December 11, 2011 Important Modern Art & Design Auction

Important Modern Art & Design December 11, 2011

1

PR E V IE W December 1 - December 10, 201110am - 6pm

AUC T ION Sunday, December 11, 2011 12pm (PST)

16145 Hart StreetVan Nuys, CA 91406

December 11, 2011Important Modern Art & Design Auction

December 1 - 10, 2011Preview for the Important Modern Art & Design Auction

© 2011 Modern Auctions, Inc. All rights reserved.

ISBN 978-0-9848067-0-6

front cover: Lot 194 John ChamberlainUNTITLED (SCULPTURE), 1962

back cover: Lot 272 Greene & GreeneLINEN PRESS, 1907

right: Lot 209 Charles & Ray EamesDCW PROTOTYPE CHAIR, produced prior to December 1945

3Every ten years or so an extraordinary collection comes up for auction in the Design world creating an exciting opportunity to acquire rare and important works. The Collection of Robsjohn-Gibbings designed furniture from the legendary Casa Encantada at Sothebys in 1981 comes to mind. As does the Fifty/50 auction at Sothebys in 1991 where a Wormley "Listen to me" sofa crossed the block at $4,500 and the Eames prototype DCW (the very same one in this catalogue on page 124) failed to make a $3,000 reserve. "The Chair" auction at Christies in 1997 saw a Prouve "Visiteur" chair sell for $4,140 and an Arad "Rolling Volume" rocking chair fail to find a buyer for only $20,000. At Christies' landmark Contemporary Art and Design auction in 2000, a Marc Newson "Lockheed Lounge" sold for a then staggering $105,000. Within five years, another example would achieve $1.6 million at Sothebys. At the time, each of these auctions were deemed to be expensive, yet by today's standard the prices seem quaint by comparison.

The catalogue before you, I believe, will one day be seen in the same context. Which rarity will be bought now only to be disbelieved in ten years? Will it be a time honored classic like The Noguchi Chess Table or Nelson Marshmallow? Or perhaps it will be one of the three masterworks by Timo Sarpaneva. Or maybe it will be something completely inconceivable. Whichever it may be, you have a very real opportunity to acquire that special piece that may never be offered again and will surely be coveted for ages to come. Don't miss out. Take some extra time; weigh your desires carefully; and then commit to greatness.

We at LAMA are all very proud of this collection of Design and Fine Art. Not just because of the superb examples like the Greene & Greene cabinet or the early John Chamberlain sculpture. But, mostly we are proud that we are fast becoming the auction house of choice for rare and important examples of Modernism. We thank all the sellers who trust us with their most valuabe objects and we especially thank the buyers who continue to support this ever expanding marketplace. Enjoy! PETER LOUGHREY, DIRECTOR

1

PAUL MCCOBBCOUCH

Model no. 3147Custom Craft, designed 195721.5” x 76” x 31”$2,000-3,000

2

PAUL MCCOBBHIGH BACK ARMCHAIR

Model no. 905 from the Symmetric GroupWiddicomb, designed circa 196235.5” x 28” x 28”$1,500-2,000

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3

PAUL MCCOBBPAIR OF ARMCHAIRS

Custom Craft, designed 1955From the Planner Group34.5” x 24.5” x 25”$2,500-3,000

4

PAUL MCCOBBBUFFET

Lane, designed circa 1961From the Delineator Group32” x 72.5” x 17.5”$3,000-5,000

5

PAUL MCCOBBGRUOP OF CHAIRS ( 10)

7000 Series chairsDirectional, designed 1955Each armchair 35” x 24” x 22.5”; Each side chair 34” x 18.5” x 20”

Literature: DIRECTIONAL DESIGNS BY

PAUL MCCOBB, 1956, PG 96 -7.

$2,500-3,500

78

PAUL MCCOBBDRESSER

From the Irwin CollectionCalvin, Grand Rapids, 1950sWood with marble top"Calvin, Paul McCobb Irwin Collection" label32.25” x 71.125” x 19”$3,000-5,000`

7

PAUL MCCOBBPAIR OF NIGHTSTANDS (2)

From the Irwin CollectionCalvin, Grand Rapids, designed circa 1950s"Calvin, Paul McCobb Irwin Collection" labelEach: 24.25” x 22” x 20”$1,500-2,000

6

PAUL MCCOBBCABINET

From the Calvin GroupCalvin, Grand Rapids, 1960sWalnut with brass legs"Calvin, The Calvin Group designed by Paul McCobb" label34.675” x 36.25” x 19”$1,500-2,000

10

DON S. SHOEMAKERDIAMOND LINE DESK

Señal, S.A., Morelia, Mexico, designed circa 1970sLaminated tropical woodsDon S. Shoemaker label verso30.25” x 68.5” x 47.5”$5,000-7,000

9

MILLARD SHEETSTABLE

Custom executed circa 1946 for the Scottish Rite Temple16.5” x 38” diameter$2,000-3,000

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11

STAN BITTERSFOUNTAIN

Hans Sumpf, executed circa 1996CeramicStamped “HSC BR”58.5” x 36” diameter$2,000-3,000

12

STAN BITTERSGROUP OF BIRD FEEDERS (4 )

Hans Sumpf, designed circa 1960Porous low-fire clay with cordFeeders A: 1.5” x 10.5”; B: 5.5” x 6”; C: 7” x 7”; D: 5” x 7.5”$1,000-1,500

13

HANS SUMPF CO.GROUP OF PLANTERS (4 )

Hans Sumpf Co., executed 1994-98Two stamped “HSC B-21-18 ‘98 RD”; one stamped “HSC A-18-10 ‘96 RD”; one stamped “HSC A-18-10 ‘94 RD”(2) 17.75” x 21” diameter (2) 10.5” x 18” diameter$1,800-2,500

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14

STAN BITTERSTABLE AND FOUR STOOLS

Hans Sumpf, executed circa 1977Table 21.25” x 27.25” diameter; Each stool: 13.25” x 12” diameter$4,000-6,000

16

STAN BITTERSTHUMB POTS (3)

Hans Sumpf, executed c. 2000-2002Marked "HSC B-18-15 2002"; "B-18-15 XHSC 2000" and "HSC B-18-15 2002 RX"Each: 15” x 18.5” diameter$2,000-3,000

15

STAN BITTERSPAIR OF SCRAPPED PLANTERS

Studio, executed circa 1990sA: Marked “C-24”; B: Marked “B-28”A: 26.25” x 23.5” diameter; B: 24” x 29” diameter$1,800-2,500

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17

PETER HVIDTDANISH CABINET AND SHELF

& Orla Mølgaard-NielsenJohn Stuart, Inc., designed circa 1960Retains “John Stuart Inc./Made in Denmark” brand66” x 53” x 18.75”$1,500-2,000

18

HANS J. WEGNER“ VALET ” OR “BACHELOR’S” CHAIR

Model no. JH-540Johannes Hansen, designed 195337.5” x 20” x 21”

Literature: DANISH CHAIRS, ODA ,

CHRONICAL BOOKS, 1999, PG 1 16 -1 17.

$8,000-10,000

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19

STIG LINDBERGPAIR OF LITHOGRAPHS AND 5 VESSELS ( 7 )

1956-1978Glazed ceramic and lithographF: #99 of 280; G: #56 of 200Ceramics: Gustavsberg, SwedenEach ceramic inscribed verso; each print signed and dated lower right; edition lower leftA: 8.75” x 3” x 3.5”; B: 7” x 5”; C: 6.625” x 3.75” x 3”; D: 3.5” x 5.5”; E: 3.75” x 3”; F: Image: 8.875” x 6.25”; Frame: 17.25” x 15.125”; G: Image: 10” x 8”; Frame: 18.5” x 15.125”$4,000-5,000

20

HANS WEGNERPAIR OF “ THE” CHAIRS

Model no. JH 501Johannes Hansen, designed 1949Marked “Johannes Hansen/ Copenhagen, Denmark”30” x 24.75” x 20.5”$1,500-2,000

21

HANS WEGNERPAIR OF “ THE” CHAIRS

Model no. JH 501Johannes Hansen, designed 1949Marked “Johannes Hansen/ Copenhagen, Denmark”30” x 25” x 20.5”$1,800-2,500

22

JENS QUISTGAARDFRUIT TRAY TABLE (2)

Dansk, designed circa 1956Each: 17.25” x 19.5” diameter$2,000-3,000

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24

ARNE JACOBSENPAIR OF SWAN CHAIRS

Model no. 3320Fritz Hansen, designed 1958Each chair stand with label, “FH Made in Denmark”Each: 30.5” x 30” x 26”$2,000-3,000

23

DANISH MODERNPAIR OF FLOOR LIGHTS

Designed circa 1950sEach 60.75” x 17” diameter with shade$1,500-2,500

25

BRUNO MATHSSONWORKING CHAIRS (2)

Dux, designed 1934Stamped “Bruno Mathsson Design Made in Sweden”Each: 32.5” x 19” x 22”

Literature: E IDELBERG, DESIGN 1935-1965:

WHAT MODERN WAS, ABRAMS, 1991 , PG 33.

$1,000-1,500

27

BRUNO MATHSSONSIDE TABLE

Karl Mathsson, designed 1961Retains “Bruno Mathsson/Karl Mathsson Firma” label and marked “Made in Sweden”13.75” x 20.5” x 20.5”$900-1,200

26

BRUNO MATHSSONOCCASIONAL TABLE

Karl Mathsson, designed 1961Stamped “Bruno Mathsson Design/Made in Sweden”23” x 41.25” diameter$1,500-2,000

28

BRUNO MATHSSONEVA CHAIR (4 )

Dux, designed 1934Each stamped “Bruno Mathsson Design Made in Sweden”Each: 33.25” x 23” x 25.5”

Literature: HABEGGER & OSMAN, SOURCE-

BOOK OF MODERN FURNITURE,

3RD EDITION, W W NORTON & COMPANY,

2005, PG 399.

$4,000-6,000

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30

CARL-HARRY STÅLHANEVESSELS (4 )

Rörstrand, Sweden, 1950s-60sGlazed ceramicEach with Rörstrand mark and “CHS” inscribed; Additional markings: A:”SYR”; B: ”CEB”; C: “SOl” ; D: “SOR” A: 12” x 2.5”; B: 8” x 3.25”; C: 9.25” x 4.75”; D: 6.5” x 6”$1,200-1,500

29

EVA STÆHR-NIELSENEVA STÆHR-NIELSEN VASE AND THREE ADDITIONAL SAXBO VESSELS (4 )

Executed circa 1940-60Glazed ceramicSaxbo, DenmarkEach with Saxbo, Denmark stamp, one signed “E St N”Tallest: 7.5”$1,800-2,500

31

MOROCCANHIGH PILE MOROCCAN ST YLE RUG

Designed circa 1950sWool101” x 60”$2,000-3,000

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32

ALVAR AALTODINING SUITE (8)

Artek, designed circa 1935Scandinavian Furniture, NY label on the extension.Comprised of a dining table, extension table and 6 chairsTable: 28” x 59” x 29.5”; Each chair: 30” x 16” x 17”; Extension: 28” x 29.5” x 29.5”$2,500-3,500

35

NANNA DITZELPAIR OF CHAIRS

Model no. OD 5301-2Odense, designed 1969FiberglassEach: 29.5” x 24.5” x 21.5”$1,000-1,500

34

YNGVE EKSTROMLAMINO LOUNGE CHAIR

Swedese, designed circa 1960Stamped “Swedese Yngve Ekstrom”Chair 41” x 27.25” x 32”; Ottoman: 18.75” x 23.25” x 18.5”$1,000-1,500

33

ALVAR AALTOBENCH

Artek, designed circa 193218.75” x 39.5” x 14.25”$1,000-1,500

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37

KAJ FRANCKFISH

Model no. 3450Nuutajärvi Notsjö, 1969Smoked-grey glassInscribed with artist, manufacturer and date4.5” x 8.75” x 3”$700-900

36

KAJ FRANCKCHIMES ( 10)

Nuutajärvi Notsjö, designed circa 1955CrystalDistributed by Frank Bros. Sold with original shipping boxLongest piece: 25.5”h$3,000-5,000

38

ILMARI TAPIOVAARAPIRKKA DINING SET ( 7 )

Laukaan Puu, Ltd., designed 1956Each with Tapiovaara stampTable: 27” x 70.5” x 31.5”; Each chair: 29.5” x 15.5” x 17.25”$4,000-6,000

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ILMARI TAPIOVAARAPAIR OF STOOLS

Laukaan Puu, Ltd., designed 1955Each with Tapiovaara stampEach: 13” x 17” x 11.25”$2,500-3,500

40

WILHELM KÅGEDRAWING AND 3 CERAMICS (4 )

1944-54Glazed stoneware with silver and ink drawing Ceramics: Gustavsberg, SwedenEach ceramic inscribed verso with model number; drawing signed and dated lower leftDrawing Image: 4.25” x 7.25”, Frame: 12.25” x 14.75”; Ceramics: 2.25” x 17.75”; 1.5” x 12.875”; and 9.5” diameter$5,000-7,000

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41

WILHELM KÅGE & STIG LINDBERGGROUP OF 3 SURREA GROUP VESSELS AND 2 VECKLA VESSELS (5)

Gustavsberg, Sweden , designed circa 1949PorcelainGustavsberg stamp verso of Veckla vasesTallest Surrea: 9.25”; Tallest Veckla: 6.25”



$4,000-5,000

42

BERNDT FRIBERGGROUP OF 12 VESSELS (3 VASES; 8 BOWLS; 1 JAR WITH LID)

Gustavsberg, Sweden, desidned circa 1950sEach with artist’s signature and studio mark versoA: 4.25” x 4”;B: 5.75” x 3.5”; C: 2.5” x 2”; D: 2.25” x 5.25”; E: 2” x 4.25”; F: 1.625” x 3.25”; G: 1.625” x 4”; H: 2.25” x 3.75”; I: 3.125” x 4.75”; J: 2.625” x 5.5”; K: 3.625” x 7.125”; L: 4.5” x 4.25”$5,000-7,000

44

MIGUEL BERROCALROMEO AND JULIET

1967Brass sculpture of 16 elementsEdition of 20005.5” x 7.75” x 5” assembled$2,000-3,000

43

FERNANDO BOTEROBOTERO AU PALAIS DES PAPES, AVIGNON

1993Bronze3.625” diameter x approx. .75" depth$2,000-3,000

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45

ANNIE LIEBOVITZJOHN AND YOKO, NEW YORK , DECEMBER 8

1980/1982Vintage chromogenic printImage: 14” x 14”; Frame: 21.25” x 20.25”$9,000-12,000

46

MAN RAYBONSOIR

1972Felt tip pen and pencil on paper19.75” x 12.75”

Provenance: ESTATE OF JULIET MAN RAY;

PRIVATE COLLECTION, LOS ANGELES

$3,000-5,000

47

MAN RAYRAYOGRAPH

1928; printed circa 1960Photograph on Agfa BraviraSigned in pencil lower right; Ink stamp verso “Epreuve originale/Atelier Man Ray/Paris”11.5” x 8.5”$5,000-7,000

48

ROBERT MAPPLETHORPECARNATIONS AND STRIPED VASE

1984Photograph#3 of 10Signed and dated lower right; edition lower leftImage: 15.25” x 15.25”; Frame: 28.5” x 27.5”$8,000-10,000

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50

DONALD SULTANDOMINOES

1990AquatintA.P. 8 of 10; aside from edition of 50Initialed, titled and dated left margin; edition lower rightImage: 11.25” x 7.875”: Sheet: 20.875” x 15”; Frame: 27.5” x 21.375”$1,500-2,000

49

JAMES LEE BYARSA WHITE PAPER WILL BLOW THROUGH THE STREETS

1967Offset lithographUnknown edition sizeAnnouncement for a performance the artist enacted at the Kyoto Museum in 1967.27” diameter (unframed)

51

BRUCE CONNERUNTITLED

1970Lithograph#3 of 99Signed and dated lower right; edition lower leftImage: 20” x 14”; With mat: 30” x 24”$800-1,200

Literature: J ELLIOTT, THE PERFECT

THOUGHT, BERKELEY, PG 84; JAMES

LEE BYARS, BÜCHER-EDITIONEN-

EPHEMERA , NEUES MUSEUM WES-

ERBURG BREMEN, 1995, #43; THE

PERFECT MOMENT, VALENCIA , SPAIN,

PG 292.

$2,000-3,000

52

DONALD JUDDUNTITLED

1978Aquatint#41 of 175Signed lower right; edition lower leftImage: 30.625” x 19.875”; Sheet: 40” x 29.5” (unframed)

Literature: SCHELLMANN AND JITTA ,

DONALD JUDD, PRINTS AND WORKS IN

EDITIONS: A CATALGUE RAISONNÉ, EDITION

SCHELLMANN, 1993, #97.

$3,000-5,000

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53

RICHARD SERRAPROMENADE NOTEBOOK DRAWING I I

2009Etching on Lanaquarelle watercolor paper#44 of 50Gemini, G.E.L., Los AngelesSigned and dated with edition lower rightSheet: 15.75” x 11.75”; Frame: 24.25” x 20.375”$3,000-5,000

54

RICHARD SERRAPROMENDADE NOTEBOOK DRAWING I I I

2009Etching on Lanaquarelle watercolor#42 of 50Gemini, G.E.L., Los AngelesSigned and dated with edition lower rightSheet: 15.75” x 11.75”; Frame: 18.375” x 14.375”$2,500-3,500

55

RAYMOND PETTIBONTHINKING OF YOU ( WITH 46 ADDED DRAWINGS)

1998Book with original ink and watercolor drawingsSpecial editionRenaissance Society of the University of ChicagoInscribed on inside of front coverRegular limited edition of catalogue for Pet-tibon’s exhibiiton at the Renaissance Socity in 1998 was 2000. This special edition features original drawings, overdrawing, and messages from the artist.12.25” x 9.25” x 1.25”$18,000-25,000

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56

RAYMOND PETTIBONUNTITLED (RED DRESS)

1991Oil on panelSigned and dated verso32.5” x 23.25”; Frame: 37.375” x 28”$40,000-60,000

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58

RAYMOND PETTIBONGIRL

1980sInk on paper“Raymond Pettibon” versoSheet: 11” x 8.5”$4,000-6,000

57

RAYMOND PETTIBONIF GOD IS ON OUR SIDE

1980sMixed media on paper“RP” versoSheet: 8.5” x 9.5”$5,000-7,000

59

RAYMOND PETTIBONUNTITLED (PLAY BALL !)

1989Silkscreen#58 of 65Signature and date lower right; edition lower left36” x 24.875”$3,000-5,000

60

ROBERT RAUSCHENBERGSLING SHOTS LIT #6

1985Lithograph and assemblage with sail-cloth, Mylar, wooden lightbox, window shade system, Plexiglas bars, and fluorescent light fixture#17 of 25Gemini, G.E.L., Los Angeles, publisherSigned, dated and titled with edition on signature plaque on lower left side of the lightbox84.5” x 56.25” x 12.5”

Literature: RAUSCHENBERG AT GEMINI ,

EXHIBITION CATALOG, ARMORY CENTER

FOR THE ARTS, 2010, PG 38.

$30,000-50,000

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62

ROBERT RAUSCHENBERGHORN (FROM THE STONED MOON SERIES)

1969Lithograph on Rives paper#30 of 58Gemini G.E.L., Los AngelesSigned and dated with edition lower rightStoned Moon was a series of 33 lithographsImage: 36” x 31.5”; Frame: 41.75” x 34.25”

Literature: FOSTER , ROBERT RAUSCHEN-

BERG: PRINTS 1948/70, MINNEAPOLIS

INSTITUTE OF ARTS, 1972, #72.

$2,000-3,000

63

ROBERT RAUSCHENBERGARCADE

1975Lithograph with collage and embossing on Kochi handmade paper#92 of 100Untitled Press Inc., Captiva Island, Florida, printer; LACMA Graphic Arts Council, publisherSigned and dated with edition lower right; blindstamps lower leftSold with print documentation.Sheet: 29.5” x 22.5”; Frame: 32.5” x 25”$1,500-2,000

61

ROBERT RAUSCHENBERGRESTORATION

2004Offset lithograph#50 of 160Storm and Ford, Tampa, printerSigned “BOB” with artist’s thumbprint middle right; edition and date lower right; signed in the plate lower leftImage/Sheet: 23.25” x 31.75”; Frame: 31.25” x 40”$3,000-5,000

65

JOHN BALDESSARISTONEHENGE ( WITH TWO PERSONS) GREEN

2005Mixografia print on handmade paper#37 of 60Mixografia, Los AngelesSigned and dated lower right; edition lower leftImage: 26.25” x 29.5”; Sheet: 28.5” x 31.5”; Frame: 31.25” x 34”

Literature: HUROWITZ, JOHN BALDES-

SARI : A CATALOGUE RAISONNÉ OF PRINTS

AND MULTIPLES, 1971-2007, HUDSON HILLS

PRESS, 2009, PG 410- 41 1 , #157.

$6,000-8,000

64

JOHN BALDESSARITWO WHALES ( WITH PEOPLE)

2010Screenprint on heavy wove paper#27 of 50Signed and dated lower right; edition lower leftImage: 30.125” x 23.625”; Sheet: 32.25” x 23.625”; Frame: 40.25” x 31.5”$5,000-7,000

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66

DAVID SALLECANFIELD HATFIELD, PLATES 3, 4, 6, AND 7

1989Softground etching, sugar lift aquatint, spit-bite and photo-etching on Somerset mouldmade paperEach Printer’s Proof #3 of 4Signed and dated lower right; edition lower leftEdition of 60 plus 10 artist’s proofsEach: Image: 23.5” x 36.125”; Sheet: 30.375” x 43.75”; Frame: 32.75” x 45.75”$3,000-4,000

68

JENS RISOMPAIR OF ARMCHAIRS (2)

Model no. 652UKnoll International, designed 194830” x 24.25” x 28”

Literature: KNOLL ASSOCIATES

(CATALOGUE), 1950, PG 23.

$2,500-3,500

67

HARRY BERTOIASLAT BENCH

Model no. 400-82Knoll International, designed 1952Retains Knoll International label15.25” x 82” x 18.25”$1,000-1,500

69

EERO SAARINENWOMB CHAIR & OTTOMAN

Model no. 70Knoll, designed 1948Chair: 34.5” x 38.5” x 38”; Ottoman 16” x 19.5” x 17.5”

Literature: LUTZ, KNOLL : A MODERN UNI-

VERSE, RIZZOLI , 2010, PG 1 16.

$1,000-1,500

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71

FLORENCE KNOLLOVAL TABLE DESK

Model no. 2480DKnoll, designed 1961Teak28” x 48” x 78”$2,500-3,500

70

EERO SAARINENCHAIRS WITH ASSOCIATED DINING TABLE

Chairs model No. 71ULB and 72 ULBKnoll, designed 1948Comprised of 6 Saarinen side chairs, 2 Saarinen armchairs and associated tableArmchairs: 32” x 25.25” x 21”; Each side chair 31” x 22” x 17.5”; Table 28.5” x 65” x 40”


VERSE, LUTZ, RIZZOLI , 2010, PG 1 18.

$2,500-3,500

73

MAX ERNSTHUGO GALLERY, NOV. 7 EXHIBITION PUBLICATION

1950Woodblock printUnknown edition sizeCover for an exhibition pamphlet or catalogue from 1950.Sheet: 11.5” x 9.625”; Frame: 15.25” x 13.25”$500-700

72

OSKAR FISCHINGERUNTITLED

1962Oil on canvasSigned lower right; dated lower leftCanvas: 32” x 40”; Frame: 32.75” x 40.75”

Provenance: FRANCES & DAVID ELTER-

MAN, ACQUIRED DIRECTLY FROM THE ART-

IST, CIRCA 1962.

$4,000-6,000

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75

LUDWIG MIES VAN DER ROHELOUNGE CHAIR

Model no. MRKnoll International, designed 1927Knoll International label32.75” x 23.5” x 36”$1,500-2,000

74

LE CORBUSIERCHAISE LONGUE

Model no. LC4Cassina, designed 1928; this example 197834” x 24.5” x 63”

Sold with Cassina Masters Collection catalogue$1,500-2,000

77

MARCEL BREUERCHAISE LOUNGE

Isokon, designed 1935-3632” x 25.375” x 52”$4,000-6,000

76

CHARLES RENNIE MACKINTOSHCURVED LATTICE BACK CHAIR

Model no. Willow 1Cassina, designed 1904; this example 197346.75” x 37” x 16.25”

Literature: CASSINA: THE MASTERS COL-

LECTION, SALES CATALOGUE, NO DATE,

PG 40.

$1,200-1,500

79

DAVID HOCKNEYSIX FAIRY TALES FROM THE BROTHERS GRIMM

1969Book with original etchings accompa-nied by six loose etchings (framed)Edition A # 14 of 100Signed with edition on “Editions” page in back matter of the book; Each loose etching signed in pencil lower rightEdition A loose etchings: (6) A wooded landscape (12) Rapunzel growing in the garden (17) Rapunzel, Rapunzel let down your hair (20) The sexten disguised as a ghost (35) A room full of straw (37) Pleading for the childPortfolio: 18.75” x 12.75” x 1.875”; Loose etchings: each sheet approx. 17.5” to 18” x 12”; Each frame: 24” x 18.375”$8,000-10,000

78

DAVID HOCKNEYRED WIRE PLANT

1998Etching and AquatintArtist Proof 5 of 10; aside from the numbered edition of 35 plus 10 Artist’s Proofs.Signed and dated lower right; edition lower leftImage: 23.5” x 29.5”; Sheet: 30” x 35.75”; Frame: 33.25” x 39”$9,000-12,000

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80

CHARLES & RAY EAMESLOUNGE CHAIR

Model no. 670Herman Miller, designed 1956Black leather and rosewood32.75” x 33.25” x 32”$1,500-2,000

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81

CHARLES & RAY EAMESLOUNGE CHAIR AND OTTOMAN

Model no. 670 & 671Herman Miller, designed 1956Black leather and rosewoodChair: 32.75” x 33.25” x 32”; Ottoman: 15.25” x 25.5” x 21”$2,000-3,000

82


Model no. 670Herman Miller, designed 1956Black leather and rosewood32.75” x 33.25” x 32”$1,500-2,000

83

ROY LICHTENSTEINBULL HEAD I I I

1973Lithograph, screenprint and line-cut on Arjomari paper#64 of 100Gemini G.E.L., Los AngelesSigned and dated lower right; blind-stamp lower right; edition lower leftImage: 21 x 28.5”; Sheet: 25” x 33; Frame: 30” x 38”

Literature: CORLETT, THE PRINTS OF ROY

LICHTENSTEIN: A CATALOGUE RAISONNÉ

1948-1993, HUDSON HILLS PRESS, 1994, PG

132, #125.

$10,000-15,000

84

ROY LICHTENSTEINCOMPOSITION IV

1995Screenprint on Rives BFK#109 of 120Brand X Editions, New York, printer; Roy Lichtenstein and Kennedy for Sen-ate, publishersSigned and dated lower right; edition lower center; printer’s blind stamp lower right of sheet (Brand X chop)Executed as a benefit to help retire the debt of Senator Ted Kennedy’s 1994 campaign.Image: 13” x 19.25”; Frame: 27” x 33.25”

Literature: CORLETT, THE PRINTS OF ROY

LICHTENSTEIN: CATALOGUE RAISONNÉ

1948-1997, 2ND REVISED EDITION, HUDONS

HILLS PRESS, NEW YORK, PG 263, #293.

$8,000-12,000

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85

CRASH (JOHN MATOS)DAREDEVIL

1994Gouache on paperSigned and dated lower rightImage/Sheet: 22” x 14.875”; Frame: 33” x 25.5”$1,500-2,000

87

PIERRE GUARICHE, ATTRIB-UTEDATOMIC COFFEE TABLE

Manufacturer unknown, designed circa 195513.5” x 34” x 34.5”$2,000-3,000

86

DAN COOPERBUTTERFLY TABLE

Designed circa 194214” x 22” x 20”$2,000-3,000

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88

MILO BAUGHMANCOFFEE TABLE

Glenn of California, designed circa 1955Walnut, lacquered Masonite, glass, metal14.125” x 47.625” x 29.75”$5,000-7,000

89

FREDERICK HAMMERSLEYCLEAVE (#2)

1979Oil on linenArtist’s label versoL.A. Louver Gallery, Venice, CA and Charlotte Jackson Fine Art, Sante Fe labels verso.Canvas: 45” x 45”; Frame: 46” x 46”$35,000-45,000

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90

JOHN MCCRACKENMOSTLY MOZART FESTIVAL

1972Serigraph posterUnknown editionList Art Posters, Lincoln Center for the Performing Arts, New YorkPoster: 75.5” x 33.875”; Frame: 82.75” x 42.75”$2,000-3,000

92

JIM ISERMANNUNTITLED

1985Acrylic on wood boardSigned and dated verso48” x 48” x 1.75”$4,000-6,000

JEFFREY VALLANCENORFOLK ISLAND HEAD

1983Enamel and soil on boardDated verso; signature likely obscured by Bess Cutler Gallery, New York label verso8.5” x 8.5”

Exhibited: THE WORLD OF JEFFREY VAL-

LANCE, SANTA MONICA MUSEUM OF ART,

1995

$2,000-3,000

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93

ROY MCMAKINPAIR OF SIMPLE CHAIRS (2)

Domestic Furniture Company, designed 198835.25” x 14.75” x 18”

Literature: THE ART OF ROY MCMAKIN,

RIZZOLI , 2010, PG 24.

$800-1,200

94

ROY MCMAKINSTOOL AND TABLE

Domestic Furniture Company, designed 1988Table 17” x 19” x 19”; Stool 12” x 14” x 11”$600-900

95

ROY MCMAKINROCKING CHAIR AND OTTOMAN

Domestic Furniture Company, designed circa 1986Chair: 33” x 25” x 31.5”; Ottoman: 13” x 18.75” x 18.75”$3,000-5,000

96

RICHARD HUTTENTABLE - CHAIR

Model no. dd-41Droog, designed 1991Beechwood28.5” x 23.5” x 23” and 18.5” x 15.75” x 15.75”

Literature: RAMAKERS, DROOG DESIGN:

SPIRIT OF THE NINETIES, 010 PUBLISHERS,

1998, PG 25.

$2,000-3,000

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97

SHIRO KURAMATASING SING SING CHAIR

XO, designed 1985Chrome-plated steel with wire meshStamped “XO”35.25” x 20” x 22.5”$1,500-2,000

98

RICHARD ARTSCHWAGERDOOR

1987Formica on wood with hardware#5 of 25Signed on Brooke Alexander, New York label verso17” x 25.25” x 5”$5,000-7,000

99

RICHARD ARTSCHWAGERMIRROR

1988Formica on wood#16 of 25Signed on Brooke Alexander, New York label verso30.875” x 24.75” x 4”$5,000-7,000

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100

MUHAMMAD ALI & JEFF KOONSGOAT: A TRIBUTE TO MUHAMMAD ALI

#600 of 1000; Champ’s EditionTaschen, 2004Hardcover book with clamshell box, four silver gelatin prints and a sculpture comprised of two inflatables and a stoolSigned by Ali and Koons. Silver gelatin prints signed by Howard L. Bingham and Ali.Clamshell box: 22” x 22” x 5.75”; Sculpture: 69” x 67”

Includes four signed and numbered sil-ver gelatin prints and Jeff Koons “Radial Champs” sculpture. This example is sold as new in original boxes.$7,000-10,000

101

JEFF KOONSBALLOON DOG (BLUE)

1995Cast porcelain with red reflective finishMuseum of Contemporary Art EditionsSigned verso with MoCA labelSold with original box and plate stands10.25” diameter$7,000-9,000C

opyr

ight

TA

SC

HEN

Gm

bH

102

FRANK O. GEHRYWIGGLE CHAIR

Easy Edges, designed 1972Corrugated cardboardSigned by Frank Gehry and retains Easy Edges label33.5” x 13.875” x 23”$500-1,000

103

FRANK O. GEHRYCUSTOM DESK

Custom designed, executed 1978In 1978, Gehry was commissioned to designed the law offices of Berger, Kahn, Shafton & Moss. This desk was de-signed for one of the partners reflecting the open, airy spaces of the lush office.29.25” x 50” x 90.5”

Illustrated: PROGRESSIVE ARCHITECTURE

(SEPTEMBER 1978), REINHOLD.

Literature: ANDREWS, FRANK GEHRY:

BUILDINGS AND PROJECTS, RIZZOLI , 1985,

PG 104 -109.

$15,000-18,000

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105

FRANK O. GEHRYPAIR OF LOUNGE CHAIRS

Easy Edges, designed 1972Corrugated cardboardEach: 29” x 23.75” x 32”$6,000-9,000

104

FRANK O. GEHRYLONGUE CHAIR AND OTTOMAN

Easy Edges, designed 1972Corrugated cardboard29” x 23.75”x 61” (with ottoman)$4,000-6,000

107

CHARLES ARNOLDIUNTITLED

1985Monotype#15 of 35Garner Tullis Workshop, Santa Barbara, printer; Los Angeles Graphic Arts Council, publisherSigned and dated lower right; edition and “L.A. G.A.C.” lower leftSold with print documentation.Image: 14” x 21.25”; Sheet: 20.5” x 26.5”; Frame: 23” x 29.5”$1,000-1,500

108

SHIRO IKEGAWASAKANA-NO-MITA-YUME I I

1973Intaglio on Arches paper#39 of 75Graphic Arts Council of the Los Angeles County Museum of ArtSigned and dated lower right; title lower left; edition lower middleSold with print documentation.Sheet: 30” x 22.5”; Frame: 31.5” x 23.75”$400-600

106

BILLY AL BENGSTONUNTITLED

1991Work on paperSigned and dated lower left; signed lower left “BAB/Venice 1991/11C”Image/Sheet: 13.375” x 30”; Frame: 16.5” x 33.25”$1,500-2,000

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109

ED MOSESTARANTULA WINDOW

1983Painted glass74.25” x 76.25”

Provenance: REBECCA’S RESTAURANT,

VENICE, CA; PRIVATE COLLECTION

(ACQUIRED IN 1998).

$6,000-9,000

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110

ODELBERG OLSENWORK CHAIR

Model no. T60Knoll, designed circa 1949Enameled metal, plywood31” x 15” x 18.5” (adjustable)

Literature: KNOLL ASSOCIATES

(CATALOGUE), 1950, PG 25.

$2,500-3,500

111

JEAN PROUVÉANTONY CHAIR

Designed 195433.5” x 19.5” x 27.5”

Provenance: WITH ANTHONY DELORENZO,

NEW YORK; PRIVATE COLLECTION, AC-

QUIRED FROM ABOVE C 1998-99.

Literature: JEAN PROUVÉ, GALERIE

JOUSSE SEGUIN, 1998, PG 148-149.

$15,000-20,000

112

PABLO PICASSOLITTLE BUST OF WOMAN

1964Red earthenware plaque#62 of 100MadouraStamped “Madoura Plein Feu Empri-ente originale de Picasso” with edition versoPlaque: 13” x 10”; Frame: 30.75” x 27.675”

Literature: RAMIÉ, PABLO PICASSO:

CATALOGUE OF THE EDITED CERAMIC

WORKS 1947-1971 , MADOURA , 1988, #523.

$18,000-25,000

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113

PABLO PICASSOMAT OWL PLATTER

1955Stamped and painted ceramicEdition of 450Madoura“Edition Picasso Madoura” verso with Madoura stampRamie #28415.25” x 12.25”

Literature: RAMIÉ, PABLO PICASSO: CATA-

LOGUE OF THE EDITED CERAMIC WORKS

1947-1971 , MADOURA , 1988, #284.

$7,000-9,000

116

PABLO PICASSOVISAGE (FACE) NO. 0

1963Earthenware plate with decorationEdition of 500MadouraMadoura stamps verso10” diameter



1947-1971 , MADOURA , 1988, #458.

$3,000-5,000

117

PABLO PICASSOVISAGE (FACE) NO. 144

1963Earthenware plate with decoration#103 of 150MadouraMarked “N. 144 Edition Picasso Madoura” with edition versoRamie #48010” diameter



1947-1971 , MADOURA , 1988, #480

$3,000-5,000

115

PABLO PICASSOPICADOR

#306 of 5001952Earthenware plate with decoration“Edition Picasso” verso8” diameter



1947-1971 , MADOURA , 1988, #160.

$2,000-3,000

114

PABLO PICASSOTROIS SARDINES

1948Glazed ceramic#37 of 200MadouraNumbered I113 with edition verso; Madoura Edition Picasso stamp versoRamie #3412.5” x 15.25”



1947-1971 , MADOURA , 1988, #34.

$9,000-12,000

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118

PABLO PICASSOSEA VIEW

1965Woolen tapestryUnknown edition sizeSlatkin Galleries“Picasso” woven lower right verso; “6.4.65” upper left72” x 90”$8,000-9,000

119

PABLO PICASSOSHORE

1965Woolen tapestryUnknown edition sizeSlatkin Galleries“Picasso” woven lower right verso; “6.4.65” lower middle70.5” x 92.5”$8,000-9,000

120

DALE CHIHULYGUILDED OPAL AND DEEP GARNET SCULPTURE

Custom, executed March 2004Blown glass chandelierStudioApproximately 5’ x 6’

Provenance: PRIVATE COLLECTION, SAN

DIEGO

$40,000-60,000

Detail of sculpture

7 3

In situ photograph by Tim Stahl

121

GEORGE NAKASHIMAMINGUREN I I SIDE TABLE

Studio, designed circa 1970American Black Walnut18” x 29.5” x 30.5”$8,000-12,000

7 5

122

GEORGE NAKASHIMAPAIR OF CHAIRS

Studio, designed circa 1955; this example made after 1962American Black WalnutEach: 32.75” x 32” x 28”$8,000-12,000

125

CHUCK CLOSEPHIL

1976Lithograph on Strathmore 3-ply paper#224 of 1000A. Colish Press, printer; Parasol Press, Ltd., New York, publisher; The Museum of Modern Art, New York, distributerEdition versoSold in original envelopeImage: 7.125” x 5.625”; Sheet: 8” x 8”$3,000-4,000

124

CHUCK CLOSEUNTITLED (SELF PORTRAIT )

1996Digital inkjet print on Arches Aquarelle cold press paperPrinter’s proof aside from edition of 10Signed lower middle; dated lower right; edition lower leftImage: 39” x 32.375”; Sheet: 47” x 35”; Frame: 55.75” x 43.75”$7,000-9,000

123

ANNIE LIEBOVITZDAVID BYRNE, LOS ANGELES, CALI-FORNIA

1986Cibachrome photographVisible: 9.375” x 11.375”; Frame: 21.25” x 18.25”$6,000-9,000

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127

ROBERT LONGOUNTITLED (PL . 13 FROM MEN IN THE CITIES)

2005Digital pigment print on Crane Portfolio rag paper#7 of 15Signed and dated lower right; edition lower leftImage: 40” x 26.5”; Sheet: 44” x 30.5”; Frame: 47.625” x 34.125”$6,000-9,000

126

ROBERT LONGOCINDY

2002Lithograph on Rives paper#26 of 120Signed and dated lower right; edition lower leftSheet: 46” x 30”; Frame: 51.75” x 35.75”$3,000-5,000

129

BRUCE COHENUNTITLED (INTERIOR WITH YELLOW TILE)

1983Oil on canvasSigned and dated versoJohn Berggruen Gallery, San Francisco label versoCanvas: 30” x 21.75”; Frame: 30.75” x 22.5”$3,000-5,000

128

BRUCE COHENUNTITLED (INTERIOR WITH IRISES)

1982Oil on canvasSigned and dated verso; Solomon R. Guggenheim Museum label for 1983 Exxon National exhibition verso; Asher/Faure gallery label verso.Canvas: 66” x 40”; Frame: 67” x 41”$7,000-10,000

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131

RICHARD ESTESAIRPORT

1981Serigraph on Fabriano CottoneAPParasol Press, New York, printer; Edi-tions Domberger, Stuttgart, publisherSigned lower right; edition lower leftEdition of 250; From Urban Landscapes IIIImage: 14” x 20”; Sheet: 19.5” x 27.25”; Frame: 34.5” x 26.5”$1,800-2,500

130

DAVIS CONEROXY/RAINY DAY

1994Serigraph#97 of 140Signed lower right; edition lower leftImage: 27” x 40.125”; Frame: 37” x 46”$700-900

132

JULIUS SHULMANCASE STUDY HOUSE #21 (PIERRE KOENIG WITH MODEL)

1960Archival Chromogenic print (Type C)Signed lower right20” x 16” (unframed)$3,000-5,000

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135

JULIUS SHULMANNEUTRA VDL (GARDEN HOUSE -- GAR-DEN ROOM LOOKING OUT TO PATIO)

Circa 1946Vintage gelatin silver printJulius Shulman and Richard Neutra stamps verso; Markings verso: “VDLA-1-2”; “P2 6,9”; “NVD-3”Image: 8” x 10”; Mat: 20” x 16” (unframed)$2,500-3,500

133

JULIUS SHULMANCASE STUDY HOUSE #22

1960Archival Chromogenic print (Type C)Signed and dated lower right20” x 16” (unframed)$3,000-5,000

134

JULIUS SHULMANSINGLETON HOUSE

1960Gelatin silver printSigned lower right20” x 16” (unframed)$3,000-5,000

137

LA GARDO TACKETTPLANTERS (2)

Model no. IN-01 (A) TH-01 (B)Architectural Pottery, designed circa 1949A: 8” x 12” diameter; B: 8” x 12” diameter$3,000-5,000

138

LA GARDO TACKETTGROUP OF PLANTERS (3)

A: Model no. T-104; B: Model no. SC-02; C: Model no. L-20Architectural Pottery, designed circa 1955A: 26” x 18”; B: 21.125” x 11.25”; C: 20” x 13.875”$2,000-3,000

136

REX GOODE“PIG” PLANTER WITH STAND

Model no. G-99LArchitectural Pottery, designed circa 194915.375” x 41.625” x 16.5”$3,000-5,000

8 3

139

LA GARDO TACKETTPAIR OF TRAYS

Studio, designed circa 1950s1.75” x 20.25” x 14.5” and 3” x 19” x 7.5”$1,000-1,500

141

LA GARDO TACKETTSCULPTURE AND BOWLS (3)

Studio, designed circa 1950sAnimal: 7.5” x 12.5” x 4”; Bowls: 1.5” x 6.75” diameter and 2.125” x 8.25” x 4.25”$1,000-1,500

140

LA GARDO TACKETTPITCHER AND SCULPTURE

Studio, designed circa 1950sPitcher: 9.5” x 10.5” x 5.5” Mask: 5” x 7” x 2.5”$1,000-1,500

143

KIPP STEWARTCHAISE AND TABLE (2)

Brown Jordan, designed circa 1960sBronze, yacht cord, glassChaise: 23” x 76” x 23”; Table: 15” x 24.5" diameter$1,000-1,500

142

WALTER LAMBDINING SET (6)

Brown Jordan, designed circa 1953Comprised of a table and 5 chairsBronze, glass and plastic cordTable: 28” x 48.5” diameter; Each chair: 32” x 18.5” x 21.5”$3,000-4,000

8 5

144

WALTER LAMBLOUNGE AND OTTOMAN

Model no. C-5700 and C-5706Brown Jordan, designed 1953Bronze and yacht cordChair: 29.75” x 24” x 27.5”; Ottoman: 20.25” x 23.25” x 18”$1,000-1,500

145

WALTER LAMBDINING CHAIRS (6)

Model no. C-1700A and C-1700Brown Jordan, designed 1953Bronze and yacht cordEach armchair: 32.25” x 21.5” x 23.5”; Each side chair: 30.75” x 18.5” x 21.5”$2,500-3,500

148

THEODORE ROSZAKUNTITLED (SCULPTURE)

BronzeSpecial commission for the Yale & Towne Manufacturing Company, New York#247 in paint on versoSold with photograph of the artistapprox. 27.5” x 18” x 4.5”$15,000-20,000

146

BRUCE NAUMANUNTITLED (GREEN)

1971Lithograph#68 of 100Signed and dated with edition lower rightSheet/Image: 22.5” x 28”; Frame: 23.75” x 29.25”$1,500-2,000

147

BRUCE NAUMANUNTITLED (PINK)

1971Lithograph#52 of 100Signed and dated with edition lower rightSheet/Image: 22.5” x 28”; Frame: 23.75” x 29.25”$1,500-2,000

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151

HANS HARTUNGABSTRACT COMPOSITION #05 AND #06 (2)

1947Etching#7 of 25; #9 of 25Each signed lower right; edition lower leftEach plate: 6.25” x 4.5”; Frame: 13.75” x 12”

$1,800-2,500

150

JAMES COIGNARDUNTITLED

Circa 1978Bronze sculpture on wood base#7 of 8Guyot, foundrySigned with edition verso; Foundry stamp versoWith base: 13.75” x 7.75” x 3”$1,200-1,500

HENRY GUERRIEROOTHER SIDE OF NOTHING

1968BronzeLabel on box says it was acquired for Silvan Simmone gallery and exhibited in Henry Guerriero in December of 1970 at Fisher Gallery and at the Phoenix Art Museum and Santa Barbara Art MuseumWith base: 10” x 3.25” x 2.5”$800-1,200

152

ROBERT GRAHAMELISA

1993-94Bronze on a footed pedestalFrom the edition of approximately 1259.8" x 16" x 16"$40,000-60,000

In the history of Western art, the subject of the human body is enduring. Throughout the latter half of the 20th century, California sculptor Robert Graham (1938-2008, born Mexico City, Mexico) contributed to the tradition of the nude with an approach that melds realism with expressive force. Some of his most notable sculptures include large-scale public commissions such as the Olympic Gateway depicting two headless athletes for the 1984 Olympiad in Los Angeles and the Joe Louis Memorial in downtown Detroit (1986). For the “Eight Statues” exhibition at Gagosian Gallery in New York in 1994, Graham created a series of female nudes in various poses. Characteristic of Graham’s treatment of the female body, one of these forms, the cast bronze Elisa (1993), is a realistically rendered portrait nude of a young woman. A self-contained and confident figure atop a flawless architectural column and base, the work is a synthesis of classical form and a modern perspective.

Literature:Robert Graham. Robert Graham Studio, 2008. Web. 22 Oct. 2011.

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154

SAM MALOOFSIDE TABLE

Studio, executed circa 1950Stamped in the drawer14.5” x 29.75” x 29.75”$6,000-8,000

155

SAM MALOOFBENCH WITH CORK TOP

Studio, circa 1950sWalnut and corkStamped verso15.125” x 28.375” x 13”$3,000-5,000

153

SAM MALOOFCUSTOM CABINET

Studio, designed for Edward Fickett circa 1965WalnutStamped verso36.25” x 51.5” x 20.75”

Provenance: EDWARD FICKETT, FAIA ,

CALIFORNIA;

PRIVATE COLLECTION, CALIFORNIA

$10,000-15,000

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156

SAM MALOOFCUSTOM DINING TABLE

Studio, executed circa 1958Walnut28.5” x 72” diameter$30,000-50,000

159

GERTRUD & OTTO NATZLERBOWL

Studio, executed 1958Glazed ceramicSigned "Natzler" and retains paper inventory label “J748”3.75” x 8.25”

Literature: FORM AND FIRE: NATZLER

CERAMICS 1939-1972, SMITHSONIAN INSTI-

TUTE, 1973, PG 108.

$5,000-7,000

161

MARILYN LEVINETROMPE-L’OEIL LEATHER POUCH

1982Stoneware with leather stringSigned and dated “82-5B”approx. 5” x 5” diameter$2,000-3,000

157

HARRISON MCINTOSHBOTTLE VASE

Studio, executed circa 1960StonewareHM stamp and "Harrison McIntosh Handthrown Stoneware Claremont" paper label on bottom with #824714” x 8” diameter; wood stand: 1.75” x 7.5” x 7.5”

Sold with Harrison McIntosh Retrospec-tive Exhibition catalogue from 1979$3,000-5,000

158

HARRISON MCINTOSHLIDDED JAR

Studio, executed circa 1960StonewareHM stamp and "Harrison McIntosh Handthrown Stoneware Claremont" paper label on bottom with #83679” x 6.5” diameter$3,000-5,000

160

GERTRUD & OTTO NATZLERBOWL

Studio, circa 1965Glazed ceramicSigned "Natzler"3.75” x 4”$3,000-5,000

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163

ELLAMARIE WOOLLEYINTERSECTION (648)

Circa 1970Acrylic on canvasSigned, dated and numbered on stretcherCanvas: 39.5” x 28.75”; Frame: 40.5” x 30”$2,000-3,000

162

DAVID PLANTTADZIO

Studio, executed circa 1958Glazed ceramic tile mosaicSold with Craftsmanship exhibition catalog.61.5” x 16” x 2”

Literature: CRAFTSMANSHIP, LOS AN-

GELES COUNT Y MUSEUM, 1958, PG 21-22,

#1 16.

$2,000-3,000

164

ED RUSCHACARP WITH FLY

1969Lithograph on Arches paper#5 of 20Tamarind Lithography Workshop, printer and publisherSigned and dated lower right; edition lower leftSheet: 17” x 24”; Frame: 19.25” x 26.25”

Literature: ENGBERG AND PHILLPOT,

EDWARD RUSCHA: EDITIONS 1959-1999

CATALOGUE RAISONNÉ, WALKER ART CEN-

TER , 1999, #11 .

$9,000-12,000

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165

ED RUSCHALISP

1970Lithograph on Arches paper#30 of 90Cirrus Editions, Los Angeles, printer; Cirrus Editions, Los Angeles, and Brook Alexander, Inc., New York, publishersSigned and dated with edition lower left; gallery label versoSheet: 20” x 28”; Frame: 22.75” x 30.75”




TER , 1999, #43.

$8,000-10,000

166

ED RUSCHADROPS

1971Lithograph on Arches paper#73 of 90Cirrus Editions, Los Angeles, printer: Cirrus Editions and Brooke Alexander, Inc., New York, publishersSigned and dated with edition lower leftSheet: 20” x 27.75”; Frame: 22” x 30.75”




TER , 1999, #54.

$8,000-10,000

167

ED RUSCHAROADRUNNER , STATE I I

1998Lithograph on Rives BFK paperA.P. B; aside from edition plus 4 artist’s proofsSigned and dated lower right; edition and state lower leftWorkshop chop mark lower left; workshop number reverse lower right, EH457II-98ERSheet/Image: 30.125” x 22.5”; Frame: 34.5” x 26.5”




TER , 1999, #27 7.

$5,000-7,000

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169

ED RUSCHAPICK , PAN, SHOVEL

1980Lithograph on white Arches Cover paper#21 of 100Cirrus Editions Ltd., printer; Graphic Arts Council of the Los Angeles County Museum of Art, publisherSigned and dated lower right; edition lower leftSold with print documentation.Sheet: 22.125” x 30.125”; Frame: 24.25” x 32”




TER , 1999, #107.

$2,500-3,500

170

ED RUSCHAEASY AND LONELY

1999LithographA.P.A.Signed and dated lower right; edition lower leftImage: 12.25” x 22.5”; Sheet: 19.25” x 29”; Frame: 22.25” x 32.25”$5,000-7,000

168

ED RUSCHAIT ’S RECREATIONAL (FROM THE WORLD SERIES)

1982Lithograph on Arches 88 paper#24 of 40Gemini G.E.L., Los Angeles, printer and publisherSigned and dated lower right; edition lower leftSheet/Image: 25” x 34”; Frame: 30.75” x 40”




TER , 1999, #118.

$4,000-6,000

171

ED RUSCHABOOK RETURN

1994Etching on Dieu Donne handmade paper#21 of 40Limestone Press, San Francisco, printer; Hine Editions/Limestone Press, San Francisco, publisherSigned and dated lower right; edition lower leftImage: 14.75” x 11.25”; Sheet: 23.25” x 19.75”; Frame: 31” x 27”

Literature: ENGBERG AND PHILLPOT, EDWARD

RUSCHA: EDITIONS 1959-1999 CATALOGUE RAI-

SONNÉ, WALKER ART CENTER , 1999, #225.

$2,500-3,500

174

ED RUSCHATWENT YSIX GASOLINE STATIONS

1963/67Second edition of 500Published by the artist



SONNÉ, WALKER ART CENTER , 1999, #B1 .

$1,500-2,000

172

ED RUSCHA“BILLY ”

1968Exhibition catalogue with felt letters mounted to sandpaper cover, machine screw and nut binding, and satin ribbon page markerFirst edition of 2500Published on the occasion of the 1968 exhibi-tion, “Billy Al Bengston”, at the Los Angeles County Museum of Art. Designed by Ed Ruscha with text by James Monte.9” x 11”

Literature: ANDREW ROTH, ED, THE OPEN BOOK,

2004, PG 198.

$800-1,200

173

ED RUSCHAEVERY BUILDING ON THE SUNSET STRIP

1966/71Second edition of 5000Published by the artistSold with original Mylar slipcase



SONNÉ, WALKER ART CENTER , 1999, #B4.

$800-1,000

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175

VARIOUS AUTHORSCOLLECTION OF ART DECO AND BAUHAUS BOOKS (27 )

1928-1995

Titles: The Machine Age in America (1986), American Art Deco (1986), Walter Dorwin Teague’s Design This Day (1940), Norman Bel Geddes’ Magic Motorways (1940), Norman Bel Geddes’ Horizons (1932/1977), Raymond Hood Architect: Form Through Function in the American Skyscraper (1973), Twentieth Century Limited: Industrial Design in America, 1925-1939 (1979), Art Deco Style (1983), Donald Deskey: Decorative Designs and Interiors (1987), Pierre Chareau: Designer and Architect (1992), Depression Modern: The Thirties Style in America (1975/1988), Michel Dufet au Musée Bourdelle (1984), Clarice Cliff (1976), The 1920s: Age of the Metropolis (1991), Paul T. Frankl’s New Dimensions: The Decora-tive Arts of Today in Words and Pictures (1928), Sonia Delaunay: Fashion and Fabrics (1991), The Bauhaus (1991), The Bauhaus Reassessed (1985), Marcel Breuer: Furniture and Interiors (1981), Masters of World Architecture: Walter Gropius (1960), Bauhaus 1919-1928 (1938/1984), Mies van der Rohe (1947/1978), Neues Bauen in Deutschland (1952), Modern Architecture in Germany (1952), Le Corbusier et Pierre Jeanneret (1935), Designing Modernity: The Arts of Reform and Persuasion (1995), Power in Building (1953)$1,000-1,500

176

VARIOUS AUTHORSCOLLECTION OF MODERN FURNITURE AND ARCHITEC-TURE PUBLICATIONS (27 )

1945-1993

Titles: Tomorrow’s Small House (1945), Yesterday’s Houses of Tomorrow (1991), 20th-Century Architecture (1989), Decorating for Modern Living (1974), Postwar Interior Design: 1945-1960 (1987), Keck & Keck (1993), Tomorrow’s House (1945), Homes (1947), Masters of Modern Architecture (1958), McCall’s Book of Modern Houses (1951), Plastik Welten (1985), Design Source Book (1986), Mid-Century Modern (1984), Furniture Modern + Postmodern (1990), Furniture 2: Neoclassic to the Present (1981), Quaderni di Domus 1: I Libri Nella Casa (1945), Quaderni di Domus 2: Gli Studi Nella Casa (1945), Contemporary Furniture (Jens Risom catalog), Design: A Creative Approach (1953), Charles Eames Furniture from the Design Collection of the Museum of Modern Art, New York (1973), Arne Jacobsen A Danish Architect (1971/72), An Exhibition for Modern Living (1949), Quaderni di Domos 5: L’Illuminazione Della Casa (1946), Ein Möbelbuch (1932), The Conran Directory of Design (1985), Sourcebook of Modern Furniture (1988), Möbel & Wohnraum Meubles & Aménagements Intéri-eurs (1946), Art Plastic: Designed for Living (1984)$1,000-1,500

179

HENRY VAN DE VELDEGROUP OF 8 ART NOUVEAU TILES

Alexandre Bigot, circa 1900-1910Glazed ceramic with low reliefThree with Bigot’s castle mark verso.Each: 6.75” x 8”$8,000-12,000

177

JOSEF HOFFMANNVER SACRUM POSTCARDS (9)

1898LithographVerlag v. Gerlach & Schenk, WienComprised of postcards by Josef Hoffmann, Kolo Moser and Adolf Böhm(7): 5.5” x 3.5”; (2): 3.5” x 5.5”; Framed together: 20.25” x 16.25”$3,000-5,000

178

HENRI SAUVAGEMOLDED TILE

Alexandre Bigot, circa 1900Glazed ceramic11.875” x 13”

Literature: YVONNE BRUNHAMMER ET

AL , ART NOUVEAU BELGIUM FRANCE,

EXHIBITION CATALOGUE, RICE MUSEUM,

HOUSTON, 1976, PG 157, # 200.

$800-1,200

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181

HECTOR GUIMARDGROUP OF 4 BRONZE DOOR HANDLES AND ONE BELL PLATE

Circa 1909-1912Gilded bronzeEach handle: 4” x 1.5” x 2.625”; Plate: 3.5” x 3.75”$2,000-3,000

180

JOSEF MARIA OLBRICHTABLE

Circa 1900Wood table with metal leaf decoration31.5” x 39.5” x 25.25”$8,000-10,000

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182

ARMAND-ALBERT RATEAUCHAIR WITH HINGED BACK

Designed circa 1925Oak, ebony veneer, silk, and strawSigned underneath and marked "7193-7248"Open: 34” x 17” x 17”$15,000-20,000

183

MILTON AVERYNUDE COMBING HAIR

1930Gouache on paperSigned lower centerSheet: 24” x 17.5”; Frame: 30.25” x 24”$20,000-30,000

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184

MILTON AVERYTRANSITO

1946Watercolor on paperSigned and dated lower rightPainted in Mexico. Accompanied by a photo certificate from the artist’s wife, Sally M. Avery, dated 10/20/74.Sheet: 19.5” x 25.625”; Frame: 32” x 38”$20,000-30,000

185

MILTON AVERYUNTITLED

1950Work on paperSigned and dated in pencil lower leftSheet: 17” x 22”; Frame: 25.5” x 29.25”$18,000-25,000

187

TOMMI PARZINGERCHAISE LONGUE

Possibly Charak Modern, designed circa 1940s30” x 67” x 26.5”$5,000-7,000

186

T. H. ROBSJOHN-GIBBINGSCOFFEE TABLE

Widdicomb, designed circa 1950sRetains “Widdicomb designed by T.H. Robsjohn Gibbings” label15.25” x 60” x 23”$2,000-3,000

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188

T.H. ROBSJOHN-GIBBINGSPAIR OF SANS EPOQUE TABLES

Custom, designed circa 1930Retains “Sans Epoque Robsjohn- Gibbings” stamp25.75” x 15” x 15”$20,000-30,000

Responsible for designing over 200 pieces of furniture in Hilda Boldt Weber’s Bel Air mansion Casa Encantada, British designer and writer T.H. Robsjohn-Gibbings (1905-1976) brought a fresh interpretation to neo-classical furniture design to the mid-20th century. While studying in London, Robsjohn-Gibbings gained experience as a draftsman and then continued his formal education at the University of Liverpool, London University, and the Slade School of Fine Art. He moved to New York to pursue a career with the Elizabethan furniture importer, Charles of London, where his design sensibility took shape. The designer’s lifelong fascination with classical design was showcased at his newly opened Madison Avenue studio with his first line of furniture, Sans Epoque, described by Robsjohn-Gibbings as “a new form of clear-cut beauty based on

ancient traditions of purity of line…form without period because pure beauty is everlasting.” It was at Casa Encantada that Robsjohn-Gibbings was given the opportunity for the Sans Epoque philosophy to flourish. Working closely with the Peterson Studios in Santa Barbara, he supplied Greek, Roman, and Egyptian-themed furniture for each of the sixty-four rooms, including this pair of Cupid end tables. In 1986, some of Robsjohn-Gibbings’ era-defining designs from Casa Encantada were featured in High Styles: Twentieth-Century American Design at the Whitney Museum of American Art.

Literature: Head, Jeffrey. “T.H. Robsjohn-Gibbings.” Modern Americana: Studio Furniture from High Craft to High Glam. Ed. Todd Merrill and Julie V. Iovine. New York: Rizzoli, 2008. 194-205. Print.

189

RICHARD NEUTRADINETTE TABLE

Custom designed, circa 194627.5” x 52” x 37”

Provenance: MODERN TIMES, LOS ANGELES;


$5,000-7,000

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190

RODNEY WALKERCUSTOM COFFEE TABLE

Executed circa 1950Wood with Formica laminate top10” x 80” x 42.25”

Designed and built by Rodney Walker and pictured in the September, 1952 issue of House Beautiful in the Walker family home on Mulholland Drive in Los Angeles, where they lived from 1951 to 1956. Also part of the interior design of Walker’s family home in Ojai, where the family lived from 1958 to 2003.

Provenance: CRAIG WALKER , CALIFORNIA;


Literature: HOUSE BEAUTIFUL, SEPTEM-

BER 1952.

$5,000-7,000

191

MITCHELL BOBRICKCONTROL LIGHT

Controlight, Inc., designed circa 1950Retains “Controlight” label30.5” x 18” x 19”$3,000-5,000

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193

YNEZ JOHNSTON AND ADAM MEKLERPLATE AND BOWL

Glazed ceramicSigned versoPlate: 6.75” diameter; Bowl: 1.75” x 8.375" diameter$2,000-2,400

192

LEONARD EDM0NDSONBOWLS (2) AND ETCHINGS (2)

1952-53Etching A: #10 of 50Both etchings signed and dated lower margin; both ceramics signed, one dated.Etching A plate: 7.875” x 2.875”; Frame: 13.25” x 7.5”; Etching B plate: 6.875” x 2.875”; Frame: 11.25” x 7.25”; Ceramic A: 5.25” x 7.125” diameter; Ceramic B: 5” x 6.25” diameter$2,000-3,000

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194

JOHN CHAMBERLAINUNTITLED

1962Mixed media relief on panelSigned and dated lower right; Leo Castelli, New York label verso.Relief: 12” x 12” x 5”; With mount: 17” x 17” x 7.25”

Provenance: LEO CASTELLI , NEW YORK;

BETT Y ASHER , LOS ANGELES (ACQUIRED

FROM CASTELLI IN 1962); PRIVATE COL-

LECTION, LOS ANGELES (ACQUIRED FROM

ASHER C 1970).

$150,000-200,000

For over fifty years, John Chamberlain (b. 1927) has been constructing welded metal sculptures using crumpled and distorted automobile parts. In a recent New York Times interview, Chamberlain wished his claim to fame was having a drink with Billie Holiday, though it is his innovative, “articulate wadding” that has earned him international acclaim. After studying sculpture at the Art Institute of Chicago and Black Mountain College in Asheville, North Carolina in the 1950s, he began working primarily with car parts. He recalls, “It was like, God, I finally found an art supply, and it was so cheap it just made you laugh.” In 1961, the same year he was invited to participate in the São Paulo Biennale, his sculpture was included in an important survey exhibition, The Art of Assemblage at the Museum of Modern Art, New York. The influential Leo Castelli Gallery in New York began showing Chamberlain’s work in 1959, and Chamberlain had a solo show there in January of 1962. As he continued to construct the large-scale automobile sculptures that became his trademark, Chamberlain experimented with some of the same materials in smaller, mixed media relief sculptures. Untitled (1962) is a complex tangle of rusted metal scraps exploding from a canvas of stapled brown paper. Its willful disorder evokes Chamberlain’s early experimentation with poetry at Black Mountain College, where he explored the visual combination and structure of the words on the paper, and is characteristic of his continually evolving engagement with the process of assemblage. Chamberlain was honored with major retrospectives at the Solomon R. Guggenheim Museum, New York in 1971, the Museum of Contemporary Art, Los Angeles in 1986, and the Staatliche Kunsthalle, Germany in 1991. Now 84, he is still creating massive, mangled sculptures at his Shelter Island, New York studio with the help of Belgian fabricators. A career-spanning exhibition at the Solomon R. Guggenheim Museum in New York is slated for 2012. Guggenheim is slated for the near future. Chamberlain is currently represented by Gagosian.

Literature:Cohen, David. “The Probity of Modernism: Collages by John Chamberlain and Alfred Leslie.” Artcritical.com. Art Critical, 12 Nov. 2010. Web. 1 Nov. 2011.“John Chamberlain.” Guggenheim Museum. The Solomon R. Guggenheim Foundation, 2011. Web. 30 Sept. 2011.Kennedy, Randy. “A Crusher of Cars, a Molder of Metal.” Nytimes.com. New York Times, 8 May 2011. Web. 1 Nov. 2011.

195

RICHARD MCLEANRUN RUN

1963Oil on canvasSigned and dated lower middle; signed, titled and dated versoCanvas: 60” x 55”; Frame: 60.5” x 55.5”$3,000-5,000

196

ANDRES SEGOVIAUNTITLED (STILL LIFE)

1950sOil on MasoniteSigned upper leftCanvas: 31” x 38.5”; Frame: 40.25” x 47.75”$1,500-2,000

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198

RAYMOND PARKERTRAP

1950Oil on MasoniteSigned lower right; signed with title and date verso31.625” x 47.75”$3,000-4,000

197

RAYMOND PARKERUNTITLED

February 16, 1959Oil on canvasSigned and dated verso; partial "Martin Widdifield Gallery" label verso70” x 74.25”$20,000-30,000

199

JONAS WOODEWING’S CARD

2005Gouache and pencil on Rives BFK paperSigned and dated with title versoImage: 27.75” x 20.25”; Sheet: 30.25” x 22.25”$4,000-6,000

Muted suburban interiors, minimalist potted plants, and legendary athletes comprise the subject matter of contemporary painter Jonas Wood (b. 1977, Boston). A Los Angeles resident, Wood’s paintings evoke the abstraction of Cubism, the geometry of Alexander Calder’s mobiles, and Andy Warhol’s treatment of popular culture. According to art critic Roberta Smith, Wood’s canvases, slightly distorted images from his own life, create a “highly personal but impersonally observed reality.” Wood has earned critical acclaim through his solo exhibitions at the Hammer Museum and various New York and Los Angeles galleries, in addition to work on display at the Museum of Modern Art in New York and the Museum of Contemporary Art in Chicago. Wood’s paintings are immediately accessible, most notably his athletic trading card portraits likely based on cards scattered among the books and clutter found in

his other paintings. He transforms the original photographs of Kareem-Abdul Jabar, Rasheed Wallace, and Patrick Ewing into larger two-dimensional representations; the expressions more intense, the colors richer, and the celebrities transfigured into the artist’s childhood memory of his favorite players. In Ewing’s Card (2007), the legendary player merges into a surreal background, the team name is reduced to warped shapes, and even the NBA logo is slightly askew, yet Ewing’s unmistakable scowl and vice grip on the ball dominate the composition.

Literature:Smith, Roberta. “Paintings by Jonas Wood.” Nytimes.com. New York Times, 17 March 2011. Web. 23 Oct. 2011.Peippon, Corrina. “Jonas Wood.” Hammer.ucla.edu. Hammer Museum, 2010. Web. 23 Oct. 2011.

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200

TOM SACHSHELLO KITT Y

Circa 2000Acrylic and pencil on gift box lid16” x 18.25” x 1.75”$8,000-12,000

Barneys New York in 1994 had one of the most provocative Christmas storefront windows in the city. Shoppers were greeted with three Bart Simpson wise men, a McDonald’s stamped stable, and a Hello Kitty Virgin Mary. This was the holiday ruse of Tom Sachs (b. 1966), a Westport, Connecticut-born artist whose fascination with consumerism and luxury goods became the basis of his work. Sachs explained, “I started out doing work about brands as a way of investigating my feelings about luxury goods: wanting them, being offended by them, both at the same time.” Prior to opening his studio, Allied Cultural Prosthetics, in New York’s machine district, Sachs improved his fabrication skills during an internship at Frank Gehry’s workshop in Los Angeles. After his 1994 Barneys display, Sachs began exhibiting his “cultural prosthetics,” homemade grenades and guns branded with high fashion logos, at New York and Parisian galleries. While many of his pieces are inoperable, Sachs has constructed working objects: firearms, Knoll furniture from discarded phone books, a grand piano, and a refrigerator. According to Sachs, his career-spanning attraction to Hello Kitty and her friend Miffy stems from the cartoon icons’ “almost Buddhist sense of nothingness.” At a first-floor exhibit in New York’s Lever House, Sachs installed two 10-foot crying Hello Kitty and Miffy fountains with water pouring from their eyes. The white-painted bronze Crying Hello Kitty (2008) was placed in front of the Eiffel Tower. Hello Kitty (circa 2000), a Gucci hatbox lid with the familiar feline painted on the underside, is exemplary of Sachs’ subversive commentary of consumerist iconography.

Literature:Sheets, Hilarie M. “This Is His Life: A Blue Whale and Hello Kitty.” Nytimes.com. New York Times, 4 May 2008. Web. 23 Oct. 2011.Tom Sachs. Tom Sachs Studio, 2011. Web. 23 Oct. 2011.

201

TIM HAWKINSONUNTITLED (DOUBLE FLAGS)

1990United States flags and gingham napkin on canvasSigned and dated verso22” x 21”$6,000-8,000

Employing technical skills that rival those of a mechanical engineer, a special effects wunderkind, or Frankenstein, Tim Hawkinson (b. 1960) creates some of the most visually stunning and detailed works in contemporary art. Born in San Francisco, he attended San Jose State University and then received his MFA from the University of California, Los Angeles. Heavily influenced by Charles Ray, Marcel Duchamp, and Mike Kelley, Hawkinson began constructing pieces using found materials and his own ingenuity. Distinctly inventive in his technique and use of everyday materials, he explores existential themes of human consciousness, the passing of time, and our relationship with the objects we create and consume. Hawkinson frequently incorporates himself or his own body parts into pieces. Alter (1993), a depiction of the artist’s skeleton that he created by covering himself with sticky fabric he then rubbed with pastel, resulted in “a hybrid [of] an X-ray and the Shroud of Turin.” At a solo exhibition at New York’s Ace Gallery, Hawkinson unveiled some of his large-scale amalgamations, including a massive cardboard and vinyl bagpipe that played melodies such as “Amazing Grace,” and Penitent (1994), a rawhide dog chew human skeleton with plastic bottle lungs that emit a whistling sound. While the capricious Hawkinson utilizes a multitude of materials and subject matter, the careful manipulation of seemingly lifeless objects is at the forefront of each piece. According to Lawrence Rinder, “Hawkinson himself is far more inclined to speak about his materials and techniques than to address the thematic aspects of his work.” In Envelope after Simone Martini (1990), which is described in the catalogue for Hawkinson’s mid-career retrospective at the Los Angeles

County Museum of Art and the Whitney Museum of American Art, he uses a defunct envelope – hall table clutter destined for the recycling bin – and re-imagines the cancellation stamps as halos of saints in Martini’s Annunciation. In Untitled (Double Flags) (1990) Hawkinson offers a contemporary reinterpreta-tion of the American flag, a recurring theme in modern art that has been explored by Jasper Johns and Roy Lichtenstein. By carefully stitching together two flags and a checkered pattern as ubiquitous as the flag itself, he questions our tendency to demote this symbol of freedom to something closer to Americana.

Literature:Rinder, Lawrence. “My Favorite Things.” Tim Hawkinson. Ed. Lawrence Rinder. New York: Whitney Museum of American Art, 2004. 15-27. Print.Fox, Howard N. “Speaking in Tongues: The Art of Tim Hawkinson.” Tim Hawkinson. Ed. Lawrence Rinder. New York: Whitney Museum of American Art, 2004. 30-41. Print.

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203

JAMES FRANCOUNTITLED

2005Oil on canvasSigned versoLacy Primitive and Fine Art, Los Angeles label versoCanvas: 60.25” x 48.25”; Frame: 60.75” x 48.75”$8,000-10,000

202

TIM HAWKINSONENVELOPE AFTER SIMONE MARTINI

1990Ink on envelopeSigned and dated versoEnvelope: 8.875” x 11.875”; Frame: 12.625” x 15”

Literature: LAWRENCE RINDER , TIM

HAWKINSON, WHITNEY MUSEUM OF AMERI-

CAN ART AND LOS ANGELES COUNT Y MU-

SEUM OF ART WITH ABRAMS, 2005, PG 179.

$4,000-6,000

204

GEORGE NELSONDOUBLE MARSHMALLOW SOFA

Custom, designed 1956One of two examples custom ordered for the reception of Consolidated Edison, New York30” x 104” x 31.75”

Provenance: CON EDISON, NEW YORK;

CHARLIE MILHAUPT, NEW YORK

$80,000-100,000

PROPERTY FROM A PROMINENT WEST COAST COLLECTION

The following 103 lots were assembled over the last 15 years by a Los Angeles couple who started col-lecting to furnish their mid-century modern home in Bel-Air, California. In the mid 1990's, there were very few connoisseurs of Modern Design and extraordinary pieces often sold for very little. As prices steadily rose, new auction departments, and indeed new auction houses, were created to keep up with the growing demand for important design. The Bel-Air couple quickly assembled a home full of design and soon ran out of the space, but not the passion and desire, to create a collection worthy of any major museum. Eames, Nelson and Noguchi became subjects for in depth acquisitions. Luckily, many historically important pieces were surfacing for the first time, and the opportunity to build a well-rounded collection was irresistible. One of the first great examples they acquired was the Double Marshmallow Sofa commissioned for the reception of New York's Con Edison. Remarkably, they also purchased the Greene & Greene cabinet and the Noguchi chess table on the same day. Over the next decade they amassed what can only be described as one of the most important collections of post-war American design in private hands. Many objects have been lent to exhibitions over the years, and gifts to various institutions have en-deared the couple to many curators. Since this catalogue went into production, the couple has given another Marshmallow sofa (one of three they acquired) to Los Angeles County Museum of Art that is currently on view. The decision to sell now was partially born of necessity (the collection has grown to fill several storage facilities) and also because the couple, who purchased many items out of fear that there were no other suitable custodians, now believe these works will be better served in the hands of the next generation of collectors who will care for these pieces and enjoy them on a daily basis.

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206

CHARLES & RAY EAMESSIX PANEL SCREEN

Model no. FSW-6Herman Miller, designed 194634.25” x 60”

Literature: NEUHART, EAMES DESIGN: THE

WORK OF THE OFFICE OF CHARLES AND RAY

EAMES, ABRAMS, 1989, PG 79.

$5,000-7,000

205

HERBERT MATTERCHARLES EAMES

circa 1946Vintage Silver Gelatin printStamped verso “Exhibition of New Furni-ture Designed by Charles Eames March 13-31, 1946. Museum of Modern Art”10” x 7.75”$5,000-7,000

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207

CHARLES & RAY EAMESCHILD’S CHAIR

Evans Molded Plywood Division, designed 1945Produced for only one year, approxi-mately 5000 chairs and stools were made in total.14.5” x 14.5” x 11”



EAMES, ABRAMS, 1989, PG 54 - 56.

$5,000-7,000

208

CHARLES EAMESEAMES HOUSE (AERIAL VIEW )

Circa 1955Vintage photographPrinted at the Eames OfficeSigned verso “From the Office of Charles Eames”9.75” x 7.5”$3,000-5,000

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209

CHARLES & RAY EAMESDCW PROTOT YPE CHAIR

Produced at the Eames Office prior to December 1945Black aniline dyed spine and legsRetains Museum of Modern Art exhibition inventory label and Evans label, stamped "7"29.5” x 19” x 21.5”

Provenance: CHARLES EAMES,

PRIVATE COLLECTION, NEW YORK;

F IFT Y/50, NEW YORK;


Exhibited: THE BARCLAY HOTEL , NEW YORK, DECEMBER 1945;

THE ARCHITECTURAL LEAGUE, NEW YORK, FEBRUARY 1946;

THE MUSEUM OF MODERN ART, NEW YORK, MARCH 1946.

Literature: NEUHART, EAMES DESIGN: THE WORK OF THE OF-

FICE OF CHARLES AND RAY EAMES, ABRAMS, 1989, PG 59

NEUHART, THE STORY OF EAMES FURNITURE, GESTALTEN,

2010, PG 345.

$100,000-150,000

The molded plywood chairs by the Eames created an immediate and pro-found impact on Design of the Twentieth Century. When they were first unveiled at a press showing at the Barclay Hotel in New York in December 1945, they caught the attention of Elliot Noyes, who arranged a one-man show at the Museum of Modern Art a scant three months later. The designs were also noticed by George Nelson who had recently become design direc-tor at Herman Miller. At a time when most of the rest of the world was only beginning to return to domestic production, the Eames already had a fully designed, tested and executed line of new furniture ready to be put into pro-duction. The advanced design was a culmination of five years of research and development starting with the Eames co-entry with Eero Saarinen in The Museum of Modern Art's Organic Design competition in 1941 and made possible by the Eames access to materials and technology developed while acting as an official Naval Contractor during World War II. Charles and Ray famously created the first three-dimensionally "molded" works in a home-made contraption dubbed "The Kazaam" machine built in the bath tub of their rented apartment. The chairs were made first by the dozens, then by the hundreds as orders poured in. Finally, Herman Miller would take over production and distribution by the tens of thousands.

The example offered here is one of the first hand-made models with the short-lived "double cycle welded shock mount" used to attach the backrest to the central spine. These distinctive early variations are clearly visible in the photographs of the Barclay and MOMA shows. This example is one of the appoximately eight dining chairs exibited and still retains a MOMA exhibition inventory label.

One of the most elusive and important designs of the Twentieth Century, only three examples of these rare chairs are known to have surfaced in the last Twenty years.

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210

CHARLES & RAY EAMESDINING CHAIR WITH HYDE

Model no. DCW-UHerman Miller, designed 1946Black aniline dyed plywood with pony slunkskin hyde28.75” x 19.5” x 21”$10,000-15,000

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211

CHARLES & RAY EAMESDINING CHAIR

Model no. DCW Herman Miller, designed 1945-46Red aniline dyed Birch seat and back rest with black aniline dyed Birch legs and spine28.5” x 19.5” x 21.5”$2,500-3,500

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Model no. LCM Herman Miller, designed 1946Red aniline dyed Birch26.25” x 22” x 22.5”



EAMES, ABRAMS, 1989, PG 73

$2,000-3,000

212

CHARLES & RAY EAMESDINING CHAIR

Model no. DCW Evans Products designed 1945-46Plywood with red aniline dyeRetains Evans Products label28.5” x 19.5” x 21.5”




$2,000-3,000

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214

CHARLES & RAY EAMESROCKING CHAIR

Model no. RAR with Parchment fiberglass shell Zenith Plastics & Herman Miller, designed 1950-53Retains Zenith label26.5” x 25” x 29.5”$1,000-1,500

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215

HARRY BERTOIASOUND SCULPTURE

Circa 1965Gilt Bronze9.5” x 4.125” x 4.125”

Provenance: COLLECTION OF STANLEY MARCUS

$15,000-20,000

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216

SEIJI KUNISHIMA7 7-3 #112 (SCULPTURE)

1977Granite and found stones16" x 10" x 10"

Provenance: ATLANTIC RICHFIELD (ARCO)

CORPORATE ART COLLECTION

$2,000-3,000

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217

PHILIP JOHNSONFLOOR LAMP

and Richard KellyEdison Price, Inc., designed 1953Bronze, painted steel, and aluminum with original power transformerAccompanied by copy of a letter of provenance from Philip Johnson.40” x 25” diameter with shade


WHAT MODERN WAS, ABRAMS, 1991 , PG 204

Provenance: PHILIP JOHNSON, NEW YORK;


$25,000-35,000

Designed by architect Philip Johnson in 1948, the Glass House situated in the serene New Canaan, Connecticut landscape presented a seemingly insurmountable lighting problem. After standard candela-bras and lamps created distract-ing reflections, Johnson turned to lighting consultant Richard Kelly for help. Combining theatrical lighting features, Japanese simplicity, and a powerful beam of light deflected by a painted white shade, the innova-tive lamp that resulted from their collaboration, produces a soft field of indirect light. Utilized by Johnson in some of his other interiors, this popu-lar design remained in commercial production until 1967.

Literature:Eidelberg, Martin. Ed. Design 1935 – 1965: What Modern Was. New York: Harry N. Abrams, 1991. 204.Print.

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218

POUL KJAERHOLMCHAISE LONGUE

Model no. PK 24Fritz Hansen, designed 1965Brushed stainless steel and wicker34.5” x 26” x 54.5”

Literature: HARLANG, POUL KJAERHOLM,

ARKITEKTENS, 2001 , PG 1 18-1 19.

$2,500-3,500

219

PHILIP JOHNSON AND RICHARD KELLY, ATTRIBUTEDFLOOR LIGHTS (2)

Kliegl Bros, designed circa 1953Retains Kliegl Bros. NY labelEach: 12.5” x 7” diameter

Provenance: ALBERT AND ROBERTA

WOHLSTETTER , LOS ANGELES; PRIVATE

COLLECTION, CALIFORNIA

$2,000-3,000

221

HANS J. WEGNERSTOOL

Johannes Hansen, designed circa 1953Marked “Johannes Hansen Copenhagen, Denmark, Designed H.J. Wegner”19” x 26” x 15.25”$2,000-3,000

220

HANS J. WEGNERSTACKING DINING CHAIR (4 )

Model no. 4103Fritz Hansen, designed 1952Each 29” x 21” x 18.5”

Literature: DANISH CHAIRS, ODA ,

CHRONICAL BOOKS, 1999, PG 1 18.

$3,000-5,000

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222

HANS J. WEGNERPEACOCK CHAIR

Model no. 550Johannes Hansen, designed 1947Branded “Johannes Hansen/ Copenhegan Denmark”Wegner designed this chair after the English Windsor chair, but fellow de-signer Finn Juhl famously renamed it the "Peacock" chair.42” x 30” x 27”

Literature: DANISH CHAIRS, CHRONICLE

BOOKS, 1996, PG 106.

$2,000-3,000

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223

TIMO SARPANEVALANCET VASE

Model no. 3841Iittala, designed 195410.25” x 6.5” x 2”

Literature: F INNISH GLASS: BROCHURES

FROM THE 1950S, F INNISH GLASS MUSEUM,

1994, PG 6.

$20,000-30,000

224

TIMO SARPANEVAKAYAK

Model no. 3867Iittala, designed 1957Etched “Timo Sarpaneva Iittala 57”1.5” x 13” x 2.75”

Literature: F INNISH GLASS: BROCHURES

FROM THE 1950S, F INNISH GLASS MUSEUM,

1994, PG 13 .

$20,000-25,000

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225

FOLKE JANSSONARABESQUE LOUNGE CHAIR

Wingrantz Mobelindustri, designed 195529.25” x 28” x 33”$5,000-7,000

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226

CHARLES & RAY EAMESSTORAGE UNIT

Model no. ESU-200-CHerman Miller, designed 195032.25” x 47” x 16”




$4,000-6,000

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228

RAY KOMAILOUNGE CHAIR

J.G. Furniture Company, designed 194927” x 21” x 21.5”$1,500-2,000

227

RAY KOMAILOUNGE CHAIR

Model no. 939J.G. Furniture Company, designed 194929” x 21.5” x 22”

Literature: F IELL , 1000 CHAIRS, TASCHEN,

1997, PG 281

$1,500-2,000

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229

VERNER PANTONHEART CONE CHAIR

Model no. K3Plus-Linje, Denmark, designed 195835.5” x 39.5” x 25”

Literature: VERNER PANTON: THE COLLECTED

WORKS, VITRA DESIGN MUSEUM, 2000, PG 242.

$3,000-5,000

230

VERNER PANTONWIRE CONE CHAIR

Model no. K2Plus-Linje, Denmark, designed 195829.5” x 25.25” x 23”

Literature: VERNER PANTON: THE COLLECTED

WORKS, VITRA DESIGN MUSEUM, 2000, PG 242.

$2,000-3,000

231

VERNER PANTONPEACOCK CHAIR

From the Wire Collection seriesPlus-Linje, Denmark, designed circa 1950s16” x 37.5” diameter

Literature: VERNER PANTON: THE COL-

LECTED WORKS, VITRA DESIGN MUSEUM,

2000, PG 246.

$3,000-5,000

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232

ARNE JACOBSENPROTOT YPE SIDE CHAIR

Custom designed circa 1960Aluminum, wood and plastic32” x 17.75” x 15.5”

Exhibited: SAN FRANCISCO MUSEUM OF

MODERN ART, “SITTING ON THE EDGE”,

1998-99.

Illustrated: BETSKY, SITTING ON THE

EDGE, RIZZOLI , 1998, PLATE 94.

$20,000-30,000

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In 1961 in a small modernist house in Palm Springs, California, industrial designer Raymond Loewy assembled a four-man design team to construct a clay model of what would become the Studebaker Avanti sports car. In March, Sherwood Egbert, the president of Studebaker, phoned Loewy from South Bend, Indiana and asked him to design a car. Loewy insisted on working in Palm Springs with his own team, far from the prying eyes of Detroit stylists. With a short window of time to complete the mock-up, Loewy’s team was managed by Johnny Ebstein, “an excellent designer and organizer,” according to Loewy. They conserved every minute, and fifteen days later, Loewy flew to South Bend to begin work on the full-scale mock-up. Remembering this whirlwind process, Loewy writes, “It was developed so efficiently; a lightning-like shoe-string operation compared to the hundreds of thousands of man hours and millions of dollars Detroit expends on an average new body design to achieve a ‘committee’ look.” When the car was unveiled at the New York Automobile Show, it became an instant classic, so popular that South Bend couldn’t manufacture fiberglass quickly enough to keep up with the orders.The Avanti’s advanced luxury styling was unlike anything seen on American streets. New design details included the asymmetrical power bulge on the front hood, a fin-less sculptured body with virtually no chrome trim and no visible front grill, and a long hood and short trunk, which set the tone for the next wave of sports coupes. Constructed of 183 separate panels of molded fiberglass, the Avanti also featured advanced interior designs such as a concealed vanity tray and a fully padded safety dash. The unusual “coke bottle” body styling was purportedly inspired by the four designers' interest in the bikini-clad girls seen at nearby Palm Spring resorts. At the time the fastest American car, the Avanti set twenty-four speed and endurance records for a stock American production car with the help of its V-8 Jet-Thrust engine, a super fast four-barrel carburetor, and high speed cams. This unique 1963 model, personally ordered by Loewy and handmade with custom detailing, carries the R2 supercharged engine. It was sold at the McCormick’s

Exotic Car Auction in Palm Springs after Loewy’s death in 1986. A model from the 1963-64 production is currently on display in Living in a Modern Way: California Design 1930-1965 at the Los Angeles County Museum of Art.

Literature:Loewy, Raymond. Industrial Design. New York: The Over-look Press, 1979. Print.Stern, Bill. “War and Peace: Unexpected Dividends.” Living in a Modern Way: California Design 1930-1945. Ed. Wendy Kaplan. Cambridge: MIT Press, 2011. 179-202. Print.

233

RAYMOND LOEWYAVANTI

Studebaker, 1963

Model 63R2 (Supercharged)

Provenance: RAYMOND LOEWY, PALM SPRINGS;

DENNIS BOSES, LOS ANGELES;

GENE WATSON, WASHINGTON DC;


$60,000-80,000

234

PAOLO DE POLIUNTITLED ( VASE IN TWO SECTIONS)

Paolo de Poli, designed circa 1960Enameled copperSigned “de Poli”15.75” x 5”diameter$3,000-5,000

1 4 9

235

GIO PONTIDIAVOLO (DEVIL)

Paolo de Poli, designed 1956Enameled copper5.5” x 8.5”

Literature: DOMUS, 1957, PG 24 -26; DE

POLI ENAMELS (SMALTI) , GIO PONTI ,

EDIZIONI DARIA GUARNATI , 1958, PLATE

38; ROMANELLI , GIO PONTI : A WORLD, EDI-

TRICE ABITARE SEGESTA , 2003, PG 46.

$3,000-5,000

236

GIO PONTIDIAVOLO (DEVIL , LARGE)

Paolo de Poli, designed 1956Enameled copper7” x 9.5”

Literature: DOMUS, 1957, PG 24 -26; DE

POLI ENAMELS (SMALTI) , GIO PONTI ,

EDIZIONI DARIA GUARNATI , 1958, PLATE

38; ROMANELLI , GIO PONTI : A WORLD, EDI-

TRICE ABITARE SEGESTA , 2003, PG 46.

$3,000-5,000

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237

GAETANO PESCESANSONE I TABLE

UniqueCustom, 1980Poured, melted and cast polyurethane28.5" x 55" x 71"

Exhibited: "GAETANO PESCE: PIECES FROM

A LARGER PUZZLE", ITALIAN CULTURAL

INSTITUTE, JULY - AUGUST 2010

$30,000-50,000

1 5 1

239

GAETANO PESCEGROUP OF TILES (6)

Custom designed for the TBWA/Chiat Day offices, New York, 1991ResinEach: 12” x 12”

Provenance: TBWA/CHIAT DAY




$2,000-3,000

238

GAETANO PESCEDOOR (CARS)

Custom designed for the TBWA/Chiat Day offices, New York, 1991Resin with steel frame and Matchbox cars86” x 34” x 7”

Provenance: TBWA/CHIAT DAY




$5,000-7,000

1 5 3240

KEITH SONNIERVIDEO STILL SCREEN ( 1D, 2B AND 3B) (3 WORKS)

1973Color screenprint#10 of 50Signed, dated with edition lower right; retains Harry W. Anderson label verso and two with USC Fisher Gallery label versoEach: 27.75” x 36”; Frame: 28.125” x 36.25”$3,000-4,000

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241

SAM FRANCISUNTITLED (SKETCH)

1966Acrylic on paperSigned and dated verso; artist label “SF66-048”13” x 22”; Frame 16.5” x 25.5”$5,000-7,000

242

SAM FRANCISUNTITLED (SKETCH)

1966-67Acrylic on paperArtist label verso “SF66-203, 1966-1967”

13” x 22”; Frame 16.5” x 25.5”$5,000-7,000

1 5 5

244

DAVID HOCKNEYUNTITLED (HAT ON CHAIR)

1998Drypoint#4 of 35SignedImage: 23.875" x 15.75"; Frame: 29.5” x 22”$5,000-7,000

243

ROBERT GRAHAMUNTITLED ( TORSO)

1986BronzeSigned and inscribed14.5”$20,000-30,000

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247

DANNY LANEETRUSCAN CHAIR

Danny Lane Studio, 1992Glass and stainless steel35” x 16” x 21”

Provenance: L INDA SULLIVAN ESTATE,

LOS ANGELES

$7,000-9,000

246

EDWARD KIENHOLZNEST EGG

1964Metal and woodSigned and dated verso

This intimate work was created for a friend who was the female model in “Backseat Dodge ‘38” and, as the title alludes, was meant to one day be a valu-able asset.

Sold with the exhibition catalogue for “1960 Kienholz 1970” at Städtische Kun-sthalle Düsseldorf Grabbeplatz in 1970.3.5” x 11.5” diameter

Provenance: PRIVATE COLLECTION

(ACQUIRED DIRECTLY FROM THE ARTIST )

$10,000-15,000

245

ED KIENHOLZFOR $81.00

1969Watercolor, pencil and ink stamp on paper in artist’s frameSigned and dated lower right with thumb print; Eugenia Butler, Los Angeles label verso12.25” x 16.25”$3,000-5,000

1 5 7

248

SHIRO KURAMATAGLASS ARMCHAIR

Edition of 40Mihoya Glass Co., Ltd, Japan, designed 1976Laminated glass35.25” x 35.25” x 23.75”$30,000-50,000

1 5 9

250

SHIRO KURAMATAFLOWER VASE #2

Ishimaru Ltd, designed 19897.5” x 4.375” x 4.375”$1,500-2,000

249

SHIRO KURAMATASALLY TABLE

Memphis, designed 1987Steel and broken laminated glass30.5” x 21” diameter$2,000-3,000

1 6 1

251

MARIO BOTTASHOGUN TABLE LAMP

Artemide, designed 1986Enameled metal construction with rotating diffusers22.25” x 12.75” x 15”

Literature: F IELL , 1000 LIGHTS: 1960 TO

PRESENT, TASCHEN, 2005, PG 350.

$800-1,200

252

RICHARD MEIERMEIER CANDLESTICKS (2)

Swid Powell, designed 1983SilverplateSigned “Swid Powell/Made in Italy/Silverplate”Each 9” x 3.75” diameter

Literature: TAPERT, SWID POWELL

OBJECTS BY ARCHITECTS, RIZZOLI , 1990,

PG 73-76.

$1,500-2,000

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253

FRANK O. GEHRYWIGGLE STOOL

Easy Edges, designed 1969-1973Corrugated cardboard and fiberboard16” x 17” x 14.75”$2,500-3,500

254

SORI YANAGIBUTTERFLY STOOL

Tendo Co., Ltd., designed 1956Bent rosewood with metal rodRetains “Made in Japan” label15.75” x 16.5” x 12.25”$3,000-5,000

1 6 3

255

RAY EAMESTIME-LIFE STOOLS (2)

Model no. 412Herman Miller, designed 1960Solid WalnutEach 15” x 13” diameter

Literature: HERMAN MILLER FURNITURE

CATALOGUE, 1963, PG 30; NEUHART, EAMES

DESIGN: THE WORK OF THE OFFICE OF

CHARLES AND RAY EAMES, ABRAMS, 1989,

PG 249.

$3,000-5,000

256

AUBREY PENNYCOMPOSITION NO. 100A (PLASTIC ALPHABET )

Circa 1955CaseinSigned lower right22” x 27.5”; Frame: 28” x 30.75”$1,500-2,000

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257

GERTRUD & OTTO NATZLERMONUMENTAL VASE

Studio, executed 1957Glazed ceramicSigned “Natzler” and retains inventory “J139”Approx. 18” x 14”

Literature: FORM AND FIRE: NATZLER

CERAMICS 1939-1972, SMITHSONIAN INSTI-

TUTE, 1973, PG 108.

$100,000-150,000

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258

GERTRUD & OTTO NATZLERTEA SET ( 14 )

Studio, circa 1940sComprised of a teapot with lid and stand, creamer, sugar bowl, strainer plate, and 4 cups and saucersCups signed “G.O.N.”; others signed “Natzler”Teapot and stand: 4.5” x 9.75” x 7”; Creamer: 1.5” x 5.25” x 4.5”; Sugar: 1.5” x 4.75”; Strainer plate: 1.5” x 4.875” x 3.75”; Cups 1.5” x 5.25” x 4.75”; Saucer: 5.875” diameter$30,000-50,000

1 6 7

261

GERTRUD & OTTO NATZLERGLAZED CERAMIC

Studio, executed circa 1962Signed “Natzler”1.25” x 4.625”$2,000-3,000

260



259


Studio, executed 1962Signed “Natzler” and retains inventory label “L964”2.125” x 5.5”$3,000-5,000

262


Studio, executed circa 1962Signed “Natzler”2.25” x 6.75” x 5.5”$3,000-5,000

263



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264

DAN JOHNSONGAZELLE DINING TABLE

Made in Italy for Dan Johnson Studio, designed 1958Walnut with glass top30.5” x 71” x 39”$8,000-10,000

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265

DAN JOHNSONGAZELLE LOUNGE CHAIR

Dan Johnson Studio, Rome, designed 1958Walnut27.5” x 21” x 26”

Literature: CALIFORNIA DESIGN, 1930-

1965: “LIVING IN A MODERN WAY ”, EXHIBI-

TION CATALOG, LOS ANGELES COUNT Y

MUSEUM OF ART, 2011 , PG 330, #138,

ANOTHER EXAMPLE ILLUSTRATED.

$5,000-7,000

1 7 1

266

RICHARD NEUTRADINING CHAIR

Custom designed, 1940 for the Sidney Kahn House, San Francisco35.5” x 18” x 20”$6,000-9,000

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267

CHARLES & RAY EAMESSTORAGE UNIT

UniqueHerman Miller, custom designed 1950 for Lawrence Strickland22.25” x 46.875” x 16”$15,000-20,000

1 7 3

268

CHARLES & RAY EAMESCUSTOM DOWEL LEG COFFEE TABLE

Custom designed for John Tigrett, circa 1952UniqueThis was a special commission for Mr. John Tigrett, founder of Tigrett Enterprises, who later produced the Hang-it-all, the Toy and the Giant House of Cards for the Eames Office.16.5” x 46” x 27.75”$20,000-30,000

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269

GEORGE MIYASAKIDAP

1962Oil on canvasSigned and dated lower right; exhibition label verso “S.F.A.I. 82nd Annual Exhibition”Canvas 57.5” x 70”; Frame: 58” x 71”$2,500-3,500

271

CHARLES & RAY EAMESELLIPTICAL TABLE ROD BASE

Model no. ETRHerman Miller, designed 195110” x 89” x 29.25”

Literature: HERMAN MILLER FUR-

NITURE CATALOGUE, 1963, PG 29;

NEUHART, EAMES DESIGN: THE WORK

OF THE OFFICE OF CHARLES AND RAY


$4,000-6,000

270

CHARLES & RAY EAMESSOFA COMPACT

Model no. 473Herman Miller, designed 1954Red wool upholstery36” x 72.5” x 24.5”


CATALOGUE, 1963, PG 34.

$4,000-6,000

1 7 5

Recognized in 1952 for their contributions to a “new and native architecture” by the American Institute of Architects, brothers Charles Sumner Greene (1868-1957) and Henry Mather Greene (1870-1954) are now revered for the “ultimate bungalows” created during the peak years of their joint architectural practice. Masterworks of total design like the Blacker House (1907) and the Gamble House (1908) meld high-art aesthetics, functionality, and meticulous craftsmanship in consummate expressions of the principles of the Arts and Crafts Movement. Architectural critic Reyner Banham proclaimed of Greene & Greene’s impact on the built landscape that, “one can honestly say that half a century of small

houses in the Western United States would not have been the same had the Greenes never produced their few exquisitely wrought houses for a tiny cultural elite.” Born in Brighton, Ohio, Charles and Henry attended Calvin Woodward’s Manual Training School of Washington University in St. Louis and went on to study architecture at the Massachusetts Institute of Technology. After apprenticing with well-regarded architectural firms in Boston, the brothers traveled west in 1893 to join their parents, who had moved to Pasadena, California. They established the architecture firm of Greene and Greene in 1894. Their practice as well as their style evolved over the years, due in part to Charles’ interest in the English Arts and Crafts Movement, publications in the United States like The Craftsman that promoted Arts and Crafts ideals, and the brothers’ shared appreciation of Asian architecture and design. The two soon became a force within the American Arts and Crafts Movement. In 1903, Greene and Greene began creating furniture custom designed for their architectural commissions, developing a concept of total design as well as a style that shelter magazines of the time would describe as particular to California. In 1905, the brothers met master craftsmen Peter (1867-1939) and John Hall (1864-1940). By 1906, John Hall was constructing a carpentry shop in Pasadena and was engaged in his first work for the Greenes. The association with the Halls, who executed their designs, marks a new level of refinement in the Greenes’ furniture. An early example of the exquisitely crafted furniture that resulted from Greene and Greene’s collaboration with the Peter Hall Manufacturing Company is this linen press made for Mrs. Belle Barlow Bush for the Dr. William T. Bolton House #3 in Pasadena. Dr. Bolton commissioned the house along with furnishings in 1906, but he died before the house was completed. His widow rented the house along with the dining room furnishings that had been completed to Mrs. Belle Barlow Bush, who then commissioned the rest of the furniture from the Greenes. Square ebony pegs that provide contrasting color and disguise joinery, a hallmark of Greene and Greene decorative arts, are used for the first time in the Bolton commission. On this linen cabinet for the upstairs hallway, two pegs of differing proportions touch at the corner, a design element unique in Greene and Greene’s oeuvre to the furnishings for the Bolton House. The pegs punctuate the softly rounded edges and corners of the cabinet, and the length of the handles reinforce the horizontal lines. The influence of Japanese furniture design can be seen in the apron around the bottom edge; the subtle stepped-down design creates a sense of lightness in an otherwise massive cabinet. Following a visit to California in 1909, the English designer C. R. Ashbee wrote of his admiration for the work of Greene and Greene in his journal. In comparing the Japanese influence in their work to that of Frank Lloyd Wright, he noted, “there is more tenderness, more subtlety, more self-effacement” in the work of Greene and Greene, and suggested, “perhaps it is California that speaks rather than Illinois." The Belle Barlow Bush linen cabinet is exemplary of Greene and Greene’s distinctive integration of subtly curving forms in their mature style as well as the exceptional craftsmanship characteristic of their production.

Literature:Banham, Reyner. Introduction. By Randell Makinson. Greene & Greene: Architecture as Fine Art. Salt Lake City: Peregrine Smith, Inc., 1977, 12-23. Print.Cooke, Edward S., Jr. “An International Studio: The Furniture Collaborations of the Greenes and the Halls.” A “New and Native” Beauty: The Art and Craft of Greene & Greene. Pasadena, CA: The Gamble House/USC and London: Merrell Publishers Limited, 2008. 111-131. Print.Makinson, Randell L. Letter to Mr. John Toomey of John Toomey Gallery. November 20, 1998.Makinson, Randell L. Greene & Greene Furniture and Related Designs. Salt Lake City: Peregrine Smith, Inc., 1979. Print.

THE BELLE BARLOW BUSH LINEN PRESS

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“I think C. Sumner Greene’s work beautiful; among the best there is in this country. Like Lloyd Wright the spell of Japan is on him, he feels the beauty and makes magic out of the horizontal line, but there is in his work more tenderness, more subtlety, more self effacement than in Wright’s work. It is more refined and has more repose. . . .

- C.R. Ashbee, 1909

perhaps it is California that speaks rather than Illinois.”

272

GREENE & GREENELINEN PRESS

Peter Hall Manufacturing Company, Pasadena, 1907Custom designed for Mrs. Belle Barlow Bush for the Dr. W. T. Bolton House #3 by Charles Sumner Greene & Henry Mather GreeneRetains “Sumner Greene His True Mark” brand stamp on left side and also on outside of a drawer37.75” x 72” x 25.25”

Provenance: MRS BELLE BARLOW BUSH

( TO 1943); MRS MARY CUNLIFF MOORE ( TO

1970); RANDELL L MACKINSON/RONALD R

CHITWOOD ( TO 1984 ); PRIVATE COLLECTION

( TO 1998); PRIVATE COLLECTION, CALIFOR-

NIA ( 1998 TO PRESENT ).

Estimate Upon Request

273

FRANK LLOYD WRIGHTLOUNGE CHAIR

Custom designed for the Robert Wynn House, designed 1940-4129” x 24.5” x 23”

Provenance: MICHAEL BOYD; CALIFORNIA

$4,000-6,000

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274

FRANK LLOYD WRIGHTSIDE CHAIR

Made by Metal Office Furniture Com-pany (later Steelcase, Incorporated), designed 1936-39Custom designed for the S.C. Johnson Wax Building35” x 18” x 20.5”

Literature: HEINZ, FRANK LLOYD WRIGHT

INTERIORS AND FURNITURE, ST MARTIN’S

PRESS NY, 1994, PG 185.

$20,000-30,000

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275

GEORGE NELSONSWAG LEG CHAIR

Model no. DAAHerman Miller, designed 195434” x 28” x 21”

Literature: GEORGE NELSON: ARCHITECT,

WRITER , DESIGNER , TEACHER , VITRA DE-

SIGN MUSEUM, 2008, PG 249.

$2,000-3,000

276

GEORGE NELSONMINIATURE CHEST CABINET

Model no. 5511 (from the Thin Edge Group)Herman Miller, designed 1952Wood with porcelain pulls on steel base32” x 20.25” x 14”




$8,000-12,000

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278

GEORGE NELSONCASE GOODS CABINET

Model no. 4700Herman Miller, designed 1947Walnut veneer with coral enameled frontRetains “George Nelson Design Herman Miller” label29.625” x 24.125” x 19.75”

Literature: THE HERMAN MILLER COL-

LECTION (FURNITURE CATALOGUE), 1948,

PG 12 .

$2,000-3,000

277

GEORGE NELSONCASE GOODS CABINET

Model no. 4622Herman Miller, designed 1947Walnut veneer with coral enameled frontRetains “George Nelson Design Herman Miller” label40” x 40” x 19.75”

Literature: THE HERMAN MILLER COL-

LECTION (FURNITURE CATALOGUE), 1948,

PG 14.

$2,000-3,000

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293

ANDRE GISSONBEACH SCENE

Late 20th centuryOil on canvasSigned lower leftImage: 9” x 12”; Frame: 11.25” x 14.5”$500-700

1 8 5

279

MAN RAYCHESS SET

1962Enamel and metal inlay chessboard mounted on wood with polished Brass chess pieces#47 of 50Signed “Man Ray 1962” on the board; signed with the edition on the King3.75” x 39.5” x 22.5”

Literature: MAN RAY: PARIS-LA , SMART

ART PRESS, 1996, PG 73-75.

$30,000-40,000

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280

ISAMU NOGUCHICHESS TABLE

Model no. IN 61Herman Miller, designed 194418.75” x 26.25” x 25.5”



$30,000-40,000

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283

ISAMU NOGUCHITABLE

Model no. 87-F2Knoll, designed 1955Retains Knoll label20” x 24” diameter$1,500-2,000

284

ISAMU NOGUCHITABLE LAMP

Knoll, designed 1945Parchment and Maple16” x 7” diameter



$2,000-3,000

281

FLORENCE KNOLLSTACKING STOOL

Model no. 75WRKnoll, designed 1941-45Retains Knoll label18” x 14” diameter$800-1,200

282

ISAMU NOGUCHIROCKING STOOL

Model no. 86TKnoll, designed 1955Walnut16.5” x 14.25” diameter$5,000-7,000

1 8 9

306

GUILLERMO SILVAJARDIN (2)

1960EtchingSigned and dated lower right, “G. Silva S. 60”Sold with unframed etching, “La Nino de la Patineta” 1960, #43 of 100Image: 1.5” x 3.375”; Frame: 5.75” x 9”$500-700

285

H.V. THADENHIGHBACK CHAIR

Thaden Jordan Furniture Corporation, designed 194743” x 19.75” x 26”

Literature: F IELL , 1000 CHAIRS,

TASCHEN, 1997, PG 78.

$5,000-7,000

1 9 1

286

CHARLES & RAY EAMESTEN PANEL SCREEN

Model no. FSW-10Herman Miller, designed 1946Red aniline dye BirchEach panel: 67.7” x 9.75”




$8,000-10,000

287

CHARLES & RAY EAMESPAIR OF LOUNGE CHAIRS (2)

Model no. LCWHerman Miller, designed 1945Ash$3,000-5,000

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288

DONALD KNORRSIDE CHAIR

Model no. 132Knoll, designed 194828.125” x 22” x 21”



$2,000-3,000

289

HUMEN TANPLAYBOY ’S PENTHOUSE (DESIGNED BY R . DONALD JAYE)

Published in the May 1962 issue of PlayboyGouache and ink on illustration boardArtist, title and date verso19.5” x 45.5”; Frame 30” x 56”

Provenance: PLAYBOY ENTERPRISES

$6,000-9,000

1 9 3

292

HARRY BERTOIADIAMOND CHAIR

Model no. 421CKnoll Inc., designed 1952Retains Knoll, Inc. labelEach 30” x 34” x 27”$2,400-3,000

290

JOHN RISLEYLADY CHAIR AND OTTOMAN

Luger Manufacturing Corp. for Raymor, designed circa 196540.5” x 25.5” x 55”$2,000-3,000

291

HENDRIK VAN KEPPELTAYLOR GREENCOFFEE TABLE

Model no. 231VKG, designed circa 195120.25” x 36” x 26”$2,000-3,000

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293

TIMO SARPANEVAART PIECE (ORCHID VASE)

Model no. 3868Iittala, designed circa 1953Etched signature13.5” x 5” diameter

Literature: F INNISH GLASS: BROCHURES FROM

THE 1950S, F INNISH GLASS MUSEUM, 1994, PG 4.

$5,000-7,000

294

TIMO SARPANEVAORCHID VASES (2)

Iittala, designed circa 1953Etched signature and one retains “Made in Finland” sticker6” x 2” diameter and 11” x 3.5” diameter


WHAT MODERN WAS, ABRAMS, 1991 , PG 204

$3,000-5,000

1 9 5

295

TIMO SARPANEVADEVIL’S CHURN VASE (2)

Model no. 3530Iittala, designed circa 1950-51Each with etched signature12” x 5” x 4.25” and 7.25” x 3” x 2.5”

Literature: F INNISH GLASS: BROCHURES FROM

THE 1950S, F INNISH GLASS MUSEUM, 1994, PG 5;

E IDELBERG, DESIGN 1935-1965: WHAT MODERN

WAS, ABRAMS, 1991 , PG 1 17.

$3,000-5,000

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296

ERCOLE BAROVIERVASE

Barovier & Toso, 1970Retains sticker “Barovier & Toso Murano 21625 Made in Italy”; etched signature and date verso9.5” x 4” diameter$4,000-6,000

297

GIANNI VERSACEVASE WITH PEZZATO TECHNIQUE

Venini, designed 1998Signed and dated 200510.25” x 6.75” diameter$2,000-3,000

300

VICKE LINDSTRANDVASE

Kosta, designed circa 1955Etched glassEtched signature15” x 5.5” diameter$1,500-2,000

299

GORAN WARFFVASE

Kosta, designed circa 1960Etched “Kosta #7826 Warff”6” x 6.25” x 2.5”$1,500-2,000

298

GUNNEL NYMANSERPENTINE VASE

Model no. GN 18Nuutajärvi Notsjö, designed 195316” x 4” diameter$1,500-2,000

301

WILHELM WAGENFELDTEA SET

Schott & Gen Jena’er Glassworks, Jena, Germany, designed 1931Comprised of pot, infuser, tray, sugar bowl, cream, and 9 cups and saucersMarked “Schott + Gen Mainz JenAer Glas” and “Jenaer Glas Teho”Pot: 4” x 9.5” x 6”

$2,000-3,000

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302

CHARLES POLLOCKLEATHER SLING CHAIR

Model no. 657Knoll, designed 196028” x 24.75” x 26”$1,500-2,000

303

JENS RISOMLOUNGE ARMCHAIR

Knoll, designed 194328.75” x 24” x 27”$1,500-2,000

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305

VELIZAR ( VASA) MIHICHSCULPTURES (4 )

1986-1990AcrylicEach inscribed with signature and date; one inscribed #R161Triangles each: 2.75” x 3.75” x 1.5; #R161: 3.75” x 3.75” x 1.75”; Green and orange cube: 2.75” x 2.75” x 2.75”$1,000-1,500

304

ACHILLE & PIER GIACOMO CASTIGLIONIMEZZADRO TRACTOR STOOL

Zanotta, designed 1957; this example manufactured January 1970Orange enameled tractor seat, chrome base and Beech foot rest21” x 19” x 20”$1,000-1,500

306

VELIZAR ( VASA) MIHICHGROUP OF SCULPTURES (6)

Studio, 1990AcrylicSignature and date inscribed on oneEach side of each piece: 3.5”$1,000-1,500

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308

HENRY MOORESEATED MOTHER AND CHILD, PL . 13 (FROM MEDITATIONS ON THE EFFIGY )

1966/68Etching with drypoint# 48 of 50Marlborough Fine Art, publisher; Frélaut und Lacourièr, printerSigned lower right; edition lower leftPlate: 8.875” x 10.875”; Frame: 19.375” x 23”$1,200-1,500

307

JOHN BRATBYGLORIA IN SWIMSUIT

Circa 1950sOil on canvasSigned lower right; label versoCanvas: 44” x 24”; Frame: 48” x 30”$15,000-18,000

2 0 1

309

DONALD HAMILTON FRASERCATALONIA

1985Oil on paperSigned lower right; title lower leftSold with brochure from Upstairs GalleryImage/Sheet: 17.5” x 16.5”; Frame: 23.5” x 22.5”$2,000-3,000

310

EVA FISCHERUNTITLED (CIT YSCAPE)

1961Oil on MasoniteSigned and dated lower leftPanel: 21” x 28.25”; Frame: 31” x 38.5”$1,000-1,500

311

ALEXANDER CALDERCINEMA

1972Gouache and ink on paperSigned and dated lower rightCalder Foundation, New York archives application number A12910.Sheet: 29.25” x 42.25”; Frame: 45” x 58.75”

Provenance: GALERIE MAEGHT, PARIS;

MICHAEL LEVY GLALERY, LONG BEACH;

JONATHAN NOVAK CONTEMPORARY ART,

LOS ANGELES; PRIVATE COLLECTION, CALI-

FORNIA; MASTERWORKS, OAKLAND.

$40,000-60,000

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313

ELLSWORTH KELLYDARK GRAY AND WHITE

1977-79Serigraph and collage on Rives newsprint paper and Duchene handmade paper#28 of 41Tyler Graphics, Ltd.Signed with edition and blindstamp lower rightSheet: 29.75” x 42”; Frame: 32.25” x 44.5”

Literature: AXSOM, THE PRINTS OF ELLS-

WORTH KELLY: A CATALOGUE RAISONNÉ

1949-1985, HUDSON HILLS PRESS, 1987, PG

140, #180.

$3,000-5,000

312

ELLSWORTH KELLYRED OVER YELLOW

1964-65Lithograph on Rives BFK paper#47 of 75Maeght, Paris, printer and publisherImage: 22.5” x 15.375”; Sheet: 35.25” x 23.25”; Frame: 35.75” x 24”

Literature: AXSOM, THE PRINTS OF

ELLSWORTH KELLY CATALOGUE RAISONNÉ

1949-1985, HUDSON HILL PRESS, 1987, PG

47, #19.

$3,000-5,000

314

ANDY WARHOLSHOES

1980Screenprint with diamond dust on Arches Aquarelle (Cold Press) paperEdition of 60 with ten artist’s proofsRupert Jasen Smith, New York, printerSigned with edition versoSheet: 40.25” x 59.5”; Frame: 42.5” x 62”

Literature: FELDMAN & SCHELLMANN,

ANDY WARHOL PRINTS: A CATALOGUE

RAISONNÉ 1962-1987, 4TH EDITION, DAP,

2003 #I I-254.

$70,000-90,000

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315

ANDY WARHOLMICK JAGGER

1975Screenprint on Arches Aquarelle paper#38 of 250Alexander Heinrici, New York, printer; Seabird Editions, London, publisherSigned by artist lower right; signed by Mick Jagger lower left; edition lower left; inkstamp versoThere were also 50 artist’s proofs.Sheet: 43.5” x 29”; Frame: 45” x 30.25”




2003 #I I- 142.

$20,000-30,000

316

ANDY WARHOLBRILLO POSTER FOR MAY-JUNE 1970 EXHIBITION

1970Unknown editionPasadena Art MuseumSigned lower middle (signature faded)Poster: 30” x 26”; Frame: 33” x 29”$2,000-3,000

317

ANDY WARHOLFLOWERS

1970ScreenprintAetna Silkscreen Products, Inc, printer; Factory Editions, New YorkThe 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 the 1970 edition.Signed and inscribed versoImage/Sheet: 35.75” x 35.75”; Frame: 36.75” x 36.75”

Literature: FELDMAN & SCHELLMANN, ANDY WARHOL

PRINTS: A CATALOGUE RAISONNÉ 1962-1987, 4TH EDITION,

DAP, 2003 #I I-70.

Provenance: GIFT FROM THE ARTIST TO SI L ITVINOFF,

ATTORNEY FOR ANDY WARHOL DURING THE 1960S

$20,000-30,000

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318

ANDY WARHOLJANE FONDA

1982Screenprint on Lenox Museum Board#9 of 100Friends of Tom Hayden, Santa Monica, CA, publisher; Rupert Jasen Smith, New York, printerSigned with edition lower leftSheet: 39.5” x 31.5”; Frame: 40.5” x 32.5”




2003, #I I 268.

$14,000-16,000

319

ANDY WARHOLTORSO (DOUBLE)

1982ScreenprintStamped and inscribed verso “The Estate of Andy Warhol UP 56-41”With documentation from Nathan Daniel Isen Gallery.30.625” x 43.125”; Frame: 39” x 51.5”




2003, #I I IA , 35D.

$14,000-16,000

320

CLAIRE FALKENSTEINUNTITLED SCULPTURE

1963-1988Painted and bent metalDimensions vary Approximately 22 feet when stretched out to the longest dimension.$25,000-35,000

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321

UELI BERGERNON STOP SOFA

Ueli Berger, Eleonore Peduzzi-Riva and Heinz Ulrich Model no. DS-600de Sede, designed 1972approx. 30” x 174” x 39.5”

Literature: HABEGGER & OSMAN, SOURCE-

BOOK OF MODERN FURNITURE,

3RD EDITION, W W NORTON & COMPANY,

2005, PG 496.

$7,000-9,000

322

MARIO BELLINICAB CHAIRS (4 )

Cassina, designed 1977Retains Cassina labelsEach: 32” x 22.5” x 18”$2,500-3,500

323

MARIO BELLINILA ROTONDA DINING TABLE

Model no. 452Cassina, designed 1976Ash with clear glass topRetains Cassina label28.175” x 65” diameter

Literature: FREMDKORPER , MODERN FUR-

NITURE: 10O YEARS OF DESIGN, TANDEM,

2009, PG 319.

$3,000-4,000

2 1 1

325

AMERICAN MODERNCHAIR WITH JACK LENOR LARSEN “PRIMAVERA” FABRIC UPHOLSTERY

Manufacturer unknown, designed circa 1960sPlastic and upholstered cushions34” x 32” x 32”$2,000-3,000

324

TOBIA SCARPANICTEA FIXTURE

Flos, Italy, designed 1961“Flos” stamp on ceiling mountFixture: 12” x 19” (approx.); cord and ceiling mount length: 25”$2,000-3,000

328

ROBERT MARTINGROUP OF PLANTERS (6)

Model no. 5048 from the Pro/Artisan CollectionArchitectural Pottery, designed circa 1968Unglazed Planters with Random Line textureEach: 16” x 14”

Texture design by David Cressey$1,800-2,500

327

DAVID CRESSEYPAIR OF UNIQUE GLAZED POTS

Architectural Pottery, designed 1970Glazed earthenware13.75” x 12” and 14” x 12”$1,500-2,000

326

DAVID CRESSEYGROUP OF PLANTERS (3)

& Robert MaxwellPro/ArtisanArchitectural Pottery, designed circa 1969Unglazed with textureA: 18.75” x 24.75”; B: 14.5” x 24”; C: 12.5” x 18.75”$1,200-1,500

2 1 3

331

REX GOODEGROUP OF PLANTERS WITH STANDS (3)

& Bob MartinA: Model no. 5042; B: Model no. E31; C: Model no. E25Architectural Pottery, designed circa 1968With bases A: 19.875” x 25”; B: 18.5” x 20.875”; C: 16.75” x 18”$1,500-2,000

330

LA GARDO TACKETTDOUBLE CONE PLANTER WITH STAND

& John FollisModel no. INW-02 and IN-02Architectural Pottery, designed circa 195529” with stand

Tackett designed the glazed planter and Follis designed the wood stand$1,200-1,500

329

LA GARDO TACKETTTALL PLANTER

Model no. SR-02Architectural Pottery, designed circa 1949Ceramic with Gold Glaze27” x 10”diameter$1,800-2,500

332

MAX FINKELSTEINCASTLE

1955Welded steel and brass32.75” x 5.25” x 5.25”

Provenance: COLLECTION OF THE ARTIST

$2,500-3,000

2 1 5

334

PAUL FRANKL“BIG FOOT ” COFFEE TABLE

Johnson Furniture Co., designed circa 1948Lacquered cork and mahogony14.5” x 72” x 36”$4,000-5,000

333

UNKNOWN DESIGNERLOW BACKED CHAIR

Manufacturer unknownWood with upholstered seat21.5” x 35”x 35.5”$1,500-2,000

335

MANUEL NERIUNTITLED (FEMALE NUDE FRAGMENT )

1990Painted bronzeA.P.Signed and dated with edition on base62” x 20” x 16”$40,000-60,000

336

MANUEL NERIUNTITLED

Circa 1990Bronze21.25” x 8.25” x 8.75”$10,000-15,000

2 1 7

338

JACK STUCKSELF PORTRAIT -- TEETH

1967Intaglio with acrylic#2 of 12Signed with edition lower leftAcquired from Otis Annual Print Show in 1967Sheet: 15.75” x 12.875”; Frame: 21.375” x 18.25”$500-700

337

THEO TOBIASSEL’ENFANT QUI RÊVAIT DE ST. PAUL DE VENCE

1967Gouache on paperSigned lower right; title upper rightThe Waddington Galleries, Inc., Montreal label versoImage: 19.75” x 25.675”; Frame: 24.5” x 30.5”$3,000-5,000

339

RAFAEL CANOGAREL ABRAZO

1968Mixed media on paperSigned and dated with title lower leftSheet: 22.5” x 17.25”; Frame: 32.25” x 26.25”$800-1,200

340

GRETA MAGNUSSON GROSSMANTABLE LAMP

Ralph O. Smith, designed 1949Enameled metal and brassRetains original “Barker Bros” electrical hang tagAdjustable, as photographed: 15.5” x 6.25” x 14”$2,500-3,500

341

GRETA MAGNUSSON GROSSMANSTEP TABLE

Model No. 6226Glenn of California, designed circa 1952Walnut frame and lower shelf with Thermoset Plastic upper shelves and black iron legs with round walnut tips24.25” x 31” x 18”

Literature: GLENN OF CALIFORNIA

CATALOGUE, UNPAGINATED, UNDATED.

$2,000-3,000

2 1 9344

EMERSON WOELFFERFIGURES AND HEAD

1947-50Roofing tar, oil and asphalt on oatmeal board mounted on canvasSigned and dated “47” center; signed and dat-ed “50” lower right, inscribed on verso: "Woef-fer/Figures and Head/Colorado Springs/1950" and numbered "EW-50-001" in pencilCanvas: 19.625” x 23.75”; Frame: 21.125” x 25.125"$4,000-6,000

342

EMERSON WOELFFERUNTITLED

1950Oil and collage on MasoniteSigned and dated lower rightPanel: 55.75” x 28.25”; Frame: 59” x 31.5”$8,000-10,000

343

EMERSON WOELFFERFIGURE; EXHIBITION POSTER FOR POINDEXTER GALLERY; UNTITLED (3 WORKS)

1959-1969LithographFigure #5 of 20 and Untitled #2 of 20Each signed and dated lower right; inscription and edition lower left; Each with artist’s inscription; one dated 1962.A: Image/Sheet: 24” x 18” B: Sheet: 22” x 17” C: Sheet: 30” x 22.5”$1,500-2,000

347

YNEZ JOHNSTONTHE COSMIC MOUNTAIN

1981Etching on Arches paper#9 of 100Graphic Arts Council of the Los Angeles County Museum of Art, publisherSigned and dated lower right; edition lower left; title lower middleSold with print documentation.Image: 17.75” x 11.75”; Sheet: 24” x 17.75”; Frame: 28” x 22”$400-600

345

YNEZ JOHNSTONUNTITLED

Circa 1960sWatercolor on paperSigned lower right; inscribed by artist lower marginSheet: 21.5” x 29”; Frame: 30” x 37.5”$1,500-2,000

346

YNEZ JOHNSTONUNTITLED

Circa 1960s-70sMixed media on paperSigned lower right10.75” x 15.125” (unframed)$1,000-1,500

2 2 1

348

HARRY BERTOIAUNTITLED 712

1939-78Monoprint, ink on rice paper“712” lower rightSheet: 12.875” x 24”; Frame: 16” x 27”$2,000-3,000

349


1939-78Monoprint, ink on rice paper“270” lower rightSheet: 8.75” x 24”; Frame: 12” x 27”$2,000-3,000

350


1939-78Monoprint, ink on rice paper“300” lower rightSheet: 5.5” x 23.5”; Frame: 8.75” x 26.75”$2,000-3,000

351

AMERICAN MODERNPARTIO KITCHEN/BBQ CART

General Electric, circa 1960 Various materials49.5” x 55” x 32” (closed)

Portable kitchen on one side with oven, two burners, griddle and BBQ on the other side, along with two retractable maple cutting boards/counters.

Sold with original owners manual

Provenance: THE ESTATE OF DWIGHT D

EISENHOWER , PALM SPRINGS, CA; PRIVATE

COLLECTION, PALM SPRINGS

$5,000-7,000

The Partio Cart was introduced publicly as a prize on a 1960 episode of “The Price is Right”. The model, featured in University of Houston’s 2006 show “Designing Domesticity: Industrial Design for Modern Living, 1930-1960”, provided modern homeowners with a variety of portable cooking and grilling conveniences. Dwight D. Eisenhower even said that this unit was "the most fantastic thing you ever saw."

Literature: "The Cottage the Eisenhower’s Called Home." Palm Springs Life Magazine. Feb 1962: n. page. Web. 31 Oct. 2011.

2 2 3

352

RUSSEL WRIGHTAMERICAN MODERN DINNER SERVICE ( 191 TOTAL PIECES IN CORAL , SEA FOAM, AND CHARTREUSE)

Steubenville, designed 1937CeramicVarious dimensionsStamped "Russel Wright Mfg by Steubenville"

Literature: HENNESSEY, RUSSEL WRIGHT:

AMERICAN DESIGNER , MIT PRESS, 1985,

PG 37.

$1,500-2,000

Comprised of the following in Coral (118 total): 3 sugar bowls with lids (1 is missing lid), 17 salad plates, 6 bowls with handle, 11 larger bowls with handle, 8 salt and pepper shak-ers, 14 dessert plates, 13 saucers, 8 cups, 3 sauce boats with 4 saucers, 1 large serving platter, 2 water pitchers, 21 dinner plates, 1 serving bowl with handles, 1 large serving bowl with handles, 2 oval serving platters, 1 divided serving platter two-part serving platter, 2 finger bowls

In Chartreuse (19 total): 2 water pitchers, 2 sauce boats with 1 saucer, 2 serving bowls with handles, 7 saucers, 1 teapot with lid, 1 sugar bowl with lid, 1 serving platter, 1 casserole dish with lid and chafing dish

In Sea Foam (53 total): 1 large serving platter, 6 cups, 5 bowls with handle, 2 demitasse cups, 4 small saucers, 9 serving plates, 8 dessert plates, 8 salad plates, 8 dinner plates, 1 sauce boat with 1 saucer

In White (1 total): 1 shallow serving bowl

47

JAMES GILLUNTITLED (NUDE) (2)

1964Oil on MasoniteSigned and dated lower rightImage: 10.25” x 7.875”; Frame: 13.25” x 10.75”$500-700

353

BEATRICE WOODCERAMIC TILE TABLE

Circa 1980Glazed earthenware with reliefSigned “Beato” in relief and marked “BWTF #1583”.25” x 33.25” x 33.25”$12,000-15,000

2 2 5

48

JAMES GILLGIRL WITH VIOLIN

1964Oil on panelSigned and dated lower rightPanel: 19” x 14”; Frame: 25” x 19”$500-700

354

BEATRICE WOODTHE RICH AUNT

Circa 1990Signed with title versoSold with a ceramic handprint measur-ing 6.75” x 5.75” signed Beato ‘91 and numbered 13 of 100, Beatrice Wood: A Centennial Tribute and a portrait photo-graph of the artist.19.25” x 10.5” x 9.875”$18,000-25,000

One of the most vibrant and flamboyant personalities of the 20th century, Beatrice Wood (1893-1998) infused her ceramics with glowing warmth and humor. Born in San Francisco and raised in New York, at eighteen Wood traveled to Paris to study at the Académie Julian. Upon returning to New York, she began a career as an actress and forged friendships with Marcel Duchamp and Henri-Pierre Roché, with whom she worked on the contemporary art journal, The Blind Man. Her involvement in this circle later helped to earn her the appellation “Mama of Dada.” Wood moved to California in 1928. Although she had dabbled in ceramics, it wasn’t until she studied with Glen Lukens in the late 1930s and then with Otto and Gertrud Natzler in the early 1940s that she began working almost exclusively with the form. Establishing her workshop in Ojai in 1948, she avoided perfection in her ceramics, opting for colorful artistic statements that contrasted with the traditional devotion to form and function. Pieces such as The Rich Aunt (circa 1990), a stone-faced representation of a familiar archetype, exhibit her playful sarcasm. The patio table, which features a figural relief on each side, graced Beatrice’s home in the Ojai Valley, where she lived and worked until her death at the age of 105. Her works can be found in important permanent collections, including the Metropolitan Museum of Art and the Los Angeles County Museum of Art, and Wood’s ceramics, drawings, and paintings are currently on display at the Santa Monica Museum of Art as part of Pacific Standard Time.

Literature:“About Beatrice Wood.” Beatricewood.com. Beatrice Wood Center for the Arts, 2011. Web. 22 Oct. 2011.Clark, Garth. Gilded Vessel: The Lustrous Art and Life of Beatrice Wood. Madison, Wisconsin: Guild Pub.; Cincinnati, Ohio: North Light Books, 2001. Print.Naumann, Francis M. Ed. Beatrice Wood: A Centennial Tribute. New York: American Craft Museum, 1997. Print.

2 2 7

357

BEATRICE WOODBOWL

Circa 1950-90Lustre-glazed earthenwareSigned8” x 9.25” diameter$6,000-8,000

358

BEATRICE WOODGREEN BOWL WITH TWO HEADS

Circa 1950-90Lustre-glazed earthenwareSigned and marked “BWTF #1039”5.5” x 17” x 10”$7,000-9,000

356

BEATRICE WOODVASE

After 1950Lustre-glazed earthenwareSigned7.25” x 4.125”$5,000-7,000

355

BEATRICE WOODFOOTED BOWL

1990Lustre-glazed earthenwareSigned “Beato”6.5” x 9.75” diameter

Provenance: ACQUIRED BY CURRENT OWN-

ER FROM STEPHANIE DRAGOVICH, ASSIS-

TANT TO BEATRICE WOOD, FROM BEATRICE

WOOD STUDIO IN SEPTEMBER OF 1991

$5,000-7,000

359

MARILYN NEUHARTDOLLS

Handmade, circa 1961-65Embroidered cotton with yarnA: 13.5”; B: 11.5”; C: 8.5”

Made for the “Textiles & Objects” store$1,000-1,500

362

CHARLES AND RAY EAMESCOFFEE TABLE WOOD

Model no. CTWEvans Products Company, designed 1945Red aniline dyed molded plywood15.5” x 34” diameter




$3,000-5,000

360


Model no. LCMHerman Miller, designed 1946Red aniline dyed plywood27” x 22.25” x 24”




$1,200-1,500

361

CHARLES & RAY EAMESWIRE MESH CHAIR (OR EIFFEL TOWER)

Model no. DKRHerman Miller, designed 1951-5332” x 18.5” x 17”


CATALOGUE, 1963, PG 1 1 ; NEUHART, EAMES

DESIGN: THE WORK OF THE OFFICE OF

CHARLES AND RAY EAMES, ABRAMS, 1989,

PG 151 .

$600-900

2 2 9

365


Model no. LCWEvans Products for Herman Miller, designed 194526.75” x 22” x 24”$1,000-1,500

363

CHARLES AND RAY EAMESELEPHANT

#677 of 1000Vitra, Switzerland, designed 1945, produced 2007Red stained mapleLabel for Anniversary Edition 2007, Red Maple NR, 0677 of 1000, the authorized original by Vitra.Retains its carrying bag16.5” x 17” x 30”

Literature: NEUHART, THE STORY OF

EAMES FURNITURE, BOOK 1 , GESTALTEN,

2010, PG 359.

$3,000-5,000

364

CHARLES & RAY EAMESPAIR OF ARMCHAIRS (2)

Model no. LAR-6Zenith Plastics Co. for Herman Miller, designed 1950Molded fiberglass with wire rod base and red naugahyde padEach 24” x 24.75” x 24”

Literature: NEUHART, THE STORY OF

EAMES FURNITURE, BOOK 2, GESTALTEN,

BERLIN, 2010, PG 576.

$1,500-2,000

367

GEORGE NELSONROLL TOP DESK

Action Office (649 Series)Herman Miller, designed 196433” x 64” x 32”




$4,000-5,000

366

GEORGE NELSON“HOME 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

2 3 1

369

BRUCE BURDICKEXECUTIVE L-SHAPED DESK

Part of the Burdick Group lineHerman Miller, designed after 1980Aluminum, chrome-plated steel, laminateHerman Miller labelDesk assembled: 37.125” x 60” x 34” and 29.125” x 86” x 36”; Chair: 38” x 25.5” x 26”

Together with an associated desk chair not illustrated$3,000-5,000

368

CHARLES & RAY EAMESARMCHAIRS (3)

Model no. 686 from the Soft Pad GroupHerman Miller, designed 1969Each with Herman Miller label on base; stamped “Jun 1 1981” with inventory labelsEach 32.25” x 18.25” x 20.5”




$2,000-3,000

371

GEORGE NELSONCABINET

Herman Miller, designed circa 1956Rosewood on all sides32” x 47” x 18.5”$2,000-3,000

370

GEORGE NELSONTHIN EDGE JEWELRY CHEST

Model no. 5217Herman Miller, designed 1952 this example 1964Rosewood with porcelain pulls and rubber feetModel number and date verso23.25” x 10.25” x 13.5”


WRITER , DESIGNER , TEACHER , VITRA DESIGN

MUSEUM, 2008, PG 245.

$8,000-12,000

2 3 3

372

GEORGE NELSONKITE CLOCK

Model no. 2201Howard Miller, designed 1952-53Howard Miller label verso16.5” x 22” x 5”

George Nelson: ARCHITECT, WRITER , DE-

SIGNER , TEACHER , VITRA DESIGN MUSEUM,

2008, PG 287.

$2,000-3,000

373

GEORGE NELSONPAIR OF TABLE LAMPS

Possibly Howard MillerEach 43” (with shade) x 18” diameter$1,500-2,000

374

SORI YANAGIBUTTERFLY STOOL

Tendo Co., Ltd., designed 195615” x 16.75” x 12”$3,000-5,000

376

UNKNOWN DESIGNEREXECUTIVE DESK

Manufacturer unknown, designed circa 1968Rosewood28.25” x 82” x 38.75”$3,000-5,000

375

CARL AUBÖCKSIDE TABLE

Auböck, designed circa 195016.5” x 29” x 21.5”$2,000-3,000

2 3 5

377

WILHELM LUTJENSBOOKCASE

Den Boer, Netherlands, designed 195352” x 58.5” x 11.5”$2,500-3,000

379

HARVEY PROBBERPAIR OF LOUNGE CHAIRS

Harvey Probber, Inc., designed 1950s24” x 32” x 27”$3,000-5,000

378

WILHELM LUTJENSBOOKCASE

Den Boer, Netherlands, designed 195352” x 58.5” x 11.5”$2,500-3,000

380

WALTER DORWIN TEAGUE“BLUEBIRD” RADIO

Sparton Corporation, Jackson, Michigan, designed 1934“Sparton, Jackson, Michigan, Made in U.S.A.” on dial14.5” x 14.5” x 5.5”$3,000-5,000

2 3 7282

MARX ST YLECABINET IN THE ST YLE OF SAMUEL MARX

Manufacturer unknown, designed circa 195033.25” x 60” x 21”$2,000-3,000

381

GRETA GROSSMAN, ATTRIBUTEDSOFA

Brown Saltman, designed circa 193926” x 98” x 38”$4,000-6,000

383

K .E.M. WEBERSOFA

Lloyd Manufacturing, designed circa 193533” x 63.5” x 36”$3,000-5,000

386

PABLO PICASSOLA PIQUE

1961LithographSigned in red lower right; marked “6.31.61.I” on plate lower leftFrom A los Toros avec PicassoImage: 8.75” x 10”; Sheet approx: 9.25” x 11.25”: Frame: 16.5” x 18.5”$2,000-3,000

384

HENRI MATISSEFIGURE ASSISE, BOUQUET DE FLEURS DEVANT LA MER OR JEUNE FILLE AU BOUQUET DE FLEURS

1923Lithograph on Japan paper#25 of 60Signed lower right; edition lower leftImage: 11.75” x 8.5”; Sheet: 17.75” x 11.25”

Literature: LAMBERT, MATISSE LITHO-

GRAPHS, LONDON, 1972, D 438.

$10,000-12,000

385

MARC CHAGALLL’ILE DE POROS

1980Lithograph on Arches paper#34 of 50Mourlot, ParisSigned lower right; edition lower leftImage: 17.25” x 13.375”; Frame: 30.5” x 26.5”

Literature: GAUSS, MARC CHAGALL : THE

LITHOGRAPHS, THE SORLIER COLLECTION:

A CATALOGUE RAISONNÉ, VERLAG GERD

HATJE, 1998, PG 363, #963.

$15,000-20,000

2 3 9

389

JOAN MIRÓRED SKY

1960Lithograph#62 of 100Signed lower right; edition lower leftImage: 15.25” x 22.25”; Frame: 26.25” x 33.5”

Literature: JOAN MIRÓ LITÓGRAFO, VOL I I ,

POLIGRAFA , 1975, PG 130, #200.

$2,000-3,000

388

JOAN MIRÓFROM LE MIROIR DE L’HOMME PAR LES BETES

1972Etching with aquatint#52 of 200Maeght Éditeur, Paris, printerSigned lower right; edition lower leftFrom André Frénaud’s Le Miroir de L’Homme par Les Betes, 1972.Sheet: 17” x 12.5”; Frame 21.75” x 17”

Literature: JOAN MIRÓ THE ILLUSTRATED

BOOKS: CATALOGUE RAISONNÉ, PATRICK

CRAMER , 1989, PG 394 -395, #159.

$1,500-2,000

387

JOAN MIRÓLA DAME AUX DAMIERS

1969Lithograph on cloth#13 of 75Galerie Maeght, publisherSigned lower right; edition lower leftImage: 27.5” x 19”; 33.5” x 23.75”; 37.5” x 28”

Literature: JOAN MIRÓ, LITÓGRAFO, VOL

I I I , PROLIGRAFA , 197 7, PG 196, #544.

$3,000-5,000

390

MATSUMI KANEMITSUUNTITLED

1960Crayon on paperSigned lower leftVisible: 14” x 11.25”; Frame: 20.375” x 16.75”$900-1,200

391

JOHN ALTOONUNTITLED

Circa 1966Pastel on paperSigned lower right29.5" x 39.5"; Frame: 31.25” x 41.25”$4,000-6,000

2 4 1

393

SAM FRANCISARIELS’ RING

1972Color silkscreen#46 of 80Gemini G.E.L., Los AngelesSigned with blindstamps lower right; edition lower leftSold with print documentation from Gemini G.E.L., Los Angeles.Image: 36.75" x 47.5”; Sheet: 41” x 51”; Frame: 42” x 52”$3,000-5,000

394

SAM FRANCISUNTITLED (SFE 103)

1995Etching#41 of 44Signature embossed lower right; edition lower rightPlate: 8.25” x 14.75”; Sheet: 16.5” x 22”; Frame: 18.75” x 24.25”$1,000-1,200

392

SAM FRANCISAFFICHE MODERNA MUSEET STOCK-HOLM

1960Lithograph on Rives paper#71 of 75Emil Mathieu Atelier, Zurich, printer; Kornfeld and Klipstein, Bern, publisherSigned lower right; edition lower left; inscribed “for Staffan Ahrenberg” lower margin.Image: 35.625” x 25”; Sheet: 37.5” x 26.5”; Frame: 45.5” x 34.5”$2,500-3,500

395

JASPER JOHNS#2 (AFTER UNTITLED 1975)

1976Color lithograph on Rives#52 of 60Gemini G.E.L., Los AngelesSigned and dated lower right with blindstamps; edition lower leftSold with Jasper Johns Catalogue from Gemini G.E.L.Image: 28.5” x 28.5”; Sheet: 30.125” x 29.875"; Frame: 36.75” x 36.75”

Literature: F IELD, JASPER JOHNS: PRINTS 1970-

197 7, WESLEYAN UNIVERSIT Y, 1978, PG 1 17, #250.

$7,000-10,000

396


1976Color lithograph on Rives#53 of 60Gemini G.E.L., Los AngelesSigned and dated lower right with blindstamps; edition lower leftSold with print documentation from Gemini G.E.L., Los AngelesImage: 28.5” x 28.5”; Sheet: 30.125” x 29.875”; Frame: 36.75” x 36.75”

Literature: F IELD, JASPER JOHNS: PRINTS 1970-

197 7, WESLEYAN UNIVERSIT Y, 1978, PG 1 18 , #252.

$7,000-10,000

397


1976Color lithgraph on Rives#51 of 60Gemini G.E.L., Los AngelesSigned and dated lower right with blindstamps; edition lower leftSold with photocopy of print documentation for Gemini G.E.L., Los AngelesImage: 28.5” x 28.5”; Sheet: 30.125” x 29.875"; Frame: 36.75” x 36.75”

Literature: F IELD, JASPER JOHNS: PRINTS

1970-197 7, WESLEYAN UNIVERSIT Y, 1978,

PG 1 18, #252.

$7,000-10,000

2 4 3

399

FRANK STELLAANGRIFF

1971Serigraph on C.M. Fabriano 100% cotton paper#65 of 150Styria Studio, New York, printer; Center for Constitutional Rights, New York, publisherSigned and dated with edition lower rightFrom Conspiracy: Artist as Witness port-folio published to raise funds in defense of the Chicago Seven.Sheet: 18” x 24”; Frame: 22.5” x 28.5”

Literature: AXSOM, THE PRINTS OF FRANK

STELLA: A CATALOGUE RAISONNÉ 1948-

1983, APPENDIX IC.

$1,200-1,500

400

JASPER JOHNSSAVARIN (FOR SAN FRANCISCO MU-SEUM OF MODERN ART EXHIBITION)

1978LithographUnknown edition sizeTelamon Ediitons Limited, West Islip, New York, printer; The Whitney Museum of American Art, publisherSigned lower rightSheet: 45.75” x 29.75”; Frame: 46.125” x 30.25”$5,000-7,000

398

FRANK STELLASANOR (FROM THE IMAGINARY PLACES I I SERIES)

1996Lithograph, screenprint, etching, aquatint, relief, and engraving on TGL handmade paper#5 of 35Signed and dated with edition lower rightDiameter: 28.875"; Frame: 30.875” x 30.875”$5,000-7,000

403

JOYCE TREIMANFOOT

1969Bronze on wood mountUnknown edition sizeSignature inscribed on bronzeAdele Bednarz Galleries, Los Angeles label verso; label on box with date and item information, #156Bronze: 3” x 8.75” x 1.25”; with base: 5” x 10” x 2”$800-1,200

402

RICO LEBRUNTINY MASK #9

1968Bronze on wood mountSilvan Simmone gallery label on box reads “La Brun, Rico -- Tiny Mask #9, 3/5/68, #185”Mask approx: 3” x 4.5” x 1.5”; with base: 7” x 5” x 3.5”$800-1,200

401

SEFF WEIDLUNTITLED (FEMALE FIGURE)

Bronze with marble baseNumbered IVSignature and “IV” inscribed12.75” x 4.5” x 4”$500-1,000

2 4 5

404

ELIZABETH CATLETTUNTITLED (SEATED FEMALE FIGURE)

Second half of 20th centuryBronzeSigned “EC” on back of benchWith base: 12.5” x 6.375” x 7.125”$12,000-15,000

405

H. NELSONUNTITLED

1935-1943BronzeFederal Art Project W.P.A.Signed “H. Nelson” and marked “Federal Art Project W.P.A. #742”7” x 17” x 7”$1,500-2,000

407

EDWARD WORMLEYCOFFEE TABLE

Dunbar, designed circa 1950s15.75” x 42” diameter$1,500-2,000

406

EDWARD WORMLEYOVAL DROP-LEAF DINING TABLE

From the “Career Group”, model no. 4913Dunbar, designed circa 1950Dunbar Berne Indiana labelClosed: 29” x 72” x 18.25”; Open: 29” x 72” x 72”

Literature: THE DUNBAR BOOK OF MOD-

ERN FURNITURE, 1953, PG 22.

$2,500-3,500

2 4 7

408

EDWARD WORMLEYDRESSERS (2)

Dunbar, designed circa 1955Retains Dunbar label in one drawerEach 38” x 41.5” x 18”$3,000-5,000

409

MILO BAUGHMANDINING CHAIRS ( 10)

Thayer Coggin, designed circa 197036.5” x 19.25” x 22.25”$3,000-5,000

410

MILO BAUGHMANLOUNGE CHAIRS (2)

Thayer Coggin, designed circa 1970Each: 30.5” x 29.5” x 32”$3,000-5,000

2 4 9

411

MILO BAUGHMANGUERIDON

Arch Gordon, designed circa 195023” x 20.5” x 20.5”$1,500-2,000

412

GLEN OF CALIFORNIANIGHTSTAND (2)

Model No. 2607Glenn of California, designedcirca 1952Each 23.75” x 15.75” x 19”

Literature: GLENN OF CALIFORNIA

CATALOGUE, UNDATED, UNPAGINATED.

$1,000-1,500

413

CHARLES POLLOCKSWIVEL ARMCHAIRS ( 16)

Model no. 1258DSKnoll International, designed 1965Knoll International labelsEach: 32” (adjustable) x 26.5” x 25.5”$7,000-9,000

Property Sold to Benefit the Santa Monica Museum of Art

Through its exhibitions, education, and outreach programs, the Santa Monica Museum of Art fosters diversity, innovation, and discovery in contemporary art.

The Museum celebrates expanding boundaries, exploring individual differences, enhancing public knowledge of art, and broadening the art experience. SMMoA is a collection of ideas.

2 5 1

204

ARTIST UNKNOWNHEAD STUDIES

1958Mixed media on paper, two-sidedSigned and dated lower right; titled lower left; verso signed and dated lower rightFrame: 14” x 11”$200-300

415

EERO SAARINENGRASSHOPPER CHAIR AND OTTOMAN

Model no. 61U & 62Knoll International, designed 1945Chair: 34.5” x 26” x 31”; Ottoman: 17” x 24.5” x 18”


VERSE, RIZZOLI , 2010, PG 105.

$2,500-3,500

414

EERO SAARINENGRASSHOPPER CHAIR

Model no. 61UKnoll, designed 194535.5” x 26.5” x 33”


VERSE, RIZZOLI , 2010, PG 105.

$1,800-2,500

416

GIO PONTIFLATWARE SET (66)

Krupp Milano, manufacturer; retailed at Fraser’s of Italy, designed circa 1955Stainless steelMarked variously: “Arthur Krupp, Milano Italy”; “Fraser’s italy”; “Ponti Fraser’s Italy”; “Arthur Krupp, Milano Italy, Gio Ponti”Comprised of 12 dinner knives, 12 dinner forks, 12 salad forks, 12 teaspoons; 12 soup spoons; 5 serving spoons, 1 serving forkKnife: 7.5”

Literature: UGO LA PIETRA , GIO PONTI ,

RIZZOLI , 1996, PG 300.

$4,000-6,000

418

FONTANA ARTEPAIR OF TABLE LAMPS

Fontana Arte, designed circa 1950sBrass with glass baseWith shade: 11.5” x 5” x 5”$3,000-5,000

417

GIO PONTIFLATWARE SET ( 104 )

Krupp Milano, designed 1939Stainless steelComprised of 12 dinner knives, 11 butter knives, 12 dinner forks, 12 demitasse spoons, 9 pastry/salad forks, 12 iced teaspoons, 12 soup spoons, 18 teaspoons, 2 serving spoons, 1 large serving spoon, 1 large fork, 1 pie server, 1 gravy ladle$2,500-3,500

419

ALESSANDRO PIANONPULCINI

Vistosi, designed 1962Cased Murano glass13” x 5.75” x 3.5”$3,000-5,000

2 5 3

420

GINO SARFATTITRIENNALE LAMP

Artluce, Italy, designed circa 1956Adjustable: 63.75” x 36” x 36.5”$4,000-6,000

421

GINO SARFATTITRIENNALE LAMP

Arteluce, Italy, designed circa 195669” (height with lamps down); base: 12”$8,000-10,000

422

MARCO ZANUSOSLEEPER SOFA

Arflex, designed 195432”h x 74”l x 35”d

Literature: BONY, LES ANNEES 50, EDI-

TIONS DU REGARD, 1982, PG 274.

$2,000-3,000

425

ALDO TURATEA CART

Tura, designed circa 195026” x 34” x 24”$1,000-1,500

423

DUILIO BERNABÉ (KNOWN AS DUBÉ)WALL HANGING

Designed circa 1955Reverse painted glassFontana ArteInscribed “Dube*Fontana Arte*” lower middle25.5” x 28.5”$2,000-3,000

424

RICHARD BLOWPIETRA DURA PANEL

1958Mixed hardstonesMontici, Florence, ItalyMontici cipher lower right; signed and dated versoPanel: 8.75” x 3”; Frame: 11.5” x 5.75”$1,000-2,000

2 5 5

430

GIUSEPPE GAMBINOSTILL LIFE WITH FLOWERS

1961Oil on canvasSigned and dated lower left; artist title and date versoSold with exhibition brochureCanvas: 27.5” x 34.75”; Frame: 36” x 42.75”$1,000-1,500

426

GIUSEPPE GAMBINOBAMBINO CON L’AQUILONE (CHILD WITH KITE)

1961Oil on canvasSigned and dated lower right; artist, date and title versoCanvas: 22.75” x 29.75”; Frame: 24.5” x 31.5”$1,000-1,500

427

GIUSEPPE GAMBINOCARABINIERI

1963Oil on canvasSigned and dated lower right; artist, title and date versoImage/Canvas: 22.5” x 16.75”; Frame: 24.25” x 18.5”$1,000-1,500

429

ALBERTO GUERRIPORTOFINO, ITALY

Mid 20th centuryOil on canvasSigned lower left; signed with title versoCanvas: 22.75” x 18.75”: Frame: 24” x 20”$500-1,000

428

RINALDO PALUZZIFIGURA MORENA

1966Oil on canvasArtist, title and date versoCanvas: 13.625” x 9.375”; Frame: 14.5” x 10.5”$300-500

431

ENZO MASIERIUNTITLED

Circa 1910Charcoal on paperSigned lower leftVisible: 7.25” x 5”; Frame: 17.5” x 14.25”$500-700

432

JOSEF ALBERSVARIANT I I (FROM TEN VARIANTS)

1966Serigraph#161 of 200Signed and dated lower right; edition lower leftImage: 10.875” x 11.875”; Frame: 17.25” x 17.25”

Literature: MILLER , JOSEF ALBERS:

PRINTS 1915-1970, THE BROOKLYN MU-

SEUM, 1973, PG 17.

$1,000-1,500

433

SOL LEWITTARCS FROM SIDES OR CORNERS, GRIDS & CIRCLES (2 PLATES)

1972SerigraphEach #32 of 100Pio Monti, Macerata, publisherSigned with edition lower leftEach Image: 13.75” x 13.75”; Sheet: 14.75” x 14.75”; Frame: 19.25” x 19.25”$3,000-5,000

2 5 7

434

GEORGE SEGALUNTITLED (GIRL ON RED CHAIR)

1968Screenprint on Lucite#41 of 50Signed and dated with edition lower middleTen additional impressions in Roman Numerals printed for the Education De-partment of the Metropolitan Museum of Art. Notes verso "Purchased from Fendrick Gallery through the Corcoran Gallery of Art, Washington, D.C. on September 28, 1969".Image: 32” x 24.5”; Sheet: 36” x 36”; Frame: 36.5” x 36.5”$1,500-2,000

435

CLAES OLDENBURGPROPOSAL FOR A CATHEDRAL IN THE FORM OF A SINK FAUCET FOR LAKE UNION, SEATTLE, WASHINGTON

1972Offset lithograph in four colors on Rives BFK paper#291 of 300Colorcraft Lithographers, New York, printer; Contemporary Art Council, the Seatle Art Museum, Washington, publisherSigned lower right; edition lower left; artist’s initials, date, and location in plateTortue Gallery label versoImage: 28” x 22.25”; Sheet: 32.25” x 24.675”; Frame: 32.75” x 25”

Literature: AXSOM, PLATZKER AND

OLDENBURG, PRINTED STUFF: PRINTS,

POSTERS, AND EPHEMERA BY CLAES OLD-

ENBURG: A CATALOGUE RAISONNÉ 1958-

1996, HUDSON HILLS PRESS, NEW YORK,

1997, PG 209.

$1,000-2,000

437

JEROME KIRKVIBRANT (KINETIC SCULPTURE)

1967AluminumInscribed “Kirk” on base22.25” x 13” x 5.75”

Illustrated: NESBIT, KIRK, 1987, PG 50.

$2,000-3,000

436

JEROME KIRKUNTITLED (KINETIC SCULPTURE)

8/15/2009AluminumStudioInscribed “Kirk” on base; date verso48.75” x 29.75” x 11”$9,000-12,000

2 5 9

438

GAETANO SCOLARICHANDELIER

Silnovo, designed circa 195016.5” x 32” x 32”$2,000-3,000

440

C. JERECRANE LAMP

Studio, circa 1977Remnant of signature on base of armAdjustable, as illustrated 66” x 41”$2,000-3,000

439

NEAL SMALLANGLED MIRROR

Circa 1970sMirror on painted plywood mount34” x 58” x 4”$1,000-1,500

441

SALVADOR DALISEQUENCE OF 4 PHOTOGRAPHS OF MARCEL DUCHAMP WITH A CHESS BOARD

circa 1960sPhotographEach photo signed lower rightEach photo: 7” x 7”; Framed together: 13.25” x 37.25”$1,500-2,000

442

STEPHEN VERONAANDY WARHOL SIGNING

1977, printed in 2010Digital print#7 of 20Signed lower right; edition lower leftImage: 8.125” x 32.625”; Frame: 13.625” x 38”

Provenance: FROM THE ARTIST

COLLECTION

$1,500-2,000

443

WILLIAM WEGMANINTERIORS (SUITE OF FOUR PANELS)

1999Digital pigment prints on Somerset Velvet paperPrinter’s proof #2 aside from edition of 15Signed and dated lower right on one panel; edition and title lower left on other purple panelEach Image: 31.5” x 24.25”; Sheet: 37.75” x 30.75”; Frame: 41.5” x 34.5”$5,000-7,000

2 6 1445

ANDRÉ KERTÉSZFEEDING THE DUCKS IN THE LATE AFTERNOON, TISZA SZALKA

1924, later printGelatin silver printVisible: 7.5” x 9.625”; Frame: 19.75” x 20.75”$1,500-2,000

444

HELMUT NEWTONFOTOGRAPHIE ORIGINALI

1969Sheet of photographsSigned and dated lower right of matLabeled “fotographie originali” lower left of mat.Sheet: 19.75” x 15.75”; Mat: 27.5” x 20.125” (not framed)$3,000-5,000

446

JAN SAUDEKWALKMAN NR #195

1987Hand colored silver gelatin printSigned lower right of image; inscribed lower margin: “Walkman Nr. #195, Model Print, Print Finished July 30, 1887 9:35AM”11.625” x 15.5”; Frame: 16.25” x 20.25”$1,000-1,500

447

JAMES ROSENQUISTWHEN A LEAK . . .

1980Color lithograph on Arches 88 paper#44 of 58Gemini, G.E.L., Los AngelesSigned and dated in pencil lower right; edition and title lower leftImage: 39.5” x 50.5”; Sheet: 43.5” x 53.5”; Frame: 48.5” x 59”

Literature: GLENN, TIME DUST: JAMES

ROSENQUIST COMPLETE GRAPHICS: 1962-

1992, RIZZOLI , 1993, PG 156, #175.

$1,800-2,500

2 6 3

449

JIM DINEPICABIA I I (FORGOT )

1971LithographA.P.; aside from edition of 75 plus 15 artist’s proofsPetersburg Press, New York and Lon-don, publisher; Ernie Donagh, printerSigned and dated with edition lower middleSheet/Image: 54” x 36.75”; Frame: 55.5” x 38.125”

Literature: J IM DINE PRINTS: 1970-197 7,

WILLIAMS COLLEGE, 197 7, PG 56, #44.

$2,500-3,500

448

JAMES ROSENQUISTWINDSCREEN HORIZON

1978Color etching, aquatint and pochoir#53 of 78Flatston Studio, Brand X Editions, printer; Multiples, Inc., publisherSigned and dated in pencil lower right; edition and title lower leftPlate: 17.75” x 35.75”; Sheet: 22.75” x 39.75”; Frame: 26” x 43”

Literature: GLENN, TIME DUST: JAMES

ROSENQUIST COMPLETE GRAPHICS: 1962-

1992, RIZZOLI , 1993, PG 152, #138.

$1,000-1,500

451

RUFINO TAMAYOLA PEREJA

1990Lithograph#27 of 110Signed lower right; edition lower left; retains Kyron and Benavente - Kelly blind stampsSheet: 31.75” x 47.25”; Frame: 35.75” x 51.5”

Provenance: DYANSEN GALLERY, NEW

ORLEANS; PRIVATE COLLECTION, BEVERLY

HILLS (ACQUIRED FROM ABOVE, FEBRUARY

18, 1991 ) .

$3,000-4,000

452

RUFINO TAMAYOLA COQUETA

1990Lithograph#27 of 110Signed lower right; edition lower left; retains Kyron and Benavente - Kelly blind stampsSheet: 43.75” x 31.5”; Frame: 48” x 35.75




18, 1991 ) .

$2,500-3,500

453

RUFINO TAMAYOLA LUNA LLENA

1989Lithograph#27 of 110Signed lower right; edition lower left; retains Kyron and Benavente - Kelly blind stampsSheet: 41.75” x 31.5”; Frame: 46.25” x 35.5”




18, 1991 ) .

$3,000-4,000

450

RUFINO TAMAYOCHACAL (FROM MEXICAN MARKET )

1973Lithograph#41 of 100Editions Press, San FranciscoSigned lower right; edition lower leftSheet/Image: 22” x 30”; Frame: 40” x 32.25”$2,000-3,000

2 6 5

454

PEDRO FRIEDEBERG“EL LABERINTO DE LAS CRUCES DONDE EMPIEZA EL CONTOR FUEGO”

After 1960Mixed media on illustration boardSigned middle leftBoard: 14.875” x 14.875”; Frame: 23.25” x 23.25”$3,000-5,000

455

JOSE LUIS CUEVASCRIME BY CUEVAS (PORTFOLIO OF 11 LITHOGRAPHS)

1968Lithograph#39 of 100Signed and dated lower right; edition lower left; signed and dated in plate lower right“Borgia” is visible in Plexi frame.Sheet: 30” x 22”; Plexi frame: 22.5” x 30.75”$500-1,000

456

PEDRO FRIEDEBERGUNTITLED

After 1960Mixed media on paperSigned lower rightImage/Sheet: 14” x 9.5”; Frame: 23” x 18”$2,500-3,500

458

WAYNE THIEBAUDDARK CAKES AND PIES

2006Direct gravure on gampi paper chine collé#9 of 30Signed and dated lower right; edition lower leftImage: 21.5” x 18.25”; Sheet: 30” x 25.5”; Frame: 33.625” x 29.125”$8,000-12,000

457

WAYNE THIEBAUDROSE (FROM RECENT ETCHINGS I I)

1979Etching#26 of 50Signed and dated lower right; edition lower leftImage: 24” x 17.75”; Sheet: 29.75” x 22.75”; Frame: 32.375” x 25.625”$2,000-3,000

2 6 7

460

LARRY COHENVIEW FROM SCENIC AVE. (HOLLYWOOD HILLS)

2002Oil on canvasSigned in pencil canvas verso and in paint on stretcher; date and title in marker on stretcherCanvas: 16” x 18”; Frame: 16.75” x 18.5”


$2,000-3,000

459

LARRY COHENBACKYARD VIEW OF DOWNTOWN L .A .

2004Oil on canvasSigned verso; retains George Stern label verso32” x 22”


$3,000-5,000

461

LAVI DANIELUNTITLED

Circa 1988Watercolor and gouache on paperSheet: 30” x 41.675”; Frame: 33” x 44.75”$1,500-2,000

462

POP 1960SPAIR OF AIRCHAIRS

The Green Co., designed circa 1978Canvas with inflatable inserts, metal rivets, and plastic storage casesEach inflated: approx. 28” x 32” x 27”; Each case: 8” x 16” x 11”

Includes brochure and a bag of rivets$2,000-3,000

463

GERALD MCCABEDINING SUITE

Orange Crate Modern, designed circa 1970Each brand stamped “Gerald McCabe/Orange Crate Modern/Eon Furniture Company/Santa Monica, California”Table: 29” x 66” x 36”; Benches: 31” x 66” x 19”$2,000-3,000

2 6 9

464

OLGA FISCH“CAVERNA” ECUADOREAN RUG

1950sWoolen rugFolklore Handmade Rugs label versoPersian known weaving with cotton backing and aniline dyes. Made by spe-cial order for parents of current owner.125” x 106”$5,000-7,000

465

JOHN OUTTERBRIDGEUNTITLED

Circa 1960Oil on canvasSigned lower leftCanvas: 30” x 40”; Frame: 31” x 41”$1,000-2,000

2 7 1

466

RUTH LEVINUNTITLED

1989Oil on canvasSigned and dated lower leftCanvas: 63” x 71.75”; Frame: 65” x 73.75”$3,000-5,000

467

RUTH LEVINUNTITLED

1984Oil on canvasSigned and dated lower leftCanvas: 40” x 40”; Frame: 41.5” x 41.5”

$2,000-3,000

468

LES LEVINEPRINT-OUT PORTRAIT (SET OF 6)

1969Offset lithograph#75 of 85Signed and dated with edition in pencil versoWith an additional unframed print from the series.Image: 18.25” x 25.5”; Frame: 20.25” x 27.25”$1,000-1,500

2 7 3469

GEORGE NELSONGROUP OF 3 SOFAS AND 2 FREESTAND-ING COFFEE TABLES (5)

From the Contract Bench SystemHerman Miller, designed 1956Pair of Coffee Tables Not IllustratedRetain Herman Miller medallionEach sofa: 26.75” x 90” x 30”; Each coffee table (not illustrated): 15” x 32” x 32”


CATALOGUE, 1963, PG 38.

$3,000-5,000

470

SHEPARD FAIREYOBEY MOTORHEAD ALBUM COVER

2002ScreenprintUniqueSigned and dated lower rightImage: 12” x 12”; Frame: 20” x 20”$2,000-3,000

471

SHEPARD FAIREYJAPANESE FABRIC PATTERN, RED (SET OF 4 )

2009ScreenprintEach #58 of 100Signed and dated lower right; edition lower leftEach Image: 17” x 17”; Sheet: 18” x 18”; Frame: 18.25” x 18.25”$2,000-3,000

2 7 5

473

TAKASHI MURAKAMIOPEN YOUR HANDS WIDE

2010Offset lithograph#67 of 300Kaikai Kiki Co., Ltd.Signed with edition lower rightImage: 29.75” x 36”; Frame: 32.5” x 38.5”$1,500-2,000

472

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

2010Offset lithograph#159 of 300Kaikai Kiki Co., Ltd.Signed with edition lower rightImage diameter: 27.5”; Frame: 32.25” x 32.25”$1,000-1,500

476

MARK & TAKASHI GROTJAHN & MURAKAMIUNTITLED (SCARLET LAKE AND INDIGO BLUE BUTTERFLY 826)

2010Offset lithographEdition of 300Kaikai Kiki Co., Ltd.Signed lower rightImage: 27” x 21.5”; Frame: 29.75” x 24”$800-1,000

475

MARK & TAKASHI GROTJAHN & MURAKAMIUNTITLED (CANARY YELLOW AND BLACK BUTTERFLY 830)

2010Offset lithographEdition of 300Kaikai Kiki Co., Ltd.Signed lower rightImage: 27” x 21.5”; Frame: 29.75” x 24”$800-1,000

474

TAKASHI MURAKAMIFLOWERS IN HEAVEN

2010Offset lithograph#77 of 300Kaikai Kiki Co., Ltd.Signed with edition lower rightImage: 26.5” x 26.5”; Frame: 28.75” x 28.75”$1,000-1,500

477

SHU TAKAHASHISIX SHAPES IN SPACE

1974Screenprint on acrylic#141 of 500Signed and dated with edition lower middleRondanini Galleria d’Arte Contempora-nea on bottom, Grafiser Roma27.75” x 19.75”$300-500

480

VICTOR VASARELYUNTITLED DEPOSITO

1970Acrylic cube#59 of 100Signed with editionCube: 6.875” x 6.875” x 6.875”; With stand: 8.5” x 7.5” x 7.5”$500-1,000

478

VICTOR VASARELYDOOR

1982Serigraph#139 of 325Signed lower right; edition lower left; label on the glassImage: 37.5” x 19”; Sheet: 42.75” x 23.5”; Frame: 50.75” x 31.5”$1,000-1,500

479

BILL BARRETTUNTITLED (SCULPTURE)

1979AluminumSigned and dated on foot13” x 10.75”$2,000-3,000

2 7 7

481

YAACOV AGAMTHE BLESSING

2nd half of 20th centuryLithograph#11 of 99Signed lower right; edition lower leftImage: 35.75” x 14.25”; Frame: 51.5” x 30.25”$800-1,200

483

YAACOV AGAMNIGHT CONSTELLATION

1979Serigraph on Arches#46 of 99Atelier Arcay, ParisSigned below circle; edition lower leftSold with documentation from Gold-man’s Art Gallery; Acquired by consigner from Goldman’s Art Gallery at L.A. County FairImage/Sheet: 28.5” x 42.5”; Frame: 28.5” x 42.75”$1,000-1,500

482

YAACOV AGAMHIDDEN RAINBOW X 9

2002Agamograph (lithographic image viewed through a lenticular lens)#49 of 99; aside from 25 proofsSigned lower right; edition lower leftSold with documentation from Park West Gallery, Michigan14” x 14.25”; Frame: 27” x 27.25”$1,500-2,000

485

LADDIE JOHN DILLUNTITLED

1988Monotype on handmade paperEdition of 35Garner Tullis Studios, Santa Barbara, printer; Graphic Arts Council of the Los Angeles County Museum of Art, publisherSigned and dated lower leftSold with print documentationImage/Sheet: 23” x 30”; Frame: 28.375” x 35.875”$1,500-2,000

484

LADDIE JOHN DILLFIVE-0

1993Bronze relief sculptureSigned and dated lower right; title lower left16” x 11.75” x 1.5”$1,500-2,000

486

LADDIE JOHN DILLUNTITLED (CONSTRUCTION)

Circa 1984Glass, plywood and aggregate52.75” x 84”$4,000-6,000

2 7 9

488

JOE GOODELOB I I

1990Lithograph#23 of 25Signed and dated lower right; title and edition lower leftFrom The Ocean Blue seriesImage/Sheet: 25.5” x 19”; Frame: 32.5” x 26”$800-1,200

487

JOE GOODEUNTITLED

1975Drawing on ArchesSigned and dated lower middleImage: 21.5” x 29.75”; Sheet: 22” x 29.75”; Frame: 32.175” x 39.5”$2,500-3,500

489

JOE GOODETUGELA ( WATERFALL #033)

1990Oil on GatorboardStudio label verso20” x 2.875”; Mount: 20.875” x 3.75”$1,000-1,500

490

ERIC ORRBLIND WINDOW

1988Gold leaf on lead on boardSigned and dated lower right; title lower middlePanel: 15.75” x 11”; Frame: 17.25” x 12.5”$1,500-2,000

493

PETER SHIREPAIR OF SIDE TABLES

Studio, executed 1987Wood with laminated surfacesEach signed and datedEach: 20” x 20” x 20”$3,000-5,000

491

PETER SHIREUNTITLED

Studio, executed 1983Ceramic sculptureSigned and dated on turquoise baseapprox. 4” x 7” x 8”$600-900

492

PETER SHIRE

Circa 1990Studio28” x 16” x 12”$1,000-1,500

2 8 1

495

VENINIPAIR OF MASKS WITH STANDS

Venini, Murano, Italy, 1988GlassRed: “Venini 88” versoRed (Brighella Lattimo): 6” x 7” x 4.5”; Black (Arlecchino): 6.5” x 6.75” x 4.25”$800-1,200

494

MINEO MIZUNOUNTITLED ( WALL CHARGER)

Studio, executed 1986CeramicSigned verso24” diameter$1,000-1,500

496

MINEO MIZUNOGROUP OF CERAMIC WORKS (4 )

1988Comprised of two bowls and two platesGlazed ceramicEach signed, two datedEach bowl: 3.25” x 6” diameter; Each plate: 1.5” x 10.5” x 10.5”$700-900

497

JAVIER MARISCALHILTON SERVING CART

Memphis, designed 1981Sold with printouts of information on the trolley’s manufacture and Javier Mariscal31.75” x 52” x 17.75”

Literature: RADICE, MEMPHIS: RESEARCH,

EXPERIENCES, RESULT, FAILURES AND SUC-

CESSES OF NEW DESIGN, RIZZOLI , 1984, PG 58.

$1,500-2,000

498

ETTORE SOTTSASSMURMANSK CENTERPIECE

Memphis, designed 1982Silver plateImpressed “Memphis Milano”11.25” x 14.5”$3,000-5,000

499

PHILIPPE STARCKUNE ÉTRANGETÉ SOUS UN MUR

Edition of 50Daum, 1988GlassInscribed DAUM Starck19.75” x 11.5” x 12”

Literature: PHILIPPE STARCK, TASCHEN,

KÖLN, 1991 , PG 147.

$1,000-1,500

2 8 3

501

RON ARADTOP POT (HARD) PLANTERS (3)

Serralunga, 2003PolyethyleneMarked “Ron Arad for Serralunga Made in Italy” and “Ron Arad Design for Serralunga Made in Italy”.Each: 40” x 28” diameter$5,000-7,000

502

ETTORE SOTTSASSSINUS LAMPS (2)

Stilnovo, designed 1970Each: 12.875” x 3.125” x 3”

Designed for vertical or horizontal lighting$1,500-2,000

500

RON ARADNINO ROTA CHAIRS (2)

Cappellini, designed 2002Stamped “’Nino Rota’ by Ron Arad for Cappellini”Each 28.75” x 24.75’ x 25.5”$3,000-5,000

505

LARRY BELLUNTITLED

1988Mixed media on coated canvasSigned and dated lower middle28” x 36”

Provenance: LOS ANGELES VALLEY COL-

LEGE (DONATED IN MEMORY OF FIDEL

DANIELI) , 1988

$2,000-3,000

504

BARBARA KASTENCONSTRUCT A + A

1984Chromogenic print#23 of 50Signed with date, title and edition in lower margin24” x 20”; Frame: 34.75” x 30.5”$1,500-2,000

503

TOM SAVAGESWAY

1989-1990Oil, pencil, charcoal on canvasSigned with title, medium and date versoExhibited at Shoshana Wayne Gallery, 1992.72” x 84”$3,000-5,000

2 8 5

506

HENK ELENGASUITE OF FURNITURE (5)

Hard Werken, custom designed 1987 for the co-founder of Virgin Records US, Jordan HarrisComprised of desk, credenza, corner table, and two speaker standsDesk, corner table and credenza signedDesk: 28” x 76.25” x 38”; Credenza: 30.5” x 56” x 19.75”; Corner table: 16.5” x 29.5” x 29.5; Speaker stands: 31.25” x 14.75” x 13.5”$5,000-7,000

507

PAOLO PIVAANDY SOFA

B&B Italia, designed 200222” x 96” x 45”$1,500-2,500

508

PIERO LISSONIREEF SWIVEL ARM CHAIR

Cassina, designed 2001-200227.75” x 38” x 33.5”$500-1,000

509

LINEACOFFEE TABLE

Linea, designed circa 2000Metal with acrylic top12.5” x 47” x 31.5”$1,500-2,500

2 8 7

510

PIERO LISSONISOFAS (2)

Cassina, designed 2001-200227” x 116” x 32”$3,000-5,000

511

LINEACOFFEE TABLE

Linea, designed circa 200015.25” x 86.75” x 55.25”$2,500-3,500

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 December 19th 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 December 19th. 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 December 19, 2011. (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 DECEMBER 19TH. All property remaining after DECEMBER 19TH will be removed and stored in an off-site storage facility at the cost of the buyer. Purchases not removed by December 19th 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, December 10th 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 see if your bids were successful. All successful absentee bids should be notified by phone by December 13th. 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 the images in any form.

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

2 8 9

GIO PONTIORGANIZED WALL

Circa 1955Italian walnut, tempered

glass and recessed lighting$30,000 - 50,000

SPRING 2012NOW ACCEPTING CONSIGNMENTS

MODERN ART & DESIGN AUCTION

SPRING 2012NOW ACCEPTING CONSIGNMENTS

MODERN ART & DESIGN AUCTION

PIERRE-AUGUSTE RENOIRBATHER

Circa 1915Oil on canvas

Canvas: 8.25" x 6.75"; Frame: 14.5" x 13"$100,000-150,000

A Aalto, Alvar 32-33Agam, Yaacov 481-483Albers, Josef 432Ali, Muhammad 100Altoon, John 391Arad, Ron 500-501Arnoldi, Charles 107Artschwager, Richard 98-99Auböck, Carl 375Avery, Milton 183-185

BBaldessari, John 64-65Barovier, Ercole 296Barrett, Bill 479Baughman, Milo 88, 409-411Bell, Larry 505Bellini, Mario 322-323Bengston, Billy Al 106Berger, Ueli 321Berrocal, Miguel 44Bertoia, Harry 67, 215, 292 and 348-350Bitters, Stan 11-12, 14-16Blow, Richard 424Bobrick, Mitchell 191Botero, Fernando 43Botta, Mario 251Bratby, John 307Breuer, Marcel 77Burdick, Bruce 369Byars, James Lee 49

CCalder, Alexander 311Canogar, Rafael 339Castiglioni, Achille 304Catlett, Elizabeth 404Chagall, Marc 385Chamberlain, John 194Chihuly, Dale 120Close, Chuck 124-125Cohen, Bruce 128-129Cohen, Larry 459-460Coignard, James 150Cone, Davis 130Conner, Bruce 51Cooper, Dan 86Crash (John Matos) 85Cressey, David 326-327Cuevas, Jose Luis 455

DDali, Salvador 441Daniel, Lavi 461de Poli, Paolo 234Dill, Laddie John 484-486Dine, Jim 449Ditzel, Nanna 35Dubé 423

E Eames, Charles 80-82, 206-214 and 226, 255, 267-271, 286-287 and 360-368Edmondson, Leonard 192Ekstrom, Yngve 34Elenga , Henk 506Ernst, Max 73Estes, Richard 131

F Fairey, Shepard 470-471Falkenstein, Claire 320Finkelstein, Max 332Fisch, Olga 464Fischer, Eva 310Fischinger, Oskar 72Fontana Arte 418Francis, Sam 241-242, 392-394

Franck, Kaj 36-37Franco, James 203Frankl, Paul 334Fraser, Donald Hamilton 309Friberg, Berndt 42Friedeberg, Pedro 454, 456

G Gambino, Giuseppe 426-430Gehry, Frank O. 102-105, 253Goode, Joe 487-489Goode, Rex 136, 331Graham, Robert 152, 243Greene & Greene 272Grossman, Greta 340-341, 381Grotjahn, Mark 475-476Guariche, Pierre 87Guerri, Alberto 429Guerriero, Henry 149Guimard, Hector 181

H Hammersley, Frederick 89Hans Sumpf 13Hartung, Hans 151Hawkinson, Tim 201-202Hockney, David 78-79, 244Hoffmann, Josef 177Hutten, Richard 96Hvidt, Peter 17

I Ikegawa, Shiro 108Isermann, Jim 92

J Jacobsen, Arne 24, 232Jansson, Folke 225Jere, C. 440Johns, Jasper 395-397, 400Johnson, Dan 264-265Johnson, Philip 217, 219Johnston, Ynez 193, 345-347Judd, Donald 52

K Kage, Wilhelm 40-41Kanemitsu, Matsumi 390Kasten, Barbara 504Kelly, Ellsworth 312-313Kertész, André 445Kienholz, Ed 245-246Kirk, Jerome 436-437Kjaerholm, Poul 218Knoll, Florence 71, 281Knorr, Donald 288Komai, Ray 227-228Koons, Jeff 100-101Kunishima, Seiji 216Kuramata, Shiro 97, 248-250

L Lamb, Walter 142-145Lane, Danny 247Le Corbusier 74Lebrun, Rico 402Levin, Ruth 466-467Levine, Les 468Levine, Marilyn 161LeWitt, Sol 433Lichtenstein, Roy 83-84Liebovitz, Annie 45, 123Lindberg, Stig 19, 41Lindstrand, Vicke 300Linea 509, 511Lissoni, Piero 508, 510Loewy, Raymond 233Longo, Robert 126-127Lutjens, Wilhelm 377-378

M Mackintosh, Charles Rennie 76Maloof, Sam 153-156Mapplethorpe, Robert 48Mariscal, Javier 497Martin, Robert 328Masieri, Enzo 431Mathsson, Bruno 25-28Matisse, Henri 384Matter, Herbert 205McCabe, Gerald 463McCobb, Paul 1-8McCracken, John 90McIntosh, Harrison 157-158McLean, Richard 195McMakin, Roy 93-95Meier, Richard 252Mies van der Rohe, Ludwig 75Mihich, Velizar (Vasa) 305-306Miró, Joan 387-389Miyakaski, George 269Mizuno, Mineo 494, 496Moore, Henry 308Moses, Ed 109Murakami, Takashi 472-476

N Nakashima, George 121-122Natzler, Gertrud & Otto 159-160 and 257-263Nauman, Bruce 146-147Nelson, George 204, 275-278 and 366-373, 409Nelson, H. 405Neri, Manuel 335-336Neuhart, Marilyn 359Neutra, Richard 189, 266Newton, Helmut 444Noguchi, Isamu 280-284Nyman, Gunnel 298

O Olbrich, Josef Maria 180Oldenburg, Claes 435Olsen, Odelberg 110Orr, Eric 490Outterbridge, John 465

P Paluzzi, Rinaldo 428Panton, Verner 229-231Parker, Raymond 197-198Parzinger, Tommi 187Penny, Aubrey 256Pesce, Gaetano 237-240Pettibon, Raymond 55-59Pianon, Alessandro 419Picasso, Pablo 112-119, 386Piva, Paolo 507Plant, David 162Pollock, Charles 302, 413Ponti, Gio 235-236, 416-417Probber, Harvey 379Prouvé, Jean 111

Q Quistgaard, Jens 22

R Rateau, Armand-Albert 182Rauschenberg, Robert 60-63Ray, Man 46-47, 279Risley, John 290

Risom, Jens 68, 303Robsjohn-Gibbings, T. H. 186, 188Rosenquist, James 447-448Roszak, Theodore 148Ruscha, Ed 164-174

S Saarinen, Eero 69-70, 414-415Sachs, Tom 200Salle, David 66Sarfatti, Gino 420-421Sarpaneva, Timo 223-224, 293-295Saudek, Jan 446Sauvage, Henri 178Savage, Tom 503Scarpa, Tobia 324Scolari, Gaetano 438Segal, George 435Segovia, Andres 196Serra, Richard 53-54Sheets, Millard 9Shire, Peter 491-493Shoemaker, Don S. 10Shulman, Julius 132-135Small, Neal 439Sonnier, Keith 240Sottsass, Ettore 498, 502Staehr-Nielsen, Eva 29Stålhane, Carl-Harry 30Starck, Philippe 400Stella, Frank 398-399Stewart, Kipp 143Stuck, Jack 338Sultan, Donald 50

T Tackett, La Gardo 137-141, 329-330Takahashi, Shu 477Tamayo, Rufino 450-453Tan, Humen 289Tapiovaara, Ilmari 38-39Teague, Walter Dorwin 380Thaden, H.V. 285Thiebaud, Wayne 457-458Tobiasse, Theo 337Treiman, Joyce 403Tura, Aldo 425

V Vallance, Jeffrey 91Van de Velde, Henry 179van Keppel, Hendrik 291Vasarely, Victor 478, 480Venini 495Verona, Stephen 442Versace, Gianni 297

W Wagenfeld, Wilhelm 301Walker, Rodney 190Warff, Goran 299Warhol, Andy 314-319Weber, Kem 383Wegman, William 443Wegner, Hans 18, 20-21, 220-222Weidl, Seff 401Woelffer, Emerson 342-344Wood, Beatrice 353-358Wood, Jonas 199Woolley, Ellamarie 163Wormley, Edward 406-408Wright, Frank Lloyd 273-274Wright, Russel 352

Y Yanagi, Sori 254, 370

Z Zanuso, Marco 422

INDEX

FSC Stamp

AUCTION: SUNDAY, DECEMBER 11, 2011

12PM NOON (PST)

PREVIEW: DECEMBER 1 - 10

10AM - 6PM (PST)

ADDRESS: 16145 HART STREET

VAN NUYS, CA 91406

TELEPHONE: 323-904-1950

los angeles modern auctions





DIRECTORPETER LOUGHREY

MANAGING DIRECTORSHANNON LOUGHREY

MARKETING DIRECTORELIZABETH PORTANOVA

CLIENT SERVICESJULIE WEARING

CATALOGUER/EDITORJENNIFER MILLER

PHOTOGRAPHYSUSAN EINSTEINMARIO DE LOPEZ

ESSAYSPAUL Des MaraisJENNIFER MILLER

DIRECTIONS TO AUCTION & PREVIEW

FROM HOLLYWOODMake your way to the 101 Freeway

Proceed North on the 101Merge onto the 405 NORTH

Take the 4th exit onto “Sherman Way, WEST”Proceed WEST on Sherman Way

Turn LEFT at the 3rd light onto “Woodley”Take the first RIGHT onto “Hart” street, which is a side street

FROM THE WESTSIDETake the 405 Freeway, North

Continue past the Getty Museum and the 101 InterchangeExit onto “Sherman Way, WEST” (this is 4 exits North of the 101) Proceed WEST on Sherman Way

Turn LEFT at the 3rd light onto “Woodley”Take the first RIGHT onto “Hart” street, which is a side street

Complimentary Valet Parking

VALJ

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AV

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SHERMAN WAY

WO

OD

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AV

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LAMA

HART ST

405

FREE

WAY

101 FREEWAY

SEP

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GETTYCENTER

WOODLAND HILLS HOLLYWOOD

VAN NUYS

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Documents

December 11, 2011 Important Modern Art & Design Auction