICAN MUSEUM OF CE-

RAMIC ART, POMONA , 2012.

$25,000-35,000

LAMA wishes to thank the artist and family for their kind assistance with cataloguing the following lots.

Evenafteramereglanceattheseworks,itisclearwhatpassionsdroveHarrisonMcIntosh(b.1914).Thebreathtaking

boldness,understatedeleganceandsimplicityofform,andsensitivitytocolorandshadebringtomindtheworksofSwedishpotters

WilhelmKageandStigLindbergforGustavsberg.Thefluidity,figurativeinfluence,andfunctionalityevokeJapanesepotteryand

traditionalprintsaswellas theworkofJapanesepotterShojiHamada.Throughouthis70yearsasapotter,hehas remained

devotedtohisapproach:“Simplification is a basic principle of mine, and I strive to purify and strengthen an idea.”

HarrisonMcIntosh was born in Vallejo, California in 1914 to Scottish parents. Throughout his adolescent years, he

participated in a variety of artistic opportunities, includingpainting competitions, lessons from local artists, and exposure to

influentialartworkattheHagginMuseumandArtGallery,eachofwhichsethimoncoursetowardtheformationofhisartistic

voice.In1937thefamilyleftVallejoforLosAngelesandthefollowingyearHarrisontookhisfirstjobwiththecommunityexhibition

space“FoundationofWesternArt.”DuringhistimeacquaintinghimselfwiththeLAgalleryscene,McIntoshbecamefascinated

withtheinfluentialgalleryDalzellHatfieldwherehewasfirstexposedtotheworkofGertrud&OttoNatzler,whichinspiredhim

toexperimentwithceramics.In1938hisparentscommissionedthearchitectRichardNeutratodesignahomefortheminSilver

Lake.WhiletakingaceramicscoursewithGlenLukensattheUniversityofSouthernCalifornia,hisfamilyencouragedhiminhis

newdirectionbysettingupakilninthegarage.From1949-52hestudiedattheseminalceramicsschoolattheClaremontGraduate

SchoolatScrippsCollegeduringthetenureofinfluentialartdirectorMillardSheets.

Inthelate1950s,MillardSheetsandAlbertStewart,designersoftheScottishRiteMemorialTemplelocatedonWilshire

andLucerneinLosAngeles,askedMcIntoshtodesignajarforthetemple.Hislargestvessel,thisjar(1961)inhabitsspacewith

an economyofdesign andorganic graphics that achieve a statelymagnitude.At thispoint inhis career, hehadperfectedhis

characteristicdesignsandtechniqueswiththesameclayandglazes,andthisurnistheembodimentofhisvirtuosity.Considered

asoneofthemostinfluentialceramicistslivingtoday,McIntoshenjoyedasuccessfulcareer,producingworksforindustry,aswell

ascustomcommissionsthatcanbeviewedinmuseumsandgalleriesaroundtheworld,includingtheLosAngelesCountyMuseum

ofArt,theLouvre,Paris,theMuseumofFineArts,Boston,andtheSmithsonianInstitution,Washington,D.C.

“Harrison McIntosh.” Franklloyd.com. Frank Lloyd Gallery, 2003. Web. 13 Aug. 2012.McNaughton, Mary. Oral history interview with Harrison McIntosh, 1999 Feb. 24-Mar. 4. Smithsonian Archives of American Art. Web. 13 Aug. 2012.Muchnic, Suzanne. “Harrison McIntosh, ceramics virtuoso.” LAtimes.com. Los Angeles Times, 24 Sept. 2009. Web. 13 Aug. 2012.

84

HARRISON MCINTOSHLAMP BASE

Studio, 1952Glazed stonewareSigned “McIntosh”20” x 5” diameter (30” to top of finial)

Literature: COMMON GROUND: CERAMICS

IN SOUTHERN CALIFORNIA 1945 -1975, BOOK

TO ACCOMPANY THE EXHIBITION, POMONA ,

2012, P 145 (LAMP BASE ILLUSTRATED).

Exhibited: AMERICAN MUSEUM OF CE-

RAMIC ART, POMONA , 2012.

$1,500-2,000

86

HARRISON MCINTOSHTWO-PIECE JAR

Studio, c. 1953-54Glazed stonewareSigned “McIntosh”; retains handwritten label “NFS”7” x 4.75” diameter

$2,000-3,000

85

HARRISON MCINTOSHFOOTED BOWL

McIntosh inventory no. 4Studio, c. 1952Glazed stonewareSigned “McIntosh”; retains handwritten label “#4”3” x 4.75” diameter

$1,000-1,500

DETAIL OF SIGNATURE

5 3

87

HARRISON MCINTOSHBOWL

McIntosh inventory no. 8457Studio, 1984Glazed stonewareRetains McIntosh Studio label and artist cipher; retains handwritten label “#8457”1.75” x 6.5” diameter

$1,000-1,500

88

HARRISON MCINTOSHPLATE

McIntosh inventory no. 76161Studio, 1976Glazed stonewareRetains McIntosh Studio label and artist cipher; retains handwritten label “#76161”1.25” x 7.75” diameter

$1,000-1,500

DETAIL OF SIGNATURE

DETAIL OF SIGNATURE

89

GRETA MAGNUSSON GROSSMANRARE DOUBLE SHADE FLOOR LAMP (CONE AND COBRA)

Ralph O. Smith, designed 1948-49Enameled aluminum, chrome-plated steelCast manufacturer’s marks to underside55” x 18” diameter

Literature: WAERN, KARING, GRETA MAG -

NUSSON GROSSMAN: A CAR AND SOME

SHORTS, ARKITEKTURMUSEET, 2010, P 32.

$10,000-15,000

5 5

91

GRETA MAGNUSSON GROSSMANTRIPOD FLOOR LAMP

Model no. 831Ralph O. Smith, designed 1947-48Enameled metal50.25” x 15” diameter

Literature: WAERN, KARING, GRETA MAG-

NUSSON GROSSMAN: A CAR AND SOME

SHORTS, ARKITEKTURMUSEET, 2010, P 32.

$4,000-6,000

90

GRETA MAGNUSSON GROSSMANRARE DOUBLE CONE FLOOR LAMP

Ralph O. Smith, designed 1948-49Enameled aluminum, brass52.5” x 19” diameter

Literature: FURNITURE FORUM, VOL 1 ,

WINTER 1949, SECTION 3, P 3 (DESIGN

ILLUSTRATED); WAERN, KARING, GRETA

MAGNUSSON GROSSMAN: A CAR AND SOME

SHORTS, ARKITEKTURMUSEET, 2010, P 32

(DESIGN ILLUSTRATED).

$7,000-9,000

93

MILO BAUGHMANROOM STORAGE DIVIDER

Model no. 1700Glenn of California, designed 1950American walnut, select red birch67” x 65” x 17”

Literature: GLENN OF CALIFORNIA

CATALOGUE, NO DATE, NP.

$3,000-5,000

92

HENDRIK VAN KEPPEL & TAYLOR GREENSIDE TABLES (2)

VKG, designed c. 1950Laminated blonde mahoganyEach 21" x 30" x 16"

$2,000-3,000

5 7

94

GRETA MAGNUSSON GROSSMAN, ATTRIBUTEDBOOKCASE

Model no. 704Glenn of California, c. 1955Walnut29” x 48” x 12.5”

Literature: GLENN OF CALIFORNIA CATA-

LOGUE, NO DATE, NP.

$2,000-3,000

95

MITCHELL BOBRICKCONTROL LIGHT

Controlight Company, designed c. 1949Enameled metal, ash, glazed pottery This design won an A.I.D. merit award in 1949.60” x 20” x 28”

$2,000-3,000

96

HENDRIK VAN KEPPEL & TAYLOR GREENCAMEL TABLE

Brown-Saltman, designed 1946Retains label14.5” (27.75” dining height) x 65.75” x 34”

$1,500-2,000

ALTERNATE POSITION

99

WALTER LAMBSIDE TABLE

Model no. BL-3700Brown-Jordan, designed c. 1950Tubular bronze and glass17.25” x 23.5” x 17.5”

Literature: WALTER LAMB FURNITURE

CATALOG, 1956, NP.

$1,000-1,500

97

WALTER LAMBROCKING CHAIRS (2)

Model no. C-5701Brown-Jordan, designed c. 1950Tubular bronze and yacht cordEach 31.75” x 21.25” x 31”


CATALOG, 1956, NP.

$3,000-5,000

98

WALTER LAMBOTTOMAN

Model no. C-5726Brown-Jordan, designed c. 1950Tubular bronze and yacht cord10” x 20.25” x 17.5”


CATALOG, 1956, NP.

$1,000-1,500

100

WALTER LAMBDINING SET (5)

Armchairs model no. C1700A; Table model no. C-2700Brown-Jordan, designed c. 1950Tubular bronze and yacht cordComprised of a table and four chairsTable: 28.5” x 48.5” diameter


CATALOG, 1956, NP.

$5,000-7,000

5 9

102

WALTER LAMBWIDE ARMCHAIR AND OTTOMAN (2)

Model no. C-5700 and C-5706Brown-Jordan, designed c. 1950Tubular bronze and yacht cordChair: 30.5” x 23.5” x 28”; Ottoman: 20” x 24” x 17.5”


CATALOG, 1956, NP.

$2,500-3,500

103

WALTER LAMBCHAISE LOUNGE

Model no. C-4700Brown-Jordan, designed c. 1950Tubular bronze and yacht cord48” x 61.5” x 27”


CATALOG, 1956, NP.

$2,500-3,500

101

WALTER LAMBDINING SET (5)

Armchairs model no. C1700A; Table model no. C-2700Brown-Jordan, designed c. 1950Tubular bronze and yacht cordComprised of a table and four chairsTable: 28.5” x 48.5” diameter


CATALOG, 1956, NP.

$4,000-8,000

104

ROBERT MAXWELL & DAVID CRESSEYEARTHGENDER BOWLS (2)

Earthgender, designed c. 1968Black/brown glazeEach 11.125” x 15.125” diameter

$1,000-1,500

109

ROBERT MAXWELL& DAVID CRESSEYEARTHGENDER PLANTERS (2)

Earthgender, designed c. 1968Natural bisqueEach 19.25” x 18.25” diameter

$1,200-1,800

108

ROBERT MAXWELL & DAVID CRESSEYEARTHGENDER PLANTERS (2)

Earthgender, designed c. 1968Grey fleck glazeEach 19.5” x 18” diameter

$1,200-1,800

105

ROBERT MAXWELL & DAVID CRESSEYEARTHGENDER BOWLS (2)

Earthgender, designed c. 1968Eggshell whiteEach 11.25” x 15.25” diameter

$1,000-1,500

107


Earthgender, designed c. 1968Eggshell white with Starburst patternEach 15.25” x 15” diameter

$1,000-1,500

106


Earthgender, designed c. 1968Natural bisqueEach 15” x 15” diameter

$1,000-1,500

6 1

110

DAVID CRESSEYPLANTER

Model no. 4103Architectural Pottery, designed c. 1963Glazed ceramic with "Ribbed" textureFrom the Pro/Artisan Series24.75” x 17” diameter

$1,000-1,500

114

JOHN FOLLISGROUP OF PLANTERS (3)

Model no. CPB-17, CPB-13, and CPB-21 respectivelyArchitectural Pottery, designed c. 1955Bisque ceramic with redwood basesEach impressed “Architectural Pottery/Made in USA”13” x 17” diameter; 12.5” x 13” diameter; and 13” x 21” diameter respectively

$1,500-3,000

112

JOHN FOLLISPLANTERS (2)

Model no. CP13Architectural Pottery, designed c. 1955Red glazed ceramic10” x 13” diameter and 9.25” x 12.5” diameter respectively

$600-800

113

JOHN FOLLISPLANTERS (2)

Model no. K-35 and F-112 respectivelyArchitectural Pottery, designed c. 1955Bisque ceramicMetal stand designed by Rex GoodeCone: 18” x 15.75”; Planter with stand: 14.25” x 16.5”

$800-1,200

111

DAVID CRESSEYPLANTER

Model no. 5050Architectural Pottery, designed c. 1965Brown glazed ceramicFrom the Pro/Artisan series25” x 23 “ diameter

$600-900

115

DAVID CRESSEYMASSIVE PLANTER

Model no. 5008Architectural Pottery, designed c. 1965Unglazed reduction-fired stoneware with “Rectangle” textureFrom the Pro/Artisan series31” x 40” diameter

$3,000-4,000

6 3

116

MALCOLM LELANDGROUP OF “EARTHWORKS” RELIEFS (3)

Studio, 1963-65Anodized aluminumA: 12” x 7” x 1”; Frame: 17” x 12”; B: 10” x 15” x 2”; Frame: 15” x 20”; C: 8.25” x 8.5” x .75”; Frame: 15.25” x 15.25”

The largest example (illustrated center)is a pre-production sample for a fascia panel for the San Diego Zoo administra-tion building, c. 1965.

Provenance: PURCHASED DIRECTLY FROM

THE ARTIST.

Literature: ART & ARCHITECTURE, APRIL ,

1963 (ARTICLE EXPLORING LELAND’S

EXPLORATION INTO CAST ALUMINUM).

$2,500-3,500

117

MARGARET DE PATTABROOCH

Production, executed c. 1949-50SterlingSold with letter from the Estate of de Patta, dated April 2012 and vintage photograph mounted to board c. 1950.

Provenance: PRIVATE COLLECTION, CALI-

FORNIA (ACQUIRED FROM THE ESTATE OF

MARGARET DE PAT TA)

$9,000-12,000

118

MARGARET DE PATTABROOCH

Studio, executed c. 1959-60Onyx and SterlingSold with letter from the Estate of de Patta, dated April 2012.

Provenance: PRIVATE COLLECTION,

CALIFORNIA (ACQUIRED FROM THE ESTATE

OF MARGARET DE PAT TA)

$9,000-12,000

6 5

120

MARY RENKBROOCH

Studio, executed 1982SterlingSigned “Renk” and stamped “Sterling”

Exhibited: SAN FRANCISCO METAL ART

GUILD RETROSPECTIVE, 2006; DALLAS MU-

SEUM OF ART “FORM/UNFORMED: DESIGN

FROM 1960 TO THE PRESENT,” 2010

$5,000-7,000

119

BETT Y COOKESILVER NECKLACE WITH PENDANT

StudioSterling and ebonyStamped “Sterling” and “Cooke”

$1,800-2,500

121

CLAIRE FALKENSTEINPIN

Studio, executed 1947Brass, and polished stoneSigned with artist cipher

$5,000-7,000

6 7

122 (OPPOSITE PAGE)

RICHARD DIEBENKORNBLUE SURROUND

1982Spitbite aquatint and drypoint on Rives#25 of 35Crown Point Press, Oakland, publisherInitialed and dated lower right in pencil; edition lower left; blind stamp lower right edge of sheetSold with original Crown Point Press print documenationImpression: 21.875” x 18.5”; Sheet: 35” x 26.25”; Frame: 37.5” x 28.5”

Literature: NORDLAND, GERALD, DIEBEN-

KORN: GRAPHICS, 1981-1988, BILLINGS:

YELLOWSTONE ART CENTER , 1989, PP

13 -14, #14.

$70,000-90,000

123

RICHARD DIEBENKORNUNTITLED (FROM CLUB/SPADE GROUP ‘81- 82)

19866-color lithograph on white Arches Cover#86 of 250MOCA, Los Angeles, publisher; Gemini G.E.L., Los Angeles, printerInitialed “RD 82” in pencil lower right; Gemini G.E.L. blindstamp lower right; edition lower leftGemini G.E.L. #15.1Sheet: 40” x 27”; Frame: 49.25” x 35.25”

$3,000-5,000

124

WAYNE THIEBAUDMADISON AVENUE, NY

1956Gouache on paperSigned and dated “Thiebaud 56” lower right; title lower leftSheet (vis.): 15.25” x 12”; Frame: 24.5” x 21.75”

$8,000-12,000

6 9

126

WAYNE THIEBAUDFISH (FROM DELIGHTS)

1964Drypoint on Rives#39 of 100Crown Point Press, publisher; Kathan Brown, printerSigned and dated lower right; title in-scribed lower left; edition lower centerImage: 3.875” x 3.875”; Sheet: 12.5” x 10.75”; Frame: 21” x 18.5”

Literature: THIEBAUD, WAYNE, WAYNE

THIEBAUD: GRAPHICS, 1964 -1971 , PORT-

LAND: PARASOL PRESS, 1971 , NO 28.

$3,000-5,000

125

WAYNE THIEBAUDOLIVES (FROM DELIGHTS)

1964Aquatint#39 of 100Crown Point Press, publisher; Kathan Brown, printerSigned and dated lower right; edition lower center; title inscribed lower rightImage: 3.875” x 3.875”; Sheet: 12.5” x 10.75”; Frame: 21” x 18.5”

Literature: THIEBAUD, WAYNE, WAYNE

THIEBAUD; GRAPHICS, 1964 -1971 , PORT-

LAND: PARASOL PRESS, 1971 , NO 8.

$3,000-5,000

7 1

127

ROLAND PETERSENTHE OTHER SIDE OF THE RAINBOW

1972Acrylic on canvasSigned and dated "Roland Petersen 1972" center right; signed, titled, dated, and inscribed "Rainbow Bridge Series" on canvas stretcher verso; retains partial Adele Bednarz Gallery label affixed to canvas stretcher verso; retains Frederic Stern Gallery label versoCanvas: 72” x 60”; Frame: 73” x 61”

Exhibited: ADELE BEDNARZ GALLERIES, LOS ANGELES, 1973; POLLES GAL-

LERY, SAN FRANCISCO, 1972; FREDERIC STERN GALLERY, LOS ANGELES, 2008.

Literature: ROLAND PETERSEN: A RETROSPECTIVE EXHIBITION, MAY - JUNE

1989, SAN FRANCISCO: HARCOURTS GALLERY, 1989, EXHIBITION CATALOG, NP,

SEE PLATES FOR SIMILAR EXAMPLES FROM THIS SERIES.

$30,000-50,000

128

ROLAND PETERSENSTUDY FOR PICNIC TABLE

1964Oil on boardSigned, dated, and titled versoBoard: 7” x 9.375”; Frame: 8.25” x 10.5”

Literature: ROLAND PETERSEN: A RETRO-

SPECTIVE EXHIBITION MAY - JUNE 1989,

SAN FRANCISCO: HARCOURTS GALLERY,

1989, EXHIBITION CATALOG, NP, SEE

PLATES FOR PAINTINGS FROM THE PICNIC

SERIES.

$7,000-9,000

CaliforniapainterandprintmakerRolandPetersen(b.1926)hadalreadyachievedprominencewithhisPicnic

Series,figurativepaintingsofafternoonpicnicsinCalifornia’sCentralValley,butintheearly1970s,anallergicreaction

forcedhim to switch fromoil paint to acrylic.According toPetersen,“Each painting has a different kind of

mathematical solution; I’m not always able to solve it, but I try to work out a pattern of shapes.”Similarly,

whenhewasfacedwiththeproblemofswitchingmediums,Petersenwasintriguedbythepossibilitiesofacrylicpaint.

BeginningwiththeSpectrumBandSeries(asRolandnowreferstotheseries),Petersenharnessedthepropertiesof

acrylicpaint tocreatemorevibrantcanvaseswithout losing thequalityof solitude inherent inhisgeometricpicnic

scenes.PetersenpaintedThe Other Side of the Rainbowin1972whenhewasteachingattheUniversityofCalifornia,

Davis.It istheperspectivemostcommonlyusedinthePicnicSeries,theviewergazingacrossfarmlandtowardthe

foothills.Toachieve thehard edges that complementhisbold colors,Petersenutilizedamaskingout techniquehe

learnedwhilestudyingwiththelegendaryprintmakerStanleyHayteratAtelier17inParis.Petersencutoutthedesired

shapesofcontactpaperandappliedthemdirectlytothecanvas,resultingin“razorsharpedges.”Thisjuxtapositionof

geometricformsreferstothetensionbetweenthemanandwomanstaringindifferentdirections,eachexperiencingthe

rainbow’silluminatingeffectsinisolation,feasiblyonthevergeofasolution.Hisworkcanbeviewedinthepermanent

collectionsoftheSanFranciscoMuseumofArt,theMuseumofModernArtinNewYork,andtheWhitneyMuseumof

AmericanArtinNewYork.Petersencontinuestopaint,andin2010,acareer-spanningretrospectivewasexhibitedat

theMontereyMuseumofArt.

Amerson, Price. Interview with Roland Petersen. Roland Petersen: A Retrospective Exhibition. San Francisco: Harcourts Contemporary, 1989. Print.Petersen, Roland. Telephone interview. 11 Aug. 2012.

129

PAUL WONNERSTILL LIFE WITH BUD

1992Lithograph in colors on wove paperArtist’s proof #7 of 8; aside from the edition of 80Signed and dated in pencil lower right margin; edition lower left; blindstamp lower rightImage: 29.5” x 21.875”; Sheet: 36.375” x 27.75”

$800-1,200

7 3

132

WILLIAM THEOPHILUS BROWNHOMAGE TO DE CHIRICO

c. 1975Mixed media on paperTitle inscribed in pencil lower left matSheet: 7” x 9.75”; Frame: 18.25” x 22.25”

$2,000-3,000

130

PAUL WONNERARTIST AND MODEL HANDS ON HIPS: YOUTH AND OLD AGE

2003Acrylic and pencil on paperSignature in pencil with date and title versoSheet: 14” x 13.5”

$3,000-5,000

131

WILLIAM THEOPHILUS BROWNUNTITLED

1975Gouache on paperSigned and dated “William Theo Brown 75” lower rightSheet: 7.75” x 11.5”; Frame: 15.25” x 19”

$2,000-3,000

133

NATHAN OLIVEIRAWHITE LADY

1964Lithograph#12 of 20Tamarind Lithography Workshop, Los Angeles, publisherSigned and dated lower right; edition lower left; title lower centerSheet: 29.75” x 22.25”; Frame: 31.75” x 24.75”

$1,000-1,500

7 5

135

DAVID PARKBOY IN HOSPITAL

c. 1959Graphite on paperThis is a sketch from the artist during his time spent at the hospital when he was diagnosed with cancer.Sheet (vis.): 10.25” x 8”; Frame: 16.5” x 12.5”

$8,000-10,000

134

RAIMONDS STAPRANSWAITING FOR SUNDAY

1965Oil on canvasSigned and dated lower right; retains Maxwell Gallery, San Francisco, label versoCanvas: 22.25” x 25”; Frame: 27.75” x 30.5”

$8,000-12,000

137

LARRY COHENOPEN WINDOW VIEW FROM REDONDO BEACH

2002Oil on canvasSigned “Larry Cohen/LA” in pencil on canvas versoCanvas: 38” x 16”; Frame: 39” x 16.5”

$2,000-3,000

136

LARRY COHENVIEW FROM THE MALIBU HILLS

2004Oil on canvasSignature in pencil versoCanvas: 25.75” x 26”; Frame: 26.75” x 26.75”

$2,000-3,000

7 7

138

ROGER HERMANUNTITLED (MAN IN BOAT )

1985Oil on canvasSigned and dated versoCanvas: 18” x 24”; Frame: 20” x 26”

$3,000-5,000

7 9

164

MARC CHAGALLCHLOE’S KISS (FROM THE DAPHNIS AND CHLOE PORTFOLIO)

1960-61Lithograph in colors on Arches#41 of 60Signed in pencil lower right; edition lower leftCatalogue Raisonné, Mourlot #16, Cramer #46Image: 16.625” x 12.625”; Sheet (visible): 20” x 13.625”; Frame: 28” x 22”

Literature: MOURLOT, FERNAND AND CHARLES SOR-

LIER , THE LITOGRAPHS OF CHAGALL , MONTE CARLO:

SAURET, #16.

$10,000-12,000

165

ARISTIDE MAILLOLFEMME NUE A LA DRAPERIE

c. 1920sLithographRetains Galleries Maurice Sternberg label verso; Minneapolis Institute of Arts inventory label versoVisible image: 12.5” x 8.75”; Frame: 19.25” x 15.25”

$800-1,200

Los Angeles County Museum of ArtThe following 16 lots are being sold by the Los Angeles

County Museum of Art to benefit future acquisitions.

8 1

140

JOHN EDNIEHIGH BACK SIDE CHAIR

Wylie & Lochhead, c. 1900Oak, rush seatAside from seminal architect/designer Charles Rennie Mackintosh, John Ednie, Ernest Archibald Taylor, and George Logan, who worked for influential Glasgow cabinet makers Wylie & Loch-head, were the main designers of the Glasgow School.46” x 16” x 16.5”

Provenance: SOLD BY THE LOS ANGELES

COUNT Y MUSEUM OF ART TO BENEFIT

FUTURE ACQUISITIONS.

Illustrated: COOPER , JEREMY, VICTORIAN

& EDWARDIAN FURNITURE & INTERIORS,

LONDON: THAMES & HUDSON, 1987, P 229

(ACTUAL CHAIR ILLUSTRATED).

$1,500-2,000

139

GEORGE WALTONDISPLAY CABINET

Studio, executed for The Phillippines, Brasted Chart, Kent, c. 1902Walnut with gilt highlights, glass77” x 66” x 17.5”

George Walton designed the interior of the drawing room at The Phillippines, Brasted Chart, Kent, England in 1902. The gilt-wood elements featured on this cabinet were reflected in the wall panel-ing and cornice shelf within the room.




Illustrated: THE STUDIO YEARBOOK OF

DECORATIVE ART, 1907; MOON, KAREN,

GEORGE WALTON,DESIGNER AND AR-

CHITECT, OXFORD: 1993, P 155(GEORGE

WALTON DRAWING ROOM INTERIOR IL-

LUSTRATED).

$5,000-10,000

Pho

to ©

2012

Mus

eum

Ass

ocia

tes/

LAC

MA

The Studio Yearbook of Decorative Art,

1907 illustration of a George Walton interior

141

GLASGOW SCHOOLSALON SUITE (3)

Possible design by E.A. Taylor and manufacture by Wylie & Lochhead, c. 1900Quarter-sawn oak, fabric upholsteryInside leg of each chair stamped “R.L.”Comprised of a settee and pair of chairsA: 27.875” x 60” x 18.5”; B: 27.5” x 23.25” x 18”; C: 27.25” x 23” x 18”




$1,500-2,000

8 3

142

ERNEST ARCHIBALD TAYLORINLAID BOOKCASE

Wylie & Lochhead, designed 1901Mahogany, fruitwood, mother-of-pearl, copper, glassThe inlaid stylized flower motif on the facade of this cabinet is identical to that which featured on a suite of chairs designed by E.A.Taylor for the Wylie & Lochhead Pavillion at the International Exhibition, Glasgow, 1901.69.75” x 35” x 18.5”




$3,000-5,000

143

ERNEST ARCHIBALD TAYLOR , ATTRIBUTEDSIDE CHAIRS (2)

Wylie & Lochhead, designed c. 1900Oak with pierced back rest, rush seatsEach 48” x 17”




$1,000-1,500

144

CHICAGO SCHOOLFIREPLACE SURROUND

Manufacturer unknown, designed c. 1892Pierced and solid oak57.5” x 82.5” x 14”

The design bears similarities with Louis Sullivan and Dankmar Adler's designs for the Interior of the Chicago Stock Exchange, 1893-95.

Exhibited: “COMMON FORMS, HIGH ART:

THREE CENTURIES OF AMERICAN FURNI-

TURE,” LOS ANGELES COUNT Y MUSEUM OF

ART, 1995.




$2,000-3,000

8 5

146

ENGLISH SCHOOLOCCASIONAL TABLE

Possibly manufactured by J.S. Henry, designed c. 1900Mahogany with mother-of-pearl inlay26.5” x 24”




$1,500-2,000

145

ENGLISH SCHOOLCARD TABLE

Possibly manufactured by J.S. Henry, designed c. 1902Mahogany, ebony, and maple inlay29.75” x 25” x 16.25”

Exhibited: “RETHINKING ENGLISH ARTS

AND CRAFTS: THE MODERNIST TRADITION

IN TURN- OF-THE- CENTURY BRITISH DE-

SIGN,” MODERNE GALLERY, PHILADELPHIA ,

OCTOBER - DECEMBER 1995.




$1,500-2,000

150

ALVAR AALTOL-LEG SIDE CHAIR

Artek, design executed 1933-35; manufactured 1947-57Laminated birch30.625” x 15.5” x 15”




$500-700

148

ALVAR AALTORARE DESK CHAIR

Artek, designed 1947-48; manufactured 1947-57Laminated birch, upholstery, and metal castersThis desk chair was used at the Seniors’ Dormitory at Baker House, Massachusetts Institute of Technology, Cambridge, MA.30.25” x 16” x 17”

Provenance: SOLD BY THE LOS ANGELES COUNT Y MUSEUM

OF ART TO BENEFIT FUTURE ACQUISITIONS.

$1,000-1,500

147

ALVAR AALTODESK AND ROLLING CABINET

Artek, designed before 1938; manufactured 1948-57Laminated birch and metal castersDesk: 28.625” x 45.25” x 27.75”; File cabinet: 26.75” x 14.875” x 27.25”




$2,500-3,500

151

ALVAR AALTO & OTTO KORHONENSTACKING CHAIRS (2)

Model no. 11/611Artek, designed c. 1929, manufactured c. 1936Lacquered, solid, and laminated birchEach 31” x 17” x 16.25




Literature: ALVAR & AINO AALTO, DESIGN:

COLLECTION BISCHOFBERGER , COLOGNE:

HATJE CATZ, 2005, P 19 (DESIGN ILLUS-

TRATED).

$800-1,200

149

ALVAR AALTOEND TABLE WITH SHELF

Artek, designed c. 1947-57Lacquered and natural birch plywood22.25” x 23.5” x 13.625”




$1,000-1,500

8 7

153

GILBERT ROHDESMARTSET SERVER

Kroehler Furniture Co., designed c. 1930sMahogany, birch lining34” x 48” x 16.5”




Literature: PHILLIS, ROSS, GILBERT

ROHDE: MODERN DESIGN FOR LIVING, NEW

HAVEN: YALE UNIVERSIT Y PRESS, 2009, P

137 (DESIGN ILLUSTRATED).

$1,000-1,500

154

GILBERT ROHDEDINING SUITE (5)

Chair model no. 4690Heywood Wakefield, designed 1935Walnut, vinyl upholsteryComprised of a table, leaves, and four chairsTable: 29.25” x 48” x 30”; extended: 29.25” x 72” x 30”; Each armchair: 33” x 22.25” x 25”; Each side chair: 33” x 16.25” x 25”




$2,000-3,000

152

CHARLES & RAY EAMESLOUNGE CHAIR AND OTTOMAN (2)

Model no. 670 & 671Herman Miller, designed 1956; this example prior to 1971Red leather and rosewoodBoth chair and ottoman retain “Herman Miller Inc.” labelsChair: 32.75” x 33.25” x 32”; Ottoman: 15.25” x 25.5” x 21”




$3,000-5,000

8 9

155 (OPPOSITE PAGE)

WILLIAM MORRISPEACOCK AND DRAGON WALL HANGING

Morris & Co., c. 1878Hand-loomed jacquard woven in colored wools89” x 66”

The Peacock and Dragon pattern is one of Morris' most popular designs. Conceived in 1878, the design was first woven at Queen Square and later at Merton Abbey in Wandsworth. The design was employed in the drawing room at Morris' own home, Kelm-scott House, Hammersmith, London.

Literature: PARRY, LINDA , WILLIAM MORRIS

TEXTILES, LONDON, 1983, CATALOGUE NO 30;

PARRY, LINDA , ED WILLIAM MORRIS, EXHIBI-

TION CATALOGUE, LONDON: VICTORIA & ALBERT

MUSEUM, 1996, CATALOGUE M80.

$2,000-3,000

156

PAUL HORTIRARE CUBE SETTLE

Shop of the Crafters, designed c. 1906For the Crafters Library Set; quarter-sawn oak inlaid with various fruitwoods, lead-work finials, upholstered seat cushionsRemnants of manufacturer’s label to undersideOnly 6 examples of the design are known to have been produced.37” x 71” x 30”

$10,000-15,000DETAIL OF INLAY

"Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

WILLIAM MORRIS, 1880

158

HUGO BERGERCANDELABRA (3)

Groberg, designed 1910Wrought-ironEach stamped "Germany"13.75” x 12.5” x 5” and pair 13.25” x 7.25” x 4.75”

$1,500-2,000

157

GUSTAV STICKLEYMAGAZINE RACK

Model no. 79Studio, designed c. 1904Quarter-sawn oakThe design was described in Gustav Stickley’s 1904 Craftsman Catalogue, as “...a convenient rack for favorite books and periodicals.” The catalogue price for the design in 1904 was $8.50.39.5” x 13.75” x 9.625”

$1,500-2,000

9 1

159

PORTER BLANCHARDOSLO FLATWARE (88)

Studio, designed c. 1940SterlingStamped “Porter Blanchard/Handmade/Sterling”Comprised of twelve piece service for six (knife, dinner fork, salad fork, soup spoon, teaspoon, and spreaders); plus 8 demitasse spoons, 3 additional tea-spoons, 1 master butter knife, and 2 sets of serving fork and spoon

$6,000-9,000

160

ROY LICHTENSTEINSUNRISE

1965Offset lithograph in red, blue, and yellowUnknown edition sizeLeo Castelli Gallery, New York, publisherSigned lower rightCorlett #II/7Image: 17.25” x 23.25”; Frame: 18.5” x 24.5”

Literature: WALDMAN, ROY LICHTEN-

STEIN: DRAWINGS AND PRINTS, NEW YORK:

CHELSEA HOUSE PUBLISHERS, 1969, #15,

PG 222; CORLETT, MARY LEE, THE PRINTS

OF ROY LICHTENSTEIN: A CATALOGUE RAI-

SONNÉ,1948-1993, 1ST EDITION, NEW YORK:

HUDSON HILLS PRESS, 1994, #I I /7.

$8,000-12,000

161

ROY LICHTENSTEINFISH AND SKY (FROM TEN FROM LEO CASTELLI)

1967Screenprint on silver gelatin photographic print mounted on three-dimensional lenticular offset lithograph on white composition board with window mount#6 of 200Tanglewood Press, Inc., New York, pub-lisher; Maurel Studios, New York, printerSigned “RF Lichtenstein” in pencil on the mount lower right; edition lower left; signed on verso upper rightImage: 11” x 14”; Sheet: 23.75” x 20”; Frame: 18” x 21”

Literature: CORLETT, MARY LEE, THE

PRINTS OF ROY LICHTENSTEIN: A CATA-

LOGUE RAISONNÉ,1948-1993, 1ST EDITION,

NEW YORK: HUDSON HILLS PRESS, 1994 ,

P 87, #50.

$3,000-5,000

9 3

162

ROY LICHTENSTEINTEMPLE

1964Offset lithograph on smooth, cream wove paper#130 of 300Leo Castelli Gallery, New York, publisherSigned and dated with edition lower centerCorlett #II/3Image: 23” x 17”; Sheet: 23.75” x 17.75”; Frame: 30.625” x 24.5”




NEW YORK: HUDSON HILLS PRESS, 1994 , P

256, #I I /3 .

$4,000-6,000

163

ROY LICHTENSTEINCRYING GIRL

1963Offset lithograph on off-white wove paperUnknown edition sizeLeo Castelli Gallery, New York, pub-lisher; Colorcraft, New York, printerSigned in pencil lower right marginCorlett #II/I Sheet: 17.25” x 23.25”; Frame: 25.5” x 31.5”




NEW YORK: HUDSON HILLS PRESS, 1994 , P

254, #I I / I .

$30,000-40,000

164

RICHARD PETTIBONEFRANK STELLA , "UNION", 1966

1967Enamel on canvas in artist’s frameSigned in pencil on upper canvas stretcher verso "R. Pettibone 1967"; inscribed lower center canvas stretcher verso "Stella Union 1966"Canvas: 5.625" x 9.625"; Frame: 5.75” x 9.75”

Literature: BERRY, IAN AND DUNCAN,

MICHAEL , RICHARD PETTIBONE: A RETRO-

SPECTIVE, SARATOGA SPRINGS: FRANCES

YOUNG TANG TEACHING MUSEUM, 2005, P

86, #102 FOR A SIMILAR EXAMPLE.

$18,000-25,000

AfterRichardPettibone’sfirstshowattheFerusGalleryonLaCienegainLosAngelesandsucceedingshowsin

NewYork,hewasaskedifhethoughthisworkwasconceptual.Hefamouslyanswered,“It seems to me that it’s fairly

original not to be original,” afittingresponsefromanartistwhoinjectshumorintohispainstakingappropriations.

FullofdiminutivedevotionstoDuchamp,Warhol,Lichtenstein,andJohns,hisFerusGalleryone-manexhibitionin1965

wasinspiredbytwomajorSouthernCaliforniashows,the1962Warholexhibitionof32Campbell’ssoupcansattheFerus

GalleryandthefirstAmericanMarcelDuchampretrospectiveatthePasadenaMuseumofArtin1963.ImitativeofPopArt

yetmeticulouslywroughtusinghisskillsasamodeltrainbuilder,histinypaintingsweredeemed“miniatures.”Pettibone,

however,wasmerelymaintainingthesizeoftheimagesofcontemporarypaintingshewouldfindinArtforummagazine.

In a text painting from 1985,A Snow Shovel is Nice, Pettibone declares his admiration forDuchampwhile

establishinghispersonalart-makingpractice:“Marcel Duchamp is without question my favorite artist, / He

made being an artist seem so easy. / Just pick something. / Anything. / A urinal will do, or a bicycle

wheel.” Duchamp is the startingpoint for appropriation, and forPettiboneat the time, a consummatewellspringof

readymades.The1965painting,Marcel Duchamp, "Pliant de Voyage", 1917,isamodernre-imaginingoftheUnderwood

typewriter cover readymade thatdoubledas aportable exhibit and “skirt-like reference” tohis girlfriendat the time,

BeatriceWood. InKatherine Dreier’s Room (1966), Pettibone silkscreened a replica of an existing photograph of art

collectorKatherineDreier’slibrary.AnhomagetoWarhol’sphotographicreproductions,Katherine Dreier’s Room allows

theviewertobehold–throughtheeyesofPettibonetheprinterandpainterofhisownbrandofreadymades–twoof

Duchamp’smostambitiousworks,The Large Glass and Tu m’.Revivedinmintgreenandblack,thesepiecesexhibitthe

marriageofPettibone’srolesasmastercraftsmananddiscerningcuratortoresultinimpeccablywroughtconceptualart

documentation.

In addition toDuchamp, at theFerus showPettibone revered Jasper Johns’ use of color, expressed through

the Map paintings aswell as five bicyclewheel readymadeswith the forks of eachwheel painted in a primary color.

He furtherexploredJohn’spalette in 1967withJasperJohns, “Light Bulb,” 1958 (red, yellow, blue), three acrylic and

photo-engravedcanvasesthatreplicateJohns’bronzecastofalightbulb.CuratorMichaelDuncanasserts,“Pettiboneina

sensedesolidifiedJohns’work,shiftingitfromasculpturaltoapurelyconceptualpresenceandenhancingitsstatusasa

Duchampianreadymade.”Throughouthisappropriationsofmodernandcontemporaryartists,includingworksbyFrank

Stella,ConstantinBrancusi,PabloPicasso,andEdRuscha,Pettibonemaintains themodel-maker’sattention todetail

whileevokinganinnatepassionforhiscontemporaries.

Berry, Ian, and Michael Duncan. Richard Pettibone: A Retrospective. Saratoga Springs: The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, 2005. Print.Buskirk, Martha. “Thoroughly Modern Marcel.” October 70, The Duchamp Effect (Autumn, 1994): 113-125. Print.Mink, James. Marcel Duchamp: Art as Anti-Art. Cologne: Taschen, 2006. Print.Singer, Thomas. “In the Manner of Duchamp, 1942-47: The Years of the ‘Mirrorical Return.’” The Art Bulletin 86.2 (Jun., 2004): 346-369. Print. Wright Art Gallery. Forty Years of California Assemblage. Los Angeles: University of California, 1989. Print.

9 5

165

RICHARD PETTIBONEMARCEL DUCHAMP, "PLIANT DE VOYAGE", 1917

1965Acrylic and oil in artist's frameSigned verso “R. Pettibone 1965” and “Lee Enrose 1965” and “Duchamp”Canvas: 6” x 6”; Frame: 6.25” x 6.25”

Literature: BERRY, IAN AND DUNCAN,

MICHAEL , RICHARD PETTIBONE: A RETRO-

SPECTIVE, SARATOGA SPRINGS: FRANCES

YOUNG TANG TEACHING MUSEUM, 2005,

PG 48, NO 33 FOR A SIMILAR EXAMPLE.

$10,000-12,000

166

RICHARD PETTIBONEKATHERINE DREIER’S ROOM

1966Silkscreened photograph on canvasSigned and dated in pencil upper canvas stretcher verso; inscribed “Set #2” upper canvas stretcher verso; inscribed “RP-37” lower canvas stretcher versoCanvas: 8” x 10”; Frame: 8.25” x 10.25”

Exhibited: "FORT Y YEARS OF CALIFORNIA

ASSEMBLAGE", TRAVELING EXHIBITION,

WIGHT ART GALLERY, UCLA , LOS ANGELES,

APRIL 1989 - FEBRUARY 1990.

Literature: FORT Y YEARS OF ASSEMBLAGE,

EXHIBITION CATALOG, LOS ANGELES:

WIGHT ART GALLERY, 1989, PP 202-203,

233, CAT NO 96; NAUMANN, FRANCIS M,

APROPOS OF MARCEL : THE ART OF MAK-

ING ART AFTER DUCHAMP IN THE AGE OF

MECHANICAL REPRODUCTION, NEW YORK,

CURT MARCUS GALLERY, 1999, P 14 , NO 7.

$8,000-12,000

167

MIKE BIDLOFOUNTAIN DRAWING (MARCEL DUCHAMP)

c. 1990Gouache and ink on paperSheet: 3.625” x 5.375”; Frame: 37.5” x 28.25”

$2,500-3,500

168

RICHARD PETTIBONEJASPER JOHNS, “LIGHT BULB”, 1958 (RED, YELLOW AND BLUE)

1967Acrylic and photo-engraving on canvas in handmade frameSigned “R. Pettibone 1967” in ink on canvas stretcher versoEach canvas: 5.875” x 7.875”; Frame: 6.25” x 8.25”

Literature: BERRY, IAN AND DUNCAN, MICHAEL , RICHARD PETTIBONE: A RETROSPECTIVE,

EXHIBITION CATALOG, SARATOGA SPRINGS: FRANCES YOUNG TANG TEACHING MUSEUM,

2005, P 80, NOS 88-90; ASPECTS DE L'ART DU XXE SIECLE L'OUEVRE RE-PRODUITE,

ABBAYE-SAINT ANDRE: MEYMAC CENTRE D'ART CONTEMPORAIN, 1991 .

Exhibited: "ASPECT DE L'ART DU XXEME SIECLE," ABBAYE SAINT-ANDRE, MEYMAC,

FRANCE, AUGUST-DECEMBER 1991 ; "RICHARD PETTIBONE: A RETROSPECTIVE," TRAVELING

EXHIBITION, INSTITUTE OF CONTEMPORARY ART, PHILADELPHIA; FRANCES YOUNG TANG

MUSEUM, SARATOGA SPRINGS; LAGUNA ART MUSEUM, LAGUNA BEACH, APRIL 2005-MAY

2006.

$90,000-125,000

169

LAWRENCE CARROLLOBITUARY SERIES (4 )

c. 1987-1991Mixed media collage on paperA: "Jasper Johns dies"; B: "Brice Marden is dead"; ; C: "R. Rauschenberg, shot to death"; D: "David Salle dies"; A: Inscribed and signed "For Chris from Larry" lower left; C: signed "Larry W Carroll" in pencil lower rightA: Sheet (vis.): 23.75 x 18"; Frame: 35.75" x 29.5"; B: Sheet 23.75" x 17.75"; C: Sheet: 23.75" x 18.5"; Frame 36.5" x 31"; D: Sheet: 24" x 19"

Provenance: ACQUIRED DIRECTLY FROM THE ARTIST

Literature: ROSSI , LAURA MAT TIOLI , LAWRENCE CARROLL , MI-

LAN: EDIZIONI CHARTA , 2008, ANOTHER EXAMPLE IN THE SERIES

ILLUSTRATED P 43.

$10,000-15,000

Moldingordinaryobjects,restrainedcolors,andlayeredimagesatopconstructedcanvases,American

artistLawrenceCarroll (b. 1950) straddles theborderbetweenpainter andassemblage artist.OfAustralian

descent,CarrollmovedtoSantaMonica,CaliforniaasachildandattendedtheArtCenterCollegeofDesign

inPasadena.UponmovingwithhisownfamilytoNewYorkin1984,hisartcareergainedseriousmomentum,

leadingtohisfirstsoloexhibitionin1988.TheObituarySeriesfromthelate-80saresomeofhisearliestworks

thatcombinepaint,pencil,andtextcutoutfromnewspapers.Theseworks–createdbeforeanyofthefeatured

artistshadactuallydied–directlyconfronttheaudience,forcingtheviewertoreacttothedeathsofinfluential

artists.Intheexaminationoftheseprematureobituariespresentedasunearthedrelics,theviewerquestions

theroleoftheseartistsintheirlives.InadditiontoCarroll'sownauto-obituary,RobertRauschenbergisgiven

adeathnotice;afittingeulogyconsideringthatsomeofCarroll’srecentconstructionsresembleRauschenberg’s

Combines.WhileCarrolloftenattacheseverydayobjectstohiscanvases,forhisCalendarSeriesheusedonlya

fewmaterialstoconstructacommonitem.ForCalendar(c.1987-1989),anearlyexampleofaserieshecontin-

uestorevisit,heusedlayersofhandmadecanvas,wax,andresintocreateablankwallcalendarindisrepair.

CurrentlylivinginVenice,Italy,Carrollcontinuestocreateartthatcanbeviewedininternationalexhibitions

andpermanentcollectionsattheMuseumofContemporaryArt,LosAngeles,theGuggenheimMuseuminNew

York,andtheNationalMuseumofModernArt,Tokyo.

Hughes, Robert J. “Lawrence Carroll’s Corners.” Artslant.com. Art Slant Paris, 3 May 2010. Web. 12 Aug. 2012.

1 0 1

172

LAWRENCE CARROLLCALENDAR

c. 1987-89Mixed media (resin, wax, handmade canvas paper) affixed to wooden support16” x 9.25” x 1”

Provenace: ACQUIRED DIRECTLY FROM

THE ARTIST

$5,000-7,000

170

LAWRENCE CARROLL12 X 12 BOX

c. 1989Oil, wax, resin, and staples on wooden boxUnsigned5.625” x 9.75” x 9.375”

Provenance: ACQUIRED DIRECTLY FROM

THE ARTIST

$4,000-6,000

171

LAWRENCE CARROLLWE MUST WAKE UP AMERICA

c. 1992Mixed media on paperSigned “Larry Carroll” lower rightSheet (vis.): 23.25” x 17.5”; Frame: 28.25” x 22.5”


THE ARTIST

$3,000-5,000

173

ANDY WARHOLSOME MEN NEED HELP

1982Silkscreen inks and collage on paperUniqueSigned upper rightFS #IIIB/8Original artwork for the poster of John Ford Noonan’s play “Some Men Need Help,” starring Philip Bosco and Treat Williams.Sheet: 39.75” x 39.75”; Frame: 46” x 46”


SCHELLMANN, ANDY WARHOL PRINTS:

A CATALOGUE RAISONNÈ 1962-1987, 4TH

EDITION, NEW YORK: DAP, 2003, P 259,

#I I IB/8.

$18,000-25,000

1 0 3

174

ANDY WARHOLFISH

1983Screenprint on wallpaperUnknown edition sizeRupert Jasen Smith, New York, printerMade as a backdrop for the exhibition “Paintings for Children,” Bruno Bischof-berger Gallery, Zurich, Switzerland, December 3, 1983-January 14, 1984.FS #IIIA/39Sheet (vis.): 40.75” x 29”; Frame: 50.5” x 38.5”




TION, NEW YORK: DAP, 2003, #I I IA/39.

$4,000-6,000

175

ANDY WARHOLBRILLO SOAP PADS

1970SilkscreenUnknown edition sizePasadena Museum of Art, Pasadena, publisherSignature lower leftPoster made for the 1970 exhibition of Warhol at the Pasadena Museum of Art.Sheet: 30” x 26”

$1,500-2,000

176

ANDY WARHOLUNTITLED (CAMPBELL’S SOUP CAN TOMATO)

Marker on paperInscribed “with much love Andy Warhol”Andy Warhol Authentication #102.122.Sold with certificate of authenticity from the Andy Warhol Art authentica-tion board.Sheet: 11.875” x 8.5”; Frame: 19.125” x 15.625”

Provenance: ROBERT SHAPAZIAN;

PRIVATE COLLECTION, CALIFORNIA

$4,000-6,000

177

ANDY WARHOLCAMBELL’S SOUP CAN ( TOMATO)

1966Screenprint on shopping bagUnknown edition sizePublished by Institute of Contemporary Art, BostonPublished for an exhibition at the Institute of Contemporary Arts, Boston, Massachusetts, October 1- November 6, 1966.FS #II/4aImage: 16” x 9.125”; Bag: 19.25” x 17”




TION, NEW YORK: DAP, 2003, P 59, #I I /4A .

$2,000-3,000

1 0 5

178

ANDY WARHOLCHICKEN NOODLE (FROM CAMPBELL’S SOUP I)

1968Silkscreen printed in colors on wove paper#217 of 250Factory Additions, New York, publisher; Salvatore Silkscreen Co., Inc., New York, printerSigned verso lower right with stamped editionFS #II/45Sheet 35” x 23”; Frame 37.5” x 25.5”




TION, NEW YORK: DAP, 2003, P 72, #I I /45.

$15,000-20,000

179

ANDY WARHOLMAO

1972Screenprint in colors on Beckett High White paper#100 of 250Styria Studio, Inc., New York, printerSigned and dated verso with edition stampFS #II/95Sheet: 36” x 36”; Frame: 36.25” x 36.25”


SCHELLMANN, ANDY WARHOL PRINTS:

A CATALOGUE RAISONNÈ 1962-1987, 4TH

EDITION, NEW YORK: DAP, 2003, PP 82- 83,

#I I /95.

$40,000-60,000

1 0 7

181

ANDY WARHOLSPACE FRUIT: PEARS (FROM SPACE FRUIT: STILL LIFES)

1979Screenprint on Lenox Museum Board#129 of 150Grippi/Zivian, Inc., New York, publisher; Rupert Jasen Smith and Joe Grippi, New York, printersSigned lower left with editionFS #II/203Image: 30” x 40”; Sheet: 30” x 40”; Frame: 37” x 47”




TION, NEW YORK: DAP, 2003, #I I /203.

$3,000-5,000

180

ANDY WARHOLCOW

1976Screenprint on wallpaperUnknown edition size with approximately 100 signed in felt penFactory Additions, New York, publisher; Bill Miller’s Wallpaper Studio, Inc., New York, printerSigned lower right in felt penFS #II/12APublished for an exhibition at the Mod-ern Art Pavilion, Seattle Center, Seattle, Washington, November 18, 1976 - January 9, 1977.Image (vis.): 44.5” x 28”; Sheet: 44.5” x 29.75”; Frame: 45.75” x 30.125”




TION, NEW YORK: DAP, 2003, #I I / 12A .

$10,000-15,000

182

TOM WESSELMANNMONICA WITH TULIPS

1989Screenprint in colors#42 of 100International Images, Inc., Putney, publisherSigned and dated in pencil with edition at lower right margin; two blindstamps lower rightImage: 35.5” x 44.25”; Sheet: 44” x 53”; Frame: 45.75” x 54.5”

Literature: TOM WESSELMANN: WORKS

ON PAPER , LASER- CUT STEELS AND

SCREENPRINTS, KNOKKE: SAMUEL VAN-

HOEGAERDEN GALLERY, 2008, P 46.

$5,000-7,000

183

TOM WESSELMANNNUDE

1980Color aquatint#57 of 100Abbeville Press, NY, publisherSigned and dated in pencil lower rightImage: 27.75” x 30”; Sheet (vis.): 28.25” x 30.75”; Frame: 35.25” x 37.75”

$4,000-6,000

1 0 9

184

TOM WESSELMANNSTILL LIFE WITH LICHTENSTEIN AND TWO ORANGES (FROM PORTFOLIO 90)

1993Screenprint in colors on museum boardArtist's proof # 6 of 12; aside from the edition of 90International Images Inc., Putney, publisherSignature and edition lower rightImage: 33” x 54.25”; Sheet: 42” x 59”; Frame 44” x 60”

$4,000-6,000

185

CHUCK CLOSEJOEL (MAQUETTE)

1991Black and white Polaroid photograph with tape and black ink mounted on foamcoreUniqueSigned and dated “Chuck Close 1991” lower center; title upper centerPhotograph: 24” x 19.5”; Foamcore: 28” x 23.5”; Frame: 31.5” x 27.25”

Literature: GUARE, J, CHUCK CLOSE:

LIFE AND WORK , 1988 -1995, NEW YORK ,

1995, P 92 (DETAIL ILLUSTRATION).

$20,000-30,000

1 1 1

186

CHUCK CLOSEDALAI LAMA

2005Digital pigment print on Hahnmuhle Photo Rag paper#27 of 30Signed “Chuck Close” lower center margin in pencil; edition lower left; dated lower rightImage: 40” x 33”; Sheet: 48” x 41”; Frame: 53” x 45”

$6,000-9,000

189

LARRY RIVERSACETATE CAMEL

1978Lithograph in colors on acetate#109 of 120Signed with date and edition lower rightSheet (vis.): 24” x 20.5”; Frame: 33.25” x 29.5”

$2,000-3,000

187

JASPER JOHNSTHE CRITIC SEES (FROM TEN FROM LEO CASTELLI PORTFOLIO)

1967Embossing with silkscreen on Rives BFKFrom the edition of 200Tanglewood Press, New York, publisher; Joan Farrar, printerSignature with title and date in pencil lower left; Joan Farrar blindstamp lower leftImage: 4” x 6”; Sheet: 23.75” x 19.5”; Frame: 26” x 22.25”

Literature: FIELD, RICHARD S, THE PRINTS

OF JASPER JOHNS 1960 -1993: A CATALOGUE

RAISONN É , NEW YORK: ULAE, 1994, #39.

$3,000-5,000

188

JASPER JOHNSSUMMER (BLUE)

1985-1991Lithograph in colors on J. Whatman paper#52 of 225Brooke Alexander Editions, publisher; Doug-las Volle and Richard Goldston, printersSigned and dated lower right; edition lower left; blindstamp lower leftImage: 9” x 6”; Sheet: 16.25” x 11”; Frame: 17.75” x 12.5”

Literature: FIELD, RICHARD S, THE PRINTS

OF JASPER JOHNS 1960 -1993: A CATALOGUE

RAISONNÉ, NEW YORK: ULAE, 1994, #254.

$2,000-3,000

1 1 3

190

RICHARD ESTESCAFETERIA (FROM RADICAL REALISM I)

1970Offset lithograph#143 of 200Mother Lode Editions and One Hundred Acres Gallery, publishersSigned “143 RE” in plate rectoSheet: 19.75” x 23.75”

$1,000-1,500

191

CHRISTOORANGE STORE FRONT, PROJECT

1991Lithograph in colors, varnished with collage of brown wrapping paper, broad-cloth, staples, acetate, and galvanized iron sheet on Arches cover mounted to museum boardArtist’s proof #10 of 35; aside from the standard edition of 100Leif Holm Gallery, Nassjo, and Claes Distner Gallery, Karlshamm, publishers; Landfall Press, Chicago, printerSigned “Christo” with edition in pencil lower centerSheet: 27” x 31.25”; Frame: 32.875” x 37.375”

Literature: BENECKE, JOSEPHINE,

CHRISTO AND JEANNE- CLAUDE, PRINTS

AND OBJECTS, 1963 - 95: A CATALOGUE

RAISONNÉ, MUNICH: EDITION SCHELLMAN,

2ND ED, 1995, #157.

$3,000-5,000

192

CHRISTOPOSTER FOR PARIS REVIEW

1982Offset lithographArtist’s proof #1 of 10; aside from the edition of 250Signed “Christo” on image lower center with edition; signed “Christo” lower center sheet marginImage: 31” x 24”; Sheet: 36” x 24”; Frame: 42.625” x 30.625”

$1,500-2,000

DETAIL OF SIGNATURE

251

DAVID HOCKNEYMIKE IZZO IV

2003Watercolor on paper in two sheetsSigned and dated in pencil lower right; retains Richard Gray Gallery label verso; retains LA Louver gallery label verso; retains David Hockney copyright label with “#03F.11” handwritten versoSheet: 23.5” x 36”; Frame: 26.75” x 39”

Provenance: PROPERT Y FROM A SANTA

BARBARA COLLECTION

$40,000-60,000

1 1 7

193

GEORGE NAKASHIMARARE EARLY SLED-BASE COFFEE TABLE

Studio, 1969Claro walnut and RosewoodSigned and dated in black marker “George Nakashima/Oct 1969”14.875” x 56”

Literature: OSTERGARD, DEREK , GEORGE

NAKASHIMA : FULL CIRCLE, AMERICAN

CRAFT MUSEUM, 1989, P 137 FOR A

SIMILAR EXAMPLE.

$100,000-150,000

194

MIRA NAKASHIMAMINGUREN I I DINING TABLE

Studio, designed by George Nakashima c. 1960; this example 2001American black walnutSigned “Mira Nakashima 2.22.01” and “Hill”29.5” x 144” x 52.5”

$20,000-30,000

195 (OPPOSITE PAGE)

GEORGE NAKASHIMA & MIRA NAKASHIMACONOID CHAIRS ( 14 )

Studio, designed by George Nakashima c. 1960; four chairs produced prior to 1990 and ten produced 2002 by Mira NakashimaAmerican black walnut, hickory spindlesFour are faintly marked “Carruthers” and eight are signed in marker “Nakashima March 27th 2002”Comprised of four examples by George Nakashima and ten by Mira NakashimaEach 35.5” x 20” x 20”




SIMILAR EXAMPLE.

$14,000-18,000

“I use the same basic materials and techniques as my father did, and insist on the same standards of craftsmanship. In modern Western terms, however, this very continuity can be interpreted to mean that my work has not departed far enough from my father’s example to be considered original.” MIRA NAKASHIMA, 2003

196

GEORGE NAKASHIMAPICTURE FRAME I

Studio, executed 1966WalnutFrame signed “Nakashima September 1966”; lithograph with printed signature lower rightSold with Ben Shahn print "Song of Degrees"; 1963; from the edition of 200. Sheet: 20.625” x 27”; Frame: 30.5” x 42”

Ben Shahn and George Nakashima were close friends since their meeting in the late 1950s. George sold custom ordered frames for Ben's works from 1967 to 1969 during the time that his artwork was sold in the studio.



CRAFT MUSEUM, 1989, P 174 FOR A SIMI-

LAR EXAMPLE; NAKASHIMA , MIRA , NATURE

FORM & SPIRIT: THE LIFE AND LEGACY

OF GEORGE NAKASHIMA , ABRAMS, 2003,

P 183.

$5,000-7,000

1 2 1

197

MIRA NAKASHIMAHEADBOARD WITH PLANK BACK AND PLATFORM

Studio, designed by George Nakashima c. 1954; this example executed 2001American black walnutHeadboard signed “Mira Nakashima 1.18.01”; platform signed “Mira Nakashima 2.22.01”Headboard: 45” x 110”; Platform: 14” x 80” x 78”




SIMILAR EXAMPLE.

$4,000-6,000

198

GEORGE NAKASHIMAAMOEBA TABLES (2)

Studio, designed c. 1951Madrona WoodEach 21” x 26.5” x 19.5”




SIMILAR EXAMPLE.

$4,000-6,000

199

GEORGE NAKASHIMAAMOEBA LOW TABLE

Studio, first designed 1941 for the apartment of Andre Ligne, Seattle, WA; this example laterMadrona wood12.375” x 20.25” x 13.625”




SIMILAR EXAMPLE.

$1,500-2,000

200

GEORGE NAKASHIMAHEADBOARD

Widdicomb, designed 1958-61WalnutBranded mark “GEORGE NAKASHIMA”43” x 63” x 2.375”

Literature: NAKASHIMA , MIRA , NATURE

FORM & SPIRIT: THE LIFE AND LEGACY OF

GEORGE NAKASHIMA , ABRAMS, 2003, PP

162-170.

$1,500-2,000

1 2 3

202

GEORGE NAKASHIMACONOID CHAIR

Studio, designed c. 1960; this example executed 1978American black walnut and hickoryMarked “Studio” and incised “LXXVIII” under seat35.5” x 20” x 21”




SIMILAR EXAMPLE.

$4,000-5,000

203

GEORGE NAKASHIMACUSTOM WALL MOUNTED SHELF

Studio, designed c. 1974American black walnut with corbels12.5” (with corbels) x 83.5” x 17”

$6,000-9,000

201

GEORGE NAKASHIMASLAB COFFEE TABLE

Studio, designed c. 1948American black walnut12.5” x 60.5” x 17”



CRAFT MUSEUM, 1989, P 1 19 FOR A

SIMILAR EXAMPLE.

$10,000-15,000

204

MIRA NAKASHIMAKORNBLUT NIGHTSTANDS (2)

Studio, designed by George Nakashima c. 1964; these examples produced 2001American black walnut, East Indian Rosewood, English oak burl, calf suede drawer liningEach signed and dated “Mira Nakashima February 22. 2001”Each 24” x 29.5” x 26.25”




LAR EXAMPLE.

$4,000-6,000

205

MIRA NAKASHIMAGREENROCK STOOLS (4 )

Studio, designed by George Nakashima c. 1973; this example produced by Mira Nakashima 2001American black walnut, black/brown and white wool upholsteryEach signed and dated “Nakashima 2.22.01”Each 11” x 20” x 21”

The Greenrock stools were one of the last seating models designed by George.




LAR EXAMPLE.

$3,000-5,000

1 2 5

206

GEORGE NAKASHIMAROUND COFFEE TABLE

Studio, designed 1955American black walnut13” x 47.625” diameter

$6,000-9,000

207

MIRA NAKASHIMASLIDING DOOR CABINET

Studio, designed by George Nakashima c. 1947; this example produced c. 2002American black walnut and Pandanus clothInscribed on back panel “#2085 Berg”31.75” x 60” x 22”




SIMILAR EXAMPLE.

$4,000-6,000

208

GEORGE NAKASHIMACONOID BENCH WITH SPINDLE BACK

Studio, designed c. 1961American black walnut, Hickory and East Indian Rosewood12.25” x 83.25” x 25”




SIMILAR EXAMPLE.

$20,000-30,000

1 2 7

210

FRITZ SCHWADERERUNTITLED

c. 1964Oil on canvasRetains partial Ankrum Gallery label affixed to upper canvas stretcher versoCanvas: 27.25” x 29.25”; Frame: 32.75” x 35.5”

Exhibited: “RECENT OIL PAINTINGS BY

FRITZ SCHWADERER”, ESTHER ROBLES

GALLERY, LOS ANGELES, OCTOBER -

NOVEMBER 1964.

$1,000-1,500

209

HAROLD CHRISTOPHER DAVIESUNTITLED

1947WatercolorSigned and dated lower rightSheet (vis.): 7.375” x 10.75”; Frame: 13.375” x 16.625”

$2,000-3,000

211

OSKAR FISCHINGERTHE WAVE

1948Oil on canvasSigned and dated lower right; artist’s signet painted lower left; retains partial San Francisco Museum of Modern Art exhibition label verso; retains 2 partial Los Angeles County Museum of Art exhibition labels versoCanvas: 17.75” x 23.75”; Frame: 19” x 24.75”

Exhibited: "NEW PAINTINGS BY LA ARTISTS,"

SAN FRANCISCO MUSEUM OF MODERN ART,

1948; "ANNUAL TRAVELING ARTISTS EXHIBI-

TION," LOS ANGELES COUNT Y MUSEUM OF

ART, 1948

Literature: MORITZ, WILLIAM, OPTICAL

POETRY: LIFE AND WORK OF OSKAR FISCH-

INGER , BLOOMINGTON: INDIANA UNIVERSIT Y

PRESS, 2004, P 142 FOR SIMILAR EXAMPLE

FROM THE SERIES OF WAVE PAINTINGS.

$10,000-15,000

212

HANS BURKHARDTTHE COCK FIGHT

1954Oil on canvasSigned and dated “H. Burkhardt 54” lower right; signed with title and date versoCanvas: 33” x 36.25”

$10,000-15,000

213 (OPPOSITE PAGE)

OSKAR KOKOSCHKASELF-PORTRAIT FROM TWO ASPECTS

1923Four color chalk lithograph mounted to linenUnknown edition sizeKunstalon Wolfsberg, Zurich, publisher; J.E. Wolfensberger, Zurich, printerSignature in pencilPromotional poster for his 1923 exhibition at Wolsfberg Salon, ZurichSheet: 46” x 34.625”

Literature: KOKOSCHKA , LONDON: THE

ARTS COUNCIL , 1962, ILLUSTRATED P 98,

#247; WINGLER , HANS M, KOKOSCHKA :

DAS DRUCKGRAPHISCHE WERK , SALZBURG:

VERLAG GALERIE WELZ SALZBURG, 1975, PP

145 - 46, #164.

$6,000-9,000

215

FRENCH MODERNGOBLETS (5)

La Maison Desny, c. 1928Silver-plateEach stamped “DESNY PARIS MADE IN FRANCE DEPOSE”Each 5.125” x 2.875”

$3,000-5,000

214

HAGENHAUERBOWL

Hagenauer Werkstatte, c. 1950Silvered-brassStamped mark “Made in Austria WHW”4.375” x 7.875” diameter

$2,000-3,000

216

ALPHONSE LA PAGLIACANDLESTICKS AND BOWL (3)

Georg Jensen, Inc., designed 1942-51SilverImpressed “Georg Jensen, Inc, VSA L.P. Sterling 121” and “118” with artist cipherEach candlestick 9.125” x 3.5” diameter; Bowl: 5.75”” x 10

Alphonse La Paglia moved from his native Sicily to Copenhagen in order to study silversmithing under Georg Jensen. In the early 1940s he emigrated to the USA to design and create jewelry for Georg Jensen, Inc.

$6,000-9,000

1 3 1

217

PIERRE PATOUTARMCHAIRS FROM THE FIRST-CLASS DINING ROOM OF THE S.S. NORMANDIE (2)

Manufacturer unknown, designed c. 1935Mahogany, bronze sabots, upholstered seat and backEach 35” x 23” x 21”

Literature: VIAN, LOUIS-RENE, ART DÈCO -

RATIFS À BORD DES PAQUEBOTS FRANCAIS,

1880 -1960, PARIS: FONMARE, CONSEIL ,

1994, PP 213, 216, 217, 224 -226 (CONTEM-

PORARY PHOTOGRAPH OF THE CHAIRS IN

SITU IN THE 1ST CLASS DINING ROOM, SS

NORMANDIE) .

$9,000-12,000

218

QUEEN MARYDECK CHAIRS (2)

Designed c. 1947Solid and laminated beechReverse of seat branded "Queen Mary Cunard"Each 33.5" x 22.75" x 33.5"

$1,500-2,000

219

JUMO CIEBOLIDE DESK LAMP

La Societe-Jumo, c. 1945Bakelite, copper, and steelBranded “Jumo Brevete” and “Made in France”11” (adjustable) x 6”

$2,500-3,500

The First Class dining room on the SS Normandie from where this pair of chairs originated was the very height of taste and refinement when it was launched in 1935. Measuring 305 feet long, 46 feet wide and 28 feet high, the room was punctuated by 12 illuminated pillars by René Lalique and decorative bronze medallions by Raymond Subes. The underside of each chair has a wooden stretcher with four screw holes, which previously accommodated a device to anchor the chairs to the floor in the event of a rough crossing.

220

GEORGE SAKIERSINK

American Radiator & Standard Sanitary Corporation, designed 1933Pink-glazed porcelain, bakelite, chrome-plated steel, and brass30.5” x 29” x 18”

An example of this design is in the permanent collection of the Museum of Modern Art.

Literature: JOHNSON, J STEWART,

AMERICAN MODERN 1925-1940: DESIGN

FOR A NEW AGE, NEW YORK: ABRAMS,

2000, P 1 19 (DESIGN ILLUSTRATED).

$4,000-6,000

221

KURT VERSENFLIP TOP FLOOR LAMP

Kurt Versen, Inc., designed c. 1935Spun-aluminum, steel62”

$1,200-1,500

222

WALTER DORWIN TEAGUEKODAK CAMERA WITH ORIGINAL GIFT BOX AND PACKAGING

Model no. 1A GiftEastman Kodak Company, 1930Lacquered metal, leather bound camera, lacquered metal tin and card packagingWith manufacturer’s marksGift box: 2.5” x 8.5” x 4.5”

Literature: JOHNSON, J STEWART,

AMERICAN MODERN 1925-1940: DESIGN

FOR A NEW AGE, NEW YORK: ABRAMS,


$4,000-6,000

1 3 3

223

ELOISE HOWARDFOLDING SCREEN

Studio, 1927Painted wood, oil on linenSigned “Eloise Howard 27”Howard studied at the Art Students League and the National Academy of Design, and exhibited nationally from the 1920s - 1940s.67.75” x 59.25” (as illustrated)

$3,000-5,000

224

AMERICAN ART DECOBULLOCKS WILSHIRE PHOTO ALBUM

1936Album of gelatin silver printsFront of book stamped: "Shop windows and interiors Bullocks Wilshire Los Angeles August 1936/This book is the property of Edward Christie Miller." Contains interior photographs of Bullocks and other department stores in Los Angeles as well as exterior shots of the facades.Album: 11” x 15”; Photographs: 9” x 7.25” and 7.25” x 9”

$5,000-7,000

225

SAMUEL MARXEND TABLES (2)

William J. Quigley, Inc., designed 1941Burr-maple, marbleEach 23.625” x 24” x 12”

Samuel Marx was hired by actor Edward G. Robinson in 1941 to re-model his faux Tudor home at 910 North Rexford Drive, Beverly Hills to accommodate his grow-ing art collection. This pair of tables were illustrated in an article featuring the interior in Time Magazine, March 1st, 1948.

Provenance: EDWARD G ROBINSON; PRI-

VATE COLLECTION, LOS ANGELES.

Illustrated: T IME MAGAZINE, MARCH 1 ,

1948.

$4,000-6,000

226

PAUL FRANKLCORK COFFEE TABLE

Model no. 5016Johnson Furniture Company, c. 1948Lacquered cork, mahoganymanufacturer’s marks to underside14” x 48” x 24”

$1,500-2,000

1 3 5

227

ELIEL SAARINEN & J. ROBERT SWANSON & PIPSAN SWANSON SAARINENRARE FLEXIBLE HOME ARRANGEMENTS NESTING TABLES

Johnnson Furniture Company, designed 1940Birch, aluminumUnderside with ink stencil “FHA JOHN-SON FURNITURE CO. GRAND RAPIDS, MICH.” and ‘E15”16.25” x 28.625” x 15.25”; 17” x 28.25” x 16.875”; 17.75” x 28” x 18.375”

Literature: JOHNSON, J STEWART, AMERI-

CAN MODERN 1925-1940: DESIGN FOR A

NEW AGE, NEW YORK: ABRAMS, 2000,

P 163 (DESIGN ILLUSTRATED).

$2,500-3,500ALTERNATE VIEW

228

SAM FRANCISUNTITLED (SF56 -003)

1956Egg tempera on paperUpper middle verso in pencil “egg tem-pera Sam Francis 1956” and “56-003 and 80” verso lower leftSheet: 12.75” x 14.5”; Frame: 21.125” x 22”


CALIFORNIA (ACQUIRED FROM THE ARTIST

JUNE 1970)

$100,000-150,000

1 3 7

Itwasthesummerof1950andSamFranciswaseagerforachange.Havingcompletedhismaster

ofartsatBerkeleyandalreadygainingattentioninAmericanpainting,hemovedtoParistoexplorethe

Europeanartscene.ThefollowingtenyearsprovedtobethemostpivotalinthedevelopmentofFrancis’

distinctivestyle.Alwayssensitivetothelightofhisenvironment,hispaintingsduringhisfirsttwoyears

in Paris mirrored the gloomy winter skies. Rich gray hues contrasted with muted yellows, blues, and

greensdominatetheseworks,knownastheWhitePaintings.Althoughfoggyandunderstated,colorslowly

reenteredthewhiteandgraylandscapes,andby1953darkercolorswerethrusttotheforeground.Aftera

successfulshowattheGalerieduDragonin1952,hewasinvitedtoparticipateinthemajorshows“Signifiants

de l’informel” (1952)and“UnartAutre” (1953).He frequentedParisiancafesandbistroswithAmerican

paintersAlHeld,RuthFrancken,andNormanBluhm,paintedwatercolorsatcriticGeorgesDuthuit’shouse

inAix-en-Provence,andbythemid-1950s,hehadexchangedpaintingswithAlbertoGiacometti.In1955,

justfiveyearsaftermovingtoParis,Francisachievedaone-manshowattheGalerieRiveDroiteaswellas

showsinBern,Rome,andStockholm,propellinghimtointernationalacclaim.Afterhewasfeaturedinthe

1956exhibitattheMuseumofModernArt,“TwelveAmericans,”Timemagazinedeemedhim“thehottest

youngpainterinParis.”

Attheseshows,paintingssuchasBig Orange(1954-55)andRed in Red(1955)compelledaudiences

with their magnitude and intense color outlined in white, yellow, and black, evocative of “geological

strataincross-sectionorachemicalsuspension.”WhileFrancisisknownfortheseexpansivecanvasesof

nonobjective, colorful forms, throughout the 1950s, he regularly produced small and intimate paintings

on paper. Francis enjoyed the properties of paper for allowing him to fully explore a color’s potential.

Additionally,bluehadreemergedandwouldremainthedominantcolorforyearstocome.In1956,Francis

paintedUntitled (SF56-003),aneggtemperaonpaperdepictinganebulousblueformationatoplayersof

yellow,green,andred.Intheupperleftcorner,adeepbluematerializesfromawellofblack,thecolorthat

Francisdescribedasthe“colorfromwhichlightemerges,oftenunexpectedly.”Inthispainting,however,

blackdoesnotdominatethecanvaslikehisworksfromtheearly1950s.Instead,moundsofvibrantyellow

–theoppositeofblack,accordingtoFrancis–leadfoggyred,hintsofgreen,andvigorousbluesbeyond

thepaper’swhiteboundaries.AnotablysimilarpaintingonpaperintheLosAngelesCountyMuseumof

Art’spermanentcollection,Blue Spanish Shawl(1954-55),depictsthesebluecellsframedinyellowandred.

Untitled (SF56-003)–forsaleforthefirsttimesinceitwaspurchaseddirectlyfromFrancisin1970–not

onlyrepresentsaturningpointinhiscareer,butalsotypifieshisinstinctiverelationshipwithlightandcolor.

Royhatn, Jeanne Greenberg, and Belinda Marcus. Sam Francis: Paintings & Works on Paper from the 50s. New York: Lawrence Rubin Greenberg Van Doren Fine Art, 1999. Print.Selz, Peter. Sam Francis. New York: Abrams, 1982. Print.

229

BRUCE CONNERUNTITLED

c. 1953Charcoal, graphite, and watercolor wash on paperSigned “Conner” in graphite lower rightSheet: 18.5” x 12.25”; Frame: 24” x 17.5”

LAMA wishes to thank the Estate of Bruce Conner for authenticating this work.

Provenace: BATMAN GALLERY, SAN FRAN-

CISCO; PRIVATE COLLECTION, TIBURON;

PRIVATE COLLECTION, SAN FRANCISCO

$3,000-5,000

1 3 9

231

JOHN ALTOONUNTITLED

c. 1965Lithograph#1 of 20Signed “Altoon” in pencil lower right; edition lower rightImage (vis.): 21.5” x 29.75”; Frame: 30.5” x 37.5”

$800-1,200

230

WILLIAM BRICEUNTITLED

1978Oil on MasoniteInitialed and dated lower right “WB 78”; retains 2 LA Louver Gallery labels verso; retains James Corcoran Gallery label verso; retains Polygram label versoImage: 31.25” x 36”; Frame: 31.5” x 36.75”

$4,000-6,000

233

HOWARD WARSHAWUNTITLED

1953CollageSigned and dated lower left in pencilSheet (vis.): 11.5” x 16.675”; Frame 15.75” x 21”

Provenance: FROM THE COLLECTION OF

JAMES BYRNES

$2,000-3,000

232

HOWARD WARSHAWUNTITLED

1948Acrylic on boardSigned and dated lower rightBoard: 20.75" x 13"; Frame 22.25" x 14"

Provenance: THE ESTATE OF

ROBERT CHUEY

$1,500-2,000

1 4 1235

ROBERT CHUEYUNTITLED

1954Oil on canvasSigned and dated lower rightCanvas: 13.75" x 15.75; Frame: 15” x 17”


ROBERT CHUEY

$1,500-2,000

234

ROBERT CHUEYVOYAGE I I

1953Oil on canvasSigned and dated lower left in pencil; retains Frank Perls Gallery label on canvas stretcher versoCanvas: 26.625” x 35.5”; Frame: 25.5” x 34.5”


ROBERT CHUEY

$2,000-3,000

236

EDMUND TESKEUNTITLED (PHOTOGRAPHS OF JOSEPHINE CHUEY )

c. 1960Gelatin Silver photographs mounted on Strathmore deckle paperEach signed in pencilEach photograph approximately 9.5" x 7.75"; Sheet 22" x 15"

Provenance: THE ESTATE OF ROBERT

CHUEY

$6,000-9,000

1 4 3237

JOSEF SUDEKUNTITLED

c. 1945Pigment printSignature in pencil lower right sheet; inscribed in Czech verso by artistImpression: 3” x 3”; Sheet: 6.5” x 4”

$3,000-5,000

VERSO DETAIL

238

EDWARD WESTONNUDE ON SAND, OCEANO

1936Vintage silver gelatin photographic printWeston negative #237NImage (vis.): 7.5” x 9.25”; Frame: 14.5” x 16.25”

Provenance: JOHN STEPHEN CHITWOOD,

MAYOR OF CARMEL , CALIFORNIA

(ACQUIRED FROM THE ARTIST EARLY

1940S); JOHN STEPHEN CHITWOOD, JR ,

CALIFORNIA ; PRIVATE COLLECTION, CALI-

FORNIA (GIFTED FROM THE ABOVE CIRCA

1955 )

Literature: CONGER , AMY, EDWARD

WESTON: PHOTOGRAPHS FROM THE COL-

LECTION OF THE CENTER FOR CREATIVE

PHOTOGRAPHY, TUCSON: CENTER FOR CRE-

ATIVE PHOTOGRAPHY, 1992, 1ST EDITION,

FIGURE 928/1936; STEBBINS JR , THEODORE

E, WESTON'S WESTONS: PORTRAITS AND

NUDES, BOSTON: MUSEUM OF FINE ARTS,

1989, ILLUSTRATED PL 54, CAT #94.

$4,000-6,000

1 4 5

239

TERRY O’NEILLBIANCA JAGGER , MUNICH, 1978

1978; printed 1986C-Type print#1 of 10Signed, titled, dated, and stamped “Terry O’Neill Legends” versoPhotograph: 20" x 16"

$3,000-5,000

240

LAURIE SIMMONSLYING OBJECTS (PERFUME BOTTLE)

1992Color offset lithograph on Luxus Satin paperTrial proof; aside from the edition of 50Signed lower right in pencil; inscribed “T.P” lower leftImage: 9.5” x 14”; Sheet: 15.75” x 19.75”; Frame: 20.5” x 25.25”

$1,000-1,500

241

DAVID HOCKNEYPETER ON BED SEATED

1968Ink on paperSigned and dated lower right; retains Los Angeles County Museum of Art exhibition label verso; retains partial Steven Jones Art and Kasmin Ltd. labels on verso of frameDrawing of David Hockney’s former lover and muse, Peter SchlesingerSheet: 16.75” x 13.75”; Frame: 24.25” x 21.25”

Exhibited: "THE MICHAEL AND DOROTHY BLANKFORT COLLECTION," LOS ANGE-

LES COUNT Y MUSEUM OF ART, APRIL - JUNE 1982

Provenance: KASMIN LTD, LONDON; GREER GALLERY, NEW YORK; MICHAEL AND

DOROTHY BLANKFORT, LOS ANGELES; PRIVATE COLLECTION, LOS ANGELES

Literature: EDGERTON, ANNE CARNEGIE, AND MAURICE TUCHMAN, THE MI-

CHAEL AND DOROTHY BLANKFORT COLLECTION, LOS ANGELES COUNT Y MUSEUM

OF ART, 1982, ILLUSTRATED P 47, CAT NO 71 .

$25,000-35,000

1 4 7

243

DAVID HOCKNEYPARADE

1982Serigraph on heavy paperUnknown edition sizePetersburg Press, New York, publisherSignature in pencil upper left; printed “Petersburg Press 1982” lower center marginSheet: 80.25” x 40.5”; Frame: 83” x 43.25”

Literature: BAGGOT T, BRIAN, HOCKNEY:

POSTERS, NEW YORK: HARMONY BOOKS,

1987, #92.

$1,500-2,000

244

DAVID HOCKNEYINK IN THE ROOM (FROM SOME NEW PRINTS)

199323-color screenprint and lithograph on Arches 88#17 of 68Gemini G.E.L., Los Angeles, publisherSigned and dated lower right; edition lower left; Gemini G.E.L. blindstamp lower leftGemini G.E.L. #23.93Sheet: 25.5” x 35.5”; Frame: 34.25” x 44.25”

Literature: DAVID HOCKNEY: CATALOGUE

RAISONNÉ OF THE PRINTS 1954 -1995,

TOKYO: MUSEUM OF CONTEMPORARY ART,

1996, #333.

$3,000-4,000

242

DAVID HOCKNEYFOUR FLOWERS IN STILL LIFE

1990; published 1991Lithograph in colors on white Arches 88 mould made paperArtist's proof #7 of 12; aside from the edition of 50Tyler Graphics, Mt. Kisco, publisherSigned and dated lower right; edition lower leftImage: 21" x 32"; Sheet: 27" x 37.5"; Frame: 33.25" x 44.5"




1996, #322.

$6,000-8,000

245

DAVID HOCKNEYWATER POURING INTO SWIMMING POOL , SANTA MONICA

1964Lithograph in colors on Japanese handmade paper#51 of 75Editions Alecto, Shoeburyness, pub-lisher; Atelier Matthieu, Zurich, printerSigned “David Hockney ‘64” in pencil lower right; edition lower left with titleSheet: 19.5” x 26”; Frame: 26.375” x 32.125”




1996, #380.

$7,000-10,000

1 4 9

246

HOWARD HODGKINNICK

1977Soft-ground etching with sugar lift and aquatint with hand colouring in water-color on Crisbrook handmade paperArtist’s proof; aside from the edition of 100Petersburg Press, London, publisher and printerSigned and dated lower right; inscribed “AP” lower leftImage: 17.5” x 22.25”; Sheet: 18.5” x 23”; Frame: 20.5” x 24.5”

Literature: LIESBETH, HEENK , HOWARD

HODGKIN PRINTS: A CATALOGUE RAISONNÉ,

LONDON: THAMES AND HUDSON, 2003, IL-

LUSTRATED P 60, #32.

$2,500-3,500

247

YNEZ JOHNSTONPALACE OF THE SNOW LEOPARD

1971Mixed media on canvasSigned “Ynez Johnston/1971” versoCanvas: 20” x 30”; Frame: 21.25” x 31.125”

Exhibited: “SOUTHERN CALIFORNIA PAINT-

ING: 1970S PAINTING PER SE" , DAVID RICH-

ARD CONTEMPORARY, SANTA FE, JULY 2011 .

Provenance: COLLECTION OF THE ARTIST

$5,000-7,000

1 5 1

248

YNEZ JOHNSTONPURIFICATION RITE

1969Mixed media and painted ceramic on wood reliefSigned “Purification Rite/Ynez Johnston/1969” versoCeramic: 18” x 30” x 1.5”; Frame: 22” x 34”


$5,000-7,000

29

GRETA MAGNUSSON GROSSMANTABLE LAMPS (2)

Ralph O. Smith, designed 1949Enameled metal and brassAdjustable 16” x 6.25” x 14”

$5,000-7,000

30

GRETA MAGNUSSON GROSSMANCOBRA TABLE LAMP

Ralph O. Smith, designed 1949Enameled metal and brassAdjustable 15” x 12” x 13”

$6,000-9,000

31

GRETA MAGNUSSON GROSSMANCOBRA TABLE LAMP

Ralph O. Smith, designed 1949Enameled metal and brassAdjustable 15” x 12” x 13”

$6,000-9,000

249

YNEZ JOHNSTONUNTITLED (SCULPTURE)

c. 1975Mixed media on handmade particle board construction17” x 23” x 7”

$3,000-5,000

1 5 3

250

KEITH HARINGCHOCOLATE BUDDAH (5)

1989Suite of 5 lithographs in colorsEach HC #3 of 15; aside from the edition of 90F.B. Editions, Paris, publisherEach signed and dated “K.Haring 89” in pencil lower right margin; edition and plus symbol inscribed lower right marginSold with original portfolio and colophonEach impression: 19” x 24.5”; Sheet: 22” x 27.75”; Frame: 28” x 34”

Literature: LIT TMAN, KLAUS, ED, KEITH

HARING: EDITIONS ON PAPER , 1982-1990,

STUT TGART: CANTZ, 1993, ILLUSTRATED

PP 122-25.

$15,000-20,000

1 5 5

251

KEITH HARINGUNTITLED (MOTORCYCLE TANK AND SIDE COVERS) (3)

1985Paint, marker on metalDated "85" on the tankSold with letters from the Estate of Keith Haring with foundation identification numbersTank: 24” x 12” x 14”; Side covers each: 4” x 10.625” x 8.5”

$30,000-40,000REVERSE SIDE OF TANK

1 5 7

253

RAYMOND PETTIBONTHE LIGHT FILTERED IN

1987Ink on paperSigned and dated versoSheet: 17.25” x 12.5”; Frame: 19.875” x 14.25”

$6,000-9,000

252 (OPPOSITE PAGE)

RAYMOND PETTIBONLEAD ME TO MY BAPTISMAL

1990Ink on paperSigned and dated verso in black inkSheet: 22.25” x 16”; Frame: 25” x 18.5”

$8,000-10,000

254

RAYMOND PETTIBONUNTITLED ( THERE IS MORE)

1990Mixed media on paperSigned and dated “Raymond Pettibon/90” in blue ink versoSheet: 14” x 10.5”; Frame: 21” x 17”

$8,000-12,000

255

RAYMOND PETTIBONUNTITLED (I SAW XENOPHANES IN MY ACID TRIP)

1987Watercolor and ink on paperSigned “Nelson 87” lower center; signed “Raymond Pettibon” in black ink versoCollaboration between the artist and his nephew Nelson TarpennySheet: 22.375” x 17.75”

$5,000-7,000

1 5 9

256

RAYMOND PETTIBONJOAN BY RAYMOND OF HOLLYWOOD

1994Acrylic and marker on boardSigned versoBoard: 23.75" x 19.5"; Frame: 26.375" x 22.75"Together with "Joan of Hollywood" T-shirt; edition #5 of 50; signature and edition in black markerShirt (folded): 14.75" x 11"; Frame: 17.375" x 14.5"

$6,000-9,000

1 6 1

258

RAYMOND PETTIBONMEANDERING ON A RIFF

1988Offset printed and staple bound magazineUnknown edition sizeIlliterati Press, Beverly Hills, publisherInscribed on title page: “To ‘Engineer’ Bob Zoell/From yr pal, Raymond Pet-tibon” with hand drawn train in ink11” x 8.5”

$1,500-2,000

257 (OPPOSITE PAGE)

RAYMOND PETTIBON12 PRINTS BY RAYMOND PETTIBON (PORTFOLIO)

1991SerigraphEach #20 of 40Ed Boswell, Richard Duardo, and Kay Koch, publishers; Multiples, Los Ange-les, printerEach signed with edition in pencilA: Only the Fine; B: It Might Easily Here; C: Yes, but, alas; D: The Tea Kettle Refused Water; E: She Came Within Bloodshot; F: Crawling as We do; G: Open Wide; H: The Cathedral Floor from bare marble; I: Alice!; J: We sent him up once; K: Once upon a thousand and one nightsPortfolio: 27” x 22”; A: 12” x 16”; B: 22” x 17”; C: 22” x 17”; D: 22” x 17”; E: 22” x 17”; F: 12” x 17”; G: 22” x 17”: H: 26” x 22”; I: 26” x 19.75”; J: 26” x 21”; K: 26" x 19.75"

$12,000-15,000

259

RAYMOND PETTIBONGROUP OF MAGAZINES (3)

c. 1992Offset print and staple bound magazinesA: #72 of 75; B: #17 of 100; C: #14 of 100Each with edition in pen lower right front cover; one datedA: The Train-Watcher; B: Super Session Ten; C: The Cloud of Unreading (co-authored by Nelson Tarpenny)Each 8.5” x 5.5”

$900-1,200

260

S. CLAY WILSONGROUP OF DRAWINGS (3)

1982-1983Mixed media on paperAll signed, one is datedA: Untitled (Henry); B: Untitled (Smok-er); C: Untitled (Misogynistic Demon)A: 5.25” x 5”; B: 9.875” x 6.875”; C: Sheet: 9.75” x 6.75”; Frame: 15.25” x 12.25”

$10,000-15,000

1 6 3

261

PAUL DAVISTHE ORDEAL OF DANIEL ELLSBERG

October 1972Acrylic on boardSigned lower rightBoard: 30.5” x 22.75”; Frame: 31.75” x 24”

Provenance: PLAYBOY ENTERPRISES, CHI-

CAGO; PRIVATE COLLECTION, CALIFORNIA

Illustrated: PUBLISHED IN PLAYBOY

MAGAZINE, OCTOBER 1972.

$2,000-3,000

262

PAUL DAVISMAN AND BEAST (BY MORTON HUNT )

July 1970Acrylic on cardboard cut and gluedSigned lower rightImage: 15.5” x 30”; Frame 21” x 35”

Provenance: PLAYBOY ENTERPRISES, CHI-

CAGO; PRIVATE COLLECTION, CALIFORNIA

Illustrated: PUBLISHED IN PLAYBOY

MAGAZINE, JULY 1970.

$2,000-3,000

263

SERGE MOUILLETREPIED TABLE LAMP

Atelier Serge Mouille, designed 1953; this example executed before 1964Enameled aluminum, steel rod, and brass collar17”

Literature: ALAN & COUNORD, SERGE

MOUILLE LUMINAIRES 1953 -1962, PARIS,

P 37.

$10,000-15,000

DETAIL OF BACK

The lamps of Serge Mouille (1922-1988) – unlike many lighting designs of the 1950s that displayed increasingly more

complicatedformsandeye-catchingbrightcolors–embodysimplicityofformandsilhouette,monochromaticelegance,andexquisite

proportionthatenticeandenthralltheviewer.Withtactilequalitiesofsensuouscurvesthatinvitetouchandanthropomorphicforms

thatfiretheimagination,thesesculpturalmasterpiecesoflightingdesignreflectthepassionandvirtuosityofthedesignerwhocreated

themalmost60yearsago.

SergeMouille’sprecocioustalentbeganatthetenderageoffifteenin1937,whenhebeganthestudyofsilversmithingand

metallurgyunderrenownedParisiansilversmith,GabrielLacroix.WithinfouryearsMouillehadgraduatedfromhisstudiesandsetup

hisownworkshopwiththeintentionofproducinghouseholdsilverutensils.Mouillegrewincreasinglyrestlesswiththisnarrowfocus

andsetaboutthedevelopmentandconstructionofanexperimentalstainlesssteelcarbodywhichhetitledtheZebra.Whilstthecar

neverwentintoproduction,theexperienceactedasacatalyst,inspiringhimtothewondrouspossibilitiesinherentinmetal.

Whileteachingatthesilversmithdepartmentin1952atthel’EcoledesArtsAppliquéinParis,hisworkcametotheattention

of internationally renownedFrenchdesignerJacquesAdnet,whosaw thepotential inMouille’s experimentsanddiscoverieswith

metal.Adnetsubsequentlycommissionedtheyoungdesignertoconceiveanddevelopasystemoflighting,tocounterwhathesawas

theever-complicatedexcessesofItalianlightingdesignpredominantinFranceatthetime.Theresultingdesignswereboldintheir

simplicityandunlikemanycompetitors,werehighlyfocusedonfunctionalityandversatility.Oneofthetypicallyingeniousaspects

canbefoundinthecharacteristicnippleformatthetopoftheshadeonmanydesigns,whichaswellasfunctioningasawaytohide

thejumbleofwiresbehindthebulbsocketandconcentratelightwithintheshade,alsoembodiesasculpturalquality,whichisinitself

integraltotheaestheticbeautyofthedesign.

Mouille’sothergreatobsessionwastheversatilityofhisdesigns.Heunderstoodthatalamphasthepowertobringaroom

tolifeandintendedforhisdesignstobeusedinasmanydifferentwaysaspossiblewithinaninterior.Forexample,theCocottelamp

(1957)wasdesignedtobeusedeitherasatablelamporattachedtothewallasanappliqué.Tothisendtheshadeswereattachedtotheir

framesbybrassballjointstoenabletheshadereflectorstobemovedintoasmanypositionsaspossible.Mouilleavoideddesigningfixed

ceilingcenterlightsandonlyeventuallycreatedthemduetopressurefromhisclients.Therangefoundimmediatepopularitywith

Paris’avant-gardeeliteandhispopularitygrewastherangebecamefeaturedin1956atthelegendaryandinfluentialParisiandesign

retailerGalerieStephSimon,whoalsoshowcasedthedesignsofCharlottePerriand,JeanProuvé,IsamuNoguchi,andJeanLuce.

Whilstbringingpublicvalidationforhisgenius,thisnewfoundcommercialpopularityalsobecameasourceofgreatpressure

forMouille.Hewasstillasilversmithatheart.Eachlampwasfashionedentirelybyhand,withtheshadesbeingpainstakinglycutand

pressedintoformwithouttheuseofmachinery.Inordertomeetdemand,hewasforcedtointroducemechanizationtotheproduction

process;however,thiswascompletelyatoddswithhiscraftsmansensibilities.In1964,hefinallydecidedtoceaseallproductionof

therangeandconcentrateonteachingfulltimeatthel’EcoledesArtsAppliqué,whereheremaineduntilhisdeathin1988.Although

hemayhaveabandonedthecommerciallightingrange,hestillcontinuedtoproducesmallnumbersofcustomlightsculpturesforhis

regularclientele.Duetohisexactingstandardsandartsandcraftssensibilities,theworldisleftwithonlyafinitenumberoforiginal

worksbySergeMouille.

Pralus, Emile-Pierre, Serge Mouille: Un Classique Francais 1922-1988. Paris: Mont Thou Editions, 2006.Serge Mouille Luminaires 1953-1962. Paris: Galerie 1950, 1983.

1 6 5

264

SERGE MOUILLECOCOTTE TABLE LAMPS (2)

Atelier Serge Mouille, designed 1957; this example executed before 1964Enameled aluminum, steel rod, brass collar13”

$15,000-20,000

265

SERGE MOUILLEAGRAFÉE CLAMP TABLE LAMP

Atelier Serge Mouille, designed 1956; this example executed before 1964Enameled aluminum, steel rod, brass collar26” adjustable

$5,000-7,000

1 6 7

266

JEAN PROUVÉRARE HOSTELLERIE DE LA SANAGA GUERIDON

Ateliers Jean Prouvé, c. 1954Welded aluminium, later pine top with mortice and tenon joints30” x 55” diameter

Provenance: HOSTELLERIE DE LA

SANAGA , CAMEROON; PRIVATE

COLLECTON, CALIFORNIA

Illustrated: JOUSSE, PHILIPPE,

SEGUIN, PATRICK, JEAN PROUVÉ ,

GALERIES JOUSSE SEGUIN - ENRICO

NAVARRA , PARIS, 1998, P 84 ( THIS

ACTUAL TABLE BASE ILLUSTRATED).

$20,000-30,000DETAIL OF BASE

270

ROGER CAPRONCOFFEE TABLE

Vallauris, c. 1965Stained beech, ceramic tile top with impressed flower decorationImpressed to top “CAPRON VALLAURIS FRANCE”13.75” x 46.25” x 22”

$1,000-1,500

267

JEAN PROUVÉSTANDARD CHAIR

Model no. 305Les Ateliers Jean Prouvé, c. 1950Enameled-steel, laminated beech, aluminumSold with a copy of Galerie de Beyrie receipt dated May 199532” x 16” x 19”

Provenance: GALERIE DE BEYRIE, PARIS;

PRIVATE COLLECTION (ACQUIRED FROM

THE ABOVE MAY 1995 )

$2,000-3,000

268

CHARLOTTE PERRIANDARMCHAIR

Atelier, designed c. 1945Oak, rush seat, and backThe design was used after 1945 to furnish mountain inns in Savoy, France.30.5” x 20.375” x 22.875”

Liteature: MCLEOD, MARY, CHARLOT TE

PERRIAND: AN ART OF LIVING, NEW YORK:

ABRAMS, 2003, P 216 (DESIGN

ILLUSTRATED).

$3,000-5,000

269

CHARLOTTE PERRIANDLES ARCS STOOLS (3)

Les Arcs, designed c. 1968PineTogether with a stool of similar designPair: 17.75” x 12.75” diameter; Other: 18” x 11” diameter

$2,500-3,500

1 6 9

271

CHARLOTTE PERRIANDWALL LIGHTS (8)

Model no. CP1Designed c. 1965Enameled metalEach 7.25” x 5” x 3”

Literature: CHARLOT TE PERRIAND: UN

ART DE VIVRE, EXH CAT, MUSÈE DES ARTS

DÈCORATIFS, PARIS, 1985, P 52.

$4,000-6,000

272

PIERRE PAULINWRITING DESK

Thonet, designed 1954Oak, laminate, enameled steel29” x 51” x 25”

Literature: PIERRE PAULIN: UN UNIVERS

DE FORMES, CHAPOUTOT, P 29.

$3,000-5,000

273

MARCEL DZAMAUNTITLED (NUDE WOMAN BIRTHS COWBOY )

1998Ink, watercolor, and root beer on paperSigned “Marcel Dzama” lower right margin; retains Greg Kucera Gallery label verso of frameSheet: 9” x 12”; Frame: 16.625” x 14.375”

$2,000-3,000

274

MARCEL DZAMAUNTITLED (MASKED MAN/HAM RADIO)

2000Ink, watercolor and root beer on paperSigned “Marcel Dzama” center right sheet; retains Greg Kucera Gallery label verso of frameSheet: 12.5” x 10”; Frame: 16.625” x 14.375”

$2,000-3,000

1 7 1

275

JEAN PROUVÉ & PIERRE JEANNERETDAUM NANCY DISPLAY TABLE

Ateliers Jean Prouvé, 1944-46Bubinga veneer, solid oak32” x 56” x 33”

Provenance: SALLE D’EXPOSITION DES

VERRERIES DAUM ‡ NANCY, FRANCE;

PRIVATE COLLECTION, CALIFORNIA .

Literature: SULZER , P, JEAN PROUVÉ

OEUVRE COMPLËTE VOLUME 3 1944 -1954,

EDITIONS BIRKHAUSER , BÂLE, 2004, PP

54 - 55 (SIMILAR MODEL EXECUTED FOR

DR TARTE ILLUSTRATED).

$6,000-8,000

DETAIL OF BASE

277

PIERRE ALECHINSKYMONSIEUR

1970Ink drawing on letterSigned and dated lower margin of sheetSheet: 7.125” x 5.125”; Frame: 9” x 7”

$2,000-3,000

276

CLAUDE VENARDNATURE MORTE

c. 1958Oil on canvasSigned “C. Venard” lower rightCanvas: 9” x 12.5”; Frame: 22.5” x 25.875”

$2,500-3,500

1 7 3

278

GEORGES BRAQUEPICHET ET OISEAU

c. 1955Color etching#192 of 300Signed in pencil lower right; edition lower leftMaeght #1005Impression: 16.25" x 20"; Sheet (vis.): 19" x 22.5"; Frame: 29.75" x 34"

Literature: VALLIER , DORA , BRAQUE: THE

COMPLETE GRAPHICS, CATALOGUE RAI-

SONNÉ, NEW YORK: GALLERY BOOKS, 1982,

P 292, MAEGHT #1005.

$2,500-3,500

279

R .B. KITAJTHE DEFECTS OF ITS QUALITIES

196711-color screenprint, photo-screenprint, and collageFrom the edition of 70Kelpra Studio, London, printerSignature with edition in pencil lower leftThis print won the Bradford Biennale in 1967.Sheet: 34.75” x 23.75”; Frame: 37” x 25.5”

Literature: KINSMAN, JANE, THE PRINTS

OF RB KITAJ, ALDERSHOT: SCOLAR PRESS

IN ASSOCIATION WITH THE NATIONAL GAL-

LERY OF AUSTRALIA , 1994, ILLUSTRATED

P 36, #29.

$1,000-1,500

280

PABLO PICASSOMAT OWL PLATTER

1955White earthenware clay, decorated in engobes engraved by knifeEdition of 450Madoura“Edition Picasso Madoura” verso with Madoura stampRamié #28415.25” x 12.25”

Literature: RAMIÉ , PABLO PICASSO: CATA-

LOGUE OF THE EDITED CERAMIC WORKS

1947-1971 , MADOURA , 1988, #284.

$5,000-7,000

1 7 5

282

PABLO PICASSOPETITE VISAGE #12

1963White earthenware clay, decoration in engobes and enamel#99 of 150MadouraInscribed “N 12/Edition Picasso/99/150/Madoura”Ramié #46010” diameter



1947-1971 , MADOURA , 1988, #460.

$3,000-5,000

281

PABLO PICASSOPERSONNAGES #28

1963White earthenware clay, decoration in engobes and enamel#25 of 150MadouraInscribed “N 28/Edition Picasso/25/150/Madoura”Ramié #46310” diameter



1947-1971 , MADOURA , 1988, #463.

$3,000-5,000

DETAIL OF VERSO DETAIL OF VERSO

283

PABLO PICASSOTOROS

c. 1957Drawing in blue crayonExecuted on a Museum of Modern Art “Picasso 75th Anniversary” exhibition catalogue, 1957Sheet: 4” x 3.25”; Frame: 23.25” x 24.25”

$8,000-12,000

284

PABLO PICASSOPICADOR

1955Glazed earthenware clayFrom the edition of 500MadouraSigned verso “Edition Picasso/ Madoura”Ramié #2892.75” x 5” diameter

Literature: RAMIÉ , PABLO PICASSO:

CATALOGUE OF THE EDITED CERAMIC

WORKS 1947-1971 , MADOURA , 1988,

#289.

$2,000-3,000

285

PABLO PICASSOPICADOR

1952White earthenware clay, oxidized paraffin decoration, white enamelFrom the edition of 500MadouraSigned “Edition Picasso” with Madoura stampRamié #176.625” x 6.625” diameter


CATALOGUE OF THE EDITED CE-

RAMIC WORKS 1947-1971 , MADOURA ,

1988, #176.

$1,500-2,000

286

PABLO PICASSOOISEAU SUR LA BRANCH

1952White earthenware clay with oxidized paraffin decoration and white enamelFrom the edition of 500MadouraSigned “Edition Picasso” and stamped “Edition Picasso/ Madoura Plein Feu”Ramié #175.875” x 5.625” diameter


CATALOGUE OF THE EDITED CERAMIC

WORKS 1947-1971 , MADOURA , 1988,T

#175.

$1,000-1,500

1 7 7

287

PABLO PICASSO, AFTERLES PORTRAITS IMAGINAIRES 19.3.69.I I

1969Color lithograph#245 of 250Marcel Salinas, printerInscribed in pencil “A” with edition lower leftSheet (vis.): 24.5” x 18.5”; Frame: 26.75” x 20.75”

$2,500-3,000

288

PABLO PICASSO, AFTERLES PORTRAITS IMAGINAIRES 19.3.69.I

1969Color lithograph#245 of 250Marcel Salinas, printerInscribed in pencil “A” with edition lower leftSheet (vis.): 24.5” x 18.5”; Frame: 26.75” x 20.75”

$2,500-3,000

289

PABLO PICASSOLES METAMORPHOSES

1931Portfolio of 30 etchings with cover#42 of 100Albert Skira, Lausanne, editorCramer #19Book: 12.625” x 12.25”

$4,000-6,000

290

PABLO PICASSOFAUNE AUX BRANCHAGES

1948LithographUnnumbered artist’s proof of 5; aside from the edition of 50Signed lower right in pencil; inscribed “Epreuve d’Artiste” lower leftSheet (vis.): 15” x 11.25”; Frame: 21” x 17”

Literature: MOURLOT, FERNAND, ED,

PICASSO LITHOGRAPHE, PARIS: A SAURET;

EDITIONS DU LIVRE, 1970, ILLUSTRATED

P 87, #113.

$3,000-5,000

291

CLIFF NELSONTAW

1956Oil on boardSigned and dated “C. Nelson 56”; retains Ester Robles Gallery label on verso of frameBoard (vis.): 17.25” x 39.25”; Frame: 19.5” x 41.5”

$1,000-1,500

292

JULES ENGELUNTITLED

c. 1960Oil on canvasSigned “J. Engel” versoCanvas: 30” x 25”; Frame: 30.75” x 25.75”

$2,000-3,000

1 7 9

294

JOSEPH LEVINUNTITLED (COMPOSITION)

c. 1950Oil on canvasSigned “J. Levin” in paint lower rightCanvas: 34” x 24”; Frame: 34.75” x 24.75”

$2,000-3,000

293

JOSEPH LEVINUNTITLED

c. 1945Oil on canvasSigned “J. Levin” in paint lower rightCanvas: 34” x 27”; Frame: 35” x 28”

$2,000-3,000

AfterthechaoticRevolutionof1917,RussianartistJosephLevin(bornIosifMichailov-

ich1894–1979)returnedtotheSt.PetersburgImperialAcademytoconcludehisstudiesunder

Avant-GardeartistIlyaMashkov.Bythe1920s,theyoungartistleavesforSiberiatoundertake

studiesinChinesecalligraphy.VenturingtoMoscowin1923,Levindesigns"Agitprop"orpoliti-

callychargedgraphicarttobeposteredthroughoutthecitystreets.Theseexperiencesreflect

in Untitled(c.1945),asplayfulstrokesofpaintbouncearoundthesurfaceofthecanvas,with

overlappinglinesandverticesresemblingalanguagecomposedofunknownforms.Theuseof

charactersandboldcolorsbringtomindtheProun SeriesbyElLissitzkyfromthe1920s. LevinrelocatestoParisin1926andby1935emigratestoGreenwichVillageinNewYork

inhopesofflourishingwithintheU.Sartscene.ExhibitingattheBrooklynMuseumin1943,

andattheDeYoungMuseuminSanFranciscoin1945,Levinproveshissuccessasanartist.

By1950,hebeginstoproducewhathedescribesas"SurconsciousArt".Byrejectingcommonor

naturalforms,hehopedtoevokeahighercosmicunderstanding.InUntitled (c.1950),theviewer

ispresentedwithtanglesofwhite,blueandlightpink,howeverroughlinesofblackpaintskate

alonghorizontalandverticalaxescreatingaregimentedorder.Thesubtle,griddednatureofthe

compositionshowstheinfluenceonLevinbynon-representationalartistssuchasPietMondrian

andKazimirMalevich.ForLevin,theseworksshowcasehisexperiencesandmostimportantly,

personalreflectionsservingascatalyststoahigherplaneofthinkingandrepresentation.

Boris Wilnitsky Fine Arts. “Joseph Levin.” Boris Wilnitsky Fine Arts: Russian Art. Wilnitsky, 2011. Web. 14 Aug. 2012. <http://www.wilnitsky.com/scripts/redgallery1/dll/details?/No=31126>.Boris Wilnitsky Fine Arts. “Pioneer of Surconscious Art.” Boris Wilnitsky Fine Arts: Russian Art. Wilnitsky, 2011. Web. 14 Aug. 2012. <www.wilnitsky.com/print/6/9/8/6981_scan10.pdf>.

295

JOAN MIRÓUNTITLED (FROM LE MARTEAU SANS MAITRE)

1976Engraving with etching and aquatint on Rives#50 of 50Le Vent d’Arles, Paris, publisher; Morsang, Paris, printerSigned in pencil lower right with edition lower left in Roman numerals; retains Irving Feldman Galleries label versoImage: 11” x 9”; Sheet: 17.75” x 13.5”; Frame: 22.25” x 17.25”

Literature: DUPIN, JACQUES AND ARIANE

LELONG -MAINAUD, MIR Ó ENGRAUVER ,

PARIS: GALERIE LELONG, VOL IV, 2001 , PP

34 -38, #959.

$4,000-6,000

297

JOAN MIRÓTRACE SUR L’EAU

1963Bound portfolio of photolithographs printed after original watercolorsFrom the edition of 100Maeght Editeur, Paris, publisherBook: 11.5” x 14”

Literature: CRAMER , PATRICK , ED,

JOAN MIR Ó , THE ILLUSTRATED BOOKS:

CATALOGUE RAISONNÉ, GENEVA : PATRICK

CRAMER , 1989, #82.

$1,800-2,500

296

JOAN MIRÓUNTITLED

1962Color aquatint#9 of 35Inscribed verso “#158”; edition lower rightImpression: 3.75” x 5”; Sheet: 4.875” x 6”

$1,500-2,000

1 8 1

298

ALEXANDER CALDERSANTA CLAUS (PORTFOLIO)

19749 etchings on Arches in original brown dust cover and linen covered clam-shell boxEach #164 of 175Editions de L’Herne, Paris, publisherEach signed “Calder” in pencil lower right with edition lower leftWith text by e.e. cummingsPortfolio case: 27.75” x 21.75” x .5”; Each sheet: 19.75” x 25.75”

$2,000-3,000

300

CHARLES & RAY EAMESGROUP OF WORKS ( 7 )

Herman Miller & Evans, 1943-51Comprising of a walnut DCW, early sample Leg Splint, Child's stool, two por-trait photographs of Harry and his son Gary Soderblom, personal signed letter from Charles Eames to Harry Soderblom (not illustrated), and a photocopy of a photograph of Harry and Bernice Soder-blom with Ray Eames (not illustrated), c. 1950sLeg splint marked in pen: "Sample Splint"; photograph of Gary marked in pen: "Pictures taken & developed by Charles Eames"8.25” x 12” x 10.25”

Provenance: HARRY SODERBLOM, LOS

ANGELES; THENCE BY DESCENT

$6,000-8,000

Harry Soderblom began working with Charles & Ray Eames in 1943 to assist in the production of the leg splint for the US Navy. Harry continued to work with Charles and Ray after the war until 1951. The items within this lot were given to Harry by Charles in gratitude for his years of service. The two portrait photographs of Harry and Gary are purported to have been taken and developed by Charles.

299

HERBERT MATTERUNTITLED

c. 1943-44Vintage silver gelatin printInscribed "E128" versoImage (vis.): 10.875” x 10.875”; Frame: 18” x 18”

Photograph of the industrial equiptment developed primarily by Gregory Ain to manufacture plywood parts for Vultee aircraft.

Provenance: CHARLES & RAY EAMES;

JOHN & MARILYN NEUHART; PRIVATE COL-

LECTION, LOS ANGELES

$1,500-2,000

1 8 3

302

CHARLES & RAY EAMESCABINET WITH TRU-SONIC SPEAKER

Stephens Tru-sonic, Inc., designed 1956Enameled metal, brushed aluminum, Saran plastic, walnutRetains Tru-Sonic Inc. label and medal-lionIn 1956, the Eames office redesigned the Quadraflex to incorporate a Herman Miller base from the "671" and a curved wood enclosure.27.75” x 29.5” x 13.25”




ABRAMS, 1989, P 209.

$3,000-5,000

301

CHARLES & RAY EAMESCHAIRS (4 )

Model no. PKCC-2Herman Miller, designed 1959Enameled steel, aluminum, with later nylon bikini seat pads (not illustrated)Each 32.5” x 22” x 18”

$1,500-2,000

303

CHARLES & RAY EAMESLOUNGE CHAIR AND OTTOMAN (2)

Model no. 670 & 671Herman Miller, designed 1956, this example purchased 1977Rosewood and black leatherSold together with original receipt of purchase and manufacturer’s care brochure.31” x 33.5” x 36”

Purchased by the vendor in Los Angeles, 20th January, 1977, for $726.10.

$2,000-3,000

304

CHARLES & RAY EAMESEARLY PRODUCTION COFFEE TABLE

Model no. CTM-3Evans Products Co., designed 1946Calico ash plywood, chrome-plated steel15.375” x 34” diameter


EAMES DESIGN: THE WORK OF THE OFFICE OF

CHARLES AND RAY EAMES, NEW YORK: ABRAMS,

1989, P 80.

$5,000-7,000

DETAIL OF BASE

1 8 5

305

CHARLES & RAY EAMESCOFFEE TABLE

Model no. CTMHerman Miller, designed 1946Laminated ash, enameled steel15.25” x 34” diameter

Literature: THE HERMAN MILLER COLLEC-

TION, MANUFACTURER'S CATALOGUE, 1948,

P 67 (DESIGN ILLUSTRATED); NEUHART,

JOHN AND MARILYN, EAMES DESIGN: THE

WORK OF THE OFFICE OF CHARLES AND

RAY EAMES, NEW YORK: ABRAMS, 1989, PP

80, 82- 83.

$800-1,200

306

CHARLES & RAY EAMESCOFFEE TABLE

Model no. CTWHerman Miller, designed 1946Laminated ash15.5” x 34” diameter




ABRAMS, 1989, P 80.

$800-1,200

DETAIL OF BASEDETAIL OF BASE

307

CHARLES & RAY EAMESFOLDING SCREEN

Model no. FSW-6Herman Miller, designed 1946Laminated calico ash, canvasEach panel 68”h x 9.5”

Literature: THE HERMAN MILLER COLLECTION, MANUFAC-

TURER’S CATALOG, 1952, P 108; NEUHART, JOHN AND MARI-

LYN, EAMES DESIGN: THE WORK OF THE OFFICE OF CHARLES

AND RAY EAMES, NEW YORK: ABRAMS, 1989, P 79.

$3,000-5,000

1 8 7

309

CHARLES & RAY EAMESSTORAGE UNIT

Model no. ESU-421-CHerman Miller, designed 195058.675” x 47” x 16.75”

Literature: NEUHART, JOHN AND MARILYN



ABRAMS, 1989, P 129.

$5,000-7,000

308

CHARLES & RAY EAMESHANG-IT-ALL

Tigrett Enterprises, designed 1953Lacquered wood, enameled wire15” x 20” x 7”

Purchased by the vendor in 1953 from Jules Seltzer, Los Angeles.




ABRAMS, 1989, P 184.

$1,000-1,500

310

GEORGE NELSONCREDENZA

Herman Miller, designed 1952Walnut, lacquered Masonite, chrome-plated steel, polished aluminum25.625” x 55.75” x 18.375”

$2,000-3,000

311

LUDWIG MIES VAN DER ROHEBARCELONA DAYBED

Knoll International, designed 1929; this example produced after 1972Black leather, walnut, and stainless steelManufacturer's markings to underside of cushion16” x 77” x 37.5”

$4,000-6,000

1 8 9313

FLORENCE KNOLLCOUCH AND SIDE CHAIR (2)

Couch model no. 66Knoll International, designed 1958Steel frame, wool upholsteryCouch: 31” x 84” x 29”; Side chair: 31” x 24” x 29”


$2,000-3,000

312

DIETER RAMSL2 SPEAKER

Braun, designed 1958Walnut, pine, lacquered wood, steelCase-back with printed mark “Braun L2 5 Ohm”28.5” x 17” x 12.5”

$2,500-3,500

"Good Design is as little design as possible.

Less, but better – because

it concentrates on the essential aspects, and the

products are not burdened with non-essentials.

Back to purity, back to

simplicity."

DIETER RAMS' ‘TEN PRINCIPLES OF GOOD

DESIGN’, C. 1978

315

FLORENCE KNOLLSLIDING DOORS HANGING CABINET

Model no. 121 W-1Knoll International, designed c. 1955Walnut, lacquered wood, glass, leather pulls, applied pink paper to section of interior18” x 72” x 16”


$2,200-2,800

314

FLORENCE KNOLLFALL FRONT HANGING CABINET

Model no. 123Knoll International, designed c. 1955Walnut, lacquered wood, glass, leather pulls, applied black paper to section of interior18” x 72” x 16”


$2,200-2,800

INTERIOR VIEW

INTERIOR VIEW

1 9 1

316

LUDWIG MIES VAN DER ROHEBRNO CHAIRS (6)

Model no. 255CSKnoll International, designed 1929Chrome-plated steel, fabric upholsteryRetains Knoll International upholstery tagEach 31” x 23” x 22”

$2,500-3,500

318

CHARLES POLLOCKGROUP OF POLLOCK EXECUTIVE CHAIRS ( 10)

Knoll International, designed 1965, these examples manufactured 14th September, 1984Polished-aluminum, polypropylene, leather upholsteryRetains Knoll International label.Each 31” x 26” x 27”

$3,000-5,000

317

FLORENCE KNOLL & HARRY BERTOIADINING SUITE ( 7 )

Model no. 2480D (table) and 420C (chairs)Knoll, designed 1961; chairs 1952Calacatta white marble and steelComprised of a Knoll dining table and six Harry Bertoia chairsTable: 27.5” x 73” x 48”; Chairs: 29.75” x 21” x 20”

Literature: KNOLL STUDIO, COMPANY

CATALOGUE, 1988, P 126.

$3,000-5,000

1 9 3

319

EERO SAARINENWOMB CHAIR

Model no. 70Knoll International, designed 1948Chrome-plated steel, wool upholsteryChair retains “Knoll International Inc.” label34.5” x 38.5” x 38”

Literature: KNOLL : A MODERN UNIVERSE,

RIZZOLI , 2010, P 1 16 .

$1,000-1,500

320

EERO SAARINENGRASSHOPPER CHAIR

Model no. 61UKnoll International, designed 1945Birch, fabric upholstery35.5” x 26.5” x 33”


RIZZOLI , 2010, P 105.

$1,000-1,500

321

WARREN PLATNERLOUNGE CHAIRS AND SIDE TABLE (3)

Model no. 1715L (chair) and 3 710T (side table)Knoll International, designed 1966, these examples executed 1980Chrome-plated steel, velour upholstery, glassManufacturer’s labels to the underside of each cushionChairs: 30.25” x 36.5” x 28”; Table: 18.25” x 15.75” diameter


RIZZOLI , PP 166 -167.

$2,500-3,500

322

LUDWIG MIES VAN DER ROHEVARIANT PROTOT YPE “MR” LOUNGE CHAIRS (2)

Knoll International, c. 1955Chrome-plated steel, leatherRemnants of Knoll International label to underside.Each 30.25” x 26.5” x 22”

Provenance: KNOLL INTERNATIONAL

PRODUCT DEVELOPMENT; STANLEY TIGER-

MAN; BENNET GREENWALD; THENCE BY

DESCENT

$5,000-7,000

Three examples of this variant of the MR chair were originally conceived and produced for Howard Dearnstyne's Berlin apartment in 1932. Dearnstyne was a close friend and former pupil of Mies van der Rohe, having been one of the few Americans to attend the Bauhaus school, Dessau and Berlin. During the early 1950s, at the request of Mies van der Rohe, Dearnstyne loaned one of his three chairs to Knoll for pattern production analysis. Several prototypes were produced as a test; however, Knoll decided not to proceed with production. The chairs were given to Bennet Greenwald by Stanley Tigerman. Greenwald's father, a real estate developer named Herbert, was a close friend and business partner of Mies van der Rohe until his death in 1957. The renowned Chicago architect Stanley Tigerman was a friend of Bennet's father, and his encounters with Mies van der Rohe are

323

LUDWIG MIES VAN DER ROHEBARCELONA CHAIR AND OTTOMAN (2)

Model no. MR 250Knoll International, designed 1929; this example produced after 1972Black leather, chrome plated steelChair: 29.5 “ x 29.5” x 30”; Ottoman: 14.5” x 24” x 22”

$2,500-3,500

1 9 5

324

THEODORE WADDELLLIGHT STICK LAMP

Model no. 7 +Zanotta, designed 1970Chrome-plated steel, glass, and plasticImpressed “Theodore Waddel Designer Brevettato Made in Italy”A similar example is part of the per-manent collection of the Museum of Modern Art, New York.3.75” x 23” x 11”

Literature: ZANOT TA BROCHURE, ITALY,

NO DATE.

$1,500-2,000

325

GEORGE NELSONCHROME BASE CHAISE LOUNGE

Model no. 5490Herman Miller, designed 1953Chrome-plated steel, upholstered seat27” x 67” x 30”

Provenance: JOSEF VAN DER KAR

DESIGNED HOUSE FOR ALBERT & ROBERTA

WOHLSTET TER RESIDENCE, CALIFORNIA ;

PRIVATE COLLECTION, CALIFORNIA


WRITER , DESIGNER , TEACHER , VITRA

DESIGN MUSEUM, 2008, P 248.

$8,000-12,000

327

AFRA & TOBIA SCARPAANDRE COFFEE TABLE

Model no. 56T2Knoll International, designed 1967Chrome-plated steel, glass15.375” x 45” x 45”


CATALOGUE, 1988, PG 168

$2,000-3,000

326

AFRA & TOBIA SCARPAANDRE DINING TABLE

Model no. 56T3Knoll International, designed 1967Chrome-plated steel, glass28.375” x 70” x 30”


CATALOGUE, 1988, P 168.

$2,500-3,500

1 9 7

328

BRICE MARDENUNTITLED (FROM 12 VIEWS FOR CAROLINE TAT YANA)

1977-79Etching and aquatint on Arches#3 of 59Parasol Press, New York, publisher; Doris Simmelink, Santa Monica, printerSignature lower right; edition lower leftImage: 9.875” x 14”; Sheet: 24” x 18”; Frame: 31.5” x 25.25”

Literature: LEWISON, JEREMY, BRICE

MARDEN PRINTS 1961-1991 , A CATALOGUE

RAISONNÉ, LONDON: TATE GALLERY, 1992,

ILLUSTRATED P 125, #29E.

$2,000-3,000

329

ROBERT RYMANUNTITLED (FROM SEVEN AQUANTINTS)

1972Aquatint on Rives BFK#26 of 50Parasol Press, New York, publisher; Crown Point Press, Oakland, printerSigned “Ryman 72” in pencil lower centerSheet: 11.75” x 13.75”; Frame: 27.75” x 27.75”

$1,500-2,000

330

RICHARD ANUSZKIEWICZREFLECTIONS I I - GREEN LINE

1979Screenprint with hand painted acrylic#12 of 70Signed lower rightNorman Lassiter, Editions Lassiter-Meisel, New York, printerPrint documentation affixed verso of frame with artist's signature in ink with edition numberImage: 65” x 47”; Frame: 66.125” x 49.25”

$3,000-5,000

1 9 9

331

RICHARD ANUSZKIEWICZREFLECTIONS I I - RED LINE

1979Screenprint with hand painted acrylic#12 of 70Signed lower rightNorman Lassiter, Editions Lassiter-Meisel, New York, printerPrint documentation affixed verso of frame with artist's signature in ink with edition numberImage: 65” x 47”; Frame: 66.125” x 49.25”

$3,000-5,000

332

RICHARD ANUSZKIEWICZUNTITLED (GATEWAY TO BLUE)

1971Lithograph in colors#36 of 150Signed and dated with edition lower rightSheet: 35.5” x 25.5”; Frame: 39” x 29”

$800-1,200

333

BEVERLY PEPPERGEOMETRIC SHAPES FORMED TO CREATE A RHOMBOID

1970Stainless steelIncised “Beverly Pepper ‘70”2” x 17” x 8.625”

$3,000-5,000

334 (OPPOSITE PAGE)

GEORGE RICKEYTWO CIRCLES TWO CUBES IV

Studio, 1979Stainless steel, gildedIncised “Rickey 1979” at baseBase: 1.25” x 2”; Sculpture: 17.75” x 9.5”

LAMA wishes to thank the George Rickey studio for their assistance in cataloging this work.

Exhibited: “GEORGE RICKEY AT MAKLER

GALLERY,” MAKLER GALLERY, PHILA-

DELPHIA , PA , NOV 8 - DEC 3RD, 1980, CATA-

LOGUE LISTING NO 2.

Literature: ROSENTHAL , NAN, GEORGE

RICKEY, ABRAMS, 197 7, PP 95-99 FOR SIMI-

LAR EXAMPLES.

$15,000-20,000

335

RICHARD ARTSCHWAGERUNTITLED

1973Charcoal on fiber paperSigned and dated lower right; verso of frame retains Charlotte Jackson Fine Art Gallery labelSheet: 23” x 28.5”; Frame: 23” x 28.5”

$20,000-22,000

336

RICHARD ARTSCHWAGERUNTITLED

1973Charcoal on fiber paperSigned and dated lower right; retains Charlotte Jackson Fine Art gallery label on verso of frameSheet: 19” x 25”; Frame: 22.25” x 28.25”

$20,000-22,000

2 0 3

337

OSCAR TORLASCOTWIN BRANCH COUNTER-BALANCE CEILING LAMP

Lumi, c. 1955Enameled and patinated metal33” x 70” (adjustable)

$8,000-12,000

338

G. GATTAWALL SCONCES (2)

Stilnovo, designed 1954Enameled metalEach 15” x 19” diameter

$2,500-3,500

339

VIJA CELMINSWEB

2009Silkscreen#73 of 117Signed “V. Celmins ‘09” lower right margin in pencil; edition lower leftImage: 11” x 13”; Sheet: 17” x 19”; Frame: 21” x 22”

$3,000-5,000

340

VIJA CELMINSBOOK AND UNTITLED (SATURN)

Book: 1992; mezzotint: 1985Book and 1-color mezzotint on Rives BFKBook: first edition; mezzotint: #50 of 50Book title page is signed in pencil by Chuck Close and Vija Celmins; mezzotint signed in pencil with edition“Vija Celmins” book featuring interview by Chuck Close and edited by William S. Bartman, published by ART Press and DAP, 1992.Book: 10” x 8.75”; Etching impression: 2.5” x 2.375”; Sheet: 10” x 8.5”

Literature: RIPPNER , SAMANTHA , THE

PRINTS OF VIJA CELMINS, NEW YORK: THE

METROPOLITAN MUSEUM OF ART; YALE

UNIVERSIT Y PRESS, 2002, FIG 23, PP 51-2.

$5,000-7,000

2 0 5

341

ALISON VAN PELTON THE ROPES

2000Oil on canvasSigned and dated verso; retains OCHI Fine Art label versoCanvas: 48” x 60”

$8,000-12,000

342

YAYOI KUSAMABIRDS

1981Handpainted acrylic and mixed media collage on paperSigned and dated lower right; inscribed in Japanese on verso of frameSheet: 25.5” x 19.5”; Frame: 26.5” x 20.75”

$30,000-50,000

Japaneseartist,writer,andfashiondesignerYayoiKusama(b.1929)eschewsallclassificationandrefersto

herselfasanobsessionalartist.EscapingheroverbearingmotherinJapan,intheearly1950sshearrivedinNewYorkat

age29withaportfolioofdrawingsandonlyafewwordsofEnglish.Eighteenmonthslateratherfirstshow,herinfinity

netcanvases–awebofminutebrushstrokespainted“to establish a ‘distance’ between herself and the world”

–earnedherpraisefromDonaldJuddandcomparisonstoJacksonPollock.AsherworkgainedattentioninAmericaand

Europe,inNewYorkpublicparksshestaged“bodyfestivals”comprisedofnudemodelscoveredinpolkadots,oneofher

trademarkpatternsthatshecontinuestoutilizeinhersculptures,paintings,andinstallations.Herobsessive-compulsive

disorderforcedhertomovebacktoJapanandcheckintoamentalinstitutionwhereshehasresidedsince1975.Asthe

artworldquicklyforgotaboutKusama,sheestablishedastudionearthehospitalandcontinuedherincessantpainting,

sculpting,andwritingasaformoftherapy: “I translate the hallucinations and obsessional images that plague

me into sculptures and paintings.”

Beginninginlate1980s,Kusama’smeticulousdevotiontoartmakingasanexpressionofhermentaldisorder

caught the attentionofmuseumsand collectors.After the successofher infinitymirrored roomat the 1993Venice

Biennale,anexhibitionofsoloworkfromhertimeinNewYorkfrom1956-1968washeldattheMuseumofModernArt

in1998.Hersuccesscontinueswithcountlesspublicpolka-dottedpumpkinandflowersculpturesthroughouttheworld,

inaddition tomajor retrospectives, includinga2011 retrospective thatopenedat theMuseoReinaSofia inMadrid,

travelingtotheCentrePompidouinParis,theTateModerninLondon,andtheWhitneyMuseumofAmericanArtin

NewYork in2012.EachpieceKusamacreates,especiallyherdrawings,are infusedwithcuriousopticaleffects that

resultfromanendless,labor-intensiveprocess.InBirds(1981),Kusamalayeredpatternoverpatterntoproduceavisual

taxonomyofbirds.Flowingredbricksprovideabackgroundforpattern-richplumageandblackandwhitepolkadots,

preservingtheminserenestasis.

Hasegawa, Yuko, and Pamela Miki. “The Spell to Re-integrate the Self: The Significance of the Work of Yayoi Kusama in the New Era.” After All: A Journal of Art, Context, and Inquiry 13 (Spring/Summer 2006): 46-53. Print.Moos, David, and Yayoi Kusama. Yayoi Kusama: Early Drawings from the Collection of Richard Castellane. Birmingham: Birmingham Museum of Art, 2000. Print.Turner, Grady, and Yayoi Kusama. “Yayoi Kusama.” BOMB 66 (Winter, 1999): 62-69. Print.

344

JORGE PARDOUNTITLED ( TABLE)

Studio, 2007Walnut and PlexiglasSold with certificate of authenticity from the artist.15.625” x 22” x 14”

$3,000-5,000

343

JORGE PARDOUNTITLED (HANGING LAMP)

Studio, 2006MDF wood, Plexiglas, and lamp partsSold with certificate of authenticity from the artist.28” x 28” diameter

$4,000-6,000

TOP DETAIL

2 0 9

345

ÁNGEL BOTELLODOMITILA , TOMASA , FACUNDA

c. 1965Oil on wood panelSigned lower rightPanel: 44.5” x 37.5”; Frame: 45.5” x 36”

Literature: BOTELLO: ANGEL BOTELLO

BARROS, SAN JUAN: GALLERIA BOTELLO,

1988, P 139 FOR SIMILAR EXAMPLES.

$25,000-30,000

347

ROBERT MOTHERWELLART 1981 CHICAGO PRINT

1981Lithograph on white Arches Cover mould-made paper#132 of 150Lakeside Group, Chicago, publisher; Tyler Graphics Ltd., New York, printerSigned with edition and blindstamp in pencil lower right sheetMade for the 1981 Chicago International Art Exposition.Sheet: 34” x 25”; Frame: 35.5” x 26.75”

Literature: BANACH, JOAN AND SIRI ENG -

BERG, ROBERT MOTHERWELL : THE COM-

PLETE PRINTS 1940 -1991 : A CATALOGUE

RAISONNÉ, 1ST EDITION, MINNEAPOLIS:

WALKER ARTS CENTER , 2003, #282.

$2,000-3,000

346

ROBERT MOTHERWELLAMERICA-LA FRANCE VARIATIONS I I

1983-84Lithograph with collage on handmade T.G.L. paper#42 of 70Tyler Graphics Ltd., Mt. Kisco, publisher; Roger Campbell and Lee Funderburg, Tyler Graphics Ltd., printersSigned “Motherwell” in penci lower left; edition lower left; blindstamp lower leftSheet: 45.5” x 29”; Frame: 54” x 37.5”

Literature: BANACH, JOAN AND SIRI

ENGBERG, ROBERT MOTHERWELL : THE

COMPLETE PRINTS 1940-1991 : A CATALOGUE

RAISONNÉ, 1ST ED, MINNEAPOLIS: WALKER

ARTS CENTER , 2003, #330.

$3,500-4,500

2 1 1

348

JUN KANEKOGOBLETS (3)

Studio, 1967-68Glazed earthenwareA: 5.5” x 3.5” diameter; B: 5” x 5” (max. width) x 4” diameter; C: 6.375” x 3.5” diameter

$2,500-3,500

349

JUN KANEKOVASE

Studio, 1965Glazed earthenwareSigned “65/Kaneko”13.5” x 6” diameter at base

$3,000-5,000

LAMA wishes to thank the Kaneko Studio for their assistance in cataloguing these works.

2 1 3

351

JUN KANEKOLARGE BOWL

Studio, 1965“Stoney” glaze fired at Chouinard Art InstituteSigned “Kaneko”8.25” x 10” diameter

$1,500-2,000

DETAIL

350

JUN KANEKOFORM

1967Glazed ceramicSigned “Kaneko/67” at base13.5” x 6” diameter

$1,000-1,500

353

LEONARD EDMONDSONUNTITLED

1995Glazed ceramicSigned and dated verso4” x 20” x 11”

$1,500-2,000

352

ELSA RADYUNTITLED ( VASE & FACE) (2)

2007Yellow and white glazed ceramicSigned “Elsa Rady/07” verso13" x 4" x 5" and 5” x 2” x .375”

$1,500-2,000

354

GERTRUD & OTTO NATZLERBOWL

Natzler inventory no. H341Studio, 1956Mystic blue glaze ceramicSigned “Natzler” and retains paper inventory tag “H341”3.5” x 9.125” diameter (8.3 cm x 23 cm)

Literature: HERMAN, LLOYD, FORM AND

FIRE: NATZLER CERAMICS 1939 -1972,

SMITHSONIAN INSTITUTE, 1973, P 108.

$6,000-9,000

2 1 5

355

CLAUDE CONOVERKALAX PLANTER

Studio, designed c. 1961Glazed ceramic with decorationSigned “Claude Conover 'Kalax'” versoRetains original plastic insert21” x 12” diameter

$6,000-8,000

356

LAURA ANDRESONBOWL

Studio, 1951Porcelain with Oxblood red glazeSigned and dated2.75” x 5.5” diameter

$800-1,000

357

LAURA ANDRESONCANDLESTICKS (2)

Studio, 1950Porcelain with matte black glazeSigned and datedEach 2.5” x 5.75” diameter

$800-1,500

358

LAURA ANDRESONVASE

Studio, c. 1961Porcelain with brown iron crystal glazeSigned6.75” x 6.5” diameter

$1,500-2,000

2 1 7

359

PETER VOULKOSUNTITLED (SCULPTURE)

Studio, 1958Slab built and carved stoneware with sgraffito and glazeSigned and dated “Voulkos 58”22.5” x 8.5” x 3.75”

Provenance: FELIX LANDAU GALLERY,

LOS ANGELES; PRIVATE COLLECTION, LOS

ANGELES (ACQUIRED FROM THE ABOVE);

THENCE BY DESCENT

$15,000-20,000

DETAIL OF SIGNATURE AND DATE

360

PETER VOULKOSUNTITLED (PLATE)

Studio, executed June 1976Glazed ceramicThis plate was created by Peter Voulkos in 1976 during a “World Crafts Council General Assembly” exhibition in Oaxtepec, Mexico.4.5” x 22” diameter


MEXICO

$9,000-12,000

361

PETER VOULKOSCUP

Studio, executed June 1976Glazed ceramicThis cup was created by Peter Voulkos in 1976 during a “World Crafts Council General Assembly” exhibition in Oaxtepec, Mexico.3” x 3.25” diameter


MEXICO

$2,000-3,000

DETAIL OF BACK

2 1 9

363

PAUL EVANSCOFFEE TABLE

Paul Evans Studio for Directional, c. 1970Welded and torch-cut steel and glass16” x 36” diameter

$3,500-4,500

362

JERRY ROTHMANUNTITLED (BOWL)

Studio, c. 1975Glazed ceramicSigned4.5” x 7” diameter

$1,000-1,500DETAIL

365

EVELYN ACKERMANRAIN ( TEXTILE)

Style #794WERA Industries, 1965Virgin WoolInitialed lower right “EA”; retains “Ackerman/ERA” label verso34.5” x 23”

$1,500-2,000

366

EVELYN ACKERMANNETWORK ( TEXTILE)

ERA Industries, early 1960sWoolSigned “C Era Industries/Evelyn Ackerman-Design” in black marker verso22” x 57”

$900-1,200

364

EVELYN ACKERMANCARVED WOOD PLANTER BOXES (2)

ERA Industries, 1973Each 9” x 9.5” x 9.5”

$1,000-1,500

2 2 1

368

MOROCCAN MODERNHIGH PILE RUG

c. 1960sHand-knotted wool160” x 80”

$3,000-4,000

367

MARION BROCKMANNFOUR PANEL SCREEN

Studio, c. 1950Woven wool and nylon thread, walnut frameLater inscribed “Marion Brockmann”72” x 96”

$2,000-3,000

369

LOUISE NEVELSONTHE NIGHT SOUND

1973Lead intaglio collage on Fabriano paper#21 of 150Pace Editions, New York, publisherSigned and dated lower right; edition lower left; title lower centerSheet: 29.75” x 25”; Frame: 30.25” x 25.5”

Literature: BARO, GENE, NEVELSON: THE

PRINTS, NEW YORK: PACE EDITIONS, 1974,

#110.

$2,000-3,000

370

LOUISE NEVELSONSKY PASSAGE

1976Mixed media assemblage#134 of 150Pace Editions, New York, publisherMetal plate on verso with incised signature and edition; printed on plate: “copyright Pace Editions 1976/For the Benefit of the Dalton School”10.25” x 5.625” x 2”

$3,000-5,000

2 2 3

372

MAX FINKELSTEINMEDUSA

1956Steel and brass, welded together31” x 27”


$5,000-7,000

371

MAX FINKELSTEINUNTITLED #1

1971Enamel on aluminumFrame: 14” x 20”


$3,000-4,000

2 2 5

373

BERNARD “ TONY ” ROSENTHALUNTITLED (SCULPTURE) (3)

Studio, 1959Patinated bronzeCast mark “Rosenthal 59”, “Front” and “Back” at base; photograph with Shul-man studio stamp on versoSold with original Julius Shulman pho-tograph of the sculpture in situ in Case Study: Triad House A (see above) and Catherine Viviano exhibition catalogue, 1960 (not illustrated).Sculpture: 42” x 26”; Print: 8” x 9.875”

Exhibited: A SCULPTURE BY ROSENTHAL

OF THE EXACT DIMENSIONS TO THIS PIECE

IS LISTED, ALTHOUGH NOT ILLUSTRATED,

IN THE “EXHIBITION OF SCULPTURE,”

FEBRUARY 2-27, 1960, CATHERINE VIVIANO

GALLERY, NEW YORK , NY.

$10,000-15,000

Original Julius Shulman photograph of

the sculpture in situ in Case Study: Triad

House A, 1960, designed by Edward

Killingsworth

374

JOEL STERNFELDMCLEAN, VIRGINIA , DECEMBER 4

1978; this example printed 1983Dye-transfer printFrom the edition of 50Sold with copy of the book American Prospects.Image: 13.5” x 16.75”; Sheet (vis.): 14.125” x 17.125”; Frame: 18.75” x 21.875”

Literature: AMERICAN PROSPECTS:

PHOTOGRAPHS BY JOEL STERNFELD, SAN

FRANCISCO: FRIENDS OF PHOTOGRAPHY

WITH CHRONICLE BOOKS, 1994, NP,

ILLUSTRATED ON COVER , #28.

$12,000-15,000

375

RICHARD MISRACHUNTITLED (HAWAII SERIES)

1978; this impression 1980Dye-transfer print#11 of 50Edition and signature versoImage (vis.): 14.75” x 18.5”; Frame: 22.5” x 26.5”

$1,000-1,500

2 2 7

376

WILLIAM WEGMANFAIRY GODMOTHER SPELL

1991Large-format Polaroid Polacolor printSigned and dated lower right; titled lower centerImage: 26” x 21”; Sheet (vis.): 27.75” x 21.75”; Frame 39.5” x 32.5”

$3,000-5,000

377

WILLIAM WEGMANBETT Y

1999Photographic print on Kodak paper with hand-drawn background in black inkUniqueTitle inscribed in black ink lower left margin; signature lower rightImage: 7” x 7”; Sheet: 10” x 8”


THE ARTIST

$3,000-5,000

378

JAMES ROSENQUISTCOLD ROLLED

1974-7614-color lithograph with attached string and stone printed on 320 gram rolled white ArchesHC #3 of 4 aside the edition of 60Sidney Singer, publisher; Graphicstudio/U.S.F., Tampa, printerSigned “Rosenquist 1974-76” in pencil lower right; edition lower leftSheet: 73.25” x 33”; Frame: 76” x 36.75”

Literature: GLENN, CONSTANCE W, TIME

DUST: ROSENQUIST, COMPLETE GRAPHICS:

1962-1992, NEW YORK: RIZZOLI , 1993, #86.

$4,000-6,000

2 2 9

379

JAMES ROSENQUISTMASTABA

19719-color lithograph on wove paper and vacuum formed plastic hourglass con-taining plastic beadsFrom the edition of 70GraphicStudio, U.S.F., Tampa, publisher30” x 22” x 1.75”


JAMES BYRNES

Literature: GLENN, TIME DUST: JAMES

ROSENQUIST COMPLETE GRAPHICS: 1962-

1992, RIZZOLI , 1993, ILLUSTRATED, #44.

$2,000-3,000

380

JAMES ROSENQUISTSTAR LADDER

19781-color etching with pochoir on Pescia Italia#1 of 78Multiples Inc., New York, publisher; Patrik Lindhardt, Flatstone Studio, printerSigned and dated lower right; edition and title lower left; printer blindstamp lower rightImage: 17.5” x 35.5”; Sheet: 22.75” x 39.75”; Frame: 26.75” x 44”

Literature: GLENN, CONSTANCE W, TIME

DUST: ROSENQUIST, COMPLETE GRAPHICS:

1962-1992, NEW YORK: RIZZOLI , 1993, #136.

$1,500-2,000

381

ISAMI ADACHIUNTITLED

1960Acrylic and mixed media on canvasSigned and dated lower rightCanvas (vis.): 19.625” x 29.5”; Frame: 24” x 33.25”

$1,500-2,000

382

JOHN GRILLOUNTITLED

1948Mixed media on paperSignedSheet: 18.25” x 25”


JAMES BYRNES

$2,000-3,000

383

PAUL NINAS3 FISHES

1948Gouache and mixed media on paperSigned and dated in pencil lower rightSheet: 13.625” x 16.875”


JAMES BYRNES

$2,000-3,000

2 3 1

384

EDWARD H. FICKETT, F.A . I .A .BIOMORPHIC TABLE

Studio, designed c. 1950Custom-molded plywoodRetains “Architectural Weldwood” label to underside18.25” x 55.25”

Provenance: EDWARD H FICKET T &

ASSOCIATES, BEVERLY HILLS; PRIVATE

COLLECTION, LOS ANGELES.

$1,500-2,000

DETAIL OF LABEL

385

GERALD SUMMERSONE-PIECE LOUNGE CHAIR

Alivar, Italy, designed 1933-34; this example produced c. 1990sLaminated-beech with birch face veneer29.5” x 17.5” x 24”

Literature: OSTERGARD, DEREK ED, BENT

WOOD AND METAL FURNITURE 1850-1946,

NEW YORK, 1987, P 318, F IG 106 (DESIGN IL-

LUSTRATED); MODERN BRITAIN 1929-1939,

EXHIB CAT, LONDON, 1999, P 91 (DESIGN

ILLUSTRATED).

$2,000-3,000

386

ALVAR AALTODINING TABLE

Artek, designed 1932, this example purchased 1941Laminated birch28” x 72” x 35.5”


$3,000-5,000

2 3 3

389

ALVAR AALTORARE SOFA

Model no. 44Artek, designed 1932Laminated birch, upholstery27.5” x 73” x 31”

$3,000-5,000

387

ALVAR AALTOWALL SHELF

Artek, designed c. 1938Laminated birch10.5” x 43.25” x 10”

$2,000-3,000

388

ALVAR AALTOOCCASIONAL TABLE

Model no. 75/915Artek, designed 1930-31, this example purchased 1941BirchThe design was conceived for use in Alvar Aalto’s Paimio Sanatorium, Paimio, Finland, 1930-32.23.5” x 24” x 20”


Literature: ALVAR & AINO AALTO, DESIGN:

COLLECTION BISCHOFBERGER , HATJE CATZ,

COLOGNE, 2005, P 51 (DESIGN ILLUS-

TRATED).

$3,000 5,000

390

GEORG PETERSENSEXTENDING DINING TABLE AND SIX CHAIRS ( 7 )

From the Selectform lineMobelfabrik A/S, designed 1969Brazilian rosewood, chrome-plated steel, vinyl upholstery; table with exten-sion leafEach chair with manufacturer’s labelChairs: 30.5” x 20” x 18”; Table: 28” x 36” x 23”

$2,000-3,000

2 3 5

391

ARNE JACOBSENVISOR TABLE LAMPS (2)

Model no. AJLouis Poulsen, designed 1957Enameled metalRetains Louis Poulsen labelThis lamp was first designed for the SAS Royal Hotel in Copenhagen in 1957.21.5” x 13.5” x 6.5”

Literature: FIELL , CHARLOT TE AND PETER ,

1000 LIGHTS: 1960 TO PRESENT, VOLUME 2,

KOLN: TASCHEN, 2005, P 533.

$1,500-2,000

392

PREBEN FABRICIUS & JORGEN KASTHOLMLOUNGE CHAIRS (2)

Alfred Kill, designed 1968Steel, leather cord, leather upholsteryRetains remnant of upholstery tag “Made by Alfred Kill”30” x 29” x 30”

$4,000-6,000

393

INGEBORG LUNDINMELON VASE

Orrefors, designed 1959Mouth-blown glassengraved “Orrefors Expo Nr.9-59 Ingeborg Lundin”13” x 12.5" diameter

$2,000-3,000

395

FLAVIO POLI, ATTRIBUTEDSOMMERSO VASE

Seguso Vetri d’Arte, c. 1955Brown glass, cased in clear8.5” x 9.25” x 4”

$1,500-2,000

394

VICKE LINDSTRAND & FLYGFORSVASES (4 )

Kosta, c. 1950sGlass, internally decorated (only two Vicke Lindstrand examples illustrated)Engraved A: “Kosta LH1257”; B: “Kosta LH1403”; C: (not illustrated bowl) acid stencil “LINDSTRAND KOSTA” and engraved “LH1041”; D: (not illustrated vase) engraved “Flygfors Flamingo”Together with Flygfors vase10.25” tallest example; 4.5” smallest example

$800-1,200

PARTIAL LOT ILLUSTRATION

2 3 7

397

CEES BRAAKMANPEDESTAL DESK

Pastoe-UMS, designed 1958Teak, enameled-steel, laminated teak drawer lining28.25” x 61.75” x 31.125”

$3,500-4,500

396

ARMIN WIRTHALU-FLEX FOLDING CHAIRS (4 )

Hans Zollinger Sohne, Zurich, designed 1951, manufactured 1951-53Laminated-birch seat and back with aluminum frameThe design was awarded the Die Gute Form award in 1953.31.5” x 17.25” x 19.75”

Literature: RUEGG, A , SWISS FURNITURE

AND INTERIORS IN THE 20TH CENTURY, BA-

SEL , 2002, P 364 (DESIGN ILLUSTRATED).

$3,000-4,000

398

PAUL MCCOBBSUITE OF FURNITURE (6)

Planner GroupWinchendon, designed c. 1950sBirchThree-drawer dresser retains Planner Group label inside drawer; bookshelf branded with maker’s mark; eight-draw-er dresser retains label inside drawer; cabinet branded with maker’s mark; tall bench branded with maker’s markComprised of pair of dressers, cabinet, bookshelf, and pair of long benches. Sold with 4 additional dowels.Three-drawer dresser: 33.375” x 36” x 18”; Two-tier bookshelf: 42.125” x 36” x 12”; Eight-drawer dresser: 33.125” x 60” x 18”; Tall bench: 19.75” x 60” x 17.75”; Small bench: 14.5” x 60” x 17.75”

$3,000-5,000

2 3 9

399

GERALD THURSTONPROFILE FLOOR LIGHT

Lightolier, designed c. 1955Enameled-metal, brass, plastic, walnut44.5” x 15.75”

Literature: FIELL , CHARLOT TE AND

PETER , 1000 LIGHTS: 1879 TO 1959, KOLN:

TASCHEN, 2005, P 519.

$1,500-2,000

401

HARVEY PROBBERCOFFEE TABLE

Harvey Probber Inc., designed c. 1968Composite terrazzo and wood18” x 72” x 22”

$1,500-2,000

400

MARION ANDERSON NOYESCANDLESTICKS (2)

Towle Silversmiths, designed c. 1957Silver, plasticStamped “TOWLE WEIGHTED & REIN-FORCED STERLING”Each 7.75” x 9.75” x 4.25”

$1,000-1,500

402

LEON ROSENMEZZALUNA DESK WITH MATCHING SIDE TABLE (2)

Pace, 1992Japanese Tamo wood top and polished stainless steel frameSold with photocopy of original receipt dated October 1992Desk: 29” x 84” x 36”; Table: 20” x 24” x 12”

$2,000-3,000

2 4 1

403

KARL SPRINGER , ATTRIBUTEDDESK

Karl Springer, Ltd., designed c. 1970sLeather, chrome-plated steel, oak-lined drawer29” x 59” x 29”

$2,000-3,000

404

VLADIMIR KAGANCOSMOS LOUNGE CHAIRS (2)

Model no. P112AHVladimir Kagan Designs, Inc., c. 1970Plexiglas with velour upholsteryOne chair retains partial “Preview Furniture Corporation/High Point, North Carolina” labelEach 31.5” x 26.5” x 34”

Literature: VLADIMIR KAGAN DESIGNS,

MANUFACTURER’S CATALOGUE, 1970, P 27.

$3,000-5,000

405

GAETANO PESCESALVATORE TABLE LIGHT

Edizione del Pesce, designed c. 2000Polyurethane resin20” x 13.5” x 7.5”

$1,500-2,000

406

JULIAN SCHNABELTRIPT YCH

1997Screenprint#37 of 60Signed and dated lower left; edition lower rightEach sheet: 19.5” x 15.75”; Frame: 54.875” x 27”

$2,000-3,000

2 4 3

407

RICHARD SERRASTUDIES (PLANS FOR SCULPTURE) (2)

1970Marker on paperA: Signed and dated in pencil lower left; B: Signed and dated in pencil lower rightThese works are possibly studies for "Base Plate Deflection-In It Out It," 1970, a large rolled steel plate in the Norton Simon permanent collection.A: Sheet: 8.875” x 11.625”; Frame: 15.375” x 17.5”; B: Sheet: 8.5” x 11”; Frame: 15” x 17”


JAMES BYRNES

$2,000-3,000

408

FRANK O. GEHRYLITTLE BEAVER

Vitra, c. 1993-94Corrugated cardboard with original wood crateThis is a rare 1:3 scale of the Little Beaver chair. Sold with the original presentation crate.Chair: 10.75" x 11.25" x 11.5"; Otto-man: 9" x 6.375" x 7.75

$1,000-1,500

410

MINEO MIZUNOPLATTER

1980Glazed ceramicSigned "Mizuno 80" verso1.5” x 19.75” x 11.75”

$500-700

409

MINEO MIZUNOUNTITLED

1985Glazed ceramicSigned “Mizuno 85” verso18” x 18”

$1,000-1,500

2 4 5

411

LARRY BELLUNTITLED ( VAPOR SERIES)

1978Vaporized metal on paperSigned “LBell ‘78” in pencil lower centerSheet (vis.): 28.5” x 21.75”; Frame: 41.5” x 33.75”

Literature: ZONES OF EXPERIENCE: THE ART

OF LARRY BELL , ALBUQUERQUE: ALBUQUERQUE

MUSEUM, 1997, P 1 10, PLATE 29 FOR A SIMILAR

EXAMPLE FROM THE SERIES.

$1,500-2,000

412

JOE GOODEPORTFOLIO OF SIX LITHOGRAPHS ( 7 )

1969; published 1970Six lithographs on Tevere Liscia paper in black leather snapcase portfolio plus one additional lithograph#15 of 75; Additional: from the edition of 125Edizioni O, Milan, publisher; Fantonigrafica, Venice, printerEach signed and dated in pencil lower centerImpression: 16.5” x 15.5”; Sheet: 23.75” x 19.375”; Portfolio: 24.5” x 20”

$3,000-5,000

2 4 7

414

ROBERT GRAHAMMOCA TORSO

1992-95Patinated bronzeFrom the edition of 3500The Museum of Contemporary Art, Los Angeles, publisher11” x 4.5” diameter at base

$3,000-5,000

413

ROBERT DOWDDOLLAR BILL

1963Mixed media on paperSigned “Dowd 63” in pencil center right sheet; retains David Stuart Gallery label on verso; retains Los Angeles County Museum of Art loan sticker verso of frameSheet: 12” x 16”; Frame: 16” x 20”

Exhibited: “SIX MORE,” LOS ANGELES

COUNT Y MUSEUM OF ART, 1963.

Provenance: ASHER COLLECTION, LOS

ANGELES; PRIVATE COLLECTION,

MINNESOTA

$3,000-5,000

415

TONY BERLANTUNTITLED (HOUSE)

c. 2003Found metal collage on plywood with steel brads6” x 6” x 4.5”

Literature: TONY BERLANT: NEW WORK ,

1990 - 93, VENICE: LA LOUVER , EXHIBITION

CATALOG, NP, FOR SIMILAR EXAMPLES.

$3,000-5,000

2 4 9

416

DE WAIN VALENTINECURVED WATERWALL

1990Laminated glass80” x 72” x 15”

LAMA wishes to thank the artist for his kind assistance in cataloging this lot.

Provenance: CUSTOM DESIGNED 1990

FOR SALLY & ROBERT HUNT; PRIVATE

COLLECTION, NEW ZEALAND.

$50,000-100,000

VeniceBeach,California intheearly1960swasfullofvacantbuildingswithcheap

rentthatwerejustabriefwalkfromtheexpansiveviewsofthePacific.Inotherwords,itwas

theoptimumenvironmentforDeWainValentine(b.1936)torealizehissculpturalpotential.

Valentine’s natural surroundings have always been a dominant influence in his work: “In

Colorado, I had a love affair with the clouds and mountains. When I moved to

California, the smog became a substance, and the quality of light had a body to it

that was just thrilling.”Uponarrivalin1965,heimmediatelywantedtocreatesculpture

thatwouldembodytheseaandthesky,asifheslicedachunkstraightfromthelandscape.To

achievethepristinesurfacesandmonumentalsizeofhissculptures,heteamedupwiththe

HastingsPlasticsCompanyinSantaMonicatodevelophisownpolyesterresin.Referringtothe

intenseindustrialprocessesValentineutilized,LarryBellcommented,“De Wain was doing

stuff that had never been done before, inventing techniques that were unheard

of.”Hewas“absolutelyfearless”andpoisedtoworkwithanymaterialthatwouldachievehis

aestheticvision.

Inthelate70s,Valentinebeganworkingwithglasstocreatelargefountains.Likethe

impetusbehindhiscastresindiscsandcolumns,“The inspiration for the fountain grew

out of a desire to sculpt a piece of the ocean or actually come as close as possible

to carving out a section of the sea.”ConstructedforaprivateresidenceinNewZealand

in1990,Curved Waterwallincorporateswaterasanadditionallayertothesculpture,taming

anelusivemediumtomanipulate light.Themonolithicstatureandwedgeshaperecallsone

ofValentine’s largest sculptures,Gray Column (1975-1976),whichwasonviewat theGetty

MuseumduringPacificStandardTime.InCurved Waterwall,hehassucceededincapturinga

pieceoftheoceaninitsmysteriousinfinity,andinanysetting,itwillexudeasenseoftranquility

onlyDeWainValentinecancreate.

“Gray Column.” Pacific Standard Time at the Getty Center. The J. Paul Getty Museum, 2012. Web. 13 Aug. 2012.“L.A. Art Scene.” Pacific Standard Time at the Getty Center. The J. Paul Getty Museum, 2012. Web. 13 Aug. 2012.Learner, Tom. From Start to Finish: De Wain Valentine’s Gray Column. Los Angeles: Getty Conservation Institute, 2011. Print.

ILLUSTRATION OF SCULPTURE IN SITU, NEW ZEALAND

Paul Des Marais:WasCurved

Waterwallyourideaordidthe

patronshaveaspecificideain

mind?

De Wain Valentine:AtaMOCA

galawhenIwasontheboardof

directors,SallyandRobertHunt

wonmyfundraisertohavedinner

atmyhouseinVeniceandweall

becamegreatfriends.Theysaw

somepiecesofmineandsaid,

“Wewantyoutodoapiecein

ourbackyardsculpturegar-

den.”Imadeaproposalfortheir

backyardinEncino.Itwasanin-

terestingprojectbecauseIworked

withhersonwhoisasculptor.

Hehasafabricatingbusinesson

theeastsideofL.A.Hefabricated

thestainlesssteelbaseforthe

piece.DuringtheNorthridge

earthquake,theEncinohousewas

red-flagged.Theyhadahouseup

inSunValley,sotheydecidedto

movethereandbringthesculp-

turewiththem.Theyeventually

decidedtomovetoNewZealand.

Theymovedthesculpturefrom

EncinotoSunValleytoNew

Zealand.That’scuriousthatithas

comeallthewaybacktotheLos

Angelesarea.

PD:That’samazing,alltheway

backtoL.A.Youdevelopedyour

ownpolyesterresinthatallowed

youtocreatelarge-scalediscs,

pillars,andcolumnswithout

cracks,suchasGrey Column.Did

youuseanysimilarinnovations,

materials,ortechniquestocon-

structCurved Waterwall?

DV: Iwastryingtofigureout

howtoputtheglasstogether.

Atonepoint,Iusedupallthe

thickerglassIhadtryingtoglue

ittogether.Icouldn’taffordthe

industrialcompaniessoIhad

tofigureoutawaytodoit.Iwas

forcedtoinventtheprocess,

gluingittogetherandgettingthe

watertoflowout.

PD:Youlikefindingasolutionto

amassiveproblem.

DV:Right,mytwoA’swerein

Physics.MyPhysicsprojectin

highschoolwasonlightdiffrac-

tionandI’mstillinterestedin

that.

PD: Thenitseemslikeglasswas

anaturalprogression.When

didyoufirstbeginworkingwith

glass?

DV:Istartedworkingwithglass

inNewYorkCityin1976.Icould

havetheglasscutanddelivered

tothestudioinManhattan.There

wasnowayIwasgoingtohaul

polyestertoNewYork.Ihada

one-manexhibitionin1979at

LACMAthatshowedmyglass.

Therewassomeoverlapofglass

andpolyester,butthedirection

waspredominantlyglass,andit

Interview with De Wain Valentine August 15, 2012

417

DE WAIN VALENTINECYLINDRICAL COLUMN LAMINATED GLASS

c. 1980Laminated glass24” x 6” diameter

$3,000-5,000

stillis.Istillmakesomepiecesin

polyester.Plasticsdon’tdowell

outdoorsthough.

PD:Yousayyouhadyourglass

delivered?

DV:Ihadthegoodfortuneof

havinganoldtimeglassman

whobefriendedme.Heworked

foreverymajorglasscompanyin

town.Hewouldtakeglasscom-

paniesthatweregoingflatand

he’dgetthembackinbusiness.

Whatevercompanyhewaswith,

hewouldgetthemtodomyglass,

whichiscustomcut.Itgivesita

flaked,facetededge.Theyscore

theglassatthetopwitharegular

old-fashionedglasscutter.Then

fromunderneaththeytapitwith

aballpinehammertogiveitthat

facetedlook.Nowit’sallcutwith

acomputeroperatedmachine.

PD:It’sfaster,butnotthesame

effect.

DV:Noit’snotthesame!Wetried

itandIgotprettygoodatit,but

itgetsexpensive.Youhavetobuy

acompleteorderofglass.Forthe

largestworks,Ihadtobuy22

thousandpoundsofglass.The

biggestpiecesofglasswere500

poundseach.

PD:Itmusthavetakenyoua

longtimetoconstructCurved

Waterwall…

DV:WhenI’maskedthatques-

tion,Itellpeopleit’stakenme

allmylifebecauseit’sapointI

finallyarrivedat.Ifirstthought

aboutmakingglassinthe60s,

butIcouldneverjustifydoingthe

glass.Itwasjusttooexpensive.

PD:Theinteractionofsmogand

lightinLosAngeleshasheavily

influencedyourwork.Yoursur-

roundingsseemtobeaconstant

influence.Onceyouhadenough

moneytocreatefountains,how

didL.A.factorintothedesignofa

fountainlikeCurved Waterwall?

DV:IgrewupinColoradoand

realizedhowbeautifultheblue

was.ButwhenImovedtoL.A.,I

couldn’tunderstandwhyallthe

headlightswereyellowatnight.

Thesmogwassobadin1965.

Thesmogplusthevaporfromthe

ocean–Ilivedahalfablockaway.

Iwasveryawareofthatmarine

atmosphere.

PD:Butit’samazingthatinL.A.

youcanescapeitsoeasily.

DV:Yes!You’reoutinameadow

inthewoodsinsomefairyland

only30minutesaway.You

think,“ThisisLosAngeles?”It’s

magical.Myworkchangedso

muchwhenIgottoL.A.,justlike

RichardDiebenkornwhenhe

movedfromtheBayAreatoteach

atUCLA,hisworkchangedradi-

cally.HestartedtheOceanPark

Series.Weusedtoplaysoftball

inBoulder,Colorado,theartists

againstthephilosophydepart-

ment.Itwasjustafungame,but

thesephilosopherswerevery

seriousabouttheirathletics.

Richard’sagoodballplayer.He

couldcatchandhitandrun,very

athletic.

PD:[Laughs]That’sagreatstory.

Ok, so does Curved Waterwall

haveanyrelationtotheCylindri-

cal Column Laminated Glass?

Theylooklikethey’refromthe

sameperiod.

DV:Yesitdoes!I’vedonemany

largercylindersjustlikethis.

RightnowI’mworkingona12-

foothighcylindricalfountain.

Thefirstfountain,infact,wasa

cylinderattheFederalReserve

BankinSanFrancisco.

PD:DoesitlooklikeCylindrical

Column Laminated Glass?

DV: Ohyesexactlylikeit.Itwas7

feethighthough.

PD: Ahit’salmostlikeafountain

study.WasCurved Waterwall one

ofthefirstfountainsyoumade?

DV: ItwasthethirdfountainI

made.

PD:Howdidaddingwaterchange

yourdesignapproach?

DV:Addingawaterelementtook

meanotherstepclosertomaking

waterstandonedge,liketakinga

sawandcuttingoutapieceofthe

skyorocean.Thepolyesterand

glassgivemeachancetoobjec-

tifythatidea,toworkwiththat

transparentcoloredspace.For

me,Curved Waterwallisputting

italltogetherreally,thewaterand

the sky.

PD:Thewateraddsawholenew

luminosity.

DV:Yesitdoes,itaddsliveliness

toit.Soundaswell,becauseit’s

water.IhaveavideoofCurved

Waterwall down when it was

inEncino;thesound,thelight,

everything.It’sababblingbrook

sound,notabigwatersound.It’s

nicebecauseitisolatesyouina

soundenvironment,notlikea

rushingcurrent.

LAMA would like to thank

De Wain and Kiana Valentine

for their generosity and

assistance.

418

TAKASHI MURAKAMIMR . WINK/COSMOS BALL & RELATED ITEMS (4 )

Hiropon poster: 2001, Gagosian invite: 2011Comprised of Mr. Wink/Cosmos Ball in its original packaging, mini-CD Rom case with “Hiropon” poster, business card and Gagosian inviteCardboard pyramid shipping box with “Mr. Wink/Cosmos Ball”: 18” x 11” x 11”; Gagosian invite: 10” x 8”; Murakami mini-CD Rom case: 4” x 2.5”; Fold-out “Hiropon” poster inside of CD Rom case: 11” x 8.75”; Business card: 4” x 2.5”

$2,500-3,500

2 5 3

419

TAKASHI MURAKAMIAND THEN AND THEN AND THEN AND THEN AND THEN (BLUE)

1999Offset lithograph#70 of 300Kaikai Kiko Co., Ltd.Signed in silver ink with edition lower rightSheet (vis.): 26” x 26”; Frame: 32.75” x 32.75”

$1,000-1,500

420

TAKASHI MURAKAMIMAIDEN IN THE YELLOW STRAW HAT (FIELD OF SMILING FLOWERS)

2010Offset lithograph#37 of 300Kaikai Kiko Co., Ltd.Signature with edition lower rightSheet (vis.): 26.25” x 26.25”; Frame: 28.75” x 28.75”

$1,000-1,500

421

TAKASHI MURAKAMIFLOWERBALL (3D) FROM THE REALM OF THE DEAD

2010Offset lithograph#152 of 300Kaikai Kiko Co., Ltd.Signature with edition lower centerSheet (vis.): 26” x 26”; Frame: 32.75” x 32.75”

$1,000-1,500

422

ROBERT LONGOGOVERNMENT

1983Screenprint in colors on wove paper with plastic multiple#8 of 15Edition Schellmann & Kluser, New York, publisherSigned and dated in pencil lower right; edition lower left77” x 28”

$20,000-30,000

2 5 5

423

ROBERT LONGORICK

1994Lithograph on Arches Cover#72 of 170Greenpeace, New York, publisherSigned and dated in pencil lower right; edition lower leftSheet: 45.875” x 30”; Frame: 47.125” x 31.125”

$5,000-7,000

425

ROBERT LONGOUNTILED (PL . 2 FROM MEN IN THE CITIES)

2005Digital pigment print on Crane portfolio rag#7 of 15Signed and dated in pencil lower right image; edition lower leftImage: 40” x 26”; Sheet: 43” x 30”; Frame: 48” x 34”

$6,000-8,000

424

ROBERT LONGOTILLMAN

2000Lithograph on Arches#42 of 50Wolfryd-Selway Fine Art, New York, publisherSigned and dated in pencil lower rightSheet: 69.5” x 40”; Frame: 45.75” x 75.75”

$10,000-12,000

427

JOSEF ALBERSINTAGLIO DUO F

1958-59Print#19 of 50Pace Editions, publisher; printed with the assistance of the students of the Yale School of ArtSigned in pencil lower right; title and edition lower left; retains Pace editions label versoImage: 5.125” x 13.5”; Sheet: 15” x 21.75”; Frame: 17.625” x 24.875”

Literature: DANILOWITZ, BRENDA , THE

PRINTS OF JOSEF ALBERS: A CATALOGUE

RAISONNÉ 1915 -1976, MANCHESTER :

HUDSON HILLS PRESS, 2010, 2ND ED, PP

88 - 9, #134.

$1,000-1,500

426

TONY SMITHYELLOWBIRD

1971Tetrahedral cardboard multiple painted in enamelFrom the edition of 50One signed and dated in black inkEach 3.25” x 8.5” x 6”

$1,500-2,000

2 5 7

428

MARC NEWSONGLUON LOUNGE CHAIRS (2)

Moroso, designed 1993Black leather, painted wood, plastic, and metalManufacturer’s logo to eachEach 34” x 26.25” x 29”

Literature: RAWSTHORN, ALICE,

MARC NEWSON, 1ST EDITION, LONDON:

BOOTH- CLIBBORN EDITIONS, 1999,

PP 80 - 83.

$2,000-3,000

430

HELEN FRANKENTHALERPRANZO ITALIANO

1973Sugar-lift etching and aquatint on white Fabriano paper#1 of 432RC Editrice, Rome; Valter and Eleonora Rossi, printersSigned and dated in pencil lower right; edition lower leftArt: 8.5” x 7.875”; Sheet: 19.75” x 13.75”; Frame: 21” x 15.5”

Literature: PEGRAM, HARRISON, FRANKEN-

THALER : A CATALOGUE RAISONN É : PRINTS

1961-1994, NEW YORK: ABRAMS, 1996, #44;

FINE, RUTH E, HELEN FRANKENTHALER

PRINTS, WASHINGTON: NATIONAL GALLERY

OF ART: NEW YORK: ABRAMS, 1993, #25.

$1,500-2,000

431

HELEN FRANKENTHALERORANGE HOOP

1965Lithograph with tusche wash on cream Richard de Bas, Auvergne a la Main paperArtist’s proof; aside from the edition of 24ULAE, West Islip, publisher; Zigmunds Priede, printerSigned and dated lower right; edition lower leftImage: 20” x 15”; Sheet: 26” x 20”


THALER : A CATALOGUE RAISONNÉ: PRINTS

1961-1994, NEW YORK: ABRAMS, 1996, #7.

$2,000-3,000

429

HELEN FRANKENTHALERWALKING RAIN

1987Lithograph, aquatint, spitbite aquatint, soft-ground etching, and engraving on white T.H. Saunders paper#44 of 54Tyler Graphics Ltd., Mt. Kisco, publisher; Kenneth Tyler, printerSigned and dated with edition lower right; publisher blindstamp lower rightImage: 29.5” x 22.25”; Frame: 32.35” x 24.75”


THALER : A CATALOGUE RAISONNÉ: PRINTS

1961-1994, NEW YORK: ABRAMS, 1996,

#130; FINE, RUTH E, HELEN FRANKEN-

THALER PRINTS, WASHINGTON: NATIONAL

GALLERY OF ART: NEW YORK: ABRAMS,

1993, #60.

$2,000-3,000

2 5 9

433

CAROL SUMMERSRAINBOW

1958WoodcutUnnumbered artist's proof of 11; aside from the edition of 41Signed lower right sheet; title with edi-tion lower leftSheet: 34" x 29"; Frame: 43" x 28"

Literature: SUMMERS, CAROL , CAROL SUM-

MERS: CATALOGUE RAISONNÉ, 1950-1988,

NEW YORK: BARNETT, BECK AND CCA GAL-

LERIES, 1988, PP 41 AND 26, #29.

$1,000-1,500

432

CAROL SUMMERSBROOCH AND PIN (2)

c. 1965-69Brooch: sterling silver, bronze, and gold; pin: sterling silver and bronzeBrooch #53 of 75; pin #25 of 75Each with stamped signatureBrooch: 5.5” x 5.75”; Pin: 4.25” x 1”

LAMA wishes to thank the artist for his kind assistance with cataloguing these works.

$2,000-3,000

434

JIM DINEBLUE HEART

2005Lithograph on Rives BFK#134 of 200Atelier Michael Woolworth, Paris, printerSigned and dated “Jim Dine ‘05” lower right sheet; edition lower leftSheet: 26.25” x 20.5”; Frame: 34.5” x 28.625”

$2,500-3,500

435

JIM DINEGIRL AND HER DOG I I

1971Embossing with etching with handpainted heart in watercolor on J. Green mould-made paper#60 of 75Petersburg Press, London, publisher; Maurice Payne, printerSigned with date and edition lower rightImage: 27” x 21.5”; Sheet: 35” x 28”; Frame: 37.5” x 30.5”

Literature: JIM DINE PRINTS: 1970 -197 7, 1ST

EDITION, WILLIAMSTOWN: WILLIAMS COL-

LEGE; HARPER & ROW, 197 7, ILLUSTRATED

P 54, #37.

$3,000-4,000

2 6 1

438

JIM DINESELF-PORTRAIT

1978Etching, soft-ground etching, aquatint, and drypoint on J.D. handmade linen paper#15 of 23Pace Editions, New York, publisher; Jeremy Dine, New York, printerSignature with edition lower center sheetImage: 12.5” x 10.25”; Sheet: 25.25” x 19.5”; Frame: 28” x 22

Literature: D’OENCH, ELLEN G AND JEAN

E FEINBERG, JIM DINE PRINTS 197 7-1985,

1ST ED, NEW YORK: HARPER & ROW, 1986,

P 73, #29.

$1,000-1,500

437

JIM DINEUNTITLED (FROM DUTCH HEARTS PORTFOLIO)

1970Lithograph printed in color with collage on Hodgkinson handmade paperArtist's proof aside from the edition of 85Petersburg Press, London, publisher; Pier Clement, Amsterdam, printerSigned and dated in pencil lower right; edition lower rightSheet: 16.25” x 19.75”; Frame: 18.5” x 22.125”

Literature: JIM DINE PRINTS: 1970 -7 7, 1ST

EDITION, WILLIAMTOWN: WILLIAMS COL-

LEGE; HARPER & ROW, 197 7, ILLUSTRATED

P 44, #2- 9.

$1,500-2,000

436

JIM DINETWO FIGURES LINKED BY PRE-VERBAL FEELINGS

1976Etching with drypoint and photo-graphically transferred drawing with handcoloring in red watercolor by artist on German etching paperTrial Proof; aside from the edition of 30Pyramid Arts, Ltd., Tampa, publisher; Julio Juristo, printerSignature with edition and date in pencil lower left sheetImage: 28” x 23”; Sheet: 31” x 25”; Frame: 42.5” x 31.5”

Literature: JIM DINE, PRINTS: 1970 -197 7,

WILLIAMSTOWN: WILLIAMS COLLEGE;

HARPER & ROW, 197 7, 1ST ED, ILLUSTRATED

P 1 13 , #208.

$2,500-3,500

439

CARLOS MERIDALA FAMILIA

1977Oil on boardSigned and dated lower centerSold with copy of certificate of authenticity.Board: 13.625” x 6.5”; Mount: 15.5” x 9.25”; Frame: 20.5" x 15”

$18,000-22,000

2 6 3

440

PEDRO FRIEDEBERGUNTITLED (ESCENOGRAFIA PARA EL REY LEAR) & (POR AVION) (2)

c. 1978Ink and acrylic on Hotel de Londres Place d’Espagne-Rome stationary and envelopeA: Signed lower left; inscribed lower right “Escenografia para el rey lear”; B: Signed in ink lower leftA: Sheet: 4.5” x 5.75”; Frame: 9” x 10.25”; B: Envelope: 5” x 6.375”; Frame: 9” x 11”

$6,000-8,000

441

PEDRO FRIEDEBERGOCCASIONAL TABLE

Pedro Friedeberg, designed c. 1975Walnut, hardwood, applied gold leafSigned “Pedro Friedeberg” at baseBase: 23.75” x 13” diameter; Detachable glass top: 14.875” x 16.125”

LAMA wishes to thank the Pedro Friedeberg studio for their assistance in cataloging this work.

Provenace: PRIVATE COLLECTION, NEW

ORLEANS; PRIVATE COLLECTION, LOS

ANGELES

$5,000-7,000

442

FRANCISCO ZUNIGAMATERNIDAD

1966Ink and watercolor on white paperSigned and dated lower rightSheet: 25.5” x 19.75”; Frame: 35" x 28"

Literature: ZUNIGA , ARIEL , FRANCISCO

ZUNIGA : CATALOGUE RAISONNÉ OF DRAW-

INGS, 1927-1970, 1ST ED, VOL I I I , MEXICO:

ALBEDRIO AND FUNDACION ZUNIGA

LABORDE, AC, 2006, ILLUSTRATED P 261 ,

#1310.

$10,000-15,000

443

FELIPE CASTAÑEDARECLINING NUDE

1972White onyxIncised signature “F. Castaneda” with date28” x 10” x 11.5”

$10,000-15,000

2 6 5

444

FELIPE CASTAÑEDAMOTHER AND CHILD

c. 1975Pink onyxSculpture: 15” x 12” 7.5”; With base: 17” x 14” x 9.5”

$7,000-10,000

445

FELIPE CASTAÑEDAFERTILIT Y

1979Black marble#2 of 7Incised near base “F. Castaneda/1979/II/VII”22” x 15” x 8”

Literature: THE WOMAN, MAGIC AND

FORM: SCULPTURES OF FELIPE CASTA Ñ EDA ,

FORT LAUDERDALE: MARVIN ROSENBAUM,

1988, P 55 FOR SIMILAR EXAMPLE.

$9,000-12,000

446

FELIPE CASTAÑEDAUNTITLED

1975Bronze#1 of 5Incised signature with edition in Roman numerals and date at rear near base12.5” x 12” x 7”

$3,000-5,000

449

RUFINO TAMAYOPORTRAIT OF A MAN (HOMBRE)

1953LithographSigned lower rightSheet: 22.5” x 17.5”


JAMES BYRNES, LOS ANGELES; PRIVATE

COLLECTION, LOS ANGELES

Literature: PEREDA , RICO, TAMAYO

ILUSTRADOR , MEXICO: RM, 2002, #15 FOR

SIMILAR EXAMPLE.

$2,500-3,500

448

JESUS LEUUSMEXICO

1967Mixed mediaSigned “Jesus Leuus” with date and title lower rightImage (vis.): 19.25” x 23.25”; Frame: 25.5” x 29.75”

$1,500-2,000

447

SANTIAGO CARDENASUNTITLED (DARK GREEN)

1990Charcoal, pastel, and acrylic on paperSigned and dated upper left; title upper left; retains Moss Gallery label on frame versoSheet: 38” x 28”; Frame: 46.25” x 35.25”

$4,000-6,000

2 6 7

450

HUMBERTO CALZADATHE WAR OF SOLITUDE

1987Acrylic on canvasSigned “Calzada” lower left; signed and dated “Calzada ‘87” verso; retains Moss Gallery label versoCanvas: 30.375” x 23”

$5,000-7,000

451

ANNA KATHERINE SKEELEGROUP OF DRAWINGS ( 11 )

c. 1935-41Mixed media on white and wax tracing paperA: Initialed "KSD" in pencil lower right; B: Signed "A. Katherine Skeele '41" lower right; C: Initialed "KSD" lower right; D: Initialed "KSD" lower right; E: Initialed "KSD" lower right; F: Signed "A. Kather-ine Skeele 1941" lower right; G: Initialed "KSD" lower right; F: Initialed "KSD" lower right; J: Signed "A. Katherine Skeele 1941"; K: Initialed "KSD"A: Sheet: 14” x 19”; B: Sheet: 17” x 14”; C: Sheet: 11” x 18.75”; D: Sheet: 16” x 13.875”; E: Sheet: 23.75” x 19”; F: Sheet: 16.75” x 13”; G: Sheet: 8.5” x 10.5”; H: Sheet: 15” x 19”; I: Sheet: 22” x 17”; J: Sheet: 23” x 19”; K: Sheet: 24” x 18”

$1,500-2,000

452

ANGELO MANGIAROTTICLIZIA STOOLS WITH SURROUNDING TILES ( 12)

Agapecasa, designed 1990Pietra Serena stoneThe pair of chairs are cut from a single block of stone simultaneously by two computer guided cutting machines.Overall: 17.25” x 85.25” x 64”

$7,000-9,000

2 6 9

453

FRENCH MODERNCEILING LAMP

Lumière, designed c. 1950Frosted glass, patinated metal, brassLabel to inside of one shade “Lumière”The design is similar to the design by Ico Parisi, for Stilnovo, c. 1949.37”

$3,500-4,500

454

MAURIZIO CATTELANCERBERINO DINING TABLE

Dilmos Milano, designed 1989Patinated and welded iron, glass29.5” x 55” diameter






$7,000-10,000

2 7 1

455

PIERO FORNASETTISTRUMENTI MUSICALE (DOUBLE-SIDED THREE PANEL SCREEN)

Studio, designed and executed c. 1950-1959Lithographically and transfer printed wood and brass61.625” x 58.75”

Literature: MAURIES, PATRICK , FORNAS-

ET TI : DESIGNER OF DREAMS, LONDON: 1991 ,

P 166 ( VARIANT ILLUSTRATED).

$8,000-12,000

REVERSE OF SCREEN

457

EUGENIO GERLIROLLING BAR CABINET

Model no. B106Tecno, designed 1966Lacquered ash plywood and steelRetains Tecno tag29” x 34.5” x 21.5” (closed)

Literature: REPERTORIO 1950 -1980,

GRAMIGNA , P 239.

$2,000-3,000

456

OSVALDO BORSANIADJUSTABLE CHAISE LOUNGE

Model no. L77Tecno, designed 1957Enameled steel, rubber webbingbrass medallion to frame “Tecno”Complete with the original detachable side panels and upholstered mattress (not illustrated).29” x 75” x 29” (adjustable)

$8,000-12,000

TOP DETAIL, CLOSED

2 7 3

458

OSVALDO BORSANIREVOLVING COAT RACK

Model no. AT-16Tecno, designed 1961, this example a later productionWalnut, teak, oak, leather bound and enameled-steel, aluminumFrom 64” to 104” maximum (adjustable) x 26” diameter

Literature: ALOI , ROBERT, L’ARREDAMENTO

MODERNO VII SERIE, MILAN: ULRICO HO -

EPLI , 1964, P 146 (DESIGN ILLUSTRATED).

$5,000-7,000

460

ALESSANDRO PIANONHANDBLOWN GLASS FIGURE (BIRD/PULCINI)

Vistosi, designed 1962Glass, bronze wire8” x 6” diameter

Literature: HEIREMANS, 20TH CENTURY

MURANO GLASS: FROM CRAFT TO DESIGN,

1996, P 163.

$2,000-3,000

462

FULVIO BIANCONIPEZZATO VASE

Venini, designed 1950, this example executed 2003Mouth blown and fused glassEngraved “venini 2003 Fulvio Bianconi”8.5”





2006, P 222 (DESIGN VARIANT ILLUS-

TRATED).

$1,000-1,500

459

ERCOLE BAROVIERINTARSIO TABLE LAMPS (2)

Barovier & Toso, 1961-63Blown, fused glass with controlled internal air bubbles29.5” including shade; 15” glass com-ponent

The highly skilled technical innovation of the Intarsia technique involves the laying of hand selected triangular sheets of colored glass on a flat surface. The composition is then fired to a high tem-perature until the panels become fused.

$6,000-8,000

461

FLAVIO POLISOMMERSO VASE

Seguso Vetri d’Arte, c. 1960Red glass, cased in pink8.75” x 8.5” x 4.5”

$1,000-2,000

2 7 5

465

FRANCO ALBINIMARGHERITA STOOLS (4 )

Vittorio Bonacina, designed 1951Woven rattanThree: 15” x 24” diameter; Other: 11” x 22” diameter

$1,500-2,000

466

GIO PONTISIDE CHAIRS (4 )

Model no. 692Cassina, designed 1952Ash, brass, vinyl upholsteryEach retains metal label “Figli di Amedeo Cassina/Tel. 77338 Meda (Milano)” on back of chairAccompanied with a certificate of authenticity from the Gio Ponti Archives, Milan.Each 32.625” x 18” x 20”

Literature: GIO PONTI : L’ARTE SI INNAMO -

RA DELL’ INDUSTRIA , LA PIETRA , P 205.

$4,000-6,000

464

STUDIO BBPRRO WALL SCONCES (2)

Artemide, designed 1962Chrome-plated steel, frosted glass19”

$2,000-3,000

The BBPR collective was founded in Milan in 1932 by architects Gian Luigi Banfi, Lodovico Barbiano di Belgiojoso, Enrico Peressutti, and Ernesto N Rogers. Their greatest architectural achievements include the Palazzo delle Poste, Rome, 1940, the Velasca Tower, Milan 1956-58, and the Piazza Statuto, Turin, 1962.

463

STUDIO BBPRRO TABLE LIGHT

Artemide, designed 1962Metal, frosted glass16”



KOLN, TASCHEN, 2005, P 39.

$1,500-2,000

469

GAE AULENTIPAIR OF PIPISTRELLO LAMPS

Model no. 620Martinelli Luce, designed 1965-66Aluminum, plastic, enameled metalEach approximately 33” x 13” diameter




$2,000-3,000

468

ANGELO LELLIEASEL LIGHT

Arredoluce, designed c. 1965Brass, enameled metal80.25”

$4,000-6,000

467

ITALIAN MODERNTABLE NIGHT LIGHT

Arredoluce, designed c. 1950Enameled metal, frosted glass, brass13”

$1,800-2,200

FRAMED PICTURE IN ILLUSTRATION

NOT INCLUDED IN THIS LOT

2 7 7

472

GAE AULENTIMONACA TABLE LIGHT

Harvey Guzzini DH, designed 1972Plastic, steel, rubberRetains “Harvey Guzzini Made in Italy” label18.5” x 24” x 18”


PETER , 1000 LIGHTS: 1960 TO PRESENT,

VOLUME 2, KOLN: TASCHEN, 2005, P

254.

$2,000-2,500

471

ACHILLE & PIER GIACOMO CASTIGLIONISNOOPY TABLE LAMP

Flos, designed 1967, this example a later productionEnameled metal, marble, glass14”


PETER , 1000 LIGHTS: 1960 TO PRESENT,

VOLUME 2, KOLN: TASCHEN, 2005,

P 1 13 .

$600-800

470

ITALIAN MODERNTRIENNALE FLOOR LAMP

Arredoluce, c. 1950Chrome-plated steel, enameled aluminum60.75” x 21.25” (adjustable)

$7,000-9,000

473

ACHILLE PERILLIUNTITLED

1961Tempera on paperSigned “Perilli 61” lower leftSold with two labels no longer affixed to back of frameSold with Galleria Odyssia, Rome label, Isaac Delgado Museum of Art, and Achille Perilli labels no longer affixed to frame.Image (vis.): 26.875” x 38.625”; Frame: 29.75” x 41.5”


JAMES BYRNES

$4,000-6,000

2 7 9

474

ITALIAN MODERNCHANDELIER

Possibly designed by Gino Sarfatti for Arredoluce, designed c. 1955Enameled-metal, brass33” x 37” diameter

$5,000-7,000

475

EMMANUELE ZENEREDINING TABLE

Cattelan Italia, designed c. 1990Black marquina marble29.5” x 55” diameter

$2,000-3,000

477

GASTONE NOVELLIUNTITLED (ALPHABET SERIES)

1957Ink on paperSigned “G Novelli 57” in black ink lower right sheetSheet: 20.5” x 13.75”


JAMES BYRNES

$6,000-9,000

476

SALVATORE SCARPITTAUNTITLED

1953Gouache on paperInscribed “To Mr. Byrnes” uper leftImage (vis.): 17.25” x 23.25”; Frame: 23.5” x 25.5”


JAMES BYRNES

$5,000-7,000

2 8 1

478

CONSTANTINO NIVOLADRAWING AND 5 ARCHITECTURAL STUDIES (6)

1962Black ink wash and mixed media on paperDrawing signed and dated lower right in black inkSheet (vis.): 11” x 8.5”; Frame: 17.5” x 15.25”; Architectural plans: each approx. 23.5" x 18"

$2,000-3,000

479

ACHILLE & PIER GIACOMO CASTIGLIONIARCO FLOOR LIGHT

Flos, designed 1962, this example a later productionMarble, polished aluminum, and brushed steel93” (adjustable)




$1,200-1,800

481

ANTONIO CITTERIO & PAOLO NAVADIESIS CHAISE LOUNGE

B&B Italia, designed 1979, this example of recent manufacturePolished-steel, leatherRetains B&B Italia label and impressed mark to leather armrest37” x 50.5” x 47”






$1,500-2,000

480

SOTTSASS ASSOCIATISA05 COFFEE TABLE

LauraMeroni Design Collection, designed 2004Chrome-plated steel and glass16” x 29.5” x 29.5”






$1,500-2,000

2 8 3

484

MARIO BELLINICAB ARMCHAIRS (2)

Cassina, designed 1977Leather, steel frameOne chair retains “Atelier International Ltd” labelEach: 32” x 22.5” x 18”

Literature: MCCART Y, CARA , MARIO

BELLINI : DESIGNER , MUSEUM OF MODERN

ART EXHIBITION CATALOGUE, 1987, P 61 .

$800-1,200

482

AMERICAN MODERNFLOOR LAMP

Koch & Lowy Inc., designed c. 1970sChrome-plated steel, leather-bound counter balance58.75” x 18” diameter at base

$1,000-1,500

483

ANGELO LELLIFLOOR LAMP

Arredoluce, designed c. 1967Enameled and chrome-plated steel, marble80.5” x 13” diameter at base

$2,000-3,000

2 8 5

486

ETTORE SOTTSASSRARE MOONLIGHT FLOOR LAMP

Arredoluce, designed 1970Enameled steel and polished steel73.5” x 10.25” x 10.25”

Literature: FERRARI , FULVIO & NAPO -

LEONE, LUCE: LAMPADE 1968 -1973, TURIN:

IL NUOVO DESIGN ITALIANO, 2002,

PL 58 (DESIGN ILLUSTRATED).

$5,000-8,000

485

ETTORE SOTTSASSMALABAR ROOM DIVIDER

Memphis, designed 1982Wood, plastic laminate, enameled metalRetains metal tag “Memphis Milano Made in Italy Ettore Sottsass 1982”92.5” x 100” x 19.5”

$4,000-6,000

487

MARIO BELLINICHIARA LAMP

Flos, S.p.A., designed 1964Stainless steel57” x 11”

Literature: MCCART Y, CARA , MARIO

BELLINI : DESIGNER , MUSEUM OF MODERN

ART EXHIBITION CATALOGUE, 1987, P 55.

$2,000-3,000

488

MASSIMO IOSA GHINIBALZO SUITE (3)

Moroso, designed 1989Blue leather upholstery, chrome-plated steelComprised of settee, couch, and lounge chairSettee: 31” x 61” x 39.5”; Couch: 31” x 80” x 39.5”; Chair: 31” x 36.25” x 39.5”

$2,000-3,000

2 8 7

492

MASSIMO IOSA GHINIPLANA BENCHES (2)

Moroso, designed 1986Chrome-plated steel, alcantara upholsteryEach 16” x 86.5” x 21”

$1,500-2,000

490

GEORGE J. SOWDENOBJECTS FOR THE ELECTRONIC AGE TAZZA

Memphis, designed 1984Enameled metal, formicaManufacturer’s label to foot rim.9.25” x 12.25” diameter

$800-1,200

489

MATTHEO THUNVOLGA VASE

Memphis, designed 1983Glazed porcelainRetains label “M. Thune per Memphis” and “Made in Italy”An example of the design is held in the permanent collection of the Indianapolis Museum of Art.21” x 9” x 7”

$800-1,200

491

PIERO FORNASETTIACCESSORIES (6)

Studio, designed c. 1955Glazed ceramic and enameled metalFish tray and hand tray retain “Piero Fornasetti Milano” care label; blue dish, purple dish, black and white plate and sun medallion paperweight retain Piero Fornasetti manufacturer’s glaze markComprising large tray decorated with fish, large tray with arm, sun medallion paperweight, large plateFish plate: 23.25” x 10”; Hand plate: 23.25” x 10”; Blue dish: 5.375” x 4.25”; Purple dish: 5.5” x 4.25”; Black and white plate: 12.25” diameter; Sun medallion: 1.75” x 4” x 3”

Purchased from the estate of Piero Fornasetti.

$1,500-2,500

493

ROBERT FRAMEBOUQUET OF SUNFLOWERS

Oil on canvasSigned lower right; titled and signed versoCanvas: 26” x 34”; Frame: 36.75” x 25”

$1,200-1,500

494

PAT CUCAROMARDI GRAS

c. 1960Mixed media on MasoniteSignedEach panel: 6.125” x 35.375”; Frame: 21.25” x 41.375”

$500-700

2 8 9

495

EDMOND KOHNUNTITLED

1963Mixed media on canvasInitialed and dated “Nov 63”; inscribed on canvas stretcher verso “Nov 63 EK”Canvas: 27.875” x 35.875”; Frame: 28.25” x 36.5”

$1,000-1,500

496

GEORGE CHANNUNTITLED

c. 1960Watercolor on paperSold with original receipt from Ankrum Gallery.Sheet (vis.): 23” x 37.25”; Mat: 30” x 44.25”

Provenance: AKRUM GALLERY, LOS ANGE-

LES; MILTON FEINBERG, LOS ANGELES, CA ;

PRIVATE COLLECTION, LOS ANGELES

$1,800-2,500

497

JAN STUSSYUNTITLED (FROM THE CRYPTIC MUSE SERIES)

October 1967Mixed media on canvasInscribed verso “From Cryptic Muse Series” with signature; dated “Oct. 67 CA” versoCanvas: 60.5” x 51”; Frame 61” x 51.5”

$3,000-5,000

2 9 1

498

EMERSON WOELFFERUNTITLED

1996Acrylic on canvasInitialed “EW” and dated “96” lower right canvas; inscribed “for Ken/Woelffer/1-14-98” verso30” x 24”

$5,000-7,000

499

EMIL JAMES BISTTRAMMARINE #2

c. 1950LithographUnknown edition sizeSigned in pencil “Emil Bisttram Taos, N.M.” lower right; title lower left; blind-stamp lower rightImage: 12” x 13.25”; Sheet: 15.5” x 17.5”

$800-1,200

500

JOHN PAUL JONESBOUNDARY

1951Etching, engraving, soft-ground, and aquatint#20 of 25Signed “John Paul Jones” in pencil lower right margin; edition lower leftImage: 22” x 27.5”; Sheet: 28” x 22.25”; Frame: 41.5” x 31.5”

Literature: JOHN PAUL JONES: PRINTS

AND DRAWINGS, 1948 -1963, NEW YORK:

THE BROOKLYN MUSEUM, 1963, CAT NO 15.

$1,000-1,500

501

ED MOSESUNTITLED (2)

1980Color etching on paperUnknown edition size3EP, Ltd., Palo Alto, publisherBoth initialed and dated in pencil “EMS 80” lower right; both retain publisher blindstamp lower left and blindstamp lower rightA: Image: 8.75” x 30.75”, Sheet: 14.875” x 36.75”, Frame: 17.5” x 39.5”; B: Image: 12.75” x 28.5”, Sheet: 15” x 36.5”, Frame: 17.5” x 39.5”

$1,200-1,500

502

JONATHAN BOROFSKYSELF-PORTRAIT WITH GOLD DOT

1991Lithograph, screenprint, and collage with hand-painting by the artist on Arches 88#27 of 35Gemini G.E.L., Los Angeles, publisherSigned lower center; blindstamp lower right; printed “Copyright 1991JB + Gemini G.E.L.”; edition lower leftGemini G.E.L. #7.74Image: 30” x 24”; Sheet: 38” x 31.5”; Frame: 38.625” x 32.25”

$3,000-5,000

503

PETER ALEXANDERBOCA CHICA I I

1991Pastel and gouache on paperSigned and dated in pencil “P.A. 91” lower rightSheet: 9” x 10”; Frame: 13.625” x 14.625”

$1,000-1,500

2 9 3

504

DON SORENSONUNTITLED

1981Oil on canvasSignature and date versoCanvas: 26” x 43”; Frame: 33.25” x 50”

$3,000-5,000

505

KIM ABELESOBSTRUCTIONS TO THE WEDGE

1986Mixed media on painted wood construc-tion45.875” x 7” x 2.5”

$1,500-2,000

506

GEORGE CONDOUNTITLED

1984Oil stick on paperSigned and dated “Condo 84” lower leftSheet (approx.): 11.75” x 11”

Provenance: PAT HEARN GALLERY, NEW

YORK; PRIVATE COLLECTION, NEW YORK

$1,500-2,000

386

LOUISE NEVELSONNIGHT LEAF

1969Cast polyester construction#123 of 150Published by Pace Editions Inc., New York12.75” x 12.75” x 2.25”

$4,000-6,000

385

LOUISE NEVELSONBRACELET AND RING

Studio, c. 1965LuciteBracelet

$1,500-2,000

2 9 5

507

RICHARD PATTERSONSET OF “NEW ” CHAIRS (4 )

Studio, executed 1978Shedua wood, original upholsteryUnderside of one chair signed: “Richard Patterson 1978”Each 29.5” x 22” x 22”

Provenance: ARROYO CRAFTSMAN GAL-

LERY, PASADENA , 1978-79; PRIVATE COL-

LECTION, LOS ANGELES

$1,500-2,000

508

DANISH MODERNCAMPAIGN SOFA

Manufacturer unknown, designed c. 1970Brazilian rosewood, brass, vinyl upholstery, three inset drawers81” x 24.75” x 29.75”

$2,000-3,000

509

DANIEL GLUCKSCULPTURAL COFFEE TABLE

Studio, designed c. 1960Cast and welded bronze, glass15.5” x 35.5” x 64”

$3,000-5,000

510

PETER SHIRECLAMPED TORSO

Studio, 1991Steel and enamel26” x 33” x 8”

$2,000-3,000

511

PETER SHIRETEAPOT

Studio, 1981Glazed ceramicSigned and dated “Shire 1981”5.5” x 7.5” x 1.5”

$800-1,200

2 9 7

513

CONTEMPORARY CRAFTFOUNTAIN (4 )

Designed c. 1970sGlazed ceramicRed: 38” x 21” diameter; Black: 36” x 22.75” diameter; Yellow: 38” x 15” diameter; Orange: 38.5” x 22.5” diameter

$3,000-4,000

512

HERMÈSPATCHWORK CHRISTMAS TREE

2004Hermès fabric mounted on Masonite in aluminum frame78” x 31.5” x 31.5”

Exhibited: “LES SAPINS DE NOËL DES

CREATEURS,” CENTRE POMPIDOU, PARIS,

2004.

$3,000-5,000

515

ROBERT INDIANAGREENPEACE LOVE

1994Screenprint on wove paper#170 of 170Signature in pencil lower right; title and edition lower leftImage: 24” x 24”; Sheet: 32” x 29.5”; Frame: 35.5” x 32.625”

$2,000-3,000

517

MEL RAMOSCAMILLA PRINT AND WATCH BY CHAOS

Serigraph: 1963; Watch: 1991Serigraph#121 of 161Serigraph: Robert Bane, Ltd., Beverly Hills, publisher; Watch: ChaosSigned lower right in pencil; edition low-er left; stamped “Robert Bar Ltd” lower left; watch hand numbered “0779” and impressed with manufacturer’s mark; printed signature on watch with dateSold with watch (not illustrated).Image: 37” x 32”; Sheet (vis.): 41” x 35.5”; Frame: 44.25” x 38.75”

$800-1,200

516

PETER MAXFACE AND OBJECTS

1994Handmade color collage and wove paperSigned “Max” in paint lower centerSheet: 10.25” x 8.625”; Frame: 21.25” x 19.25”

$500-1,000

514

ROBERT INDIANANY STATE THEATER

1964Offset lithographUnknown edition sizeAlbert A. List Foundation, New York, publisherSigned “R. Indiana 64” in red pencil lower right margin and inscribed “For Ray”Sheet: 45.5” x 29.5”; Frame: 47” x 31”

Literature: ROBERT INDIANA : THE PRINTS

AND POSTERS, 1961-1971 , NEW YORK:

EDITION DOMBERGER STUT TGART, 1971 , P

64, #P4.

$1,500-2,000

2 9 9

521

ARY BRIZZIUNTITLED (SCULPTURE)

1978Colored 4-pane Plexiglas construction“A. Brizzi/78” printed lower right corner11.75” x 11.75” x 2.75”

$1,000-1,500

518

NICHOLAS KRUSCHENICKSTUDY FOR PAINTING

1973Mixed media on grid paperSigned and dated “N. Kruschenick 1973” lower right sheet in pencilSheet: 8.375” x 11”; Mat: 9.75” x 13”

$2,000-3,000

520

JULIO LE PARCUNTITLED

1970Mixed media op-art construction#97 of 175Wobron, SAIC, publisherRetains label verso with printed edition and signature in inkOp-art relief: 8” x 14”; Box/Frame: 12” x 17.25”

$2,000-3,000

519

VICTOR VASARELYUNTITLED

c. 1965Serigraph#30 of 50Signed in pencil lower right; edition lower leftImage: 11.25” x 7.25”; Sheet (vis.): 12.75” x 8”; Frame: 20.75” x 14.75”

$800-1,200

523

EERO SAARINENOCCASIONAL TABLES (2)

Model no. 161TRKnoll International, designed 1957Enameled metal, formica veneerEach retains Knoll International labelEach 20.25” x 15.875”

Literature: ROULAND, LINDA AND STEVE,

KNOLL FURNITURE: 1938 -1960, NEW YORK:

SCHIFFER , 2005, PP 121-123.

$1,000-1,500

522

ERWINE & ESTELLE LAVERNETULIP CHAIR

Laverne International, designed c. 1960Enameled steel, lacquered fiberglass50” x 46” x 27”

$2,000-3,000

3 0 1

525

TOM SLAUGHTERTHREE-PANEL SCREEN

c. 1989Acrylic on board/panel74” x 48.375”

$1,500-2,000

524

ISAMU NOGUCHICOFFEE TABLE

Model no. IN50Herman Miller, designed 1944Ebonised wood, aluminum, green-tinted glass16” x 50” x 37”


Literature: EISENBRAND, POSCH & VON

VEGESACK , ISAMU NOGUCHI: SCULPTURAL

DESIGN, P 1 18.

$1,500-2,000

526

EDWARD WORMLEYMAGAZINE TREE

Model no. 4765Dunbar, designed 1947Lacquered birch, walnut24.75” x 19” x 24”

$1,500-2,000

528

EDWARD WORMLEYPYRAMID BOOKSHELF

Drexel, designed 1956Ebonised-wood42.25” x 56” x 18.5”

$1,500-2,000

529

EDWARD WORMLEYOCCASIONAL TABLE

Dunbar, designed c. 1952Walnut, brassRetains Dunbar paper label15.5” x 66” x 17”

$2,000-3,000

530

EDWARD WORMLEYEXTENDING COFFEE TABLE

Model no. 5427Dunbar, designed 1954Mahogany, Murano glass tiles, brass18.125" x 44” (69.5” extended) x 24.75”

Literature: GURRA , JUDITH, WEINBERG,

LIN AND KENNEDY, CHRIS, EDWARD WORM-

LEY: THE OTHER FACE OF MODERNISM,

1997, NEW YORK , P 38.

$2,000-3,000

527

TOMMI PARZINGERFLOOR/TABLE LAMP

Parzinger Originals, designed c. 1950Mahogany, plastic laminate, brass sabots60” x 22” x 22”

$2,000-3,000

3 0 3

531

T.H. ROBSJOHN-GIBBINGSPAIR OF HIGH BACK CHAIRS

Widdicomb, designed c. 1960Faux-bamboo carved oak frame, fabric upholsteryEach 40” x 24.5” x 25”

$3,000-4,000

533

T.H. ROBSJOHN-GIBBINGSSIDE TABLES (2)

Model no. 1643Widdicomb, c. 1960Lacquered woodEach retains “Widdicomb” label23.5” x 30” x 20”

$3,000-4,000

534

T.H. ROBSJOHN-GIBBINGSCOFFEE TABLE

Widdicomb, designed c. 1960Walnut14.75” x 66” x 19.5”

$2,000-3,000

532

T.H. ROBSJOHN-GIBBINGSBIOMORPHIC COFFEE TABLE

Widdicomb, designed 1952Cherry wood, brass20” x 71” x 43”

$3,000-5,000

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

PAYMENTAll sales are final. All sold lots are to be paid for on the day of the sale. We accept cash, bank wire transfers, checks, and Mastercard and Visa (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax or e-mail). All payments made by personal checks will be subject to clearance before purchases can be collected. Buyers who have not purchased from Modern Auctions, Inc. (Los Angeles Modern Auctions) previously are asked to provide a method of payment and/or letter of reference from a bank or creditor prior to the auction. Bank wire information is available upon request, please phone (323) 904-1950. If payment is not received by October 17th collection and storage fees will begin incurring immediately.

BUYER’S PREMIUMA buyer’s premium of 25% will be added to the hammer price on all property sold if bids are placed directly with Modern Auctions, Inc. This buyer’s premium can be discounted to 22.5% if payment by cash, check or bank wire is received by October 17th. The buyer’s premium will not be discounted for internet bidding (27.5%) or payment by credit card or if full payment is not received by October 17, 2012. (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax or e-mail).

CALIFORNIA SALES TAXSales tax of 8.75% will be collected on all purchases removed from our premises or delivered within the state of California. Those holding a valid California State Resale License must register before each sale and present their valid resale number. No purchases will be released until all sales tax requirements are satisfied.

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

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

COLLECTION AND STORAGEALL LOTS MUST BE REMOVED FROM THE AUCTION SHOWROOM BY 12:00 PM ON OCTOBER 17th. All property remaining after October 17th will be removed and stored in an off-site storage facility at the cost of the buyer. Purchases not removed by October 17th will be assessed a daily storage fee of $15 per day per lot. Items in storage are not insured by Modern Auctions, Inc. Unless other arrangements are made and confirmed in writing; the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request.

BIDDINGWe encourage you to attend the sale in-person. However, if you can not attend in person we offer an “absentee” or phone bidding service. For this service fill out and submit an

“Absentee/Phone bid” form. To obtain this form please call (323) 904-1950 or go to our website. We will not execute absentee or phone bid orders unless a signed and completed bid form has been received. All Absentee/Phone bid forms must be received by Saturday, October 6th by 5:00 p.m. (PST) via fax to (323) 904-1954. We encourage you to call after faxing to confirm we have received your bid. We kindly ask that you do not call on the day of the sale to submit bids or to check if your bids were successful. All successful absentee bids should be notified by phone by October 9th. In addition, the auction prices realized will be posted the day after the sale on our website. Do not rely on any auction results (prices realized) unless published on www.lamodern.com or as provided directly by Modern Auctions, Inc.

Absentee/Phone bids are on a first-come, first-served basis; thus, we encourage you to submit your form ASAP. If identical absentee bids are submitted, the earliest received will take precedence. The number of phone lines available are limited so please submit your phone requests early. On all absentee/phone bid forms, please leave a valid credit card number with expiration date; a deposit of 25% may be required for all absentee and phone bids. Please note that we only accept credit card payments in person. For those absentee/phone bidders who can not come in personally to pay, we will only accept either a certified check or wire transfer as a method of payment (see

“Payment” notice). The party responsible for submitting the absentee or phone bid is solely responsible for the payment in full of the total invoice. We will not make any changes to an invoice.

Should a dispute arise after the sale, our sale records are conclusive. We are not responsible for failure to execute a bid and have the right to reject any bid. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. Should an item be withdrawn, the auctioneer will make an announcement at the time the lot would have been put up for sale. In addition, the auctioneer may add lots not previously listed in the catalogue or addendum.

If the buyer does not comply with all of the notices to buyers, Modern Auctions, Inc, reserves the right to cancel the sale, hold the defaulting buyer liable for the purchase price and buyer’s premium, retain any deposit, and resell the property privately or at auction without further notice. In the latter, the defaulting buyer will be held responsible for all incurred expenses, such as warehouse and transportation costs, commissions, incidentals, and shall be liable for payment of any deficiency in the purchase price. This is strictly enforced. We reserve the right to assess a late charge of 1.5% of the total purchase price per month if payment is not made in accordance with any of these conditions of sale.

GUARANTEEThe authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc. warrants only the authorship of an item (as printed in BLUE type) and does not guarantee the condition, age, or any identifying characteristic used by Modern Auctions, Inc, in any descriptions such as color, method of construction, and type of materials. Any lot using the terms “attributed”, “attribution,” “in the style of,” “in the manner of,” or

“after” does not qualify for our guarantee. In addition, the buyer assumes responsibility of reading all addendums and posted corrections to the catalogue prior to bidding.

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

RIGHTS TO PHOTOGRAPHSIt is important to note that the images printed in this catalogue are considered intellectual property and are copyrighted. Buyers do not acquire the rights to reproduce any images in any form.

All images and text contained in this catalogue are the sole property of Modern Auctions, Inc. and may not be used or reproduced in any medium without the expressed written permission of Modern Auctions, Inc.

Modern Auctions, Inc.Bond # 7900369478

Conditions of Sale/Notice to Buyers

Peter Loughrey, Principal AuctioneerLos Angeles Modern Auctions (LAMA)16145 Hart Street, Van Nuys, CA 91406

http://www.lamodern.com



IndexA Aalto, Alvar 147-51, 386-89Abeles, Kim 505Ackerman, evelyn 364-66Adachi, Isami 381Albers, Josef 427Albini, Franco 465Alechinsky, Pierre 277Alexander, Peter 503Altoon, John 231Andreson, Laura 356-58Anuszkiewicz, Richard 330-32Artschwager, Richard 335-36Aulenti, Gae 469, 472

B Baldessari, John 15-17Barovier, ercole 459Baughman, Milo 93Bell, Larry 411Bellini, Mario 484, 487Benjamin, Karl 68-70Berger, Hugo 158Berlant, Tony 415Bianconi, Fulvio 462Bidlo, Mike 167Bisttram, emil James 499Bitters, Stan 42-47Blanchard, Porter 159Bobrick, Mitchell 95Borofsky, Jonathan 502Borsani, Osvaldo 456, 458Botello, Angel 345Braakman, Cees 397Braque, Georges 278Brice, William 230Brizzi, Ary 521Brockmann, Marion 367Brown, William Theophilus 131-32Burkhardt, Hans 212

C Calder, Alexander 298Calzada, Humberto 450Capron, Roger 270Cardenas, Santiago 447Carroll, Lawrence 169-72Castaneda, Felipe 443-45, 456Castiglioni, Achille 471, 479Cattelan, Maurizio 454Celmins, Vija 339-40Chann, George 496Christo 191-92Chuey, Robert 234-35Citterio, Antonio 481Close, Chuck 185-86Cohen, Larry 136-37Cole, Max 72Condo, George 506Conner, Bruce 229Conover, Claude 355Cooke, Betty 119Cressey, david 110-11, 115Cucaro, Pat 494

d davies, Harold Christopher 209davis, Paul 261-62de Kooning, Willem 23de Patta, Margaret 117-18diebenkorn, Richard 122-23dine, Jim 434-38dowd, Robert 413dzama, Marcel 273-74

e eames, Charles 55-56, 59, 61, 152, 300-09edmondson, Leonard 353ednie, John 140engel, Jules 292estes, Richard 190evans, Paul 35-38, 363

F Fabricius, Preben 392Falkenstein, Claire 121Fickett, edward H. 384Finkelstein, Max 371-72Fischinger, Oskar 211Follis, John 112-14Fornasetti, Piero 455, 491Frame, Robert 493Francis, Sam 228Frankenthaler, Helen 429-31Frankl, Paul 226Friberg, Berndt 7Friedeberg, Pedro 440-41

G Gatta, G. 338Gehry, Frank O. 408Gerli, eugenio 457Ghini, Massimo Iosa 488, 492Gluck, daniel 509Goode, Joe 412Graham, Robert 414Green, Taylor 92, 96Grillo, John 382Grossman, Greta 89-91, 91

H Hagenauer 214Hammersley, Frederick 63-67Haring, Keith 250-51Harwood, June 71Henningsen, Poul 6Herman, Roger 138Hermes 512Hicks, Sheila 48-49Hockney, david 241-45Hodgkin, Howard 246Horti, Paul 156Howard, eloise 223Hundevad, Poul 12

I Indiana, Robert 514-15

J Jacobsen, Arne 391Jenkins, Paul 39-41Johns, Jasper 187-88Johnston, Ynez 247-49Jones, John Paul 500

K Kagan, Vladimir 404Kaneko, Jun 348-51Kelly, ellsworth 28-30Kitaj, R.B. 279Klint, Kaare 8Knoll, Florence 313-17Kohn, edmond 495Kokoschka, Oskar 213Korhonen, Otto 151Kruschenick, nicholas 518Kusama, Yayoi 342

L La Paglia, Alphonse 216Lafer, Percival 75Lamb, Walter 97-103Laverne, erwine & estelle 522Le Parc, Julio 520Leland, Malcolm 116Lelli, Angelo 468, 483Leuus, Jesus 448Levin, Joseph 293-94Lewis, doris 73Lichtenstein, Roy 160-63Lindstrand, Vicke 394Longo, Robert 422-25Lundin, Ingeborg 393

M Maloof, Sam 77Mangiarotti, Angelo 452

Mangold, Robert 74Mapplethorpe, Robert 32Marden, Brice 328Marx, Samuel 225Mathsson, Bruno 5Matter, Herbert 299Max, Peter 516Maxwell, Robert 104-09McCobb, Paul 398McIntosh, Harrison 83-88Merida, Carlos 439Mies van der Rohe, Ludwig 311, 316, 322-23Miro, Joan 295-97Misrach, Richard 375Mizuno, Mineo 409-10Mogensen, Borge 2Morris, William 155Moses, ed 501Motherwell, Robert 346-47Mouille, Serge 263-65Murakami, Takashi 418-21

n nakashima, George 193, 195-96, 198-203, 206, 208nakashima, Mira 194, 197, 204-05, 207natzler, Gertrud & Otto 354nelson, Cliff 291nelson, George 50-54, 57-58, 60, 310, 325nevelson, Louise 369-70newson, Marc 428ninas, Paul 383nivola, Costantino 478noguchi, Isamu 524novelli, Gastone 477novembre, Fabio 62noyes, Marion Anderson 400

O O’neill, Terry 239Oliveira, nathan 133

P Pardo, Jorge 343-44Park, david 135Parzinger, Tommi 527Patout, Pierre 217Patterson, Richard 507Paulin, Pierre 272Pepper, Beverly 333Perilli, Achille 473Perriand, Charlotte 268-69, 271Pesce, Gaetano 405Petersen, Roland 127-28Petersens , Georg 390Pettibon, Raymond 252-59Pettibone, Richard 164-66, 168Pianon, Alessandro 460Picasso, Pablo 280-90Pinzoni, Mario 395Platner, Warren 321Poli, Flavio 461Pollock, Charles 318Pomodoro, Arnaldo 34Ponti, Gio 466Probber, Harvey 401Prouve, Jean 266-67, 275

Q Quistgaard, Jens 14

R Rady, elsa 352Ramos, Mel 517Rams, dieter 312Rauschenberg, Robert 24-26Renk, Mary 120Rickey, George 334Rivers, Larry 189Robsjohn-Gibbings, T.H. 531-34Rohde, Gilbert 153-54

Rosen, Leon 402Rosenquist, James 378-80Rosenthal, Bernard “Tony” 373Rothman, Jerry 362Ruscha, ed 18-21Ryman, Robert 329

S Saarinen, eero 319-20, 523Saarinen, eliel 227Sakier, George 220Scarpa, Afra & Tobia 326-27Scarpitta, Salvatore 476Schnabel, Julian 406Schwaderer, Fritz 210Serra, Richard 407Shire, Peter 510-11Simmons, Laurie 240Skeele, Anna Katherine 451Slaughter, Tom 525Smith, Tony 426Sorenson, don 504Sottsass, ettore 480, 485-86Sowden, George J. 490Springer, Karl 403Staprans, Raimonds 134Sternfeld, Joel 374Stickley, Gustav 157Studio BBPR 463-64Stussy, Jan 497Sudek, Josef 237Summers, Carol 432-33Summers, Gerald 385

T Tamayo, Rufino 449Taylor, ernest Archibald 142-43Teague, Walter dorwin 222Teske, edmund 236Thiebaud, Wayne 124-26Thun, Matteo 489Thurston, Gerald 399Torlasco, Oscar 337Twombly, Cy 22

V Valentine, de Wain 416-17van Keppel, Hendrik 92, 96Van Pelt, Alison 341Vasarely, Victor 519Venard, Claude 276Versen, Kurt 221Voulkos, Peter 359-61

W Waddell, Theodore 324Walton, George 139Warhol, Andy 33, 173-81Warshaw, Howard 232-33Wegman, William 376-77Wegner, Hans J. 1, 3-4, 9, 11, 13Wesselmann, Tom 182-84Weston, edward 238Wilson, S. Clay 260Wirth, Armin 396Woelffer, emerson 498Wonner, Paul 31, 129-30Wood, Beatrice 78-82Wormley, edward 526, 528-30

Z Zenere, emanuele 475Zoell, Bob 27Zuniga, Francisco 442

A U C T I O N :

SUNDAY, OCTOBER 7, 2012 12 p.m. Noon (PST)

P R E V I E W :

SEPTEMBER 19 - OCTOBER 6, 201210 a.m. - 6 p.m. (PST)

A D D R E S S : 16145 Hart Street

Van Nuys, CA 91406

T E L E P H O N E : 323-904-1950

W E B S I T E :

LAMODERN.com

Peter LoughreyDirector, Modern & Contemporary Fine Art

Dan TolsonDirector, 20th Century Decorative Art & Design

Shannon LoughreyManaging Director

Elizabeth PortanovaMarketing Director

Julie WearingClient Services

Zoe WeinbergClient Services

Joe AlascanoShipping

Cataloguer/EditorZoe WeinbergDan TolsonPaul Des Marais

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EssaysPaul Des MaraisDan TolsonZoe Weinberg

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FROM HOLLYWOODMakeyourwaytothe101Freeway

ProceedNorthonthe101

Mergeontothe405NORTH

Takethe4thexitonto“ShermanWay,WEST”

ProceedWESTonShermanWay

TurnLEFTatthe3rdlightonto“Woodley”

TakethefirstRIGHTonto“Hart”street,

which is a side streetVALJ

EAN

AV

E

SHERMAN WAY

WO

OD

LEY

AV

E

N

LAMA

HART ST

405

FREE

WAY

101 FREEWAY

SEP

ULV

EDA

BLV

D

GETTYCENTER

WOODLAND HILLS HOLLYWOOD

VAN NUYS

AIRPORT

FROM THE WESTSIDETakethe405Freeway,North

ContinuepasttheGettyMuseumandthe101Interchange

Exitonto“ShermanWay,WEST”

(thisis4exitsNorthofthe101)

ProceedWESTonShermanWay

TurnLEFTatthe3rdlightonto“Woodley”

TakethefirstRIGHTonto“Hart”street,

which is a side street

Complimentary Valet Parking

LAMA's 20th Anniversary Auction

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Transcript of LAMA's 20th Anniversary Auction