LAMA Dec. 2012

Transcription

LAMA Dec. 2012

DECEMBER 16, 2012
1
PREVIEW
December 1 - 15, 2012
10 a.m. - 6 p.m.
AUCTION
Sunday, December 16, 2012
12 p.m. (PST)
16145 Hart Street
Van Nuys, CA 91406
Welcome to Part Two of our 20th Anniversary. For the first time in our history,
we’ve received so much material that we had to split our milestone auction into two parts, each brimming with some of
the best examples of Modern Art & Design that we have ever sold.
Among the many highlights in this sale, I must mention the four works of Surrealist sculpture that all have functional
raison d’être, as well as excellent provenance. The two exceptional, unique brooches by Jean Arp and Alexander
Calder, each gifts from the artists themselves, were created as miniature sculpture that can be worn. Calder gave his
silver brooch as a gift to the recipient on her 40th birthday, and Arp gave his biomorphic brooch as a gift to Josine
Janco, daughter of Dada co-founder Marcel Janco. The Isamu Noguchi Chess table and Man Ray’s Lampshade are
brilliant examples of how an artist creates the illusion of mass with only a few two-dimensional planes. The Noguchi
Chess table, one of only a handful ever made, retains the sculptural tray, original birch finish, and comes with excellent
provenance and exhibition history. Together these four works culminate in one of the strongest groupings of Surrealist
sculpture that LAMA has ever offered.
We are very proud to represent material from one of Los Angeles’ most renowned institutions, the Los Angeles County
Museum of Art (LACMA). A special group of 15 lots from LACMA features rare works from the American Arts & Crafts
period, many of which were gifts from the late Max Palevsky. These lots are being sold to benefit future museum
acquisitions. This is a rare opportunity to acquire a work from an internationally recognized museum whose provenance
will always be admired.
Also, this sale offers ten works by Robert Rauschenberg. Our cover lot, Lattice, is a rare mixed media work from the
artist’s groundbreaking Hoarfrost series. This pristine example from 1975 is the centerpiece in a mini survey of the
artist’s work that includes many of his greatest hits created at Gemini G.E.L. in Los Angeles.
There are also classic icons of design that are still accessible to a wide range of buyers, including designs by Hans
Wegner, George Nelson, Arne Jacobsen, and Charles & Ray Eames, many of which are still priced about the same or
lower than reproductions.
In the twenty years since our first auction, the demand for good art and design is stronger than ever. So, whether you
have been buying from LAMA since 1992, or you have just discovered us, we hope that the highlights in our sales will
become the highlights in your home.
PETER LOUGHREY, DIRECTOR
1
GEORGE NELSON
COMPREHENSIVE STORAGE SYSTEM (2)
Model no. CSS and no. 4755D
Herman Miller, designed 1959 and 1949
(clock)
Walnut, enameled aluminum
Sold with a George Nelson orange
“Ball Clock”
Unit: 93.5” x 129” x 15.125”;
Clock: 13.75” diameter
$4,000-6,000
2
VICTOR GRUEN
HANGING LIGHTS (2)
Aleco, designed c. 1962
Painted aluminum, brass, frosted glass
Each retains label “American Lighting
Equip. Co.”
19.5” x 16” diameter
The proceeds of the sale of these lights
are going to the Leo Baeck Temple, Los
Angeles.
Provenance:
L EO B AEC K TE MP L E , LOS ANG ELES;
P R IVATE C O L L EC TIO N, CALI FOR NI A
$4,000-6,000
3
HERBERT KRENCHEL
KRENIT BOWLS (10)
Torben Orskov, designed 1953
Enameled and frosted steel
Several with printed manufacturer’s
marks
5.5” x 10” x 10” (6); 2” x 4.75” x 4.75”
(3); 3” x 7.75” x 7.25” (1)
$1,500-2,000
5
4
CHARLES & RAY EAMES
EARLY ROCKING CHAIR
Model no. RAR
Herman Miller, designed 1950
Fiberglass with rope edge, zinc wire,
birch
Retains Herman Miller label
27” x 25” x 26”
Early in production, the wire base was
re-configured in order to prevent the
wire stretcher from catching the sitter's
heels.
Provenance: PROPERT Y
FROM AN I M P OR-
TAN T WEST COAST COLLECTI ON
$1,500-2,000
5
CHARLES & RAY EAMES
LOUNGE CHAIR AND OTTOMAN (2)
Model no. 670 & 671
Herman Miller, designed 1956, this
example before 1971
Rosewood and black leather
31” x 33.5” x 36”
FROM AN I M P OR-
$3,000-5,000
6
MARILYN NEUHART
LION
Handmade, c. 1961-65
Embroidered cotton with yarn
8” x 11”
Provenance: P R O P E RT Y
FR OM AN I M P OR-
TAN T W E ST C OAST C OLLEC TI ON
$1,000-1,500
7
CHARLES & RAY EAMES
WIRE MESH CHAIR WITH DOWEL LEGS
Model no. PKW
Herman Miller, designed 1951-53
Enameled steel, “postman’s bag” brown
leather, birch
Retains Herman Miller upholstery tag
32” x 19” x 18”
FR OM AN I M P OR-
Exhibited: " MO D E R N
DESI G N: TH E
FAB ULO US 5 0 S, " C ALI FOR NI A H ER I TAG E
MUS E UM, SAN TA MO NI C A , 2002
Illustrated: S MITH ,
TOBI , M ODER N DESI G N:
TH E FAB ULO US 5 0 S, L ANCASTER : SCH I FFER
P UB L IS H IN G, 2 0 0 2 , P 28.
$1,500-2,000
8
CHARLES & RAY EAMES
DINING CHAIR
Model no. DCW
Herman Miller/Evans Products Co.,
designed 1945-46, executed late 1940s
Laminated wood, ebonized finish
28.75” x 19.25” x 20.5”
Literature: N E UH ART,
JOH N AND M AR I LYN,
E AME S D E S IGN : TH E WOR K OF TH E OFFI CE
O F C H AR L E S AN D R AY EAM ES, NEW YOR K :
AB R AMS, 19 8 9, P 5 8 .
$800-1,200
7
9
GEORGE NELSON
LAZY SUSAN DINING TABLE
Model no. 5021
Birch, Micarta, enameled steel base,
with flush center lazy Susan turntable
Special order with custom color top and
black enameled base
29.375” x 47.75”
Literature: EISENBRA ND,
JOCH E N , G EOR G E
NEL S O N: A RCH ITECT, WRITER , DE SI G N E R ,
T EACHER , W EI L A M RH EIN: VITRA DE SI G N
MUS EUM , 20 0 8, P 259.
$3,000-5,000
10
GEORGE NELSON
CONSTELLATION ELECTRIC KNIFE
SHARPENER
Chas. D. Briddell, Inc., designed 1955
Plastic, sharpening stone
Retains Carvel Hall & Briddell label
3.25” x 5.25” x 3”
FR OM AN I M P OR-
Literature: E IS E N B R AND,
JOCH EN, G EOR G E
N E L S O N : AR C H ITEC T, WR I TER , DESI G NER ,
TE AC H E R , W E IL AM R H EI N: VI TR A DESI G N
MUS E UM, 2 0 0 8 , P G 308.
$200-400
9
11
GEORGE NELSON
FIVE-DRAWER CABINET
Model no. 4620 (Basic Cabinet Series)
Mahogany, steel rod pulls
39.75” x 40” x 20”
Literature: TH E
H E R M AN M I LLER COLLEC-
TIO N ( F UR N ITUR E C ATALOG U E) , 1 94 8, NP.
$2,000-3,000
12
VICTOR VASARELY
UNTITLED
Hand painted acrylic on wood
#46 of 100
Signature and edition in graphite
2” x 14.125” x 6”
$2,000-3,000
13
VICTOR VASARELY
UNTITLED
Hand painted acrylic on wood
Signed in graphite
2” x 15.25” x 17.25”
$3,000-5,000
ERNEST TROVA BANNER
Amidst the 1962-63 New York City newspaper strike, gallery and museum organizers were unable to announce upcoming
exhibitions. As an advertising solution, art dealer Robert Graham asked Pop artists to submit designs for felt banners to be hung
outside of his Madison Avenue gallery. The results were overwhelmingly positive, so with the help of framer Barbara Kulicke,
Graham organized a banner-making workshop called the Betsy Ross Flag and Banner Company. Multiple artists contributed
designs, from Andy Warhol, Roy Lichtenstein, and Tom Wesselmann, to Jim Dine, Helen Frankenthaler, and Robert Indiana.
St. Louis’ Ernest Trova (1927-2009), another emerging artist who was steadily gaining traction in the New York art scene,
contributed his iconic Falling Man design to the company. In 1963, Trova exhibited his Falling Man paintings for the first
time at the Pace Gallery in New York, and throughout the 60s he replicated the dystopian representation of “man at his most
inhuman” as sculptures and prints, some of which reside in the permanent collection at the Museum of Modern Art in New York.
Falling Man Banner (1968) packs the flattened silhouettes into a “fallible modern humanity,” a pattern that represents man’s
continuous march towards destruction. From 1997-2000, an example of this design was included in the exhibition, “The Great
American Pop Store: Multiples of the Sixties,” that traveled to over ten museums, including the Toledo Museum of Art and the
Baltimore Museum of Art.
Tietjen, Friedrich. “The Multiple as Label.” XCult.org. XCult Art & Communication. Web. 24 October 2012.
14
ERNEST TROVA
FALLING MAN BANNER
11
1968
Felt, linen, and canvas banner
#14 of 20
Betsy Ross Flag and Banner Co, Inc
and Multiples Inc., New York;
fabricated by Abacrome, New York
Signature on label with edition
71” x 71”
Provenance: C E DAR S - SI NAI
M EDI CAL
C E N TE R
Literature: GL E N N ,
CONSTANCE W, TH E
GR E AT AME R IC AN P O P ART STOR E: M U LTIP L E S O F TH E S IXTIE S, SANTA M ONI CA:
S MART ART P R E SS, 1997, I LLU STR ATED P
2 7, # 7 9.
$2,000-3,000
236
EDMUND TESKE
UNTITLED (PHOTOGRAPHS OF
JOSEPHINE CHUEY)
c. 1960
Gelatin Silver photographs mounted on
Strathmore deckle paper
Each signed in pencil
Each photograph approximately 9.5" x
7.75"; Sheet 22" x 15"
Provenance: THE
ESTATE OF ROB E RT
C HUEY
$6,000-9,000
15
MICHELANGELO PISTOLETTO
TUTTI DESIGNERS
From the edition of 500
Meta Memphis, designed 1989
Neon tube, aluminum suitcase,
chrome-plated steel
27.5” x 27” x .875”
$1,000-1,500
16
ENOC PEREZ
HOTEL EL PORTAL, SAN JUAN
2006
Watercolor on paper
Retains Mitchell-Innes & Nash
label verso
Sheet: 13.75” x 10”; Frame: 17” x 12.875”
$4,000-6,000
17
ERNESTO CAIVANO
FOUNTAIN OF YOUTH
2002
Graphite on paper
Signed “EC ‘02” in graphite lower right;
retains Marc Selwyn Fine Art and Grant
Selwyn Fine Arts labels verso
Sheet: 11.625” x 15.75”;
Frame: 19.625” x 24.375”
$2,000-3,000
13
18
JEFF KOONS
BALLOON DOG (BLUE)
#1860 of 2300
MoCA Editions, 1995
Cast porcelain with blue reflective finish
Signed verso with MoCA label
Sold with original box and plate stands
10.25” diameter
$7,000-9,000
19
DAMIEN HIRST
LSD
2000
Lambda on gloss Fuji archive paper
#113 of 300
Published by Eyestorm Media Ltd.,
London
Signature in black ink with edition
Sold with copy of receipt.
Sheet: 42.125” x 50”
Provenance: EY ESTORM
MEDIA LT D,
LO N D O N ; PRIVATE COLLECTI ON, NE W YOR K
( PURCHASED FROM TH E A BOVE);
PRIVAT E COLLECTION, LOS A NGEL E S
$7,000-10,000
20 (OPPOSITE PAGE)
DAMIEN HIRST
OPIUM
2000
Lambda on gloss Fujifilm Fujicolor
Crystal archive paper
#173 of 500
Published by Eyestorm Media Ltd.,
London
Signature in black ink lower right; edition inscribed in black ink verso
Sold with copy of receipt.
Sheet: 18.875” x 17”
Provenance: EY ESTORM
MEDIA LT D,
LO N D O N ; PRIVATE COLLECTI ON, NE W YOR K
( PURCHASED FROM TH E A BOVE); P R I VAT E
CO LLECT ION, LOS A NGELES
$5,000-7,000
15
21
DAVID PARK
FIGURE PLAYING VIOLIN
1960
Gouache on paper
Signed “Park 60” lower right; retains
partial Staempfli Gallery label verso;
retains Maxwell Galleries label verso;
label “16. Figure Playing Violin” verso
Sheet: 14” x 11”; Frame: 20.75” x 17.75”
Provenance: MAXW ELL
GA LLER I E S, SA N
FRANCIS CO;
PRIVAT E COLLECTION, LOS A NGE L E S (ACQUIRED FROM TH E A BOVE CIRCA 1 9 6 5 )
$18,000-25,000
DAVID PARK
In September 1960, after a painful bout with cancer, Bay Area Figurative painter David Park (1911-1960) died in his Berkeley,
California home. This final summer, however, was marked by an output of remarkable paintings that explored the themes
of his career’s work: groups of people, rowboats, musicians, heads, and figures in landscapes. Park’s daughter, Helen Park
Bigelow, spent each day with David during these final prolific months, and in 2009 wrote a biography of her father. Park
experienced such extreme pain that he was unable to climb the steps to his studio, paint while sitting up, or stand back to gain
better angles of his expansive oil paintings. Determined to paint, Park decided to use gouache on paper, a considerably lower
impact process that would allow him to produce at least one painting a day while laying down on a chaise lounge recommended
by his doctor. Though when Park first tried the chaise, it was too low and flimsy for his fragile body, so Richard Diebenkorn and
Elmer Bischoff, close friends of Park, secured it to a homemade platform, complete with an improvised easel.
Totaling over one hundred paintings, the group of works from 1960 is markedly vibrant and uplifting, filled with
an array of delicate colors and smiling faces. One of these paintings, Figure Playing Violin (1960), depicts a woman in a
blue dress with thick lines of purple outlining her fingers, arms, and face, suggesting intense concentration. The woman
seems to be plucked right out of the crowd in one of Park’s last masterpieces from his final summer, a massive work of felt tip
markers on a roll of paper. Filled with images of his childhood in Boston, the scroll, now owned by the University of California,
Berkeley, stands as a final scrapbook of memories. Previous works by Park lack such direct emotional depth, and according to
art historian Paul Mills, “In the presence of the reality of disease, suffering and death, Park’s figures stir into
wakefulness and consciousness; they descend into the arena of human feeling and become an expression of
Park’s own struggle with mortality.”
Bigelow, Helen Park. David Park: Nothing Held Back. New York: Hudson Hills Press, 2009. Print.
Mills, Paul. The New Figurative Art of David Park. Santa Barbara: Capra Press, 1988. Print.
22
DAVID PARK
GIRL IN CHAIR BENDING OVER
c. 1950s
Black ink wash on paper
Retains Maxwell Galleries label verso
Sheet: 17” x 14”; Frame: 21.75” x 19.375”
Provenance: MAXW E LL
G ALLER I ES, SAN
F R AN C IS C O ;
P R IVATE C O L L EC TIO N , LOS ANG ELES ( ACQ UIR E D F R O M TH E AB OVE C I R C A 1 965 )
$10,000-15,000
17
23
PAUL WONNER
IN A PARK (WM. THEOPHILUS BROWN)
2002
Acrylic on paper
Signature in graphite verso; titled and
dated verso; signed “Wonner” lower
right
Paul Wonner’s depiction of the Bay Area
Figurative artist William Theophilus
Brown.
Sheet: 15.25” x 17.25”
$2,000-3,000
24
LARRY COHEN
VIEW OF CAPITOL RECORDS &
DOWNTOWN L.A.
1994-2006
Oil on canvas
Signature in pencil verso; signed
with title in black ink verso
Canvas: 28.25” x 28.25”;
Frame: 28.75” x 28.75”
$3,000-4,000
25
WILLIAM THEOPHILUS BROWN
UNTITLED
2004
Gouache on paper
Signed and dated in graphite lower left;
inscribed lower left
Sheet: 10.875” x 13.625”
$1,000-1,500
19
26
BRUCE COHEN
STILL LIFE WITH FRUIT AND
STACK OF BOOKS
2000
Oil on canvas
Signature in graphite verso
Canvas: 18” x 14”
$2,500-3,500
27
RICHARD DIEBENKORN
SIX SOFTGROUND ETCHINGS
1978
Softground etching on paper
Each #19 of 35
Published by Crown Point Press, Oakland; printed by Lilah Toland
Each initialed and dated “RD 78” in
graphite lower right sheet margin;
each with edition in graphite lower left
margin; each inscribed with title at
lower center margin; each sheet with
Crown Point Press blind stamp lower
right sheet
#1: Impression: 10.75” x 7.75”; Sheet
(vis.): 39.5” x 25.25”; Frame: 40.5” x
26.5”;
#2: Impression: 17.375” x 12.5”;
Sheet (vis.): 39.5” x 25.5”; Frame:
40.25” x 26.5”;
(vis.): 39.5” x 25.5”; Frame:
40.5” x 26.5”;
(vis.): 39.5” x 25.5”; Frame:
40.5” x 26.5”;
(vis.): 39.5” x 25.5”; Frame:
40.75” x 26.75”;
(vis.): 39.125” x 25.25”; Frame:
40.25” x 26.5”
Literature: B R OW N ,
KATH AN, I NK , PAP ER ,
ME TAL , WO O D : PAIN TER S AND SCU LP TOR S
AT C R OW N P O IN T P R ESS, SAN FR ANCI SCO:
C H R O N IC L E B O O KS, 1996 , I LLU STR ATED P
111, # 8 4.
$15,000-20,000
21
28
MILTON AVERY
THOUGHTFUL GIRL
1945
Ink and graphite on paper
Signature in graphite lower left; retains
Esther Robles Gallery label verso
This work has been submitted to the
Milton & Sally Avery Arts Foundation.
Sheet: 14” x 17”; Frame: 21” x 24”
Drawing of a model named Stella that
the artist would frequently sketch during
this period.
$10,000-15,000
29
SALLY MICHEL AVERY
WATCHERS BY THE SEA
1975
Oil on canvas board
Signed “Sally Michel 1975” in graphite
lower right; inscribed “Watchers by the
Sea by Sally Michel” and “oil” in
graphite verso
This work has been submitted to the
Milton & Sally Avery Arts Foundation.
Canvas: 19.875” x 24”
$5,000-7,000
23
30
HANS J. WEGNER
EARLY FOLDING CHAIRS (2)
31
HANS J. WEGNER
ARMCHAIRS (2)
Model no. JH 512
Johannes Hansen, designed 1949,
these examples 1950
Oak, woven cane
Each chair with stamped mark
“Johannes Hansen Copenhagen Made
in Denmark”
Purchased in Copenhagen, 1950.
30” x 23.875” x 30”
Model no. CH-22
Carl Hansen & Son, designed 1951
Oak, Danish papercord
27.75” x 26.75” x 19.5”
Literature: STEN
MOLLER , H ENR I K , HA N S
WEG N ER FU RNI TU RE CATA LOGU E, C I R C A
1 9 8 0, P 6.
$7,000-10,000
$2,500-3,000
32
HANS J. WEGNER
PAPA CHAIR
Model no. AP 19
P.P. Mobler, designed 1951-53
Teak, oak, upholstery
38.5” x 36” x 36”
Literature: O DA ,
N O RI TSU G U, H ANS J WEG -
N E R ’S 10 0 C H AIR S, JA PAN: C OR ONA B OOKS,
2002, P 68.
$4,000-6,000
25
33
HANS J. WEGNER
PAPA CHAIR & OTTOMAN (2)
Model no. AP 19
A. P. Stolen, designed 1951-53
Teak and upholstery
Retains manufacturer's brand and Danish control tag
Chair: 38.5” x 36” x 36”;
Ottoman: 15.5” x 27.25” x 16”
Literature: O DA ,
N O RI TSU G U, H ANS J WEG -
2002, P 68.
$7,000-10,000
34
HANS J. WEGNER
THE CHAIR
Model no. JH 501
Johannes Hansen, designed 1949
Teak with cane seat
Marked “Johannes Hansen/Copenhagen, Denmark”
30” x 25” x 20.5”
FROM AN I M P OR-
Exhibited: "MODERN
DESI GN: THE
FABULO US 50 S, " CA LIFORNI A H ER I TAG E
MUS EUM , SA NTA MONICA , 20 0 2.
Illustrated: SMI TH ,
TOBI , MODER N DE SI G N :
T HE FABULOU S 50 S, L A NCASTER : SC HI F F E R
PUBL IS HING, 20 0 2, P 154.
$1,000-1,500
35
HANS J. WEGNER
DINING TABLE
Andreas Tuck, designed 1957
Oak, teak, brass, drop-flaps
Branded “Fabrikat: Andr. Tuck/Arkitekt: Hans J. Wegner” and “Made in
Denmark”
28” x 50.25” x 33.75”;
Extended: 28” x 89.625” x 33.75”
$3,000-5,000
36
HANS J. WEGNER
SOFAS (2)
Model no. 236/3
Getama, designed 1954
Oak, upholstery
31.5” x 82” x 30”
Literature: N O R ITS UG A ,
ODA , H ANS J WEG -
2 0 0 2 , P 19.
$4,000-6,000
27
37
HANS J. WEGNER
SWIVEL DESK CHAIR
Model no. JH 502
Johannes Hansen, designed 1955
Teak, chrome-plated steel, leather
upholstery
29.25” x 25” x 24.75”
Literature: STEN
MOLLER , H ENR I K , HA N S
WEG N ER FU RNITU RE CATA LOGU E, C I R C A
1 9 8 0, P 24.
$8,000-12,000
38
HANS J. WEGNER
ROCKING CHAIR
Model no. ML-33
Mikael Laursen, designed c. 1940s
Oak, fabric upholstery
31.5” x 24” x 30”
Literature: NORITSU GA ,
ODA , H AN S J WEG -
NER’S 1 00 CH A I RS, JA PA N: CORON A B OOKS,
2 002, P 1 8.
$2,500-3,500
39
STENERIK ERIKSSON
SEAGULL CHAIR
Fritz Hansen, designed 1968
Chrome-plated steel, leather
33.75” x 36.5” x 36.25”
Literature: GO R DAN ,
DAN, SVENSKA STO -
L AR : O C H D E R AS FO RM G I VAR E 1 899 -2001,
STO C K H O L M: BYGGFOR L AG ETM , 2005, P
2 0 9.
$8,000-12,000
29
40
MAX BILL
TABLE CLOCKS (3)
Junghans, designed 1959
Brass, laminate walnut veneer
Manufacturer’s mark “Junghans”
Each clock: 6.5” x 3” x 7”
$3,000-6,000
41
KEN PRICE
DOUBLE FROG CUP
AND FOUR OTHER WORKS (5)
1968
Lithograph on German etching paper
Each a trial proof; aside from the edition
of 20
Published by Tamarind Lithography
Workshop, Albuquerque
A: Signed “Price” in pencil upper left
sheet; E: Signed “Price” in pencil
upper right sheet
A: Cup Gets the Worm; B: 2 Frogs;
C: Frog Cup; D: Double Frog Cup; E:
Turtle Cup
A: Sheet (irreg.): 13.875” x 9.25”; Frame:
18.25” x 13.25”; B: Sheet: 18.5” x 9.625”;
Frame: 22.75” x 14.25”; C: Sheet: 8” x 9”;
Frame: 12.25” x 14.25”; D: Sheet (irreg.):
8.25” x 11.5”; Frame: 12.25” x 14.25”; E:
Sheet (irreg.): 8.5” x 10”;
Frame: 12.25” x 14.25”
Literature: CATA LOGU E
RA I SONNÉ : TA M A-
RIN D LIT H OGRA PH Y WORKSH OP, I N C , 1 9 6 0 1 9 70, AL B U Q U ERQ U E: U NI VERSIT Y OF N E W
MEXICO A RT MU SEU M, 1989, ILLU ST R AT E D
P 2 02 , #2492, # 2496, # 250 0, #2 501 .
$3,000-5,000
42
KEN PRICE
UNTITLED (CITYSCAPE BOWL)
c. 1991
Glazed ceramic
Retains Charles Cowles Gallery
inventory label “CCG/91/KP/6612”
2.25” x 9.75” diameter
$6,000-9,000
43
BILLY AL BENGSTON
UNTITLED
Studio, c. 1957
Glazed stoneware
Signed “Bengston”
13.125” x 7” x 10”
$3,000-5,000
44
OSCAR BUCHER
UNTITLED
Studio, 1971
Glazed ceramic vessel
Incised mark “Oscar Bucher ‘71”
$2,000-3,000
31
45
J.B. BLUNK
CERAMIC WORKS (2)
Studio, designed c. 1960
Glazed and unglazed stoneware,
gilt highlights
7.25” x .5” diameter; 3” x 3” diameter
$1,800-2,500
46
ED RUSCHA
JUST AN AVERAGE GUY
1979
Hard-ground etching on Rives BFK roll
paper
Artist’s Proof #10 of 12; aside from the
edition of 45
Published by Multiples Inc., New York;
printed by Aeropress, New York
Signed and dated in graphite lower right;
edition in Roman numerals lower left;
title lower center; blind stamp lower
right
Impression: 8.75” x 35.75”;
Frame: 15.5” x 43.375”
47
ED RUSCHA
CITIES (WORLD SERIES)
This is the first editioned etching
made by the artist.
1982
3-color lithograph on Arches 88
#28 of 40
Published and printed by Gemini G.E.L.,
Los Angeles
Signed and dated in graphite lower right;
edition lower left; Gemini G.E.L. blind
stamp lower right
Gemini G.E.L. #45.16
Sheet: 25” x 47.5”
Literature: ENGBERG,
Literature: E N G B E R G ,
SIRI , A ND C L I VE
S IR I, AN D C L IV E
PHIL POT, EDWA RD RU SCH A : EDI T I ON S
P HI L P OT, E DWA R D R U S C H A: E D ITIO N S
1959 - 1 9 9 9 CATA LOGU E RA I SONNÉ , M I N N E-
1 959 - 1 9 9 9 C ATA LOG U E R AIS O N NÉ , MIN N E-
APO LIS : WA LKER A RT CENTER , 19 9 9, #1 04 .
A P OL I S: WA L K E R A RT C E N TE R , 19 9 9, # 12 1.
$3,000-5,000
$4,000-6,000
48
ED RUSCHA
TWO PEOPLE TEMPORARILY
SEPARATED
1980
Etching on R.K. Burt paper
#47 of 55
Published by Bernard Jacobson, Ltd.,
London; printed by Palm Tree Editions,
London
Signed and dated lower right with
printer blind stamp
Impression: 10” x 31”;
Sheet: 19.25” x 39.25”;
Frame: 20.75” x 41”
49
ED RUSCHA
EVERY BUILDING ON THE SUNSET
STRIP
Literature: E N GB E R G,
Literature: E N GB E R G ,
S IR I, AN D C L IV E
1970
Offset lithograph on paper in white
cardboard and silver Mylar slipcase
From the second edition of 5000
Published by the artist; printed by Cinema Center Printing Co., Hollywood
Folded: 7” x 5.625” x .375”
SI R I , AND CLI VE
P H IL P OT, E DWAR D R US C H A: E D ITIO N S
P H IL P OT, E DWAR D R USC H A: EDI TI ONS
195 9 -19 9 9 C ATALO GUE R AIS O N NÉ , MIN N E-
195 9 -19 9 9 C ATALO GU E R AI SONNÉ, M I NNE-
AP O L IS : WAL K E R ART C E N TE R , 19 9 9, # 10 9.
AP O L IS : WAL K E R ART C ENTER , 1 999, #B 4 .
$5,000-7,000
$500-800
33
50
EDWARD & NANCY REDDIN
KIENHOLZ
THE JERRY CAN STANDARD
1981
Sculpture with metal gasoline can,
epoxy resin, electrical components,
metal and a formica stand, Fresnal
lens system, cassette player, specially
produced casette tape, automotive
paint, and a doily
#21 of 26
Published by Gemini G.E.L., Los Angeles
Signature incised with edition on Gemini
G.E.L. plaque verso
67.5” x 18” x 12”
Literature: H OPPS,
WA LTER , A ND N A N C Y
RED D IN KI ENH OLZ, KI ENH OLZ: A R E T R O S PECT IV E, NEW YORK: W H ITNEY M U SE U M
PRESS, 1 9 96, I LLU STRATED P 266 .
$3,000-5,000
35
51
EDWARD & NANCY REDDIN
KIENHOLZ
THE BLOCK HEAD
1981
Sculpture with pumice construction
block, Fresnal lens system, wood,
leather, and transistor radio
#74 of 75
Retains Gemini G.E.L. plaque with signature, date, title, and edition verso
12.5” x 8.5” x 12.25”
$3,000-5,000
52
LADDIE JOHN DILL
UNTITLED
1998
Glass and mixed media on wood
Signed “Laddie John Dill 1998” verso
36” x 48”
$2,000-3,000
53
LADDIE JOHN DILL
PAIR OF TRIPTYCHS (6)
1997-1998
Mixed media on wood
Signed and dated on verso of each panel
Each: 24” x 12.25”
$3,000-5,000
54
ROBERT GRAHAM
MOCA TORSO
1992-95
Patinated bronze
Published by the Museum of
Contemporary Art, Los Angeles
Signed “R. Graham/Carlos M/Smiley”
underneath base
11” x 4.5” diameter at base
$3,000-5,000
55
JONATHAN BOROFSKY
BERLIN DREAM LAMP
1986
Lithograph on Mylar with electric
light fixture
#22 of 25
Signature with edition in black marker
on Gemini G.E.L. plaque with unique
7-digit Borofsky number “2998621”
Gemini G.E.L. #7.36
24” x 8” diameter
$2,000-3,000
37
56
ED MOSES
TARANTULA WINDOW
1983
Painted glass
74.25” x 76.25”
This painted glass window once adorned
the Frank Gehry designed interior of Rebecca’s Restaurant in Venice, California.
Provenance: R E B EC CA’S
R ESTAU R ANT,
V E N IC E , C A; P R IVATE C OLLECTI ON, CA ( ACQ UIR E D F R O M TH E ABOVE, 1 998)
$6,000-9,000
57
LAWRENCE CARROLL
OBITUARY SERIES (4)
58
LAWRENCE CARROLL
THE WITNESS
c. 1980-1991
Mixed media collage on paper
A: Inscribed “Look Inside/Look
Outside” in graphite upper center; C:
Inscribed “Oct 25, 11:59 - 12:01 Oct 26,
1986/1986/31 yrs old/32/yrs/April 2,
1991” upper right; D: Signed and dated
“1980-91 Lawrence Carroll” lower right
Titles as follows:
A: "Bruce Nauman Dies”; B: “Sherrie
Levine Dies”; C: “Mike Kelly, Dies”;
D: "Peter Halley, Artist, Dies”
A: Sheet: 23.75” x 17.75”; Frame: 27” x
21”; B: Sheet: 24” x 18.75”;
C: Sheet: 24” x 18”; Frame: 27” x 21”;
D: Sheet: 23.75” x 18”; Frame: 27” x 21”
1992
Mixed media collage
Signed “Larry Carroll 92” in graphite
lower left; inscribed “For my friend Chris
for Witness” upper right
Sold with mock-up for the movie poster
Sheet: 54.5” x 38”; Frame: 61” x 43”;
Mock-up: 26” x 20”
Provenance: P R I VAT E
This unique work was made for the short
film “The Witness” starring Gary Sinise
and Elijah Wood.
Provenance: P R IVATE
C O L L EC TIO N , C AL I-
FO R N IA ( AC Q UIR E D F R O M TH E ARTIST )
C OL L EC T I ON , C A L I-
FOR N I A (AC QU I R E D F R OM T HE A RT I ST )
Literature: R OSSI ,
L AU R A M AT T I OL I , L AW-
R E N C E C A R R OL L , M I L A N : E DI ZI ON I C HA RTA ,
2 008, P 4 3 (A N OT HE R E XA M P L E I N T HE
SE R I E S I L LU ST R AT E D).
$10,000-15,000
39
59
GEORGE NAKASHIMA
CONOID BENCH WITH SPINDLE BACK
American black walnut, hickory,
and East Indian rosewood
12.25” x 83.25” x 25”
60
GEORGE NAKASHIMA
COFFEE TABLE
NAKAS HIMA : FU LL CIRCLE, A MER I C A N
Studio, executed c. 1963
American black walnut
Incised “III” underneath
14.25” x 50” x 44”
CRAFT MU SEU M, 1989, P 157 FOR A
Provenance:
S IMIL AR EXA MPLE.
C A N A DA (AC QU I R E D I N 19 6 3 )
$15,000-20,000
$40,000-60,000
Literature: OSTERGA RD,
DEREK , G EOR G E
P R I VAT E C O L L EC TIO N ,
61
GEORGE NAKASHIMA
SLAB COFFEE TABLE
American black walnut
12.5” x 60.5” x 17”
Literature: O STE R GAR D,
DER EK , G EOR G E
N AKAS H IMA: F UL L C IR C LE, AM ER I CAN
C R AF T MUS E UM, 19 8 9, P 1 1 9 FOR A
S IMIL AR E XAMP L E .
$7,000-9,000
62
GEORGE NAKASHIMA
CUSTOM WALL MOUNTED SHELF
American black walnut with corbels
12.5” (with corbels) x 83.5” x 17”
$4,000-6,000
41
63
HARRISON MCINTOSH
VASE
Studio, c. 1955-59
Glazed stoneware
Retains McIntosh Studio label and
artist's cipher
$4,000-6,000
64
HARRISON MCINTOSH
VASE
Studio, c. 1955-59
Glazed stoneware
Incised “McIntosh”
$1,500-2,000
65
HARRISON MCINTOSH
BOWL
McIntosh inventory no. 82107
Studio, 1982
Glazed stoneware
artist's cipher; retains handwritten label
“#82107”
$1,500-2,000
43
66
HARRISON MCINTOSH
BOWL
McIntosh inventory no. 67142
Studio, 1967
Glazed stoneware
artist's cipher; retains handwritten label
“#67142”
$1,000-1,500
67
EVELYN ACKERMAN
GARDEN
Model no. 980-C
ERA Industries, designed 1963
Hand-hooked virgin wool needlepoint
wall hanging
Initials woven lower right; retains
label verso
37.5” x 23.75”
68
EVELYN ACKERMAN
CANAL
ERA Industries, designed 1963
Hand-woven wool tapestry
Initials woven lower center;
retains label lower right
20” x 57”
$1,500-2,000
"CANAL" LABEL
69
EVELYN ACKERMAN
MOSAIC TILE COFFEE TABLE
Model no. 103W
Jenev, designed 1955
Inscribed in marker “A. Jenev Design”;
retains label inscribed “Evelyn Ackerman/1960”
16” x 60” x 24”
LAMA would like to thank the designer
for her gracious assistance in cataloguing this work.
$3,000-5,000
TABLE TOP DETAIL
45
LISTEN-TO-ME
The furniture of Edward Wormley (1907-1995) breathes with warmth, elegance,
and unparalleled craftsmanship. Throughout the mid-century, he collaborated
with the furniture manufacturer Dunbar to produce chairs, tables, couches,
and cabinets to furnish the modern American home. According to Wormley,
“Furniture is needed for practical reasons, and because it must be
there, it may as well be as pleasant as possible to look at, and in a less
definable psychological way, comforting to the spirit.” This philosophy
runs throughout the Listen-to-Me couch (1948), one of his most popular and
enduring designs. This chaise lounge exploration established him among
modern chaise lounge originators, including Mies van der Rohe, Le Corbusier,
and Charlotte Perriand. Designed at Wormley’s New York office in the same year
Dunbar asked him to be their exclusive designer, his chaise lounge delicately
undulates atop a cherry and maple base to effortlessly support a lounging body.
This pristine lounge, from 1948, is adorned with its original metallic threaded
fabric, a special request sourced by Dunbar. Pieces like these that incorporate
the warmth of wood and custom, hand-made production allowed consumers a
“comfortable alternative to historic styles and extreme modern design,” helping
Dunbar and Wormley to become leaders in luxury mid-century furniture design.
Piña, Leslie. Preface. Dunbar: Fine Furnishings of the 1950s. Atglen, PA: Schiffer Publishing, 2000. Print.
70
EDWARD WORMLEY
LISTEN-TO-ME COUCH
Model no. 4873
Dunbar, designed 1948
Laminated cherry and maple,
original upholstery
25.5” x 73.5” x 26.25”
FR OM AN I M P OR-
Exhibited:
" MO D E R N DESI G N: TH E
FAB ULO US 5 0 S, " C ALI FOR NI A H ER I TAG E
MUS E UM, 2 0 0 2 .
Literature: P IÑA ,
L E S LI E: DU NB AR : FI NE
F UR N ITUR E O F TH E 1950S, L ANC ASTER :
S C H IF F E R P UB L IS H ING , 2000, P 1 57.
Illustrated: S MITH ,
TOBI , M ODER N DESI G N:
TH E FAB ULO US 5 0 S, L ANCASTER : SCH I FFER
P UB L IS H IN G, 2 0 0 2 , P 92.
$30,000-50,000
47
71
LEBADANG
FLEURS
c. 1970
Silkscreen on canvas
Signed lower right; title inscribed verso
Canvas (vis.): 27.5” x 21.5”;
Frame: 37” x 31”
Provenance: CEDA RS - SI NA I
MED I C A L
CENT ER
$500-1,000
72
DALE CHIHULY
BOWL
Studio, executed 1982
Glass
Etched signature and dedicated
“Happy Birthday/Oct 1/1982”
6” x 12” x 7.75”
$3,000-5,000
73
ANDRÉE PUTMAN
ARMCHAIRS (2)
Atelier, designed c. 1980
Oak, leather
33” x 23” x 19.25”
$6,000-8,000
49
PIERO FORNASETTI
At a time when most designers were rejecting ornament, Italian artist, craftsman, and fashion designer
Piero Fornasetti (1913-1988) embraced it, resulting in over 11,000 creations. Born in Milan where he lived
and worked for his entire life, his career began when his silk scarves caught the attention of Gio Ponti
and the fashion world. He eventually collaborated with Ponti on various pieces of furniture and interiors.
A consummate craftsman with a proclivity toward Surrealism and the styles of Italy’s past, Fornasetti’s
designs adorn a variety of home furnishings and materials, including furniture, lighting, screens, glass,
fabric, and plates. His pieces present a peculiar juxtaposition of classical design with modern forms,
placing Fornasetti the designer in a playful realm all on his own. One such piece is Giardino del 18th
Secolo, a screen from circa 1955, the form simple and functional, yet lacquered in a surreal, dream-like
repeating pattern of a stately home surrounded by pleasure gardens. The Vecchie Carte garden table (c.
1955) harkens back to the 19th century with a traditional wrought iron base that supports an enameled
steel top. As if to defy order and celebrate a collecting craftsman’s frenzied workspace, Fornasetti creates
a trompe l’oeil scene of delicately scattered themes and variations that grace so many of his other works:
pastoral illustrations, French sheet music, English and Italian poetry, Dutch tobacco advertisements, and
a box of butterfly specimens. A rare potpourri of designs, these works showcase a designer with a restless
imagination who artfully poked fun at and paid homage to Europe's rich historical past.
Mauries, Patrick. Fornasetti: Designer of Dreams, London: Thames and Hudson, 1991. Print.
74
PIERO FORNASETTI
GIARDINO DEL 18TH SECOLO FOUR
PANEL SCREEN
Atelier Fornasetti, designed c. 1955
Transfer-printed lacquered wood, the
reverse decorated in monochrome
56” x 51” x 1.25”
Provenance: PRIVATE
COLLECTI ON , LOS
AN G ELES (ACQ U IRED FROM "I MP ORTA N T
D ES IG N : TH E LI FE OF PIERO FORN ASE T T I ,"
CHRIST IE’S, LOS A NGELES, MAY, 1 9 9 8)
$6,000-8,000
75
PIERO FORNASETTI
FAUX STONE COLUMN
Hand-painted and printed Masonite
A similar design was employed by Piero
Fornasetti for the interior of the Hotel
Duomo, Milan.
Provenance: PRIVATE
COLLECTI ON , LOS
AN G ELES (ACQ U IRED FROM "I MP ORTA N T
$2,000-3,000
76
PIERO FORNASETTI
FAUX MALACHITE OBELISK TABLE
LAMP
Lithographically and transfer-printed
metal
Retains “Fornasetti Milano Made in Italy
label” and Christie’s auction label
23” x 3.25” diameter base
COLLECTI ON, LOS
AN GE L E S ( AC Q UIR E D FR OM "I M P ORTANT
D E S IGN : TH E L IF E O F P I ER O FOR NASET TI , "
C H R ISTIE ’S, LO S AN GELES, M AY, 1 998)
$1,500-2,000
51
77
PIERO FORNASETTI
CAMMEI MAGIC MIRROR
Transfer-printed wood, mirror plate
Retains Fornasetti paper label verso
1” x 10.25” diameter
COLLECTI ON, LOS
$1,500-2,000
78
PIERO FORNASETTI
GRECA CEILING LIGHT (6)
Transfer-printed aluminum
Together with five zinc lithograph
printing plates and one hand-painted
watercolor design study
25” diameter
COLLECTI ON, LOS
$800-1,200
79
PIERO FORNASETTI
VECCHIE CARTE GARDEN TABLE AND
STUDY (2)
Hand-painted and transfer-printed steel
Table retains Fornasetti hang tag; print
inscribed “TAV. 80/80 e 50/50 vecchie
carte col su legno per colorare adoperare gli zinchi” lower center
Together with hand-colored print of the
design on paper
Table: 30” x 31.5” x 31.5”; Print: 18” x 20”
Provenance: PRI VATE
COLLECTI ON , LOS
AN G ELES (ACQ U IRED FROM "I MPORTA N T
$3,000-5,000
TABLE TOP DETAIL
HAND-COLORED PRINT
80
GINO SARFATTI
RARE ADJUSTABLE WALL &
STANDARD LAMP
Model no. 1045/VT
Arteluce, designed 1951
Brass, enameled steel
Stamped “Arteluce Made In Italy”
60” x 15.25” x 15.25”
Literature: B ASS I,
ALBERTO, I TALI AN
L IGH TIN G D E S IGN : 19 4 5 -2000, M I L AN:
P H AID O N P R E SS, 2 0 04 , P 4 4 .
$5,000-7,000
53
81
MARCELLO FANTONI
TABLE LAMP
Ceramic with incised and polychrome
glaze decoration, later lacquered wood
base
Signed to underside of ceramic base
26” (top of finial) x 10.5” x 6.5”
$1,500-2,000
82
MOBILIA MAGAZINE
DESIGN PUBLICATION MAGAZINES
(75 ISSUES)
Various issues from April 1958 to
February 1977
Each issue: 10.25” x 10.25”
$1,200-1,500
83
GIO PONTI
DIAMOND FLATWARE SERVICE (89)
Reed & Barton, designed 1958
Sterling silver, stainless steel
Comprised of 16 dinner forks, 16 knives,
14 salad forks, 8 soupspoons, 2 butter
knives, 26 teaspoons large. Serving
pieces comprised of serving fork, gravy
spoon, large slotted serving spoon, 2
large serving spoons, serving spoon, and
2-pronged fork
Together with original Reed & Barton
manufacturer’s paperwork
Each stamped “Reed & Barton Sterling”
$4,000-6,000
84
GIO PONTI
ALLEGORICAL CERAMIC TILE
Richard Ginori & Cristoforo,
executed 1923-30
Ceramic, hand-decorated
polychrome glaze
Signed “Gio Ponti”; reverse hand
painted “M2155 D273 Richard Ginori &
Cristoforo Milano” and with remnants of
retailer label
17.125” x 10.875” x .25”
$3,000-5,000
85
GIO PONTI
HEIGHT ADJUSTABLE FLOOR LAMP
86
ERNO FABRY
DINING CHAIRS (6)
Fontana Arte, designed 1960
Glass, brass, Bakelite, and
enameled metal
Specifically designed for use in the Hotel
Parco dei Principi, Sorrento.
62” average height x 12.75” diameter
shade
Fabry Associates, designed 1957
Mahogany, vinyl upholstery
Each: 27.5” x 19.5” x 20”
Literature: L A
Literature: IN TE R IO R S
MAGAZ IN E, MAY,
195 7, P 17 5 .
$4,000-6,000
P I E T R A , UGO, GIO P O N TI:
L’A RT E SI I N N A M OR A D E L L’ IN D USTR IA ,
M I L A N : R I ZZOL I , 2 00 9, P 3 6 5 .
$5,000-7,000
55
87
MARIO BELLINI
CAB CHAIRS (18)
Cassina, designed 1977
Saddle leather, steel frames
Retains Cassina labels
Comprised of two side chairs and
sixteen armchairs
Each armchair: 32” x 22.5” x 18”
$4,000-6,000
57
88
EVERT JELLE JELLES
STERRENREGEN WALL APPLIQUES (2)
Raak, designed 1964
Enameled steel, pierced decoration
21” x 11” x 5.5”
$1,000-1,500
89
RAAK DESIGN TEAM
CLAIR OBSCUR WALL APPLIQUES (2)
Model no. 1516
Raak, designed 1960
Enameled steel, copper
Retains manufacturer’s paper label and
U.S. Union Made label
10.75” x 8” x 6”
The Raak design team during this period
included acclaimed Finnish designers
Tapio Wirkkala and Nanny Still.
$1,000-1,500
90
GAETANO PESCE
DALILA TRE CHAIR
Cassina, designed 1980
Molded polyurethane with epoxy resin
28” x 32.25” x 24”
FROM AN I M P OR-
TAN T WEST COAST COLLECTI ON (AC QU I R E D
FRO M BO NH A MS, LONDON, 1999).
Exhibited: "GA ETA NO
PESCE: PI EC E S F R OM
A L ARG E PU ZZLE, " ITA LIA N CU LT U R A L
IN ST IT UT E, LOS A NGELES, JU LY - AU G U ST
2 01 0.
$10,000-15,000
91
PETER SHIRE
TWO-TONE CONE TEAPOT
Studio, 1981
Glazed ceramic and brass
Signed “Shire” and “E/P”, and dated
"1981"; retains artist's label
5.75” x 18.5” x 10”
FR OM AN I M P OR-
59
$2,000-3,000
92
GAETANO PESCE
TABLE LAMP
(FROM THE OPEN SKY SERIES)
Fish Design, designed 1995
Polyurethane resin
26.75” x 12” x 10”
FR OM AN I M P OR-
$2,500-3,500
93
ROMANO BIANCHI
LIGHTED STONE STOOL
Illuminated alabaster, enameled steel
$400-600
94
ALVAR AALTO
SOFABED
Model no. 63
Wohnbedarf AG, designed 1930, this
example produced later
Chrome-plated steel frame, ebonized
wood, leather upholstery
27” x 36” x 80”
$3,000-5,000
ALTERNATE
VIEW
96
ETTORE SOTTSASS
RARE MOONLIGHT FLOOR LAMP
95
ITALIAN MODERN
TRIENNALE FLOOR LAMP
Arredoluce, c. 1950
Chrome-plated steel, enameled
aluminum
60.75” x 21.25” (adjustable)
$5,000-7,000
Arredoluce, designed 1970
Enameled steel and polished steel
73.5” x 10.25” x 10.25”
Literature: F E R R AR I,
FU LVI O, AND NAP O -
L EO N E , LUC E : L AMPADE 1 96 8 -1 97 3, TU R I N:
IL N UOVO D E S IGN ITALI ANO, 2002,
P L 5 8 ( D E S IGN IL LUSTR ATED) .
$4,000-6,000
61
97
ARCHIZOOM
SANREMO FLOOR LAMP
Poltronova, designed 1968
Enameled steel, acrylic
88” x 15” x 15”
Archizoom was a design collaboration
between Andrea Branzi, Gilberto Corretti, Dario and Lucia Bartolini, Massimo
Morozzi, and Paolo Deganello.
FROM A N I M P OR-
Literature: A MBASZ,
EMILI O, I TALY: T HE
NEW D O MESTIC L A NDSCA PE, GRE E N WI C H:
NEW YO RK GRA PH I C SOCI ET Y, 19 7 2 , P 1 00.
$4,000-6,000
98
JOHANNA GRAWUNDER
LAMP WITH FOUR OPALINE TUBES
Air Conditioning Series
Design Gallery Milano, designed 1995
Laminate, fluorescent tube
8” x 21.25” x 19.5”
Literature: D E S IGN
GALLERY M I L ANO:
J O H AN N A GR AW UN D ER , AI R C ONDI TI ONIN G, MAN UFAC TUR E R ’S C ATALOG U E, 1 995,
F IG 24.
$5,000-7,000
63
99
ETTORE SOTTSASS
GOLDEN EYE TABLE
Custom, executed in India 1984
Plychromed and turned wood with
marble top
31” x 76” x 33.5”
Only two examples of this table were
executed.
COLLECTI ON, I TALY
( AC Q UIR E D F R O M TH E ARTI ST ) ;
P R O P E RT Y F R O M AN I M P ORTANT WEST
C OAST C O L L EC TIO N (ACQ U I R ED FR OM
C H R ISTIE S, N E W YO R K , M AY 2000, LOT 4 4 )
Exhibited: " TH E
GO L D EN EYE: AN I NTER-
N ATIO N AL TR IB UTE TO TH E ARTI SANS OF
IN D IA , " S MITH S O N IAN- C OOP ER H EWI T T
N ATIO N AL D E S IGN MU SEU M , NEW YOR K ,
N OV E MB E R 19 85 -F E B R UARY 1 986.
$25,000-35,000
65
100
ETTORE SOTTSASS
ALTAIR VASE
Toso Vetri d’Arte for Memphis,
designed 1982
Blown glass
Signed “Memphis Made in Italy by
Toso Vetri d’Arte”
FROM AN I M P OR-
TAN T WEST COAST COLLECTI ON.
Exhibited: "ET TORE
SOT TSASS, " LOS
AN G ELES COU NT Y MU SEU M OF A RT, M A R C H
- JUN E 2 00 6.
Illustrated: L A BACO,
RONA LD T; E T TOR E
S OT TSASS: A RCH I TECT A ND DESI G N E R ,
LO N D O N : MERRELL PU BLI SH ERS, 2 006 ,
P 1 1 0.
$1,500-2,500
101
ETTORE SOTTSASS
MENTA TOTEM
Bitossi, designed c. 1966
Glazed ceramic
Produced in the 1980s from an edition of
less than 30
Signed “Sottsass" with label "Le Ceramiche di Bitossi" and maker's mark
69"
Property from an Important West Coast
Collection
$9,000-12,000
67
ROBERT RAUSCHENBERG
Throughout his half-century of revolutionary art making, Robert Rauschenberg (1925-2008) thrived on two
principals: innovation and collaboration. By the 1960s, he had already experimented with painting, collage, Combines,
theatre, and performance art, rigorously pushing genre boundaries to become an internationally renowned artist.
Rauschenberg, however, considered lithography to be an outdated medium, famously stating, “The second half of the
twentieth century was no time to start writing on rocks.” When he was living with Jasper Johns in New York in 1961,
Rauschenberg helped the passionate printmaker Tatyana Grosman haul two enormous limestone slabs to Johns’
fourth-floor studio. In addition to working with Larry Rivers and Helen Frankenthaler, Grosman executed Johns’
Numbers (0-9), and with the help of Johns, she subsequently encouraged Rauschenberg to overcome his initial
aversion to lithography. Finally in 1962, Rauschenberg collaborated with Grosman and her Universal Limited Art
Editions (ULAE) studio to devise techniques for transforming his collages and found objects into prints. Working
with master printers and other artists including Jim Dine and Jean Tinguely, Rauschenberg created over fifty
editions at ULAE, many achieving international awards. Collaborative, experimental, and unprecedented, this was
the inception of a lifelong relationship with lithography that began with ULAE, exploded with Gemini G.E.L. in Los
Angeles, continued at Styria Studio in New York, and culminated in Rauschenberg’s own Untitled Press in Captiva,
Florida.
The innovations Rauschenberg pioneered at ULAE and later developed at Gemini G.E.L. have become
industry standards. Treating “the skin of the stone” as a blank canvas for “anything that creates an image,” he
challenged himself to assemble massive collages of interwoven images and materials, starting with Booster at
Gemini in 1967, at the time the largest print ever produced by hand-lithography. He printed on Plexiglas, clothing,
aluminum, clay, copper; nothing was off limits, and his team of printers and engineers were integral participants in
the experiments. In 1969, he established Untitled Press in Florida as a sort of lithography retreat for artists looking
to collaborate with Rauschenberg and Robert Petersen, an artist and Gemini master printer. Visitors included
Cy Twombly, Brice Marden, and David Bradshaw. During this period he began printing on fabric, which led to an
ambitious set of paintings called Hoarfrosts, born from experimentation with cheesecloth used to clean the stone;
the opaque cheesecloth preserved some of the images from the previous printing. Capable of applying eight hundred
pounds of pressure per square inch, Rauschenberg’s giant green press, Grasshopper, could print on just about any
material. The resulting collage and solvent transfers on cloth, including Lattice (Hoarfrost), are gossamer-thin
fabrics loosely pinned to the wall, designed to move with the passing wind and interact with the environment. A
similar example can be found in the permanent collection of the Solomon R. Guggenheim Museum in New York.
Rauschenberg eventually brought the idea to Gemini and created more Hoarfrosts using exotic silks and fabrics.
Continued on page 70
102
ROBERT RAUSCHENBERG
LATTICE (HOARFROST)
1975
Collage and solvent transfer on cloth
Signed and dated in graphite at center
of undersheet
RR #75.010
Cloth: 59” x 44.5”; Frame: 67.5” x 48.5”
Provenance: L EO
C ASTELLI , NEW YOR K ;
MAYO R GAL L E RY, LO NDON;
JAME S C O R C O R AN GALLERY, C ALI FOR NI A;
S O N N AB E N D GAL L E RY, NEW YOR K ;
P R IVATE IN STITUTIO N, M I DWEST R EG I ON;
KASS P UB L IS H IN G, INDI ANA;
Literature: DAV ID S O N,
SU SAN, AND
WALTE R H O P P S, R O B ERT R AU SC H ENB ER G :
A R E TR O S P EC TIV E, N EW YOR K : G U G G ENH E IM P UB L IC ATIO N S, P P 354 -361 ( SI M I L AR
E XAMP L E S IL LUSTR AT ED) .
$70,000-90,000
69
103
ROBERT RAUSCHENBERG
PUBLICON--STATION IV (PUBLICONS)
1978
Sculpture composed of wood coated
with nitrocellulose lacquer, collaged silk
and cotton fabrics, bicycle wheel, baked
epoxy enamel over polished aluminum,
Plexiglas, and fluorescent light fixture
#21 of 30
Signature with edition and date on
Gemini G.E.L. plaque verso
28” x 36” x 13” (closed);
52” x 64” x 13” (open)
$9,000-15,000
As often as he filtered traditional techniques to accommodate his
artistic perspective, Rauschenberg also reached back into his own
childhood memories. His Publicons series explores his relationship
with religion, an ongoing spiritual study that began as a teenager
when he wanted to become a preacher. Another series created with
the help of Gemini, these are his take on the Stations of the Cross (He
made seven Publicon editions, exactly half the number of stations as
are in the Christian versions.) The word Publicons is a combination
of “public” and “icon” because he intended that viewers push, pull,
and open the doors to reveal “an enshrined object.” While it deals
directly with Rauschenberg’s spirituality, Publicon--Station IV
(1978) drolly addresses “the matter of spirituality – or lack of it – in
contemporary culture.” Continued on page 73
104
ROBERT RAUSCHENBERG
FROM THE SEAT OF AUTHORITY
(FROM SUITE OF NINE PRINTS)
1979
Screenprint and collage
#59 of 100
printed by Styria Studio, New York
Signature in graphite with edition and
date lower right; Styria Studio blind
stamp lower center
Sheet: 30.25” x 22.75”;
Frame: 36.125” x 28.5”
$2,000-3,000
105
ROBERT RAUSCHENBERG
SHOOT FROM A MAIN STEM (FROM
SUITE OF NINE PRINTS)
1979
Screenprint and collage on wove paper
#90 of 100
Published by Multiples Inc,, New York;
Signature in graphite lower center with
date and edition; Styria Studio blind
stamp lower left
Sheet: 30” x 23”; Frame: 36” x 28.5”
$2,000-3,000
71
Like many of his projects, including Hoarfrosts, Publicons, and Bones and Unions,
Rauschenberg’s collaborative style was equally intended for the viewer. In 1985, Rauschenberg
created eight Sling-Shots, light boxes that house 14-color lithographs printed on Mylar and
sailcloth. With Sling-Shots Lit #8 (1985), the audience is encouraged to pull the metal string
to rotate the Mylar screens, each rotation producing a new color combination. These endless
variations allude to his rotating Plexiglas discs of the 60s. Rauschenberg’s printed work –
on any surface or material – incorporates his personal imagery that was often informed by
his surroundings, and in his Sling-Shots, he provides the television for the viewer to change
screens. Continued on page 77
106
ROBERT RAUSCHENBERG
SLING-SHOTS LIT #8
(FROM SLING-SHOTS LIT)
1985
14-color lithograph, screenprint, and
assemblage with sailcloth, Mylar,
wooden lightbox, fluorescent light
fixture, aluminum, Plexiglas bars, and a
moveable window shade system
#18 of 25
Retains Gemini G.E.L. plaque with facsimile of signature in plate with date and
edition on lower right side of lightbox
84.5” x 56.25” x 12.5”
Literature: DAV ID S O N,
SU SAN, AND WAL-
TE R H O P P S, R O B E RT R AU SC H ENB ER G : A
R E TR O S P EC TIV E, N E W YOR K : G U G G ENH EI M
P UB L IC ATIO N S, S E R I ES M ENTI ONED P P
3 8 2 , 3 8 9.
$30,000-50,000
DETAIL OF BACKGROUND PANEL
73
107
ROBERT RAUSCHENBERG
SAMARKAND STITCHES #III (FROM
SAMARKAND STITCHES)
1988
Unique fabric assemblage with
screenprinting
Signature and date stitched lower right
Fabric: 61” x 46”; Frame: 65” x 53”
Literature: DAVIDSON,
SU SA N, A N D WA L-
T ER HO P PS, ROBERT RAU SCH ENB E R G : A
RET RO S P ECTIVE, NEW YORK: G U G G E N HE I M
PUBLICATIONS, ILLU STRATED P 4 6 0, #39 8.
$18,000-25,000
108
ROBERT RAUSCHENBERG
INTERNATIONAL VERY SPECIAL ARTS
FESTIVAL, WASHINGTON D.C.
109
ROBERT RAUSCHENBERG
TWO REASONS BIRDS SING
(FROM SUITE OF NINE PRINTS)
1989
Offset color lithograph on wove paper
#215 of 275
date, co-published by the artist and the
International Arts Festival, Washington
D.C.
Sheet: 35.25” x 26.25”;
Frame: 42.25” x 33”
1979
Screenprint and collage
#12 of 100
date lower center; Styria Studio blind
stamp lower right
Sheet: 30.5” x 23”;
Frame: 36.25” x 28.5”
$2,000-3,000
$2,000-3,000
75
110
ROBERT RAUSCHENBERG
QUORUM (BONES AND UNIONS)
1975
Rag-mud, rope, bamboo, and mud
#9 of 13
Signature with edition in black marker
64” x 45” x 4.5”
$8,000-10,000
Throughout the 1970s, Rauschenberg embarked on adventures throughout France, the Middle
East, and India to make art using the paper from some of the oldest and most respected paper
mills in the world. In 1975, the Sarabhai family – admirers of Rauschenberg’s work – invited
him to work in their paper mill that was originally founded by Gandhi as an ashram for sacred
texts. When he arrived, he was amazed by “the contrast between the conspicuous wealth of the
Sarabhai family and the poverty of the several hundred mill workers who worked for them.”
Rather than working in the air-conditioned studio, he set up outdoor worktables in close
proximity to the mill workers. For the series, Bones and Unions, Rauschenberg observed the
workers’ ancient techniques: “These people looked like they were two hundred years old, just
squatting for hours and hours – all these beautiful people working in the dreadful heat.” For
Box Cars (1975), Rauschenberg and his crew poured white paper pulp mixed with Egyptian
cotton on top of lattices of patterned fabric and bamboo strips. The resulting works, according
to Rauschenberg, resembled kites. For Quorum (1975) from the same series, he wanted to use
the mixture of mud and cow manure the families used to build their houses. This proved to be
difficult since the mud washed away during the rainy season. With the help of the family, the
workers, and the Gemini staff, he concocted two suitable, long-lasting mixtures. Comprised of
paper pulp, fenugreek powder, ground tamarind seed, chalk powder, gum powder, and copper
sulfate, Quorum is another collaborative effort that “present[s] contrasts as keen as those
between the Sarabhais and their workers.”
Kotz, Mary Lynn. Rauschenberg/Art and Life. New York: Abrams, 1990. Print.
Davidson, Susan, and Walter Hopps, Robert Rauschenberg: A Retrospective, New York: Guggenheim Publications, 1997. Print.
111
ROBERT RAUSCHENBERG
BOX CARS (BONES AND UNIONS)
1975
Handmade paper, bamboo, and fabric
#12 of 31
Signature with edition and date
lower right
Assemblage: 34” x 26.5” x 3”;
Frame: 39.5” x 34.5”
$3,000-5,000
77
Los Angeles County
Museum of Art
Unless otherwise indicated, the following
American Arts & Crafts lots through page
96 are being sold by the Los Angeles County
Museum of Art to benefit future acquisitions.
79
LYNDA AND STEWART RESNICK EXHIBITION PAVILION / LOS ANGELES COUNTY MUSEUM OF ART / ARCHITECT: RENZO PIANO
PHOTO ©2012 MUSEUM ASSOCIATES/LACMA BY ALEX VERTIKOFF
STICKLEY & ELLIS
In a 1901 issue of his Craftsman magazine, Gustav Stickley (1858-1942) outlined the design principles
that guided him in producing his pioneering Craftsman furniture: “Do away with all needless
ornamentation, returning to plain principles of construction and applying them to the
making of simple, strong, comfortable furniture.” This was published just three years after
his trip to England and Europe, where he finally experienced firsthand the designs of English Arts
and Crafts furniture and European Art Nouveau. Stickley had already been producing well-crafted,
albeit unremarkable furniture for two decades, but it wasn’t until 1898 that he began the experiments
that would lead to his distinctive Craftsman style. His early chairs and tables – results of these
experiments – gained immediate praise in trade publications throughout the country, including
editorials and advertisements in House Beautiful. Based in Syracuse, New York, Stickley’s factory
and offices became the vanguard of the American Craftsman movement, which demonstrated honest
construction, respect for materials, and a guild union similar to those of medieval workshops.
By 1903, Stickley had established an influential publication by which he shared his
philosophy of “mutual cooperation as a way of life and simplicity as a goal of that style,”
and he was continually achieving this intention with his Craftsman furniture guild. The brief but
extremely influential tenure of architect Harvey Ellis (1852-1904), however, forever altered the
designs of Stickley. Roaming from city to city, contributing designs to multiple firms, Ellis never
achieved prominence as an architect. Some historians refer to him
as a “paper architect,” one whose designs were never constructed,
though it is likely that based on his skillful drawings and admiration
from colleagues, some of his designs were probably built. Ellis arrived
at the Syracuse workshop when Stickley was just finishing up the
renovations to his fire-damaged house, considered to be the first
Craftsman structure. Most likely hired as an architect to work with
Stickley, who was becoming increasingly interested in translating his
Craftsman aesthetic to architecture, in seven months Ellis designed
houses, wall decorations, illustrations for The Craftsman, and
furniture. According to Stickley historian, Mary Ann Smith, “Ellis’
real contribution, aside from his designs for Stickley, was to be the
inspiration he provided at a critical point in Stickley’s development.”
While almost every issue of The Craftsman during Ellis’
employment featured illustrations and an Ellis blueprint, none
of his buildings were constructed. The same cannot be said for his
furniture, which continued to influence Stickley after Ellis’ untimely
death. His chairs and cabinets are marked by lightness previously
unseen in Stickley pieces. The slats are thinner, the top and seat
rails have curves, and metal inlays prominently adorned the center
of the backrest. Stickley never used unnecessary ornamentation,
but he most likely approved of the inlays – as seen in the side chair
and rare inlaid armchair from 1903 – because of his appreciation of
medieval imagery, which in the case of Ellis furniture, “emphasized
the structure of the designs.” Ellis’ double-door bookcase (1903)
evokes a distinctly architectural presence with overhanging tops and
an arching skirt, likely inspired by Charles Rennie Mackintosh from
the Glasgow School. When Stickley’s post-Ellis designs are compared
to his pre-Ellis counterparts, it is clear that even after the architect’s
death, Stickley employed curvature and lightness in many of his
pieces. Harvey Ellis was the catalyst for a progressive change toward
imaginative design possibilities that endured for the remainder of
Gustav Stickley’s career.
Smith, Mary Ann. Gustav Stickley: The Craftsman. Syracuse: Syracuse University Press, 1983.
Print.
112
HARVEY ELLIS
RARE INLAID ARMCHAIR
Gustav Stickley’s Craftsman Workshop,
Eastwood, NY, designed c. 1903
Oak, pewter, exotic inlaid woods
Retains red decal for manufacture
1902-04
47” x 22.25” x 18.5”
Provenance:
R O B E RT W IN TE R , C ALI FOR NI A;
LO S AN GE L E S C O UN T Y M U SEU M OF ART
Literature: VO L P E ,
TOD M , AND B ETH
C ATH E R S, TR E AS UR E S OF TH E AM ER I C AN
ARTS AN D C R AF TS MOVEM ENT: 1 890 -1 920,
N E W YO R K : TH AME S & H U DSON, 1 988, P
3 6 ( E XAMP L E W ITH VAR I ANT I NL AY I N TH E
C O L L EC TIO N O F C AR NEG I E M U SEU M OF ART
IL LUSTR ATE D) .
$10,000-15,000
81
115
GUSTAV STICKLEY
SIDE CHAIR
Eastwood, NY, 1905-07
Mahogany, upholstered seat
1904-12
47.875” x 19.125” x 21.375”
113
STICKLEY BROTHERS
INLAID SIDE CHAIR
114
L . & J. G. STICKLEY
DRINK STAND
Eastwood, NY, c. 1905
Oak, ebony and pewter inlay, cane seat
42” x 18” x 16”
Model no. 22
L. & J. G. Stickley, designed c. 1910
Oak
28.25” x 18.25”
Provenance: MAX
Provenance: LOS
Provenance: M AX
MUS E UM O F ART, S E P TE MB E R 2 3 , 19 9 0 -
A NGELES COU NT Y
PAL E VS KY, C AL IFO R N IA;
LO S AN GE L E S C O UN T Y MUS E UM O F ART
Exhibited: " AME R IC AN
ARTS & C R AF TS :
V IRTUE IN D E S IGN , " LO S AN GE L E S C O UN T Y
MUS EUM OF A RT
LOS A N G E L E S C OU N T Y MUS E UM O F ART
JAN UARY 6 , 19 9 1.
$500-800
$2,000-3,000
$1,000-1,500
116
HARVEY ELLIS
RARE INLAID SIDE CHAIR
Oak, mahogany, copper, pewter,
rush seat
47.625” x 18.325” x 18.875”
Provenance:
MAX PAL E VS KY, C AL IFOR NI A;
LO S AN GE L E S C O UN T Y M U SEU M OF ART.
Exhibited: " AME R IC A N
ARTS & C R AFTS:
V IRTUE IN D E S IGN , " LOS ANG ELES COU NT Y
MUS E UM O F ART, S E PTEM B ER 23, 1 990 JAN UARY 6 , 19 9 1.
Illustrated: B OW MAN,
LESLI E G R EENE,
AME R IC AN ARTS AN D CR AFTS: VI RTU E
IN D E S IGN, LO S AN GE LES: LOS ANG ELES
C O UN T Y MUS E UM O F ART, 1 990, FI G 51 .
$4,000-6,000
83
ALTERNATE VIEW
117
GUSTAV STICKLEY
TABLE LAMP
Eastwood, NY, 1905-10
Copper, steer willow, silk
Stamped manufacturer’s mark
18.75” x 16.375”
Provenance:
M AX PALEVSKY, CA LI FORNI A (AC QU I R E D
FRO M DJ PU FFERT ’S AU CTION: THE A RTS
& CRAFTS SH OP, SAU SA LI TO, CA L I FOR N I A ,
CIRCA 1 9 88);
LO S AN G ELES COU NT Y MU SEU M OF A RT
Exhibited: "A MERI CA N
A RTS & CR A F TS:
V IRT UE IN DESI GN, " LOS A NGELE S
CO UNT Y MU SEU M OF A RT, SEPET E M B E R 2 3,
19 9 0 -JANUA RY 9, 1991.
$1,500-2,000
118
SERVING TRAY
Model no. 347
Possibly made by Benedict Studio,
Syracuse on behalf of L. & J. G. Stickley,
c. 1912
Copper, repoussé decoration
Stamped mark “LJGS”
1.125” x 18.875” diameter
Provenance:
MAX AN D E L L E N PAL EVSKY, CALI FOR NI A;
Exhibited: " W ITH
H AM M ER , B LOWP I P E,
AN D W H E E L : TH E ART OF TH E C R AFTS MAN , 18 95 - 193 0, " LOS ANG ELES COU NT Y
MUS E UM O F ART, MAR C H 1 3, 1 996 - JU LY
2 8 , 19 9 6 ; " AME R IC AN ARTS & C R AFTS:
LESLI E G R EENE,
C O UN T Y MUS E UM O F ART, 1 990, FI G 93.
$1,000-1,500
PROPERTY OF ANOTHER OWNER
119
JOSEPH MARIA OLBRICH
RARE TEAPOT
Studio, designed 1903
Copper with repoussé decoration, brass,
pewter wash interior
Impressed/stamped “I” underside
8” x 6” diameter (12” diameter with
spout and handle)
Only one other example of the teapot is
known to exist. Olbrich designed various
pewter wares for manufacturer Eduard
Hueck; however, this form was only ever
executed by hand for specific clients.
Literature: UL ME R ,
RENATE, AND JOSEP H
MAR IA O L B R IC H , AR C H I TECTU R E: COMP L E TE R E P O RT O F THE OR I G I NAL P L ATES
19 0 1-19 14, N E W YO R K : R I ZZOLI , 1 988, P 71 .
$3,000-5,000
85
120
HARVEY ELLIS
RARE DOUBLE-DOOR BOOKCASE
Eastwood, NY, designed 1903
Oak, lacewood, sycamore, beech, mahogany, padunk, glass, copper hardware
Retains manufacturer’s label and red
decal for manufacture 1902-03
55.625” x 55.625” x 12.625”
Only one other example of this design
with inlay is known to exist.
Provenance: MAX
PA LEVSKY, CALI FOR NI A;
Exhibited:
" AME R IC A N ARTS & CR AFTS:
LESLI E G R EENE,
C O UN T Y MUS E UM O F ART, 1 990, FI G 35.
$12,000-15,000
87
121
ATTRIUBTED TO
GEORGE PRENTISS KENDRICK
RARE VASE
Grueby Faience Company, 1897-1902
Stoneware, with faience glaze
12.875” x 8.75” diameter
Provenance:
M AX AN D ELLEN PA LEVSKY, CA LIFOR N I A ;
$6,000-9,000
ALTERNATE VIEW
122
ROOKWOOD
VASES (6)
Rookwood, executed 1911-1928
Molded and glazed ceramic
Molded manufacturer’s marks
Largest: 10.25” x 4.75” diameter;
Smallest: 5.25” x 3.5” diameter
$3,000-5,000
123
ROOKWOOD
VASES (5)
Smallest: 4.5” x 3” x 1.5”
$3,000-5,000
89
124
ROOKWOOD
VASES (7)
Smallest: 4.5” x 3.25” x .75”
$3,000-5,000
125
ROOKWOOD
VASES (6)
Largest: 11” x 6.75” x 6.75” diameter;
Smallest: 5.25” x 3.25” diameter
$3,000-5,000
126
L . & J.G. STICKLEY
PRAIRIE SETTEE
Model No. 220
L. & J. G. Stickley, 1912-17
Oak, wood, leather
Retains gold and white decal
“The Work of L. & J. G. Stickley”
29” x 84.625” x 36.75”
Provenance:
ARTS & C R AFTS:
LESLI E G R EENE,
C O UN T Y MUS E UM O F ART, 1 990, FI G 6 3.
ALTERNATE VIEW
$8,000-12,000
91
127
SERVER WITH ONE DRAWER AND SHELF
L. & J. G. Stickley, c. 1912-15
Oak, patinated copper drop handles with
hand-hammered surface
Retains branded mark for manufacture
1912-16
36.125” x 42” x 20”
Provenance:
M AX AN D ELLEN PA LEVSKY, CA LIFOR N I A
( ACQUIRED FROM JORDA N VOLPE G A L L E RY,
N EW YO RK);
$2,000-3,000
93
129
ATTRIBUTED TO HARVEY ELLIS
DOUBLE-DOOR BOOKCASE
128 (OPPOSITE PAGE)
AMERICAN ARTS & CRAFTS
CARPET
Manufacturer unknown, c. 1910
Woven jute, cotton
123.75” x 105.75”
Provenance: MAX
Oak, leaded glass
Retains manufacturer’s label for
production 1907-12 and red decal for
production 1904-12
57.875” x 45.625” x 14.3125”
Provenance:
LO S AN GE L E S C O UN T Y M U SEU M OF ART.
( AC Q UIR E D F R O M DJ P UF F E RT ’S AUC TIO N :
Exhibited: " AME R IC A N
TH E ARTS & C R AF TS S H O P, SAUSAL ITO,
C AL IFO R N IA , C 19 8 8) ;
MUS E UM O F ART, S E PTEM B ER 23, 1 990 -
LO S AN GE L E S C O UN T Y MUS E UM O F ART
JAN UARY 6 , 19 9 1.
ARTS & C R AF TS :
ARTS & C R AFTS:
LESLI E G R EENE,
V IRTUE IN D E S IGN , " LO S AN GE L E S C O UN T Y
MUS E UM O F ART, S E P TE MB E R 2 3 , 19 9 0 -
JAN UARY 6 , 19 9 1.
C O UN T Y MUS E UM O F ART, 1 990, FI G 56 .
$2,000-3,000
$5,000-6,000
95
130
GUSTAV STICKLEY
SETTLE
Model no. 286
Eastwood NY, 1905-09
Oak, upholstery
1904-12
48.875” x 47.5” x 25.1875”
Provenance: MAX
PA LEVSKY, CAL I FOR N I A ;
Exhibited: "A MERI CA N
A RTS & C R A F TS:
V IRT UE IN DESIGN, " LOS A NGELE S C OU N T Y
MUS EUM OF A RT, SEPTEMBER 23 , 1 9 9 0 -
ALTERNATE VIEW
JANUARY 6, 1991.
Illustrated: BOWMA N,
LESLIE GR E E N E ,
AM ERICAN A RTS A ND CRA FTS: VIRT U E
IN D ES IG N, LOS A NGELES: LOS AN G E L E S
CO UN T Y MU SEU M OF A RT, 1990, F I G 4 6 .
$5,000-7,000
NOT ILLUSTRATED
131
CHICAGO SCHOOL
SIDEBOARD
Manufacturer unknown, c. 1895
Solid and pierced oak, silvered metal
pulls
58.25” x 83” x 58.25”
The design bears similarities with Louis
Sullivan and Dankmar Adler’s designs
for the interior of the Chicago Stock
Exchange 1893-94.
The partner to this piece, a Fireplace
Surround, was sold by LACMA with
LAMA in October 2012 (lot 144) for
$13,437.
Provenance:
$1,000-1,500
132
PAUL HORTI
RARE CUBE SETTLE
Shop of the Crafters, designed c. 1906
For the Crafters Library Set; quartersawn oak inlaid with various fruitwoods,
lead-work finials, upholstered seat
cushions
Remnants of manufacturer’s label
Only 6 examples of the design are
known to have been produced.
37” x 71” x 30”
DETAIL OF INLAY
$5,000-7,000
97
ELIZABETH EATON BURTON
The following two lots were commissioned in 1909 by noted patron of the arts Mrs. Anita Baldwin McClaughry, the daughter
of entrepreneur and race horse owner Elias Jackson “Lucky” Baldwin. These two works adorned the interior of her palatial
residence “Anoakia,” set within 16 acres in the foothills of Santa Anita Canyon, Los Angeles, California. Seminal architect Arthur
B. Benton designed the house, with progressive interior schemes devised by some of the leading American artists and designers
of the day, including Maynard Dixon, Ernest Batchelder, and Louis Comfort Tiffany. Elizabeth Eaton Burton is widely recognized
as a leading figure in the development of California’s craft tradition, a movement that continued to flourish throughout the
twentieth century. Due to the labor-intensive nature of Burton’s studio work and the relatively short period of time that she was
active - from the opening of her studio in 1897 to her departure for Europe in 1920 - very few examples were ever produced. Her
distinctive style, which featured tooled leather, seashells, and hand-wrought copper worked into organic and flowing forms, was
informed partly by her upbringing in metropolitan Paris, which she left at the age of 17, and partly in response to the un-spoilt
natural beauty of her home in rural Santa Barbara. The table lamp carries distinct echoes of the leading French fin-de-siècle
exponent of the Art Nouveau style, Emile Gallé, with its copper frame, hand-hammered into the form of flowing foliage. The use
of abalone for the shades and for the inlay to the recesses of the tooled leather picture frame clearly demonstrates the inspiration
that she found within the natural environment where she gathered the seashells during excursions to the beach. An example
of Burton’s abalone shell lamp design is currently included in the Gene Autry Museum’s exhibition, “California's Designing
Women, 1896-1986.”
Beresford, Hattie. The Way it Was: My Santa Barbara Scrapbook: 1886-1910. Santa Barbara: Santa Barbara Historical Museum, 2011. Print.
133
SHELL LAMP
Studio, commissioned c. 1902
Hand-hammered copper, abalone shell
shades
16.25” x 14” x 14”
Provenance: MRS
A NITA BA LDW I N
MCL AUG HRY, A NOA KI A , SA NTA A N I TA ,
CAL IFO RNIA , 1914;
PRIVAT E COLLECTION ( TH ENCE BY DES CEN T ) ;
PRIVAT E COLLECTION, CA LIFORNI A
$10,000-15,000
134
FRAME
Studio, commissioned c. 1902
Hand-tooled buckskin suede, abalone
shell, hand-painted fabric
Designer’s monogram recto
14.25” x 12” x .5”
Provenance: MR S
ANI TA BALDWI N
MC L AUGH RY, AN OAK I A , SANTA ANI TA ,
C AL IFO R N IA , 19 14;
P R IVATE C O L L EC TI ON ( TH ENC E BY DESCENT);
P R IVATE C O L L EC TI ON, CALI FOR NI A
$4,000-6,000
99
135
ROBERT JARVIE
IOTA CANDLESTICK
Patinated bronze
Chased mark verso “Jarvie”
Jarvie produced candelsticks from
1905-12.
14.25” x 7.25” diameter base
$4,000-6,000
136
MASSET
UNTITLED (SCULPTURE)
Paris Foundry, designed c. 1925
Patinated spelter, black and brown onyx
41.25” x 30.25” x 7.25”
$1,500-2,000
137
ANDY WARHOL
TRUMAN CAPOTE
c. 1979
Screenprint on paper
Unknown edition size
Printed by Rupert Jasen Smith,
New York
F/S #IIIC.46
Sheet: 50.125” x 41.375”;
Frame: 43.25” x 41.5”
Literature: FELDMA N,
FRAYA , A ND J OR G
S CHELLMA NN, A NDY WA RH OL PR I N TS: A
CATALO G UE RA ISONNÉ, 4TH EDIT I ON , N E W
YO RK: DAP, 20 03, PP 92- 92, # II I C / 4 6 .
$20,000-30,000
138
ANDY WARHOL
VOTE MCGOVERN
1972
Screenprint on Arches 88
#9 of 250
Published by Gemini G.E.L., Los Angeles;
printed by Jeff Wasserman, Gemini
G.E.L., Los Angeles
Signature with edition in ball point
pen verso; Gemini G.E.L. blind stamp
lower right corner
F/S #II.84
Sheet: 41.625” x 41.625”;
Frame: 42.25” x 42.25”
This work was published to generate
funds for the George McGovern campaign for presidency.
Literature: F E L D MAN,
FR AYA , AND JOR G
S C H E L L MAN N , AN DY WAR H OL P R I NTS: A
C ATALO GUE R AIS O N NÉ, 4 TH EDI TI ON, NEW
YO R K : DAP, 2 0 03 , P 80, #I I /84 .
$15,000-20,000
101
139
ANDY WARHOL
MICK JAGGER
1975
Screenprint on Arches Aquarelle
#78 of 250
Signed “Andy Warhol” lower right;
signed by Mick Jagger lower left;
edition lower left
Published by Seabird Editions, London;
printed by Alexander Heinrici, New York
F/S #11.143
Sheet: 43.5” x 29”; Frame: 50” x 34.75”
Literature: F E L D MAN,
FR AYA AND JOR G
YO R K : DAP, 2 0 03 , P P 92- 93, #1 1 /1 4 3.
$10,000-20,000
140
ANDY WARHOL
JANE FONDA
1982
Screenprint on Lenox Museum Board
#8 of 100
Published by Friends of Tom Hayden,
Santa Monica, CA; printed by Rupert
Jasen Smith, Santa Monica, CA
Signature in graphite lower left with edition; inscribed in graphite by Jane Fonda
“Peace, Jane Fonda ‘86” lower center
F/S #II.268
Sheet: 39.5” x 31.5”; Frame: 41.5” x 33.5”
Literature: FELDMA N,
FRAYA , A ND J OR G
S CHEL L M ANN, A NDY WA RH OL PR I N TS: A
CATALO G U E RA I SONNÉ, 4TH EDIT I ON , N E W
YO RK: DAP, 20 03, P 124, # 11/268.
$25,000-35,000
141
ANDY WARHOL
HAMMER AND SICKLE
(HAMMER AND SICKLE SERIES)
1977
Screenprint on Strathmore Bristol
#28 of 50
Published by Andy Warhol Enterprises,
Inc., New York; printed by Rupert
Jasen Smith, New York
Signed with edition in graphite lower left
F/S #11.163
Sheet: 30” x 40”;
Frame: 39.25” x 49.25”
Literature: F E L D MAN ,
FR AYA , AND JOR G
YO R K : DAP, 2 0 03 , P 9 8, #1 1 /1 6 3.
$8,000-12,000
142
ANDY WARHOL
UNTITLED
(CAMPBELL’S SOUP CAN NOODLE)
Graphite on paper
Signed “Andy Warhol”
Sold with certificate of authenticity from
the Andy Warhol Art authentication
board.
Andy Warhol Authentication #103.122
Sheet: 11.75” x 7.75”; Frame: 20” x 15”
Provenance: R O B E RT
SH APAZI AN;
$3,000-5,000
103
143
ANDY WARHOL
ANDY WARHOL’S INDEX AND OTHER
BOOKS (4)
Publishers: A: Random House, New
York; B: Phaidon, New York; C: Abrams,
New York; D: Prestel, New York
A: 1967; B: 2006; C: 2003; D: 2007
A: Andy Warhol’s Index (Book) by Paul
Morrissey, Stephen Shore, Ondine, and
Nico (sold with original plastic protective covering); B: Andy Warhol “Giant”
Size by Steven Bluttal and Dave Hickey;
C: I Bought Andy Warhol by Richard
Polsky; D: Andy Warhol by Isabel Kuhl.
Various dimensions
$900-1,200
145
ANDY WARHOL
CAMPBELL’S SOUP CAN (TOMATO)
S CHAPIRO, A MERI CA N EDGE, NEW M E XI C O:
1966
Screenprint on shopping bag
Published by the Institute of Contemporary Art, Boston
Published for an exhibition at the
Institute of Contemporary Art, Boston,
Massachusetts, October 1 - November
6, 1966.
F/S #II.4a
Signature in pencil lower right
Bag: 19.25” x 16.75”;
Frame: 27.75” x 22.25”
AREN A EDITIONS, 20 0 0, ILLU STR AT E D P 87 ;
Literature: F E L DM A N ,
S CHAPIRO, STEPH EN, SCH A PI RO’S HE R OE S,
SC HE L L M A N N , A N DY WA R H O L P R IN TS : A
NEW YO RK: POWERH OU SE BOOKS, 2 007,
C ATA LOG U E R A I SON NÉ 1 9 6 2-19 8 7, 4TH E D I-
IL LUST RATED P 54.
T I ON , N E W YOR K : DA P, 20 03 , P 5 9, # II/ 4A .
$2,000-3,000
$3,000-5,000
144
STEPHEN SCHAPIRO
WARHOL AND SEDGWICK ENTOURAGE,
NYC, 1965
1965; printed later
Photographic print
Image: 17.625” x 57.75”; Sheet (vis.):
19.5” x 59.5”; Frame: 21” x 61”
Literature: H I CKEY,
DAVE, A ND ST E P HE N
FR AY DA , AN D J O R G
105
146
SAM FRANCIS
DRAWING SKETCH (SF65-076)
1965
Acrylic on paper
Artist’s label verso “SF 65-076”; signed,
dated and titled in graphite verso
Sheet: 13” x 22”; Frame: 16.5” x 25.5”
$5,000-7,000
FLORENCE KNOLL - CUSTOM SOFA
Through her “total design” approach, American furniture designer and architect Florence Knoll (b. 1917) produced some
of the most iconic furniture designs and interiors of the 20th century. After the sudden death of her husband and founder
of Knoll Associates, Hans Knoll, she married Harry Hood Bassett, chairman of the Southeast Bank. Retired since the
mid-60s, in 1982 Knoll was asked to design the interior of Southeast’s new building. Completed in 1983, the Southeast
Bank Building in Miami, Florida was outfitted with custom furniture from Florence Knoll as well as an extensive
collection of modern art, including works by Sol LeWitt, Alexander Calder, and Ellsworth Kelly. A plinth base variation
of her classic models, this couch comes from one of the last major interior design commissions of her career. In 2008,
the building reopened as the Knoll Miami showroom, redesigned according to Knoll’s original “reductive aesthetic,”
incorporating “light, open spaces furnished with elegant woven fabrics, furniture grouped for informal conversation,
and brightly colored wall panels.”
“Knoll Miami Showroom.” Knoll.com. Knoll Associates, 3 Sept. 2008. Web. 30 Oct. 2012.
147
FLORENCE KNOLL
CUSTOM SOFA
Knoll International, designed 1982
Ebonized wood, wool upholstery
Designed for the Southeast Bank,
Miami, FL, 1982
30.5” x 85” x 31.5”
COLLECTON , LOS
AN G LEES (ACQ U I RED FROM SOTH E BY'S,
CHICAG O, NOVEMBER 1999, LOT 3 08)
$3,000-5,000
148
FLORENCE KNOLL
COFFEE TABLE
H.G. Knoll, designed 1950
Marble and steel
16” x 54.25” x 24”
$2,000-3,000
149
EERO SAARINEN
GRASSHOPPER CHAIR
Model no. 61U
Knoll International, designed 1945
Birch, upholstery
35.5” x 26.5” x 33”
Literature: LUTZ ,
B R I AN, K NOLL : A M OD -
E R N UN IV E R S E, N E W YOR K : R I ZZOLI , 201 0,
P 105 .
$1,000-1,500
150
CHARLES & RAY EAMES
SOFA COMPACT
Model no. 473
Cowhide and vinyl upholstery,
enameled steel
36” x 71” x 29”
Literature: N E UH ART,
JOH N AND M AR I LYN,
E AME S D E S IGN : TH E WOR K OF TH E OFFI CE
O F C H AR L E S AN D R AY EAM ES, NEW YOR K :
AB R AMS, 19 8 9, P 19 1.
$2,000-3,000
151
ISAMU NOGUCHI
BIOMORPHIC COFFEE TABLE
Model no. IN 50
Lacquered wood, glass
15” x 50.5” x 36”
Literature: P O S C H ,
KATAR I NA V, AND AL-
E XAN D E R VO N V EGE SAC K , I SAM U NOG U C H I :
S C UL P TUR AL D E S IGN, WEI L AM R H EI N:
V ITR A , 2 0 0 1, P 118 .
$1,500-2,000
107
152
GEORGE NELSON
SWAG LEG CHAIR
Model no. DAA
Fiberglass, enameled and
chrome-plated steel
34” x 28” x 21”
Literature: EISENBRA ND,
JOCH E N , G EOR G E
NEL S O N: A RCH ITECT, WRITER , DE SI G N E R ,
T EACHER , W EI L A M RH EIN: VITRA DE SI G N
MUS EUM , 20 0 8, PG 249.
$1,500-2,000
153
GEORGE NELSON
DESK AND RETURN
Herman Miller, designed c. 1956
Walnut, aluminum, steel, lacquered
Masonite
Retains manufacturer’s label and
stamped marks
26” x 80” x 72”
$2,000-3,000
154
GEORGE NELSON
SWAG LEG CHAIR
Model no. DAF
Fiberglass, enameled and
chrome-plated steel
30.75” x 29” x 19.5”
Literature: E IS E N B R AND,
JOCH EN, G EOR G E
N E L S O N : AR C H ITEC T, WR I TER , DESI G NER ,
TE AC H E R , W E IL AM R H EI N: VI TR A DESI G N
MUS E UM, 2 0 0 8 , P G 24 9.
$2,000-3,000
155
GEORGE NELSON
OFFICE UNIT
Walnut, lacquered wood, aluminum,
laminate, chrome-plated steel
Retains manufacturer’s metal label
43.25” x 80.75” x 77.5”
$2,000-3,000
109
156
GEORGE NELSON
HOME OFFICE DESK
Model no. 4658 & 601
Maple, leather, steel
This example contains the original
Pendaflex file basket which was a
special order.
41” x 54” x 28”
FROM A N I M P OR-
TANT WE ST COAST COLLECTION
Literature: EI SENBRA ND,
JOCHE N , G EOR G E
N EL S O N : A RCH ITECT, WRITER , DE SI G N E R ,
T EACHER , WEIL A M RH EIN: VITR A DE SI G N
M US EUM, 20 0 8, P 258.
$5,000-8,000
157
GEORGE NELSON
PLANT STAND
Howard Miller Clock Company,
designed c. 1952
Walnut, enameled metal, plastic
11.75” x 43” x 36”
FR OM AN I M P OR-
TAN T W E ST C OAST C OLLEC TI ON ( AC Q U I R ED
F R O M W R IGH T AUC TIO N, JU NE 9, 2002,
LOT 146 )
$7,000-9,000
111
158
CHARLES & RAY EAMES
WIRE MESH CHAIR (2)
Model no. DKR-2
Enameled steel wire, naugahyde
Each retains Herman Miller
upholstery tag
32” x 18.75” x 15.5”
FROM A N I M P OR-
Literature: NEU H A RT,
JOH N A ND M A R I LYN ,
EAM ES D ESI GN: TH E WORK OF THE OF F I C E
O F CHARLES A ND RAY EA MES, NE W YOR K :
ABRAMS, 1989, P 152.
$1,000-1,500
159
CHARLES & RAY EAMES
LOUNGE CHAIRS (2)
Model no. LCW
Evans, designed 1945, these examples
late 1940s
Laminated calico ash
One with ghost of a label
Each: 27” x 22” x 22”
FROM A N I M P OR-
$3,000-4,000
160
CHARLES & RAY EAMES
LOUNGE CHAIR AND OTTOMAN (2)
Model no. 670 & 671
Herman Miller, designed 1956, this
example produced before 1971
Rosewood and black leather
Both retain Herman Miller medallions
Chair: 32.5” x 32.5” x 32”;
Ottoman: 16.25” x 25.5” x 21”
$2,500-3,000
161
CHARLES & RAY EAMES
FOLDING TABLE
Model no. DTM-1
Walnut face veneer, chrome-plated steel
29” x 53.75” x 34”
Literature: TH E
$1,400-1,600
162
CHARLES & RAY EAMES
FOLDING TABLE
Model no. DTM-10
White laminate, enameled steel
29” x 53.75” x 34”
Literature: TH E
$1,400-1,600
113
163
CHARLES & RAY EAMES
DINING SUITE (7)
Aluminum group
Table: Aluminum, laminate;
Chairs: Custom leather, aluminum,
enameled steel
Table retains Herman Miller tag
Comprised of a table and six chairs
Table: 28.5” x 60” diameter;
Each chair: 33.75” x 18” x 23”
Literature: NEU H A RT,
JOH N A ND M A R I LYN ,
EAM ES D ESIGN: TH E WORK OF THE OF F I C E
O F CHARLES A ND RAY EA MES, NE W YOR K :
ABRAMS, 1989, P 227.
$3,000-5,000
164
FRANZ KLINE
OVER GREEN
1958
Oil and collage on paper
attached to board
Signed lower right
9.875” x 12.875”
Provenance: S ID N E Y
JANI S G ALLERY, NEW
YO R K ;
P R IVATE C O L L EC TIO N;
MUS E UM O F MO D E R N ART LENDI NG SERV IC E , N E W YO R K ;
S OTH E BY ’S N E W YO R K , NOVEM BER 1 986 ,
LOT 112 ;
C H R ISTIE ’S N E W YO R K , NOVEM B ER 2007,
LOT 2 2 6 ;
P R IVATE C O L L EC TIO N, U NI TED K I NG DOM ;
AC Q UIR E D BY TH E P RESENT OWNER FR OM
TH E AB OV E
Exhibited: “ F R AN Z
K LI NE, ” SI DNEY JANI S
GAL L E RY, N E W YO R K , M AY-JU NE 1 958.
$50,000-70,000
115
165
OSKAR FISCHINGER
UNTITLED
1957
Oil on canvas
Signed “O.W. Fischinger” lower right;
dated with artist’s signet lower left;
“#277” inscribed in red ink verso
Canvas: 10.125” x 9.875”;
Frame: 17.125” x 17”
$2,500-3,500
166
OSKAR AND ELFRIEDA
FISCHINGER
WEAVING
c. 1963
Oil on board
SIgnature verso; retains exhibition
label verso
Board: 13.5” x 10”; Frame: 15” x 20”
Exhibited: “A
RETROSPECTIVE OF PA I N T-
ING S AN D FI LMS BY OSCA R FISCHI N G E R ,”
LUCKMAN FINE A RTS GA LLERY, C SU LOS
ANG EL ES, NOVEMBER 1 - DECEMB E R 1 5,
19 9 4
$1,500-2,000
167
HERBERT BAYER
OWL PEOPLE
1948
Oil on canvas
Signed and dated lower right; titled,
signed, and dated verso
Canvas: 17.5” x 23”; Frame: 18” x 23.5”
$8,000-12,000
168
LEONARD EDMONDSON
PROVOKING RED
c. 1951
Oil and applied fabric strips on canvas
Signature lower left; retains partial
Pasadena Art Museum label on upper
canvas stretcher verso
M EDI CAL
C E N TE R
Exhibited: " L EO N AR D
EDM ONDSON EX H I BI-
TIO N , " PASAD E N A ART M U SEU M , 1 953
$5,000-7,000
117
169
HARRY BERTOIA
UNTITLED (SCULPTURE)
Welded and patinated bronze and
copper
7.5” x 8” x 6.5”
Provenance: PRIVATE
COLLECTI ON
( ACQUIRED FROM TH E A RTIST )
$9,000-12,000
119
170
HARRY BERTOIA
UNTITLED
(EARLY MONOGRAPHIC WORK)
Early 1940s
Colored inks and oils on mat board
Board: 8.875" x 6"; Frame: 16" x 13.125"
Literature: N E L S O N ,
JU NE KOM PASS,
H AR RY B E RTO IA , P R INTM AK ER , DETR OI T:
WAY N E STATE UN IV E RSI T Y P R ESS, 1 988, P
5 8 - 6 0 ( S IMIL AR E XAMP LES)
$6,000-9,000
171
HARRY BERTOIA
UNTITLED (RELIEF)
Bronze
Unmarked
Sculpture: 6.25” x 6.5”;
With stand: 8.75” x 6.5” x 2.75”
$2,000-3,000
LAMA would like to thank Gail Natzler
for her gracious assistance in
cataloguing these works.
172
GERTRUD & OTTO NATZLER
BOWL
Velvet Chartreuse glazed ceramic
Signed “Natzler”
3.5” x 5.875” x 5.6875”
(9 cm x 15 cm x 14.5 cm)
$3,000-5,000
173
BOWL
Chartreuse glazed ceramic
(14 cm x 19 cm diameter)
FROM A N I M P OR-
$5,000-7,000
174
BOWL
Sky pale blue glazed ceramic
(9 cm x 18.5 cm diameter)
FR OM AN I M P OR-
$3,000-5,000
121
175
BOWL
Yellow glazed ceramic
2.75” x 10.25” diameter
(7 cm x 26 cm diameter)
FR OM AN I M P OR-
$4,000-6,000
GRETA MAGNUSSON GROSSMAN
Swedish designer and architect Greta Magnusson Grossman (1906-1999) achieved success on two continents, and remains one of the
most influential female designers of the 20th century. She began her career in Sweden, blossomed in Los Angeles, and left her mark
on an international scale. After a yearlong woodworking apprentice at a furniture workshop in her hometown of Helsingborg, Sweden,
Grossman moved to Stockholm to enroll as a furniture design major at Konstfack, Stockholm’s university for artists, designers, and
craftsmen. There she was awarded a travel grant to Europe where she encountered the architecture of Mies van der Rohe and Le
Corbusier, as well as machine-made furniture. Upon her return to Sweden, she married the English bandleader Billy Grossman, who
encouraged her to start her own furniture business. With the help of classmate Erik Ullrich, Grossman opened Studio, a store and
workshop that became a meeting place for Stockholm’s young artists. The city’s newspapers loved Grossman due to her second-place
award in the “combination furniture” category in a competition sponsored by the Stockholm Craft Association – the first time a woman
earned this distinction. Throughout the 1930s, Grossman produced custom furniture for clients in France, Poland, Panama, and
Finland, as well as pieces for Swedish elites, including Ingrid Bergman. Her gracefully simple and practical pieces earned her praise
from critics, and in 1938, Grossman turned heads with one of her greatest achievements, a one-woman show at Stockholm’s Galerie
Moderne.
Greta and Billy had always planned on moving to New York, but a harrowing journey across Russia and Japan during the
outbreak of World War II dropped the couple in San Francisco, and then eventually in Los Angeles. The American response to Swedish
modern design was overwhelmingly positive, and once Grossman established her shop on North Rodeo drive in Beverly Hills, the
Los Angeles press featured her in a flurry of articles. The space was expensive and the country was at war, so Grossman was forced
to establish herself at a more modest location on North Highland in Hollywood. Once again Grossman’s space became a hub for the
city’s urban planners, designers, and architects, including Richard Neutra. A newspaper article at the time announced that Grossman’s
greatest ambition was “to work out designs for simple, inexpensive but esthetically high-class furniture for lower
income homes.” She began designing furniture for the Los Angeles based manufacturer, Barker Brothers. So positive was the public’s
reception that Barker Brothers transformed their fifth floor into a Modern Shop, complete with furnishings by Grossman and Finnish
designer Alvar Aalto. The first of many collaborations with furniture and lighting manufacturers, the opening of the Modern Shop
brought over 6,000 spectators, and solidified Grossman as one of the exclusive interior designers in Los Angeles. She went on to design
dozens of homes throughout the second half of the century, filling mid-century modern homes with custom furniture as well as her
most iconic designs.
In the late 1940s and 50s, Grossman conceived a variety of designs for the lighting manufacturer Ralph O. Smith and the
furniture manufacturer Glenn of California. She was keenly aware of the American design aesthetic that was becoming popular,
and she blended it with the understated prominence of Scandinavian design to create distinctly Southern Californian furniture. She
explored new materials, introduced a playful nature to her pieces, and responded to the changing lifestyle of the modern California
household. An extremely rare piece, the bookshelf (designed c. 1950) incorporates characteristic Grossman features: black laminate
contrasted with natural walnut, atomic balls for feet, and form-follows-function adjustable shelves. Light and elegant, her Tripod floor
lamp (designed 1947-48) was designed to easily move from room to room for the open floor plan home. Another exceedingly rare piece,
reminiscent of an ironing board, the rare occasional table (designed 1952) achieves a serene symmetry, both in the wood grain and
plated stainless steel base. The Tripod floor lamp, the occasional table, and the bookshelf are on display at the Pasadena Museum for
California Artists’ exhibition, “Greta Magnusson Grossman: A Car and Some Shorts,” as well as the Gene Autry Museum’s exhibition,
“California's Designing Women, 1896-1986.”
Snyderman, Evan, and Karin Åberg Wærn. Greta Magnusson Grossman – A Car and Some Shorts. Stockholm: Arkitekturmuseet, 2010.
176
GRETA MAGNUSSON
GROSSMAN
TRIPOD FLOOR LAMP
Model no. 831
Ralph O. Smith, designed 1947-48
Enameled metal
Literature: WAE R N ,
KAR I NG , G R ETA
MAGN USS O N GR O SS M AN: A C AR AND SOM E
S H O RTS, VAR N AMO : AR K I TEK TU R M U SEET,
2 0 10, P 3 2 .
$5,000-8,000
123
177
GRETA MAGNUSSON
GROSSMAN
RARE OCCASIONAL TABLE
Model no. 6401
Glenn of California, designed 1952
Walnut, plated stainless steel
13.5” x 59.5” x 35.25”
Literature: H E N N E S EY,
WI LLI AM J, M OD -
E R N F UR N IS H IN GS FO R TH E H OM E, NEW
YO R K : R E IN H O L D P UB LI SH I NG C OR P OR ATIO N , 195 6 , P 118 .
$10,000-15,000
178
GRETA MAGNUSSON
GROSSMAN
RARE BOOKSHELF
Model no. 6210
Glenn of California, designed c. 1950
Walnut and laminate
38.5” x 41.5” x 12”
A similar example is currently being
exhibited in “California’s Designing
Women, 1896-1986”, at the Museum of
California Design at the Autry National
Center, August 2012 - January 2013.
Literature: GLENN
OF CA LIFORNI A (C ATA-
LO G UE) , U NPAGINATED, U NDATED.
$5,000-7,000
179
GRETA MAGNUSSON
GROSSMAN
LOW CONSOLE
Walnut
16” x 64.5” x 17.5”
Literature: WA ERN,
KA RI N, GRETA M AG -
NUSS O N GROSSMA N: A CA R A ND SOM E
S HO RTS, VA RNA MO: A RKI TEKTU R M U SE E T,
2 01 0, CHR ONOLOGY.
$2,500-3,500
180
MANUEL NERI
UNTITLED (JOAN BROWN IN STUDIO 13,
SAN FRANCISCO ART INSTITUTE)
1958
Tempera, acrylic, charcoal, and
graphite on paper
Sheet (vis.): 23.5” x 24”;
Frame: 26.25” x 26.25”
Literature: S C H E N K ,
M ARVI N A , M ANU EL
N E R I: A S C UL P TO R ’S DR AWI NG S, WASH I NG TO N , D C : C O R C O R AN G ALLERY OF ART, 1 994
( S IMIL AR E XAMP L E S FR OM TH E P ER I OD) ;
AME R S O N , P R IC E , MANU EL NER I : EAR LY
WO R K , 195 3 -19 7 8, N E W YOR K : H U DSON
H IL L S P R E SS, P P 15 8 -1 59 ( FOR DI SCU SSI ON
O F S IMIL AR PAIN TE D WOR KS ON PAP ER ) .
$4,000-6,000
181
MANUEL NERI
UNTITLED (JOAN BROWN SEATED
ON MODEL STAND IN STUDIO 13, SAN
FRANCISCO ART INSTITUTE)
1958
Tempera, acrylic, charcoal, and
graphite on paper
Sheet (vis.): 24” x 24”;
Frame: 26.25” x 26.25”
Literature: S C H E N K ,
M ARVI N A , M ANU EL
N E R I: A S C UL P TO R ’S DR AWI NG S, WASHIN GTO N , D C : C O R C O R AN G ALLERY OF
ART, 19 9 4 ( FO R S IMIL AR EXAM P LES FR OM
TH E P E R IO D) ; AME R S ON, P R I C E, M ANU EL
N E R I: E AR LY WO R K , 1953 -1 978, NEW YOR K :
H UD S O N H IL L S P R E SS, P P 1 58 -1 59 ( FOR
D IS C USS IO N O F S IMIL AR PAI NTED WOR KS
O N PAP E R ) .
$4,000-6,000
125
182
NATHAN OLIVEIRA
BULL
183
NATHAN OLIVEIRA
SOLDIER
1956
Monoprint
Printed by the artist, San Francisco
Signed and dated in graphite lower right
Sheet (vis.): 25” x 33”; Frame: 26” x 34”
1956-7
Monoprint
Printed at California School of Fine
Arts, San Francisco
Signed “N. Oliveira 57” in graphite
lower right margin
Impression: 24.25” x 14.75”; Sheet (vis.):
25.375” x 15.625”; Frame: 32.25” x 21.5”
Literature: BA LL ,
Literature: B A L L ,
MAU DET TE W, N AT HA N
M AU DE T TE W, N ATH AN
O LIV EIRA PRI NT RETROSPECTIVE , 1 9 4 9 -
OL I VE I R A P R I N T R E T R OSP EC TIV E , 19 49 -
1 9 8 0, LO NG BEACH : CA L STATE LO N G
1 9 80, LON G B E AC H: C A L STATE LO N G
BEACH MU SEU M A ND GA LLERIES P U B L I C A-
B E AC H M U SE U M A N D G A LL E R IE S P UB L IC A-
T IO NS, 1 9 80, # 23.
T I ON S, 1 9 80, #2 2 .
$1,000-1,500
$1,000-1,500
184
NATHAN OLIVEIRA
UNTITLED (NUDE)
1965
Watercolor and graphite on paper
Signed and dated lower right
9.5” x 7.75”; Frame: 15” x 13”
$1,000-1,500
185
CLAIRE FALKENSTEIN
ALLEGORY
1982
Soft-ground etching
Printer’s proof
Signed and dated lower right; “Bon a
tier” inscribed lower left; “Allegory”
inscribed lower center
This is a large-scale work by the artist.
Impression: 39.5” x 52.125”;
Sheet: 42.25” x 55.375”;
Frame: 46.25” x 59.25”
$2,500-3,500
186
MARK TOBEY
LOUVRE
1961
Color lithograph on Arches
#164 of 200
Signature lower right; edition lower left;
retains two Cedars-Sinai labels verso
Sheet (vis.): 29.25” x 20.75”
C E N TE R
$1,000-1,500
M EDI CAL
127
187
JACKSON GREGORY, JR .
& D.R . BATES
DESK AND CHAIR (2)
Vista of California, designed c. 1955
Mahogany, enameled steel, vinyl
upholstery
Together with a chair by Paul Goldman
(not illustrated)
Desk: 28.375” x 42” x 22”;
Chair: 31.75” x 19” x 17”
$1,200-1,800
188
JACKSON GREGORY, JR .
& D.R . BATES
BOOKSHELF
Vista of California, designed c. 1955
Mahogany, enameled steel
46.25” x 49.125” x 16.75”
$1,000-1,500
189
CALIFORNIA MODERN
TABLE LAMP
Manufacturer unknown,
designed c. 1955
Bisque ceramic, metal wire, paper
$800-1,200
129
190
MITCHELL BOBRICK
CONTROL LIGHT
Controlight Company, designed c. 1949
Enameled metal, ash, glazed pottery
Retains “Controlight” label
19.5” x 18” x 17”
$2,000-3,000
191
EDWARD WORMLEY
SIDE TABLE WITH DRAWER
Drexel, designed c. 1955
Walnut, brass pulls
Branded manufacturer’s mark
16.25” x 42” x 31.75”
$2,000-3,000
192
MILO BAUGHMAN
SEATING UNIT AND TABLE (2)
Thayer Coggin, designed c. 1960
Walnut, vinyl upholstery
Bench retains Thayer Coggin tag
Bench: 31.5” x 78” x 24”;
Table: 10.25” x 66” x 20”
$1,200-1,800
193
MILO BAUGHMAN
DESK
Birch, bronze pulls
28.75” x 62.5” x 25”
$2,000-3,000
131
194
MILO BAUGHMAN
LONG BENCH
Walnut, hickory
11.25” x 81” x 18”
Literature: H E N N E SSEY,
WI LLI AM -JAM ES,
MO D E R N F UR N IS H IN GS FOR TH E H OM E,
N E W YO R K : R E IN H O L D P U BLI SH I NG C OR P O R ATIO N , 195 2 , P 15 2 .
$1,500-2,000
195
ATTRIBUTED TO
MILO BAUGHMAN
ARMCHAIR
Walnut, cane back, upholstered seat
Retains Glenn of California upholstery
tag dated 3.20.53
29.25” x 21” x 21”
$500-800
196
PABLO PICASSO
FACE NO. 130
1963
White earthenware clay, decoration in
engobes and enamel under glaze
#452 of 500
Madoura
Impressed “Edition Picasso” with
Madoura and edition numbers
Ramié #479
9.75” diameter
Literature: RA MIÉ,
PA BLO PICASSO: C ATA-
LO G UE O F TH E EDITED CERA MIC WOR KS
1 9 4 7- 19 71, MA DOU RA , 1988, # 4 7 9.
$5,000-7,000
197
PABLO PICASSO
FACE
9-Jan-69
White earthenware clay, decoration
in engobes engraved by knife under
partial brushed glaze
#498 of 500
Madoura
Impressed “Edition Picasso” with
Madoura and edition numbers
Ramié # 611
Literature: RA MIÉ,
PA BLO PICASSO: C ATA-
LO G UE O F TH E EDITED CERA MIC WOR KS
1 9 4 7- 19 71, MA DOU RA , 1988, # 611.
$4,000-6,000
198
MICHEL CADESTIN &
GEORGES LAURENT
BEAUBOURG SIDE CHAIR
Teda, designed 1976
Steel wire and rod, leather
31” x 18.375” x 20.5”
Designed for use in the Centre Georges
Pompidou, Paris 1977.
$1,000-1,500
199
JEAN ROYÈRE
BREAKFAST TABLE
La Maison Gouffe, designed c. 1938
Oak
Retains manufacturer’s metal label
“Gouffe/46.48.50. Faubourg S Antoine
Paris”
29.5” x 58.75” x 39”
$10,000-15,000
133
200
PABLO PICASSO
DWARF DANCER (BARCELONA SUITE)
1966
Offset color lithograph on Arches wove
paper
#34 of 60
Published by the Museo Picasso,
Palacio Aguilar, Barcelona; printed by
Foto-Repro S.A., Barcelona
Signature in graphite lower right; edition
lower left
Impression: 22.25” x 12.5”; Sheet (vis.):
25.75” x 15.25”; Frame: 41” x 30”
Literature: CZW I KLITZER ,
CH RI STOP HE R ,
PICASS O ’S POSTERS, NEW YORK: R A N DOM
HO US E, 1 9 71, # 234.
$3,000-5,000
201
AFTER ALBERTO GIACOMETTI
NUDE WITH FLOWERS
c. 1960
Lithograph
Signature in plate lower right; retains
Cedars-Sinai and Weisman Collection
labels on frame verso
Sheet (vis.): 15.5” x 11.375”;
Frame: 16” x 11.75”
MED I C A L
CENT ER
Literature: LU ST,
H ERBERT C, GI AC OM E T T I ,
T HE CO MPLETE GRA PH I CS A ND 15 DR AWIN G S, NEW YORK: TU DOR , 1970, O R I G I N A L
LIT HO G RAP H FROM TH E EDITION I L LU S T RAT ED P 45, # 32.
$5,000-7,000
202
AFTER PABLO PICASSO
GRANDE MATERNITÉ
c. 1963
Color lithograph on wove Arches paper
#101 of 200
Signature in graphite lower right;
edition lower left; signature and
date in plate upper left
Sheet: 35” x 25”; Frame: 46” x 35.5”
$7,000-9,000
203
JULES PASCIN
UNTITLED
Early 20th century
Watercolor and graphite on paper
Sheet (vis.): 9.75” x 11.75”;
Frame: 17.5” x 18.5”
$3,000-5,000
204
FRANÇOIS GALL
JOCKEYS & HORSES AT LONGCHAMPS
Oil on canvas
Signed lower right
Canvas (vis.): 14.25” x 17.5”;
Frame: 22.5” x 25.75”
C E N TE R
$3,000-5,000
M EDI CAL
135
205
JOAN MIRÓ
LA FEMME ARBORESCENTE
1974
Etching, aquatint, and carborundum on
Arches
#33 of 50
Published by Maeght Editeur, Paris;
printed by Morsang, Paris
lower left
Sheet: 43.375” x 28.5”; Frame: 59” x 44”
Literature: DU PI N,
JACQ U ES, ED, M I RÓ E N-
G RAV ER , VOLU ME I I I , NEW YORK: R I ZZOL I ,
1 9 8 9, #649.
$10,000-15,000
206
JOAN MIRÓ
LA FILLE DU JARDINIÈRE
1963
Color lithograph on Rives vellum
#4 of 90
Published and printed by Maeght, Paris
lower left
Sheet: 17.5” x 23.5”;
Frame: 23.25” x 29.25”
Literature: Q U ENEAU,
RAY MOND, J OA N
MIRÓ LIT H OGRA PH S, VOLU ME I I , N E W
YO RK: LEON A MI EL PU BLISH ER , 19 7 5, #34 9.
207
JOAN MIRÓ
UNTITLED
(LE MARTEAU SANS MAÎTRE)
1976
Engraving, etching, and aquatint on
Rives
#14 of 50
Published by Le Vent d’Arles, Paris;
Signature in graphite with edition in
Roman numerals
Sheet: 17.375” x 26.5”; Frame: 30” x 37”
Literature: C R AME R ,
PATR I C K , ED, JOAN
MIRÓ, TH E IL LUSTR ATED BOOKS: C ATALO GUE R AIS O N NÉ , GE NEVA: P C R AM ER ,
19 8 9, # 2 16 .
$3,000-5,000
208
JOAN MIRÓ
UNTITLED
(LE MARTEAU SANS MAÎTRE)
1976
Engraving, etching and aquatint on
Rives
#23 of 50
Published by Le Vent d’Arles, Paris;
Signature in graphite with edition in
Roman numerals
Sheet: 17.375” x 26.5”;
Frame: 29” x 37.75”
Literature: C R AME R ,
PATR I C K , ED, JOAN
MIRÓ, TH E IL LUSTR ATED BOOKS: C ATALO GUE R AIS O N NÉ , GE NEVA: P C R AM ER ,
19 8 9, # 2 16 .
$3,000-5,000
137
209
AFTER MARC CHAGALL
TRIBE OF BENJAMIN
1964
Color lithograph
#1 of 150
Printed by Charles Sorlier, Paris
Artist’s signature in graphite lower right;
edition lower left; signature in plate
lower right; printed in plate lower left
“Ch. Sorlier Grav. Lith”
Impression: 24” x 18”; Sheet (vis.):
26.25” x 19.25”; Frame: 38” x 31”
Literature: SORLI ER ,
CH A RLES, C HAG A L L
LIT HO G RA PH S, VOLU ME V: 1974 -7 9, N E W
YO RK: CROWN PU BLI SH ERS, 1984, #C S2 3.
$8,000-12,000
210
MARC CHAGALL
THE READING
1973
#11 of 50
Published by Maeght Editeur, Paris
Signature lower right in graphite;
edition lower left
Sheet: 26.125” x 19”; Frame: 38” x 31”
Literature: GAUSS,
U LR I K E, ED, M AR C
C H AGAL L : TH E L ITH O G R AP H S, TH E SOR LI ER
C O L L EC TIO N : A C ATALOG U E R AI SONNÉ ,
N E W YO R K : DAP, 19 9 8 , I LLU STR ATED P 31 0,
#688.
$8,000-12,000
139
211
JACQUES ADNET
ARTICULATED TABLE LAMP
Compagnie des Arts Français,
designed c. 1930
Chrome-plated steel, ebonized wood
10” x 11.75” x 6.5”
Literature: FIELL ,
CH A RLOT TE, 10 00
LIG HTS, COLOGNE: TASCH EN, 20 05, P 34 1 .
$4,000-6,000
212
JOHN HUTTON
FAUTEUIL
213
JACQUES ADNET
FLOOR LAMP
Donghia, designed c. 2000
Wood, leather upholstery
Retains label “Donghia A John Hutton
design”
33.75” x 23.75” x 25.25”
Hermès, designed c. 1950
Leather bound metal, brass, deer antler
$1,500-2,000
$3,000-4,000
214
STYLE OF JACQUES ADNET
TABLE LAMP WITH INSET DRAWER
Possibly manufactured by Hermès,
designed c. 1950
Leather, wood
14” x 6.5” x 6.5”
$1,500-2,000
141
215
STYLE OF PAUL DUPRÉ-LAFON
TABLE LAMP
designed c. 1930
Leather, wood, opaque glass
Provenance: AL AN
M OSS G ALLERY, NEW
YO R K ; P R IVATE C O L L EC TON, C ALI FOR NI A
( AC Q UIR E D F R O M TH E AB OVE)
$3,000-4,000
216
HERMÈS
NAUTICAL TABLE LAMPS (2)
Hermès, designed c. 1940
Leather, brass, Baccarat glass
Large example with gold leaf stamped
mark to base “Hermès-Paris 24 FgSt.
Honoré”; Small example stamped to underside “Hermès-Paris Made in France”;
top stamped “Arras”
11” x 3.5” diameter and 7.5” x 2.75”
diameter
$3,000-5,000
217
EMILE GALLÉ
RARE LIBELLULE OCCASIONAL TABLE
Atelier Emile Gallé, designed c. 1900
Mahogany, beech, inlaid with various
exotic woods, depicting lakescape with
flowers on top tier and dusk landscape
scene on the lower tier with moon and
dragonfly
Inlaid signature “Gallé” and incised atelier mark “modèle et décor déposé”
With hinged extension leaves
29.5” x 41.5” x 20”
Literature: DU NCA N,
A L ASTA IR , T HE
PARIS SALONS: 1895 -1914, VOLU M E I I I :
FURNIT UR E, LONDON: A NTIQ U E C OL L ECTO R’S CLU B, 1996, P 222 ( VA RI A N T DE SI G N
ILLUST RATED).
Provenance: MA ISON
BL A NCH E, N E W OR-
L EANS ; PRI VATE COLLECTI ON, CAL I FOR N I A .
$4,000-6,000
143
218
CLAUDE VENARD
STILL LIFE IN BLACK AND BLUE
c. 1958
Oil on canvas
Signed lower right; retains
Cedars-Sinai label verso
Canvas (vis.): 29” x 29”;
Frame: 38” x 38”
Provenance: CEDA RS - SINA I
CENT ER
$4,000-7,000
MED I C A L
219
JOHN FERREN
OUTDOORS
1952
Oil on canvas
Signed lower right; retains Los Angeles
County Museum of Art, Exposition Park
label verso; signed and dated verso
$1,500-2,000
145
220
ROBERT FRAME
SHORE CLIFF
1966
Oil on canvas
Signed and dated with title verso;
retains Cedars-Sinai Art Council label
verso; retains partial artist's label verso
Canvas: 24” x 30"
C E N TE R
$2,000-3,000
M EDI CAL
221
ROBERTO SEBASTIAN MATTA
THE NEW SCHOOL (PORTFOLIO)
1943; published 1980
Suite of ten etchings with
hand-colored frontispiece on Arches
#61 of 70
Published by Editions Sabatier-Satie,
Paris
Each etching signed in graphite
lower right; edition lower left
Each sheet: 15.125” x 11”
MED I C A L
CENT ER
Literature: SA BATI ER ,
ROL A ND, MAT TA :
CATALO G UE RA ISONNÉ DE L’OU EV R E G R AVÉ ,
1 9 4 3 - 19 74, STOCKH OLM: SONET, 19 7 5, #1 -7.
$3,000-5,000
14 7
222
PAUL JENKINS
PHENOMENA WINTER HARTH
1975
Oil and sand on canvas
Signed lower left; signed,
titled, and dated verso
Canvas: 26” x 48”; Frame: 27” x 49.25”
$8,000-12,000
223
PAUL JENKINS
PHENOMENA CAUGHT
1961
Watercolor on Arches
Signature in black ink lower right;
inscribed “Paul Jenkins/Phenomena
Caught/Paris 1961” and “#128” verso
Sheet: 30.5” x 22.75”; Frame: 36” x 28”
$3,000-5,000
224
KAREL APPEL
JUMPING FOX WITH GREEN VIRGIN
c. 1976
Original multiple handpainted wooden
relief
#13 of 50
Published by Editions Press, San
Francisco
Signed “Appel” lower right with edition
and title on frame verso
Relief: 19.25” x 23.75” x 3”;
Frame: 25.5” x 30”
$8,000-12,000
225
KAREL APPEL
CAT
1960
Colored crayon and graphite on paper
Signed and dated lower right; inscribed
“For Joyce” at bottom margin
Sheet (vis.): 17.5” x 23.5”;
Frame: 24” x 30”
$9,000-12,000
149
226
ARNE JACOBSEN
GIRAFFE CHAIR
Laminated beech, ash, wool upholstery
Designed and manufactured for use
in the SAS Royal Hotel, Copenhagen,
Denmark.
40.75” x 24” x 18”
Literature: TH AU,
KA RSTEN, A ND KJ E L D
V IN D UM, ARNE JACOBSEN, COPEN HAG E N :
T HE DANISH A RCH ITECTU RA L PR E SS, 2 002 ,
PP 4 3 7- 4 38.
$3,000-5,000
227
JENS QUISTGAARD
DESK
Lovig, Dansk, designed c. 1967
Walnut
Branded “Lovig, Dansk, Denmark”
34” x 63.75” x 28.75”
$2,500-3,500
151
228
ARNE JACOBSEN
EARLY DESK CHAIR
Model no. 3217
Chrome-plated steel, leather upholstery
Stamped “FH Danmark”
31” x 25” x 25”
Literature: STE N
MO LLER , H ENR I K , H ANS
W EGN E R F UR N ITUR E CATALOG U E, CI R C A
19 8 0, P 10 1.
$1,500-2,000
229
ARNE JACOBSEN
EARLY STACKING CHAIRS (6)
Model no. 3105
Teak-faced plywood, chrome-plated
steel, with original metal clip
Each stamped “FH Danmark”
Each: 30” x 16” x 16.5”
Literature: TOJ N E R ,
P OU L ER I K , AR NE
JAC O B S E N : AR C H ITECT & DESI G NER ,
C O P E N H AGE N : DAN S K DESI G N CENTER ,
19 9 9, P 5 3 .
$1,500-2,000
230
ARNE JACOBSEN
SWAN CHAIR
Model no. 4325
Laminated teak, wool upholstery
29.5” x 28.5” x 25.5”
FROM A N I M P OR-
TANT WEST COAST COLLECTION
Literature: FRI TZ
H A NSEN-FU RNI T U R E
CATALO G, COPENH AGEN: DET BER L I N G SK E
BO G T RYKK ERI , 1963, P 70.
$800-1,200
231
ARNE JACOBSEN
SWAN CHAIR
Model no. 3320
Cast aluminum, wool upholstery
Retains Fritz Hansen manufacturer’s
tag numbered “1267”
32.5” x 29.75” x 25”
FROM A N I M P OR-
TANT WEST COAST COLLECTION
Literature: FRI TZ
H A NSEN-FU RNI T U R E
CATALO G, COPENH AGEN: DET BER L I N G SK E
BO G T RYKK ERI , 1963, P 70.
$1,000-1,500
232
ARNE JACOBSEN
RARE TABLE CLOCK (2)
Laur. Knudsen, designed c. 1940
Bakelite, enameled metal, glass
Together with Arne Jacobsen wall clock
(not illustrated)
Retains manufacturers mark to underside
5” x 5” x 2"
$2,000-3,000
233
ARNE JACOBSEN
WALL MOUNTED DRAWER UNITS (2)
Asmussen Weber, Denmark,
designed c. 1958
Designed as drawer units for the SAS
Royal Hotel, Copenhagen, Denmark.
Each: 5.75” x 19.5” x 19.5”
Literature:
F IE L L , C H AR LOT TE, SCANDI NA-
V IAN D E S IGN, C O LO GNE: TASC H EN, 2002,
PG 298.
$4,000-6,000
153
234
HENNING KOPPEL
PITCHER
Model no. 992
Georg Jensen Silversmithy, Copenhagen, designed c. 1948
Sterling silver
Stamped maker’s and assay marks
11.5” x 8.5” x 5.5”
FROM AN I M P OR-
Literature: EIDELBERG,
MA RTI N, DE SI G N
1 93 5 - 19 65: W H AT MODERN WAS, N E W YOR K :
ABRAMS, 1991, P 105.
$10,000-15,000
235
HENNING KOPPEL
FAQUEIRO FLATWARE (117)
Georg Jensen, designed 1957
Sterling Silver
Comprised of 6 butter knives, 8 soup
spoons, 6 sugar spoons, 22 teaspoons,
18 knives, 18 dinner forks, 16 dessert
forks; plus 2 large serving forks, 8 iced
tea spoons, slotted serving spoon,
2 large serving spoons, cake knife, meat
fork, carving knife, 6 forks, and gravy
spoon
Stamped “Georg Jensen Sterling
Denmark”
FROM AN I M P OR-
$7,000-9,000
236
STIG LINDBERG
VASES (3)
Gustavsberg, designed c. 1960; these
examples 1963-68
Glazed stoneware
Each with incised signature
and studio mark
Large: 13.625” x 2.75” x 2.75”;
Medium: 6.75” x 3.25”
Small: 6.75” x 2.75” x 2.75”
$2,500-3,500
237
STIG LINDBERG
VESSELS (5)
Gustavsberg, designed c. 1960;
these examples 1963
Glazed stoneware
Each with incised signature and studio
mark to underside
Largest example: 8” x 3.5” x 3.5”;
Smallest example: 3.25” x 3.25” x 3.25”
$2,500-3,500
155
238
GUNNAR NYLUND
LARGE VASES (6)
Rorstrand, designed c. 1950
Glazed stoneware
Each incised with signature and studio
mark to underside “R Sweden”
Largest: 17” x 9” x 9”;
Smallest: 14” x 3” x 3”
$4,000-6,000
239
FINN JUHL
INLAID DINING TABLE
Model no. 511
Baker, designed c. 1954
Walnut, birch, brass inlay
Retains manufacturer’s tag
29.5” x 103” x 41.75” fully extended
$6,000-8,000
240
BERNDT FRIBERG
VASE
Stoneware with Ariana glaze
Incised signature, studio mark,
“K” and “42”
11” x 5.5” diameter
$1,500-2,000
241
INGEBORG LUNDIN
EXHIBITION VASE
Orrefors, designed and executed 1961
Glass
Etched “Orrefors Expo DU 85-61”
$1,500-2,000
242
FRITZ HENNINGSEN
COFFEE TABLE
Fritz Henningsen, designed c. 1940
Rosewood, brass drop handles, brass
sabots
20.75” x 51.5” x 25”
$1,000-1,500
157
243
FREDERICK HAMMERSLEY
UNTITLED
244
FREDERICK HAMMERSLEY
UNTITLED
1950
Lithograph in artist’s mount
Printed by the artist
Signed “F Hammersley/15 Jan 1950” in
ink on mount verso; inscribed “7/9 - 1st
35” in ink on mount verso; inscribed
“35B” in graphite on mount verso
Lithograph: 3” x 3”; Mount: 7” x 7”
1950
Lithograph in artist’s mount
Printed by the artist
Signed “F Hammersley/22 Feb 1950”
in ink on the mount verso with edition;
inscribed “42a” in graphite and “42” on
mount verso
Lithograph: 3” x 3”; Mount: 7” x 7”
Literature: FREDERI CK
Literature: F R E D E R IC K
H A MMER SL E Y, VE N-
H AMME R S L E Y, V E N-
ICE: L A LOU VER , 20 12, PP 26 -33 (SI M I L A R
I C E : L A LOU VE R , 2 0 12 , P P 2 6 -3 3 ( S IMIL AR
EXAM PL ES I LLU STRATED).
E XA M P L E S I L LUSTR ATE D) .
$3,000-5,000
$3,000-5,000
DETAIL OF VERSO
DETAIL OF VERSO
LAMA would like to thank Kathleen Shields,
Director of the Frederick Hammersley
Foundation for her gracious assistance in
cataloguing these works.
245
KARL BENJAMIN
UNTITLED
1957
Oil on canvas
Initialed and dated lower right “KB ‘57”;
retains artist’s label verso; color
notations in pen on stretcher verso
Canvas: 20” x 16”;
Frame: 20.875” x 16.875”
$15,000-20,000
159
246
KARL BENJAMIN
#6
1968
Oil on canvas
Inscribed on upper canvas stretcher
verso “#6, 1968/Karl Benjamin”
Canvas: 50.5” x 50.5”;
Frame: 51.75” x 51.75”
$35,000-45,000
247
KARL BENJAMIN
BB #8
1962
Oil on canvas
Signed and dated lower right “KB62”;
signed, titled and dated verso; retains
Esther Robles Gallery label verso
Canvas: 42” x 30”; Frame: 43.5” x 31.5”
$10,000-15,000
248
KARL BENJAMIN
#20
1977
Oil on canvas
Signed with title and date inscribed in
black marker on canvas stretcher verso
Canvas: 31” x 31”;
Frame: 32.125” x 32.125”
$18,000-25,000
161
249
SAM FRANCIS
UNTITLED
1988
Color screenprint on PTI Waterleaf
#100 of 114
Published by the artist, Santa Monica;
printed by Roland McPherson at La
Paloma, Tujunga
edition lower left; retains Cedars-Sinai
label verso
This print was commissioned by
Crossroads School, Santa Monica.
Sheet: 30” x 22”; Frame: 35” x 26.75”
MED I C A L
CENT ER
Literature: LEMBA RK ,
CONNI E W, T HE
PRIN TS O F SA M FRA NCIS: A CATALOG U E
RAIS O N NÉ 1960 -1990, VOLU ME I I , N E W
YO RK: HUDSON H ILL S, 1992, # S19.
$2,000-3,000
250
SAM FRANCIS
UNTITLED
Print
Artist’s Proof VI
Signed in graphite lower right; edition
lower left with blind stamp
Sheet: 11” x 7.5”; Frame: 23” x 19.875”
$2,000-4,000
251
SAM FRANCIS
UNTITLED (SFE 039)
1989
Aquatint on Somerset Textured
Artist’s Proof #4; aside from the edition
of 20
Published by The Litho Shop Inc., Santa
Monica; printed by Jacob Samuel, The
Litho Shop, Santa Monica
Impression: 6” x 23.5”; Sheet: 17” x 33”;
Frame: 19.5” x 36.5”
Literature: L E MB AR K ,
CONNI E W, TH E
P R IN TS O F SAM F R ANC I S: A CATALOG U E
R AIS O N N É 19 6 0 -19 9 0, VOLU M E I I , NEW
YO R K : H UD S O N H IL L S, 1 992, #I -7 3.
$2,000-4,000
252
SAM FRANCIS
HURRAH FOR THE RED, WHITE, AND
BLUE, VARIANT II
1961
Color lithograph on Rives BFK
#25 of 50
Published by Kornfeld and Klipstein,
Bern, printed by Emil Matthieu, Emil
Matthieu Atelier, Zurich
Signed in graphite lower right; edition
lower left
Sheet: 19.75” x 25.5”;
Frame: 28.5” x 34.875”
Literature: L E MB AR K ,
CONNI E W, TH E
P R IN TS O F SAM F R ANC I S: A CATALOG U E
R AIS O N N É 19 6 0 -19 9 0, VOLU M E I I , NEW
YO R K : H UD S O N H IL L S, 1 992, #L1 9.
$2,000-4,000
163
253
RAYMOND PETTIBON
GROUP OF DRAWINGS (6)
2008-2011
Mixed media on paper; D: black ink on
found page from book
A: Signed and dated “Raymond Pettibon 11”
in graphite verso; B: signature in blue ink
with inscription “JFK” in graphite verso; C:
signature in blue ink with inscription “JFK”
in graphite verso; E: signature with date
and inscription “movie” in graphite verso;
inscribed “Please...Be my Oscar? and
“Oscar” in graphite recto; F: signed verso;
inscribed “We’ve Picked the Winning Side”
in blue ink recto
A: Untitled (Book Excerpt); B: Movie;
C: We’ve Picked the Winning Side;
D: Untitled (Blue); E: Untitled (JFK);
F: Untitled (JKF)
A: Sheet: 7” x 4.125”; B: Sheet (irreg.):
7.125” x 5.25”; C: Sheet (irreg.): 7.125” x
7.75”; D: Sheet: 11” x 8.5”;
E: Sheet: 10.875” x 8.5”;
F: Sheet: 11” x 8.5”;
$15,000-20,000
254
RAYMOND PETTIBON
UNTITLED (DRAWING)
Black ink and graphite on cardstock
Signature in graphite verso
Sheet: 14” x 10.25”
$6,000-8,000
255
RAYMOND PETTIBON
THE PETTING ZOO
2010
Hardcover book with dustcover
First edition
Published by Viking Adult, New York
Signed with illustration in orange ink
by Raymond Pettibon on blank page in
book.
Text by Jim Carroll, cover design by
Raymond Pettibon.
9” x 6” x 1.25”
$1,000-1,500
SIGNED ILLUSTRATION
165
256
RAYMOND PETTIBON
PLOTS ON LOAN
2001
Hardbound book with 70 lithographs by
the artist on Somerset paper
Artist’s Proof #6 of 50; aside from the
edition of 250
Co-published by Brooke Alexander
Editions, New York and David Zwirner,
New York; printed by Derriere l’Ettoile
Studios, New York
Signature in graphite with edition
inscribed on end page
19” x 14.5” (closed)
Literature: W Y E ,
D E BOR AH : ARTI STS
& P R IN TS : MASTE RWOR KS FR OM TH E
MUS E UM O F MO D E R N ART, NEW YOR K :
MUS E UM O F MO D E R N ART P U B LI C ATONS,
2 0 0 4, IL LUSTR ATE D P 24 9.
$2,000-3,000
257
RUSSEL WRIGHT
LIBBILOO BOOKEND SCULPTURE
258
RUSSEL WRIGHT
LIBBILOO BOOKEND SCULPTURE
Russel Wright, Inc., designed c. 1927
Nickel-plated metal
5.5” x 6.5” x 3.25”
Russel Wright, Inc., designed c. 1927
Nickel-plated metal
Cast mark to underside “RW”
5.5” x 6.5” x 3.25”
Literature: DAV IE S,
Literature: DAV IE S,
KAR E N , AT H O ME IN
KAR EN, AT H OM E I N
MAN H AT TAN : MO D E R N D EC O R ATIV E ARTS
MAN H AT TAN : MO D E R N DECOR ATI VE ARTS
19 2 5 TO TH E D E P R E SS IO N, ( E X H IB ITIO N
19 2 5 TO TH E D E P R E SS I ON, ( EX H I B I TI ON
C ATALO GUE ) , YAL E UN IV E R S IT Y ART GAL-
C ATALO GUE ) , YAL E UNI VER SI T Y ART G AL-
L E RY: YAL E UN IV E R S IT Y P R E SS, 19 83 , P 5 9.
L E RY: YAL E UN IV E R S IT Y P R ESS, 1 983, P 59.
$4,000-6,000
$3,500-4,500
167
259
BORIS JEAN LACROIX
TEA AND COFFEE SET (4)
Atelier, designed c. 1930
Nickel-plated metal, painted fruitwood
handles.
Comprised of a coffee pot, teapot, sugar
bowl and creamer
5” x 6.75” x 4.75” (2); 5” x 7” x 2.75”;
4.5” x 3.25” x 3.25”
Literature:
BONY, A NNE, LES A NNÉ E S 30,
PARIS : ED I TIONS DU REGA RD, 20 05, P 1 051
( D ES IG N VA RIA NT I LLU STRATED) .
$20,000-30,000
Boris Jean Lacroix (1902-84) was a French architect and designer who is
particularly known for his lighting designs. This modular tea set design is rare,
with only one other example known to exist. The other example features ebony
handles as opposed to painted wood. It is likely that the tea set was made to
order and never went into production.The design was first presented at the
22nd Salon des Artistes Décorateurs, Paris, 1932.
169
260
WALTER VON NESSEN
CONSTELLATION TABLE LAMPS (2)
Chase Brass, designed 1933
Pierced chrome-plated steel, glass
The design was conceived by von Nessen for the Chicago World’s Fair, 1933.
9” x 7.25” x 7.25”
$2,000-3,000
261
ART DECO
TABLE LAMP
Possibly manufactured by Chase
Brass, designed c. 1935
Brushed and enameled steel, glass
$2,000-3,000
262
K .E.M. WEBER
LOUNGE SUITE (3)
Lloyd Manufacturing Company,
designed c. 1934
Chrome-plated steel, wood, upholstery
Comprised of pair of chairs and sofa
Sofa: 27” x 65” x 33”;
Chairs: 27” x 27.75” x 28”
Literature: GEBH A RD,
DAVID, A ND HA R-
RIET T E VON BRETON, H A RRIET TE , K E M
WEBER : T HE MODERNE IN SOU TH E R N
CAL IFO RNIA 1920 -1941, (EXH IBI TION
CATALO G UE), SA NTA BA RBA RA : UC SA N TA
BARBARA A RT GA LLERI ES, 1969, P 80
( PHOTO G RA PH OF PERIOD LOS A NG E L E S
IN T ERIO R W I TH TH IS DESI GN).
$10,000-15,000
265
HENRY DREYFUSS
THERMOS PITCHER TRAY SET (4)
264
GILBERT ROHDE
TABLE CLOCK
263
ELIEL SAARINEN,
J. ROBERT SWANSON AND
PIPSAN SWANSON SAARINEN
CABINET
Johnson Furniture Company,
designed 1948
Birch, steel pulls
Branded “B2”
30” x 36” x 21.5”
$1,000-1,500
Chrome-plated zinc, copper dial
6.25” x 4.5” x 2.75”
The design was first introduced at
the “Century of Progress” exhibition,
Chicago, 1934.
Literature: W IL S O N ,
R IC H AR D GUY, TH E
Model no. 539
American Thermos Bottle Company,
designed 1936
Enameled steel, stainless steel, glass
Molded marks to underside
Comprised of small and large Thermos
carafe and matching trays.
Large carafe: 7.5” x 7” x 5.75”;
Large tray: .5" x 3.75” x 7.75”;
Small carafe: 5.75” x 4.5” x 5.5”;
Small tray: .75" x 9.25” x 9.25”
MAC H IN E AGE IN AME R IC A 19 18 -19 41,
Literature: J O H N S O N,
B R O O K LY N : B R O O K LY N MUS E UM O F ART
C AN MO D E R N 19 2 5 -194 0: DESI G N FOR A
P R E SS, 19 8 6 , P 3 2 0.
N E W AGE, N E W YO R K : ABR AM S, 2000, P
$2,000-3,000
J STEWART, AM ER I-
15 6 ; E ID E L B E R G, MARTI N, DESI G N 1 935 19 6 5 : W H AT MO D E R N WAS, NEW YOR K :
AB R AMS, 19 9 1, P 8 2 .
$1,500-2,000
171
266
WARREN MCARTHUR
EARLY SIDE CHAIR
Warren McArthur Corporation, designed
c. 1930
Brushed, enameled, and chrome-plated
aluminum, upholstery
34.75” x 19.5” x 17.25”
This rare design may be traced back to
McArthur’s early days in Los Angeles.
He moved to the city in 1929 in order
to establish a metal furniture business
shortly after completing work on the
Biltmore Hotel, Arizona. The chair's form
anticipates his later seminal designs
in aluminum; however, during his early
years in Los Angeles he was engaged in
experimentation with metals and manufacturing processes and only carried out
custom designs.
Literature: NICH OL S,
SA RA H , A LU M I N U M
BY D ES IG N, EXH I BI TION CATATOGU E ,
PIT TS BURGH : CA RNEGI E MU SEU M OF A RT,
2 000, P 2 17.
$6,000-9,000
173
267
K .E.M. WEBER
CHAIRS (2)
designed c. 1935
Chrome-plated steel, wood, leather
28.5” x 32” x 25”
$3,000-5,000
268
DONALD DESKEY
MIRROR
269
DONALD DESKEY
RARE FLOOR LAMP
Deskey-Vollmer Inc., designed c. 1930
Burr-walnut, aluminum, mirror plate
42” x 42” x 2”
Deskey-Vollmer Inc., designed c. 1930
Cold-painted steel, parchment shade
56.75” x 12” x 12”
$4,000-6,000
Literature: H AN KS,
DAV ID A , AN D J E N N I-
F E R TO H E R , D O N AL D D E S K E Y D EC O R ATIV E
DE SI G NS AN D IN TE R IO R S, N E W YO R K : E P
DU T TO N , 19 8 7, P 8 9 ( D E S IGN IL LUSTR ATE D
270
ATTRIUBTED TO K .E.M. WEBER
DIGITAL CLOCK
Model no. 304-P40
Lawson Time Inc., designed 1933
Brushed and chrome-plated steel,
Bakelite
3.25” x 8” x 3.25”
Literature: JOH NSON,
J STEWA RT, A M E R I-
CAN MO D ERN 1925 -1940 : DESI GN FOR A
NEW AG E, NEW YORK: A BRA MS, 2 000, P
1 63 ( D ES IGN ILLU STRATED); EIDE L B E R G ,
MART IN, DESIGN 1935 -1965: W H AT M ODE R N
WAS, NEW YORK: A BRA MS, 1991, P 7 7.
$1,000-1,500
I N P E R IO D P H OTO GR AP H O F E USTIC E
SE L I G M AN ’S APARTME N T, 193 1 ) .
$10,000-15,000
K.E.M. WEBER SOMER COMMISSION
During the 1920s, German designer K.E.M. Weber (1889-1963) introduced a new era of modernism in Los Angeles.
Working out of Silver Tree, his studio in the downtown branch of Barker Brothers, the largest furniture manufacturer in
America at the time, Weber was given creative license to design and furnish the new Modes and Manners section of the
store. It was his vision to replace period revivals with fresh, modern design, and he believed that Southern California
was the perfect market to begin his venture. Barker Brothers’ departure from the banal reproductions that most
manufacturers churned out was an immediate success, thanks to Weber’s unceasing devotion to modernism in both his
furniture and the Modes and Manners aesthetic. It was like nothing consumers had seen before, complete with “jagged
shapes, startling colors, and frenzied patterns,” as well as designs from other leading modernists such as Paul T.
Frankl. After a few successful years and a Weber-designed Barker Brothers branch in Hollywood, in 1927 he decided to
open his own design studio in Los Angeles while remaining as a consultant to the company.
Weber’s independence led to the development of his streamlined designs, in addition to unconventional pieces
from commissions throughout California. One of these commissions was for the Somer & Kaufmann shoe store in San
Francisco. They were clearly attracted to Weber’s unusual modern designs, yet they wanted to give their clients a sense of
luxury while trying on shoes. For this reason, Weber used Macassar ebony, a sumptuous wood common among French
furniture designers such as Émile-Jacques Ruhlmann. Having researched contemporary furniture on a voyage to Spain
and Paris during his time at Barker Brothers, he was keenly aware of the leading European sensibilities. The resulting
chair combines the materials of Art Deco with a distinctly modern form. Sharp lines, minimalist stature, and an angled
black leather cushion churn like a locomotive toward the innovative designs that would later earn him international
success.
Long, Christopher. “Kem Weber and the Rise of Modern Design in Southern California.” TheMagazineAntiques.com. The Magazine Antiques. May 2009. Web. 1 Nov. 2012.
175
271
K .E.M. WEBER
RARE ARMCHAIR
Karpen Furniture, Chicago,
designed 1929
Macassar ebony, leather
Custom designed for the
Somer & Kaufmann Shoe Store,
San Francisco, 1929
29” x 22” x 19.25”
$18,000-20,000
ALTERNATE VIEW
272
R .M. SCHINDLER
CANTILEVERED ARMCHAIR
Studio, c. 1926-40
Painted wood
26.75” x 20.875” x 17.875”
Provenance: BASI A
GI NGOLD, (HE R M A N
SACHS MA NOL A COU RT A PA RTM E N T ),
S ILV ER L A KE, CA LIFORNI A ;
PRIVAT E COLLECTI ON, CA LIFOR N I A
$20,000-30,000
ALTERNATE VIEW
273
JULIUS SHULMAN
RICHARD NEUTRA, VON STERNBERG
HOUSE, 1936, NORTHRIDGE,
CALIFORNIA
1947; printed later
Gelatin silver print
Image (vis.): 11” x 14”; Frame: 18.25” x 21”
$1,500-2,000
274
FRANK LLOYD WRIGHT
LIBRARY TABLE
Custom designed, 1952
Pine
30” x 60” x 30”
Provenance: R AY MO ND
C AR L SON H OU SE,
P H O E N IX , AZ ;
P R IVATE C O L L EC TIO N, CA
( AC Q UIR E D F R O M B UT TER FI ELDS, M AR CH
3 0, 2 0 03 , LOT 117 3 ) ;
P R IVATE C O L L EC TIO N, CA
$2,000-4,000
17 7
275
LE CORBUSIER ,
PIERRE JEANNERET &
CHARLOTTE PERRIAND
COUCH AND CLUB CHAIRS (3)
Model nos. Grand Modele LC3 and
Grand Confort LC3
Cassina, designed 1928, these examples
manufactured 1985
Chrome-plated steel, leather upholstery
Stamped and acid stencil manufacturer’s marks to frames
Chairs: Each 23.75” x 38.5” x 28.25”;
Couch: 23.75” x 66” x 28.25”
$5,000-7,000
276
LUDWIG MIES VAN DER ROHE
BARCELONA DAYBED
Knoll Associates, designed 1929;
this example before 1969
Black leather, rosewood, and
stainless steel
Retains manufacturer’s label
16” x 78” x 40”
$4,000-6,000
277
GORDON ONSLOW FORD
UNTITLED
1970
Sumi ink on paper
Dated “5-7-70” in graphite lower center
Sheet: 22.75” x 30.625”;
Frame: 29.75” x 37.5”
$2,000-3,000
179
278
GORDON ONSLOW FORD
UNTITLED (TOO POROUS)
1954
Parles paint on paper
Inscribed “too porous” in graphite
lower left; inscription beneath
signature lower left
Sheet: 19.25” x 18”;
Frame: 24.625” x 22.75”
Exhibited: “ B AY
AR E A WOR KS ON PAP ER , ”
PAL M S P R IN GS ART MU SEU M , M AY 20 O C TO B E R 2 3 , 2 0 05 .
$2,000-3,000
279
MAN RAY
LAMPSHADE (ABAT-JOUR)
1920; 1964
Enameled metal
Edition MAT
Based on the original paper lampshade
design by Man Ray from 1920 for an
exhibition at the Société Anonyme. The
paper design was mistakenly destroyed.
The artist reproduced the lampshade in
limited editions throughout the mid-tolate 1950s and early 1960s.
Literature: PA L AZZOLI ,
DA NIEL A , A N D G I L-
BERT PERLEI N, MA N RAY: RETROSP EC T I VE
1 9 1 2- 1 9 76, NI CE: MU SÉE D’A RT MO DE R N E E T
D’ART CO NTEMPORA I N, 1997, # 84 .
$10,000-15,000
SURREALIST SCULPTURE
Primarily recognized for their innovations in Surrealist sculpture, Jean Arp (1886-1966) and Alexander Calder
(1898-1976) employed some of the same techniques used to create their large-scale works to produce stunning pieces of
biomorphic jewelry. More than just a departure from abstract paintings and mobiles, jewelry, for Arp and Calder, was
regarded as fine art, a diminutive exploration of sculptural forms. Calder even preferred to exhibit his jewelry alongside
his sculptures, suggesting a “non-hierarchical approach much in keeping with the way Bauhaus teachers
would instruct compositional principles that were as easily applied to painting as to tapestry.” In his
brooch from 1957, a single piece of silver is bent and twisted into his characteristic spirals, and the surface – undulating
hills and valleys of texture – bears the same hammer strikes of a large sculpture. It assumes new life and movement the
moment it is mounted on the wearer. Likewise, Jean Arp’s brooch (circa 1945) began as a flat piece of metal. He cut holes
and shaped the edges, elevating the material to a three-dimensional phantasm poised for spontaneous motion. Arp gave
this piece as a gift to Josine Janco, daughter of artist and Dada co-founder Marcel Janco.
Surrealists conjured life out of everyday objects, and Man Ray (1890-1976) believed that “the idea was always
more important than the actual work.” Arising from a mishap in 1920, Man Ray demonstrated this belief with an
ordinary piece of metal. On the night before his exhibition was set to open, a janitor accidentally threw away Man
Ray’s first version of Lampshade, a spiraled piece of paper hanging from an armature. He was distraught, but upon
the suggestion of Katherine Dreier, artist and art patron who co-founded the modern art venue Société Anonyme with
Duchamp and Man Ray, he reconstructed Lampshade out of painted metal. Once flat and inert, this example from 1964
becomes a Dada readymade that produces a movement all its own.
Baldwin, Neil. Man Ray: American Artist. New York: Man Ray Trust, 1988. Print.
Rosenthal, Mark. “Sculpture to Jewelry.” Calder Jewelry. Ed. Alexander S.C. Rower. New York: Calder Foundation, 2007. pp 51-67. Print.
Tait, Liv. “Man Ray, Museo d’Arte Lugano.” The Tait Global. TheTaitGlobal.com, 26 Apr. 2011. Web. 27 Oct. 2012.
181
280
JEAN ARP
BROOCH
c. 1945
Hand-cut silver
3” x 2”
Provenance: J O S IN E
JANCO (G I FT OF TH E
ARTIST, C IR C A 19 45 - 4 9)
$20,000-30,000
VERSO
281
ALEXANDER CALDER
BROOCH
1957
Hand-hammered silver and steel wire
6” x 4”
This work is registered in the archive of
The Calder Foundation, New York under
application number A23874.
COLLECTI ON ,
CAL IFO RNIA (GI FT FROM TH E A RT I ST ON
T HE O CCASION OF TH E RECI PI ENT 'S 4 0T H
BIRT HDAY ); TH ENCE BY DESCENT
Literature: ROWER ,
A LEXA NDER SC , E D,
CAL D ER JEWELRY, NEW YORK: CA L DE R
FO UN DAT ION, 20 0 7, PP 54 - 55 (SI M I L A R
EXAM PL ES I LLU STRATED).
$25,000-35,000
282
AFTER ALEXANDER CALDER
TURQUOISE
1975
Handwoven jute maguey tapestry
#16 of 100
Bon Art
Signature woven with date lower right;
“C” woven in tapestry upper left;
edition lower left
57” x 84.25”
283
ALEXANDER CALDER
PYRAMIDS
CENT E R
c. 1975
#45 of 50
Published by Arts-Litho, Paris
inscribed in Roman numerals lower
center
Sheet: 29.5” x 43.25”;
Frame: 36” x 49.5”
$2,000-3,000
$1,500-2,000
Provenance: C E DA R S - SI N A I
M E DI C A L
284
AFTER ALEXANDER CALDER
TEXTILE
1950
Silkscreen on fabric
Contempora Series
Laverne Originals, Long Island
With title, artist, and manufacturer
information in the selvedge
53.5” x 26”
$600-900
183
Both sculptural and utilitarian, the Isamu Noguchi (1904-1988)
Chess table (designed 1944-48) was a chance for Noguchi to
marry his artistic vision with his desire to produce useable
vessels. He designed the initial prototype shortly after leaving the
Nisei Japanese internment camp in Arizona. In 1944, Noguchi
was one of 32 artists (the number symbolic of the 32 pieces on
a chess board), including Alexander Calder, Man Ray, Marcel
Duchamp, and Max Ernst, invited to exhibit chess-inspired
artwork for the show “The Imagery of Chess,” hosted by the
Julien Levy Gallery in New York. A Newsweek critic described
the table as “the most beautiful piece in the show.”
George Nelson immediately bought Noguchi's hit piece, and
for a brief period beginning in 1947 had it manufactured in
limited quantities at Herman Miller. Three amorphous wooden
shapes and a curvaceous aluminum compartment assemble as a
three-dimensional biomorphic structure. Just as Arp and Calder
avoided semi-precious stones and other materials typically used
in jewelry, Noguchi preferred veneered plywood, aluminum,
and acrylic plastic to keep the table affordable. Through these
methods, these artists achieved the transformative power of
Surrealism by manifesting an idea and realizing the object’s
potential “to entrap” the user in “an art performance,
even to become bewitched.”
Johnson, Paul, and Martin Eidelberg. Design 1935-1965: What Modern Was. New York:
Abrams, 1991. Print.
K., Troy. “We’ve Got Game.” ARTicle. The Art Institute of Chicago, 14 Sept. 2011.
Web. 6 Nov. 2012.
285
ISAMU NOGUCHI
CHESS TABLE
Model no. IN 61
Birds-eye Maple, inlaid acrylic, inlaid red wax,
painted black aluminum, steel rod, maple
18.75” x 26.25” x 25.5”
Provenance: GAN S E VO O RT
GA LLERY, NEW YOR K ;
P R O P E RT Y F R O M AN IMP O RTANT WEST COAST
C O L L EC TIO N ( AC Q UIR E D F R O M ABOVE 1 999)
Exhibited: " TH E
AME R IC AN C ENTU RY, PART I , "
W H ITN E Y MUS E UM O F AME R ICAN ART, 1 999; "VI TAL
FO R MS : AME R IC AN ART AN D DESI G N I N TH E ATOM I C
AGE , 19 40 -19 6 0, " B R O O K LY N M U SEU M OF ART,
WAL K E R ART C E N TE R , F R IST CENTER FOR TH E
V IS UAL ARTS, LO S AN GE L E S COU NT Y M U SEU M OF
ART, AN D P H O E N IX ART MUS E U M , 2001 -2003; "SU RR E AL TH IN GS : S UR R E AL IS M & DESI G N I N 2007 AT
TH E V& A , " B O IJ MAN S MUS E UM , AND G U G G ENH EI M
MUS E UM B IL B AO
Literature: J O H N S O N ,
PAUL , AND M ARTI N EI DEL-
B E R G, D E S IGN 193 5 -19 6 5 : W H AT M ODER N WAS, NEW
YO R K : AB R AMS, 19 9 1, P P 10 6 -1 08.
$150,000-250,000
185
286
JON HENRY
#8A VARCS & #22 (2)
1965
Painted wood collage on board
A: Signed, dated, titled verso;
B: Signed lower right; dated verso
A: Collage: 12.75” x 13”;
Frame: 20.5” x 20.5”; B: 11.75” x 23.75”
$1,000-1,500
187
287
PEDRO FRIEDEBERG
UNTITLED
(IT DOESN’T MATTER ANYMORE) AND
(DESPUES DE VISITAR A STENDAHL)
(2)
c. 1978
A: Ink and acrylic on Grand Hotel BeauRivage, Geneva stationary and B: Ink
and acrylic with stamps on Bertolinis
Splendid Hotel, Rome envelope
A: Signature in ink lower right; title
inscribed lower left; B: Signature in ink
lower left; dated in Roman numerals
center right; inscribed lower center:
“Despues de visitar a Stendahl, que
se hallaba un poco enfermo fuimos a
comprar unas lechugas”
A: Sheet: 4.625” x 5.75”;
Frame: 9” x 10.25”; B: Envelope: 6” x
5.75”; Frame: 9” x 11”
$6,000-8,000
288
RICHARD TUTTLE
ILLUMINATED SCULPTURE
1994
Wood, electrical parts, paper, and nails
Signed “R.D.T”; retains label “A/D 2/50”
32.25” x 7.25” x 20.75”
Provenance: PU RCH ASED
AT L AU R A
CARPEN T ER FINE A RT, SA NTA FE, 1 9 9 4
$4,000-6,000
289
ROBERT MOTHERWELL
UNTITLED (THE BASQUE SUITE)
1971
Screenprint on J.B. Green paper
#97 of 150
Published by Marlborough Graphics,
Inc., New York; printed by Chris Prater,
Kelpra Studios, London
Initialed “RM” lower right with edition;
Robert Motherwell blind stamp lower
right margin
Impression: 22.25” x 17”;
Sheet: 41” x 28.25”;
Frame: 45.5” x 33.25”
Literature: B AN AC H ,
JOAN, AND SI R I
E N GB E R G, R O B E RT MOTH ERWELL : TH E
C O MP L E TE P R IN TS 194 0 -1 991 : A C ATALOG U E
R AIS O N NÉ, 1ST E D ITION, M I NNEAP OLI S:
WAL K E R ARTS C E N TE R , 2003, #88.
$4,000-6,000
290
HELEN FRANKENTHALER
AIR FRAME
1965
Color silkscreen on White Arches
double-weight watercolor paper
#199 of 200
Published by Tanglewood Press, New
York; printed by Steve Poleski of Chiron
Press, New York
Signed lower right in graphite with
date; edition lower left
Sheet: 22” x 17”; Frame: 24.5” x 20”
Literature: H AR R IS O N,
P EG R AM , FR AN-
K E N TH AL E R : A C ATA LOG U E R AI SONNÉ OF
P R IN TS 19 6 1-19 9 4, NEW YOR K : AB R AM S,
19 9 6 , # 6 .
$3,000-5,000
189
291
ELLSWORTH KELLY
PURPLE
2003
#36 of 45
Published and printed by Gemini
G.E.L. Editions, Los Angeles
Signature lower right with Gemini
G.E.L. blind stamp
Sheet: 29” x 22.375”;
Frame: 35.25” x 29”
$3,000-5,000
292
ELLSWORTH KELLY
GREEN/WHITE
1972
2-color embossed lithograph on
special Arjormari paper
Artist’s Proof #4 of 9; aside
from the edition of 60
Signed lower right in graphite with
Gemini G.E.L. blind stamp; edition
Sheet: 27.5” x 44.375”;
Frame: 35.5” x 52.5”
Literature: AXS O M,
RI CH AR D H , TH E
P R IN TS O F E L L S WO RT H K ELLY: A C ATALO GUE R AIS O N NÉ , 19 4 9 -1 985, NEW YOR K :
H UD S O N H IL L S P R E SS, 1 999, #81 .
$5,000-7,000
293
ELLSWORTH KELLY
UNTITLED (EIGHT BY EIGHT TO
CELEBRATE THE TEMPORARY
CONTEMPORARY)
1983
Color lithograph on Arches 88
#182 of 250
Contemporary Art, Los Angeles;
printed by Gemini G.E.L., Los Angeles
Signature with edition lower right;
Gemini G.E.L. blindstamp with
“EK83-1029” in graphite verso
Sheet: 29” x 42”
RI CH AR D H , TH E
P R IN TS O F E L L S WO RT H K ELLY: A C ATALO GUE R AIS O N NÉ , 19 4 9 -1 985, NEW YOR K :
H UD S O N H IL L S P R E SS, 1 999, #201 .
$3,000-4,000
191
294
ROBERT LONGO
FOUR WORKS (4)
2011
Pigment print on watercolor paper
Each #31 of 35
Published by Hatje Cantz Verlag,
Ostfildern
Each signed in graphite lower right with
date; edition lower left
A: Russian Bomb (Semipalatinsk)
B: Spanish Blood (Lion’s Gate);
B: Untitled (Shark 5);
C: Untitled (Ulysses)
Each image: 19.5” x 15.5”;
Sheet: 23.5” x 17.5”; Frame: 27.5” x 21.5”
Literature: ROBERT
LONGO: CH A R C OA L ,
O ST FILD ERN: H ATJE CA NTZ, 20 12 , (I L LU S T RAT IO N S OF TH E DRAW I NGS FRO M WHI C H
T HES E AR E BASED).
$7,000-9,000
295
CHRISTOPH DRAEGER
PSA CRASH, SAN DIEGO, CA, 1978
2004
Acrylic paintjet on puzzle
Signed and dated in black marker on the
frame backing verso; retains Catharine
Clark gallery label on frame verso
Image: 53” x 74”; Frame: 63” x 84”
Exhibited: “ N E W
L ANDSC AP ES, ” C ATH A-
R IN E C L AR K GAL L E RY, SAN FR ANCI SCO,
C A , 2 0 0 4.
$4,000-6,000
193
296
AMIR ZAKI
UNTITLED 121
2007
Vivera pigment archival photograph
#1 of 5
Signature on label with edition verso;
Perry Rubenstein gallery label verso
Image (vis.): 42.5” x 54.5”;
Frame: 45.25” x 56.5”
$4,000-6,000
297
DAVID LACHAPELLE
CAMERON DIAZ: DOLLHOUSE
DISASTER I
c. 1997
Dye coupler print
Image (vis.): 16.5” x 22.75”;
Frame: 24.375” x 30.75”
Literature: L ACH A PELLE,
DAVI D, HOT E L
L ACHAPELLE, NEW YORK: BU LFIN C H P R E SS,
19 9 7, IL LUSTRATED P 40.
$5,000-7,000
298
ROBERT MAPPLETHORPE
ORCHID AND CALLA LILY PLATES (2)
Swid Powell, designed 1989
Glazed porcelain
Orchid: “Swid Powell/copyright Robert
Mapplethorpe/Orchid, 1987” printed
verso; retains “Made in Japan” sticker
verso; Calla Lily: “Swid Powell/copyright
Robert Mapplethorpe/Calla Lily, 1984”
printed verso; retains “Made in Japan”
sticker
Each: 1.75” x 12” diameter
195
$800-1,200
299
WILLIAM WEGMAN
CROOKY
1999
Photograph on Kodak paper with
hand drawn elements in black ink
Unique
Signature lower right; inscribed "The Villanous Crooky, for Villains" lower left
Image: 7” x 7”; Sheet: 10” x 8”
C OLLECTI ON, LOS
AN GE L E S (GIF T O F THE ARTI ST )
$3,000-5,000
300
LAURIE SIMMONS
WALKING CAKE II (COLOR)
1989
Cibachrome print on Kodak paper
#8 of 100
Signed “L. Simmons” in graphite verso;
title, date, and edition inscribed verso
Image: 11.5” x 7.5”; Sheet: 13.75” x 10.75”
$1,500-2,000
301
COUSIN FRANK (GHOST)
ABSTRACT BULLSHIT #5
c. 2011
Mixed media on canvas
36” x 36”
Provenance: T T
U NDERGROU ND G A L L E RY,
NEW YO RK; PRI VATE COLLECTI ON, N E W
YO RK ( ACQ U I RED FROM TH E A BOVE , 2 01 1 )
Exhibited: “ TH EN
A ND NOW: NEW WOR KS
BY G HO ST, ” T T U NDERGROU ND G A L L E RY,
NEW YO RK , SEPTEMBER 20 11.
$3,000-5,000
302
SHEPARD FAIREY
MANDALA ORNAMENT (2)
2010
Screenprint on 100% cotton rag
archival paper
Each #135 of 300
Published by OBEY, Los Angeles
Each signed and dated in graphite lower
right; edition lower left
Each sheet: 24” x 18”;
Frame: 24.25” x 18.125”
$1,000-1,500
303
SHEPARD FAIREY
LOTUS DIAMOND
(RED, GOLD, SILVER) (3)
2011-12
Screenprint
Gold: #63 of 200; Silver: #232 of 250;
Red: #363 of 400
Published by OBEY, Los Angeles
Each signed and dated lower right;
edition lower left
Each impression: 22.5” x 16.625”;
Sheet (vis.): 23.5” x 17.5”;
Frame: 25.25” x 19.125”
$1,000-1,500
304 (OPPOSITE PAGE)
TAKASHI MURAKAMI
I KNOW NOT. I KNOW
2010
Offset lithograph
#64 of 300
Kaikai Kiko Co., Ltd.
Signed in silver ink with edition lower
right; title printed lower center margin
Image: 30” x 23”;
Frame: 32.375” x 25.375”
$1,000-1,500
197
305
JOHN BALDESSARI
NOSES & EARS, ETC.: COUPLE AND
MAN WITH GUN
2007
Lithograph with embossing,
debossing, and metal die-cut on
two sheets of Somerset
#8 of 50
Published and printed by El Nopal
Press, Los Angeles
Signed and dated lower right in
graphite; edition lower left
Impression: 18.25” x 29.25”;
Sheet: 22.25” x 33”; Frame: 30.5” x 41.5”
Literature: H U ROW I TZ,
SH A RON C OP L A N ,
JO HN BALDESSA RI: A CATA LOGU E R A I SONNÉ O F PRINTS A ND MU LTI PLES, 19 7 1 -2 007,
HUD S O N H ILL S PRESS, 20 0 9, # 181 .
$5,000-7,000
306
JOHN BALDESSARI
TWO WHALES (WITH PEOPLE)
2010
Screenprint on heavy wove paper
#36 of 50
Signed and dated lower right;
edition lower left
Impression: 29.75” x 23.25”; Sheet:
32.25” x 23.25”; Frame: 40” x 31.5”
$5,000-7,000
307
PIERRE PAULIN
LOUNGE CHAIR
Model no. F598
Artifort, designed 1973
Steel frame, wool upholstery
25.5” x 32” x 23.5”
FR OM AN I M P OR-
Literature: F IE L L ,
C HAR LOT TE, 1 000
C H AIR S, KO L N : TAS C H EN, 1 997, P 51 5.
$500-700
199
308
PIERRE PAULIN
LOUNGE CHAIR
Model no. 560
Red jersey-stretch upholstery
Retains remnants of “Artifort” label
24.5” x 34” x 31”
FR OM AN I M P OR-
Literature: F IE L L ,
C HAR LOT TE, 1 000
C H AIR S, KO L N : TAS C H EN, 1 997, P 4 4 7.
$500-700
309
PIERRE PAULIN
ORANGE SLICE LOUNGE CHAIR
Model no. 437
Steel frame, upholstery
Retains “Artifort” label
26.5” x 32.75” x 29.5”
Provenance: PROPERT Y FROM
AN I M P OR-
Literature: FI ELL ,
CH A RLOT TE, 1000
CHAIRS, KOLN: TASCH EN, 1997, P 4 4 7.
$2,000-3,000
310
CLIFFORD PASCOE
BOOKSHELF
Pascoe, designed c. 1950
Birch
53” x 58” x 12”
$1,500-2,000
311
ROBERT MANGOLD
I, IV AND VI (FROM BOOK OF SILKSCREEN PRINTS & MULTIPLE PANEL
PAINTINGS 1973-76) (3)
1992
Color screenprint on wove paper
Each from the edition of 300
Co-published by Edition Domberger,
Stuttgart and Parasol Press, Portland;
printed by Domberger KG, Stuttgart
One initialed and dated “RM 1992”
lower right in graphite
Each sheet (vis.): 11.5” x 23.5”;
Each frame: 13" x 25"
$2,500-3,500
201
312
ROBERT MANGOLD
#3 (ATTIC SERIES II)
1992
Etching and aquatint
#17 of 60
Published by Parasol Press, Ltd.,
Portland
Signed in pencil “R. Mangold” lower
right margin; title and edition
Impression (irregular): 23.5” x 21”;
Sheet: 31.5” x 35.5”;
Frame: 43.5” x 38.5”
$2,000-3,000
313
LARRY ZOX
UNTITLED
1970
Acrylic on canvas
Signed and dated in graphite verso;
retains Kornblee Gallery label on
stretcher verso
Canvas: 21.875” x 60”;
Frame: 22.5” x 60.75”
$5,000-7,000
314
LARRY ZOX
UNTITLED
1971
Silkscreen
Artist’s Proof
Signed “Zox 71” in graphite lower right
margin; inscribed “AP” lower left margin
24.125”
x 34.75”; Frame: 24.75” x 35.25”
`
$1,000-1,500
315
DONALD JUDD
UNTITLED
1974
Etching
Artist’s proof; aside from the edition
of 35
Co-published by Multiples Inc., New
York and Castelli Graphics, New York;
Signed “Judd” in graphite lower right
margin; dated with edition lower right
with blind stamp
Sheet: 30.5” x 41”; Frame: 34.5” x 45”
Literature: S C H E L L M ANN,
JOR G , ED,
D O N AL D J UD D, P R IN TS AND WOR KS I N EDITIO N S : A C ATALO GUE R AI SONNÉ , C OLOG NE,
N E W YO R K : E D ITIO N SC H ELLM ANN, 1 993,
#7 7.
$3,000-4,000
316
PATSY KREBS
UNTITLED (CONCENTRIC RECTANGLE
SERIES)
1985
Acrylic and vinyl on canvas
Retains Cedars-Sinai Arts Council
label verso
Canvas: 9.875” x 8”; Frame: 13” x 11.125”
LAMA would like to thank the artist for
her gracious assistance in cataloguing
this work.
M EDI CAL
C E N TE R
Exhibited: TO RTUE
MO N IC A , 19 85 .
$1,500-2,000
G ALLERY, SANTA
203
317
ART DECO
RUG
Nichols, designed c. 1930
Machine woven wool, cotton foundation
134.25” x 107”
Provenance:
D O RIS LESLIE BL AU, NEW YORK;
PRIVAT E COLLECTION, CA LIFORNI A
$6,000-9,000
318
ART DECO
CHINOISERIE CHANDELIER
designed c. 1930
Lacquered wood, metal, parchment
shades
Provenance:
TH E E STATE O F R O B IN R OBERTS;
P R IVATE C O L L EC TIO N ( AC Q U I R ED FR OM
TH E AB OV E F R O M C H R I STI ES, AP R I L 2008,
LOT 117 )
$4,000-6,000
205
319
PAUL FRANKL
WING-BACK LOUNGE CHAIR
Frankl Galleries, designed c. 1927
Lacquered wood, tufted leather
upholstery
32.375” x 30.25” x 34”
Literature: LONG,
CH RI STOPH ER , PAU L T
FRAN KL AND MODERN A MERICA N DE SI G N,
NEW HAV EN: YA LE U NIVERSIT Y PR E SS,
2 007, P 67 (DESIGN I LLU STRATED I N I N T ERIO R PHOTOGRA PH FROM 1927 ).
$6,000-8,000
320
PAUL FRANKL
CORK COFFEE TABLE
Model no. 5030
designed c. 1948
Lacquered cork, mahogany
Ink stamp “5030 # 283”
14” x 44.5” x 43.5”
$4,000-6,000
207
321
PAUL FRANKL
CORK COFFEE TABLE
Model no. 5021
designed c. 1948
Lacquered cork, mahogany
Ink stamp “5021-1248”
14.25” x 47.5” diameter
$3,000-5,000
322
GILBERT ROHDE
RARE TABLE CLOCK
Enameled and chrome-plated steel,
aluminum, glass
6.5” x 12” x 4.5”
Literature: JOH NSON,
J STEWA RT, A M E R I-
CAN MO D ERN 1925 -1940 : DESI GN FOR A
NEW AG E, A BRA MS: NEW YORK , 2 000, P 1 1 4
( D ES IG N ILLU STRATED).
$6,000-9,000
323
GILBERT ROHDE
EAST INDIA LAUREL BOOKCASE
CABINET
East India laurel, ebonized wood,
chrome-plated steel
41” x 47.75” x 14.875”
Literature: PH I LLI S,
ROSS, GILBE RT
RO HD E: MODERN DESI GN FOR MO DE R N L I VIN G, NEW H AVEN: YA LE U NIVERSIT Y P R E SS,
2 009, P 1 17 (DESI GN I LLU STRATE D).
$3,000-5,000
324
GILBERT ROHDE
CHEST
White holly, peroba, chrome-plated
steel, Bakelite pulls
Retains medallion “The Herman Miller
Furniture Co./Zeeland MI/The Authentic
Line”
46” x 33” x 18.5”
Literature: P H IL L IS,
ROSS, G I LB ERT
R O H D E : MO D E R N D E S I G N FOR M ODER N LI VIN G, N E W H AV E N : YAL E U NI VER SI T Y P R ESS,
2 0 0 9, P 12 8 ( D E S IGN ILLU STR ATED) .
$3,000-5,000
325
GILBERT ROHDE
CHEST
Model no. 3323
White holly, peroba, chrome-plated
steel, Bakelite pulls, mirror plate
Retains medallion “Made by Herman
Miller Furniture Co./Original Rohde
Design/Zeeland MI”
Chest: 33” (62.25" with mirror) x
43.875” x 18.5”; Mirror: 25.875”
diameter
Literature: R O SS,
P H I LLI S, G I LB ERT
R O H D E : MO D E R N D E S I G N FOR M ODER N LI VIN G, N E W H AV E N : YAL E U NI VER SI T Y P R ESS,
2 0 0 9, P P 110, 15 1.
$4,000-6,000
326
GILBERT ROHDE
WALL CLOCK
Enameled metal
8” x 2.375”
$2,000-3,000
209
327
EDWARD MCKNIGHT KAUFFER
MODERNIST CARPET
Aktion Gegen Kinderarbeit, designed
c. 1930, this example manufactured c.
2000
Machine woven Tibetan wool yarn
Retains wool information label
145.75” x 109”
This example is produced in a color way
which was not employed by E. McKnight
Kauffer in the original design from c.
1930.
$2,000-3,000
328
WALTER DORWIN TEAGUE
KODAK CAMERA & BOX
Model no. 1A Gift
Eastman Kodak Company, 1930
Lacquered metal, leather bound camera,
and lacquered metal tin
Retains manufacturer’s marks
Box: 2.5” x 9” x 4.5”
Literature: J O H N S O N,
J STEWART, AM ER I-
C AN MO D E R N 19 2 5 -194 0: DESI G N FOR A
N E W AGE, N E W YO R K : AB R AM S, 2000, P 65
( D E S IGN IL LUSTR ATE D) .
$4,000-6,000
329
WALTER DORWIN TEAGUE
SPARTON TABLE RADIO
Model no. 557
Sparks-Withington Company,
designed 1936-37
Blue-tinted mirror glass, metal,
wood, and rubber
8.75” x 17.5” x 8.375”
$3,000-5,000
211
330
PAUL LÁSZLÓ
DESK AND CABINET (2)
Brown-Saltman, designed c. 1950
Mahogany
Stamped “Brown Saltman, California/
Original design by Paul László”
Desk: 29.5” x 52” x 34.5”;
Cabinet: 24.5” x 15” x 26.75”
$2,000-3,000
LOT 330
LOT 330
331
PAUL LÁSZLÓ
CHEST AND MIRROR (2)
Mahogany, mirror plate
Branded “Brown Saltman - California”
and “Original Design by Paul László”
Original owner, purchased 1951
Chest: 45.625” x 38” x 18”;
Mirror: 29.875” x 32.5”
$2,500-3,500
LOT 331
332
PAUL LÁSZLÓ
CHEST AND MIRROR (2)
333
PAUL LÁSZLÓ
BEDSIDE TABLES (2)
Mahogany
Chest: 33.75” x 60” x 20”;
Mirror: 26” x 53” x 3”
Mahogany
Each: 21.25” x 22” x 19.5”
LOT 332
$3,000-5,000
$3,000-5,000
LOT 333
NOT ILLUSTRATED
334
PAUL LÁSZLÓ
BED FRAME
335
PAUL LÁSZLÓ
VANITY CABINET AND CHAIR (2)
Mahogany
and “Original Design by Paul László"
Headboard: 33.75” x 56.5” x 2”;
Assembled: 33.75” x 56.5” x 80”
Mahogany, upholstery, mirror plate
Vanity: 27.25” x 51” x 17.5”;
Chair: 24.75” x 21” x 19” (not illustrated)
$1,000-1,500
$1,500-2,500
LOT 335
336
STYLE OF JACQUES ADNET
TABLE LAMP
designed c. 1950
Leather, wood
16” x 5.5” diameter base
$500-1,000
337
RUSSEL WRIGHT
TABLE LAMP
designed c. 1940
Maple, brass, fabric shade
16” x 9.75” diameter shade
$1,000-1,500
338
PAUL FRANKL
COMBED WOOD CONSOLE TABLE
Lacquered wood
Branded “Brown-Saltman Co./Southgate, California/1288 Console Table”
30” x 54” x 18.25”
$2,500-3,500
339
PAUL FRANKL
COMBED WOOD SIDEBOARD
Model no. 1256
Lacquered wood, brass pulls
Branded “Brown-Saltman/Southgate
1256 Buffet”
34.125” x 66.875” x 20.375”
$2,000-3,000
213
340
KARL HAGENAUER
BRONZE FIGURES (51)
Hagenauer Werkstatte, designed c. 1920
Patinated bronze
Each stamped “Hagenauer Austria”
Various dimensions, largest 3”
This collection was acquired by a businessman traveling to Austria from the
1920s to the 1940s.
$3,000-5,000
341
ROSEVILLE POTTERY COMPANY
FUTURA VASES (2)
Roseville Pottery Company,
designed c. 1920
Glazed pottery
Retains manufacturer’s marks; smaller
vase with manufacturer’s label
12.5” x 6” diameter and 9.75” x 8”
diameter
$800-1,200
342
GILBERT ROHDE
TABLE LAMPS (2)
designed c. 1935
Chrome-plated steel, glazed porcelain
with gold colored paint highlights
$2,000-3,000
343
FELIX AUBLET
TABLE LAMPS (2)
Ecart International, France,
designed 1931; these examples
c. 2000-09
Chrome-plated steel
12” x 6” x 6”
$600-900
215
344
NORMAN BEL GEDDES
CHEST
Simmons, designed c. 1930
Enameled steel
44.375” x 38.75” x 19”
$2,000-3,000
345
AMERICAN STREAMLINE
FLOOR LAMP
Possibly manufactured by Mutual
Sunset Lighting Corp., designed c. 1930
Chrome-plated steel, lacquered wood
52” x 9” x 9”
$1,000-1,500
346
K .E.M. WEBER
LOUNGE CHAIR
designed c. 1934
Chrome-plated steel, oak, upholstery
27.25” x 24” x 34”
$6,000-9,000
347
NORMAN BEL GEDDES
MIRRORS (2)
Simmons, designed 1934
Brushed steel, wood, mirror plate
Each: 21” x 20” x 5”
$2,500-3,500
348
AMERICAN STREAMLINE
NIGHTSTANDS (2)
designed c. 1930
Lacquered wood
24.25” x 35.5” x 14.75”
$1,500-2,500
217
349
E. BLOCHET
FRENCH BAR CART
Atelier Blochet, designed c. 1925
Mahogany, laminate, aluminum
Ink stamp to underside “Creation E.
Blochet Nice 1050”
24.5” x 34” x 15.325”
$1,000-1,500
350
JEAN PERZEL
FLOOR LAMP
Luminator Française, designed c. 1930
Aluminum, plated brass
Metal label on shade “Luminator
Française-Unis Paris France”
68.75” x 11.5” diameter
Literature: MOBILI ER
ET DÉCORAT I ON,
JULY, 1 93 4, PP 15 -16.
$3,000-5,000
351
GILBERT ROHDE
UPLIGHTER FLOOR LAMP
Model no. 3489
Mutual Sunset Lighting Corporation,
designed c. 1935
Enameled and chrome-plated steel,
aluminum
Marked "MSLC No. 3489"
67.75” x 10.5” diameter
$2,000-3,000
LOT 351
LOT 350
352
GILBERT ROHDE
OCCASIONAL TABLE
Troy Sunshade Company,
designed c. 1935
Chrome-plated steel, wood
24” x 30” x 18”
$2,000-3,000
353
GILBERT ROHDE
CONSOLE TABLE
Troy Sunshade Company, designed 1930
Chrome-plated steel, wood
26.75” x 41.75” x 11.75”
$1,500-2,500
219
354
MAX FINKELSTEIN
METROPOLIS #1
1953
Welded steel
20.5” x 14.75” x 14.75”
$4,000-6,000
355
JAMES ROSENQUIST
OFF THE CONTINENTAL DIVIDE
1973-4
Color lithograph on ivory wove Japan
handmade paper
#29 of 43
Published by Universal Limited Art Editions, New York; printed by Bill Goldston
and James Smith
Signed and dated in graphite lower
right margin with publisher blind stamp;
edition lower left; title inscribed upper
left margin
Impression (irreg.): 37” x 78.3125”;
Sheet: 42” x 79.1875”; Frame: 46” x 83”
CONSTANCE W, TI M E
D UST, R O S E N Q UIST: COM P LETE G R AP H I CS
19 6 2-19 9 2, N E W YO R K : R I ZZOLI , 1 993, #69.
$10,000-15,000
221
356
JAMES ROSENQUIST
STAR LADDER (2ND STATE)
1978
Color etching
#1 of 78
Published by Aripeka Ltd., Editions,
London; printed by Charles Levine
Signed and dated “August 1978” lower
right; edition lower left; inscription lower
center margin
Impression: 17.625” x 36”; Sheet:
22.875” x 39.875”; Frame: 27” x 44”
CONSTANCE W, TI M E
D UST, R O S E N Q UIST: COM P LETE G R AP HIC S : 19 6 2-19 9 2, N E W YOR K : R I ZZOLI , 1 993,
# 13 6 A .
$1,500-2,000
357
CRASH (JOHN MATOS)
UNTITLED
1998
Spraypaint on canvas
Signed in blue grease pen “J. Crash
Matos” verso; inscribed “5/98 Untitled”
verso
Canvas: 12” x 72”; Frame: 17” x 77”
$4,000-6,000
358
CRASH (JOHN MATOS)
UNTITLED (FOLDING SCREEN)
1999
Screenprint on textured paper
Signed and dated
68” x 28" as illustrated
$2,500-3,500
359
CRASH (JOHN MATOS)
UNTITLED (SUPERMAN)
1994
Watercolor
Signed and dated “J. Crash 94” in
graphite lower left
Sheet: 41.25” x 29.25”
$2,000-3,000
360
CRASH (JOHN MATOS)
IRON MAN ANNUAL
1989
Watercolor on Arches
Signed and dated “Crash 89”
Sheet: 41” x 29.25”
$2,000-3,000
223
361
KEITH HARING
UNTITLED 2 (FREE SOUTH AFRICA)
1985
Color lithograph on wove BFK Rives
#12 of 60
Published by Edition Schellmann,
Munich
Signature lower right in graphite with
artist’s signet and edition
Sheet (vis.): 30.5” x 38.25”;
Frame: 39.5” x 46.75”
Literature: LIT TMA N,
KL AU S, ED, K E I T H
HARIN G : EDI TIONS ON PA PER , 19 82- 1 9 9 0,
ST UT TG ART: CA NTZ, 1993, I LLU ST R AT E D
P 42.
$5,000-7,000
362
KEITH HARING
A VERY SPECIAL CHRISTMAS
1987
Color silkscreen
Published by A&M Records, Santa
Monica
Signature with date in grease pen lower
right margin; signature and date in plate
Impression: 14.75” x 18.875”;
Sheet (vis.): 17.75” x 21.5”;
Frame: 18.5” x 22.25”
A&M Records commissioned the artist
to design an album cover, posters, and
a limited edition print with proceeds
donated to the Special Olympics.
$3,000-5,000
363
TOM WESSELMANN
BEDROOM FACE #41
1990
Screenprint on wove paper
HC #12 of 12; aside from the
edition of 100
Published by International Images
Inc., Putney
Signature and edition in graphite
lower right
Impression: 50.25” x 58.375”;
Sheet: 59” x 67”; Frame: 64” x 71.5”
$8,000-12,000
225
364
ROY LICHTENSTEIN
CRAK!
1963-64
Offset color lithograph on wove paper
Aside from the edition of 300
Published by Leo Castelli Gallery, New
York; printed by Colorcraft, NY
Signed “rf lichtenstein” in graphite
lower right
Impression: 18.625” x 27.125”;
Sheet: 19.25” x 27.625”;
Frame: 24” x 32.25”
Literature: CORLET T,
MA RY LEE, T HE
PRINTS O F ROY LICH TENSTEIN: A C ATALO G UE RAISONNÉ, 1948 -1993, 1ST E DI T I ON ,
N EW YO RK: H U DSON H I LL S PRESS, 1 9 9 4 ,
#II/ 2.
$25,000-35,000
ROY LICHTENSTEIN
CUBIST CELLO
1998
Screenprint in colors on Somerset
textured paper
Artist’s Proof #6 of 15; aside
Co-published by the Estate of Roy
Lichtenstein, New York and Noblet
Serigraphie, Inc., New York
Signed “D. Lichtenstein” in graphite
lower right; edition in Roman numerals lower left; estate stamp beneath
signature
Sheet: 50.5” x 39”;
Frame: 54.5” x 43.25”
This print was published by the Estate
of Roy Lichtenstein to generate funds
for the American Friends of the Tel Aviv
Museum of Art.
Literature: CORLET T,
MA RY LEE, T HE
PRINTS O F ROY LICH TENSTEIN: A C ATALO G UE RAISONNÉ, 1948 -1993, 2ND E DI T I ON ,
N EW YO RK: H U DSON H I LL S PRESS, 2 002 ,
#3 11 .
$15,000-20,000
366
RICHARD DIEBENKORN
UNTITLED (FROM CLUB/SPADE GROUP
‘81-82)
(EIGHT BY EIGHT TO CELEBRATE THE
TEMPORARY CONTEMPORARY)
1986
6-color lithograph on Arches Cover
white paper
#182 of 250
Contemporary Art, Los Angeles;
printed by Gemini G.E.L., Los Angeles
Signed “RD82” in graphite lower
right with Gemini G.E.L. blind stamp;
Gemini G.E.L. stamp with “RD82-1065”
in graphite verso
Gemini G.E.L. #15.1
Impression: 38” x 23.5”;
Sheet: 40” x 27”
$3,000-4,000
227
367
DAVID HOCKNEY
MY POOL AND TERRACE
(EIGHT BY EIGHT TO CELEBRATE THE
TEMPORARY CONTEMPORARY)
1983
Color lithograph
#182 of 250
Published by the the Museum of
Signature in graphite with date
lower right margin
Impression: 24” x 35.5”;
Sheet: 29” x 41.5”
$3,000-4,000
368
JOHN CAGE
ROLYWHOLYOVER: A CIRCUS
1992
Metal, offset lithograph on paper
Published by Rizzoli International Publications, New York
Catalogue for a major exhibition on John
Cage issued in an aluminum case.
Box: 10” x 11.5” x 1”
$1,000-1,500
369
VARIOUS ARTISTS
NORTON FAMILY CHRISTMAS GIFTS (3)
A: 1995; B and C: 1990
A and C: Peter Norton and MoMA;
B: Peter Norton, MoMA, and Alan Lithograph, Inc.
Comprised of A: Paper fan; B: 24 condoms in wrappers with printed messages
inside a lithographically printed plastic
display case; C: 4 cotton napkins inside
box with Christmas card
A: “Animai-no-bi (Ambiguous Beauty)”
by Yasumasa Morimura; B: “Untitled
(Condoms)” by Daniel Martinez; C:
“Untitled (Napkins)” by May Sun
A: 13” x 3” x 1.5” diameter; 11.5” x 19”
(Open); B: Original shipping box: 11.25” x
12.625” x 1.5”; Display case: 8.5” x 7” x 1”
diameter; C: Original box: 7” x 6.5” x 1.5”;
Napkins each: 13.75” x 13.25”;
Card: 5.875” x 6.625”
$1,000-1,500
370
CLAES OLDENBURG
DOUBLE-NOSE/PURSE/PUNCHING BAG/
ASHTRAY
1969; published 1970
Sculpture of leather, bronze, and
wood with deerskin-covered book in
redwood box
#17 of 75; Book: #17/200
Published and printed by Gemini G.E.L.,
Los Angeles
Gemini G.E.L. #38.20 and 38.21
Sold with A History of the Double-Nose/
Purse/Punching Bag/Ashtray Multiple
Book signed in graphite on colophon;
Gemini G.E.L. symbol and edition incised
on punching bag
10.875” x 20.75” x 8.375”;
Book: 4.5” x 3.25”
RI CH AR D H , P R I NTED
STUF F: P R IN TS, P O ST ER S AND EP H EM ER A
BY C L AE S O L D E N B UR G : A CATALOG U E
R AIS O N NÉ 195 8 -19 9 6, NEW YOR K : H U DSON
H IL L S P R E SS, 19 9 6 , #71 ( B OOK ) .
$2,500-3,500
229
371
OLGA FISCH
UNTITLED (RUG)
Folklore, c. 1975-79
Ecuadorian sheep wool
Signature “O. Fisch” woven in
fabric; retains Folklore tag
102” x 150.25”
$5,000-7,000
372
PERCIVAL LAFER
LOUNGE SUITE (4)
Lafer A.S. Ind. Com., designed 1958
Jacaranda, leather upholstery, slate
table top
Chairs retain label remnant
Comprised of a couch, pair of chairs,
and table
Couch: 33.5” x 75” x 34”;
Chairs: 34.25” x 36” x 33.5”
$6,000-8,000
231
373
TERJE EKSTRÖM
EKSTREM CHAIRS (2)
Stokke, designed 1984
Jersey stretch upholstery, steel frame
Each 31” x 28” x 27”
Literature: FI ELL ,
CH A RLOT TE, S C A N DI N A-
V IAN D ES IGN, COLOGNE: TASCH EN , 2 002 ,
P 61 2 .
$1,000-1,500
374
MARCO POCCI
FLIP OUTDOOR ROCKING CHAIRS (2)
Bonaldo, designed c. 2000
Batch-dyed polyurethane
Molded manufacturer’s marks “Archirivolto Design/Bonaldo Casa/Made in Italy”
Claudio Dondoli & Marco Pocci
35” x 29” x 38”
$1,500-2,000
375
MARIO BELLINI
CAMALEONDA OTTOMAN
C&B Italia, designed 1966
Velour upholstery
Retains C&B Italia sticker and Atelier
Ltd. label
15” x 37” x 25”
Literature: MOODY,
ELL A , DECOR AT I VE A RT
IN MO D ERN I NTERIORS 197 2/3, ( VOLU M E
63 ) , MICHI GA N: VI KING PRESS, 197 2 .
$400-600
233
376
EERO SAARINEN
TULIP DINING SUITE (7)
Knoll Associates, designed 1956, this
example executed 1966
Enameled aluminum, lacquered fiberglass, faux-rosewood laminate top, vinyl
upholstery
Comprised of dining table and six swivel
armchairs.
Special order by vendor with more expensive faux-rosewood top in 1966.
Table retains Knoll Associates label
Table: 29.25” x 48” x 77”;
Chairs: 32” x 24.25” x 24”
$3,000-5,000
PHILIPPE STARCK
Driade, designed 1991
Polished aluminum, glass,
fabric upholstery
72.5” x 102” x 82”
French designer Philippe Starck (b. 1949) has explored just about every area of design imaginable, including
hotels, restaurants, children’s clothing, motorcycles, food packaging, and furniture. He is guided by the
principle that an object needs to be “good” before it can be beautiful. A sort of supplement to the Eames
philosophy of democratic design, Starck strives to “increase the quality objects at lower prices
so that more people can enjoy the best.” Through this philosophy, the willingness to venture into
any design field, and his dedication to environmental sustainability, Starck has become one of the most
sought-after contemporary designers. Some of his most popular works include the Louis Ghost chair, the
Bubble Club sofa and armchair, and his designs for the Royalton Hotel in New York City. In 1988, Starck
was asked to completely redesign the Gilded Age hotel – originally constructed in 1898 – to cater to a hip,
cosmopolitan clientele. Outfitted with Starck furniture, a sleek lounge, and surreal, suggestive imagery, the
resulting redesign marked the inception of a new era in boutique hotels. This bed, manufactured by Driade,
features tapered steel legs that adorned most of the hotel’s furniture. At once inviting and mysterious, the
bed’s lighting and glass fixtures recreate the dramatic experience of staying at the exclusive Royalton Hotel.
$3,000-5,000
Eder, Jasper. “Biography.” Starck.com. Starck, 2012. Web. 31 Oct. 2012.
377
PHILIPPE STARCK
ROYALTON BED
378
XAVIER LUST
LIMITED EDITION T CHAIR POLISH
379
PHILIPPE STARCK
MISS DORN CHAIR
Elixir, designed 1999
Polished aluminum
Executed as an exclusive U.S. limited
edition for the San Francisco Museum of
Modern Art Gift Shop, 2002.
31” x 17” x 20.5”
Disform, designed 1982
Enameled steel, upholstery
The design was originally conceived for
the Starck Club, Dallas, 1982.
27.625” x 20.25” x 17.25”
Provenance: SAN
F R AN C IS C O MO MA GIF T
S H O P ; P R IVATE C O L L EC TIO N C AL IFO R N IA
$2,500-3,500
$1,500-2,000
235
380
MARK KOSTABI
UNTITLED (BROKEN TV)
1991
Graphite on paper
Sheet (vis.): 8.75” x 12.25”;
Frame: 19” x 22.5”
$2,000-3,000
381
MARK KOSTABI
UNTITLED (FUNNEL)
1992
Graphite on paper
Image: 9” x 7.25”; Sheet (vis.): 10.25” x
8.5”; Frame: 21” x 19.25”
$2,000-3,000
382
KENNY SCHARF
AGUA POLLINATION
c. 1983
Color silkscreen
#137 of 150
Signature lower center; blind
stamp lower right
Sheet: 33.75” x 38.875”;
Frame: 48.5” x 53”
Magnuson, Ann, Kenny Scharf, New
York: R IZ ZO L I, 2 0 0 9, ( PAI NTI NG I LLU S TR ATE D) P 3 5 AN D 6 5.
$1,000-1,500
383
PETER LODATO
3 MARIAS #2
1988
Oil on canvas
Signed, dated, and inscribed “3 Marias
#2 Egypt P. Lodato 88” on center canvas stretcher verso; retains Hunsaker/
Schlesinger Fine Art, Santa Monica
gallery label on upper canvas stretcher
verso
Canvas: 28” x 40”; Frame: 29.5” x 41.5”
“Peter Lodato: PAINTI NG ,
DR AWI NG &
S C UL P TUR E , ” H UN SA K ER - SC H LESI NG ER
GAL L E RY, LO S AN GE LES, 1 989.
$2,000-3,000
237
384
AMERICAN CRAFT
UNTITLED (LANDSCAPE)
c. 1975
Machine-woven wool wall hanging
Indistinctly signed “OQII” lower left
93” x 64.75”
MED I C A L
CEN T ER
$1,000-1,500
385
GEORGE MULHAUSER
SULTANA DINING SUITE (5)
Plycraft, designed 1965
Painted plywood, laminate top,
leather upholstery
Manufacturer’s upholstery label
Comprised of a table and four chairs
Chairs: 24” x 23.25” x 20.75”;
Table: 26” x 42”
$3,000-4,000
386
CAROL SUMMERS
CHINESE LANDSCAPE
1951
Woodcut
#1 of 50
Signed in pencil lower right sheet;
title with edition lower left
Sheet: 21.25” x 36”; Frame: 31.5” x 45.5”
Literature: S UMME R S,
CAR OL , C AR OL
S UMME R S : C ATALO GU E R AI SONNE, 1 950 19 8 8, N E W YO R K : B AR NET T, BECK AND C C A
GAL L E R IE S, 19 9 8 , IL LU STR ATED P 6, #4 .
$500-700
387
CAROL SUMMERS
NAVARRO RIDGE
1973
Woodcut
Artist’s Proof; aside from the edition
of 75
Signature in graphite center right;
title with edition inscribed center left
Sheet: 49” x 37”; Frame: 60.5” x 48”
CAR OL , C AR OL
S UMME R S : C ATALO GU E R AI SONNE, 1 950 19 8 8, N E W YO R K : B AR NET T, B ECK AND C C A
GAL L E R IE S, 19 9 8 , # 11 2.
$500-700
388
CAROL SUMMERS
GOKYO
1982
Woodcut and monotype
#124 of 150
Signature in graphite lower right with
edition and title
Sheet: 18.75” x 18.25”;
Frame: 24.25” x 24.25”
CAR OL , C AR OL
S UMME R S : C ATALO GU E R AI SONNÉ, 1 950 19 8 8, N E W YO R K : B AR NET T, B ECK AND C C A
GAL L E R IE S, 19 8 8 , # 176.
$500-700
239
389
CAROL SUMMERS
ALTIPLANO
1977
Woodcut
Artist’s Proof; aside from the
edition of 90
edition and title inscribed lower left
Sheet: 24” x 37”; Frame: 35.5” x 48”
Literature: SU MMERS,
CA ROL , CA R OL
S UMMERS: CATA LOGU E RA ISONNÉ , 1 950 1 9 8 8, NEW YORK: BA RNET T, BECK A N D C C A
G ALLERIES, 1998, ILLU STRATED P 37, #1 39.
$500-700
390
J. ANDERSON
ADOBE DE GRANVILLE
1979
Hand-hooked and tufted wool
wall hanging
Studio
Signed, dated, and inscribed in red
marker on the reverse “79 Adobe de
Granville J. Anderson”
48” x 86”
MED I C A L
CENT ER
$1,000-1,500
391
STEVE LYDA
UNTITLED
c. 1975
Hand-hooked and tufted wool
wall hanging
Woven signature upper left
58” x 47”
CENT ER
$1,000-1,500
MED I C A L
241
392
KARL SPRINGER
DESK AND CHAIR (2)
Karl Springer Ltd, designed c. 1975
Leather, wood
Stamped leather label to each
“Karl Springer 1983”
Desk: 32” x 64” x 31”;
Chair: 34.625” x 22.5” x 21”
$5,000-7,000
393
LEONARDO NIERMAN
ETERNAL FIRE
c. 1977
Hand-woven wool tapestry
Signature woven lower right with
maker’s mark lower left
75” x 58”
CENT ER
$3,000-5,000
MED I C A L
394
LEONARDO NIERMAN
UNTITLED (FIRE)
c. 1961
Mixed media on Masonite
Signature lower right
Image: 48.125” x 35.375”;
Frame: 48.5” x 36”
M EDI CAL
C E N TE R
243
$2,000-3,000
395
LEONARDO NIERMAN
CRATER (CELESTIAL FIRE)
c. 1961
Mixed media on Masonite
Signature lower left; inscribed
“Celestial Fire” verso
Image: 35.25” x 48”;
Frame: 36.25” x 48.5”
C E N TE R
$2,000-3,000
M EDI CAL
396
MARTIN BORENSTEIN
CHALLENGE SERIES SOFA AND SETTEE
Croyden Furniture Inc., designed 1952
Walnut, gilt-plated stainless-steel,
original upholstery
Retains labels “Martin Borenstein Design” and “MB Designs, Oakland CA”
Settee: 27” x 49.75” x 31.75”;
Sofa: 27" x 195" x 31.5"
$5,000-8,000
245
397
STAN BITTERS
THUMB POTS (2)
Hans Sumpf, executed c. 1995
Ceramic
Etched “HSC B 21.18”
Each: 14.75” x 18” diameter
$1,500-2,000
398
STAN BITTERS
THUMB POTS (2)
Hans Sumpf, executed c. 1995
Ceramic
Etched “HSC B 21.18”
Each: 18” x 21” diameter
$1,500-2,000
399
SORI YANAGI
BUTTERFLY STOOL
Tendo, designed 1954
Laminated rosewood, brass
16” x 16.5” x 12”
$1,500-2,000
400
KLAUS GRABE
CHAISE LOUNGE
Laminated-pine, webbing
26” x 63” x 25.5”
Bauhaus educated furniture designer
best known for his simply-constructed
plywood furniture, Klaus Grabe left Germany in the 1930s. His exile brought him
first to Mexico, where he joined Josef
and Anni Albers, and Hannes and Lena
Meyer. He later moved to New York.
$1,500-2,000
24 7
401
R .M. SCHINDLER
BEDROOM SUITE (4)
Custom, designed 1925; these examples
produced c. 2000
Douglas fir with stained finish, leather
Desk: 34” x 57” x 53”;
Daybed: 14.5” x 80” x 33”;
Assembled together: 34” x 57” x 114”;
Chair: 27” x 21.5” x 20.5”
Armchairs (2): Each 29” x 32” x 32”
The furniture was custom designed by
Schindler for How House, Silverlake,
1925. These examples were reproduced
based on Schindler’s blueprints and
drawings.
$3,000-5,000
249
402
R .M. SCHINDLER
DINING SUITE (12)
produced c. 2000
Douglas fir with stained finish, leather
Dining table: 27.25” x 64” x 32”; Side
chairs (11): Each 27” x 21.5” x 20.5”
drawings.
$4,000-6,000
403
R .M. SCHINDLER
SEATING UNIT AND SIDE TABLES (4)
Manufacturer unknown, designed 1925;
these examples produced c. 2000
Douglas fir with stained finish, glass,
leather
Seating unit: 48” x 100” x 52”;
Glass cart table: 19” x 36” x 24”;
Double-glass side table: 15” x 32” x 16”;
Small side table: 16” x 18” x 16”
drawings.
$3,000-5,000
404
R .M. SCHINDLER
LIGHTING AND SEATING SUITE (9)
produced c. 2000
Douglas fir with stained finish, frosted
glass, leather
Bench (2): Each 32” x 42.5” x 17.5”;
Table: 30” x 42” x 24.25”;
Lamps (2): Each 56.5” x 16” x 22”;
Large lamps (2): Each 49” x 14” x 27”;
Table lamp: 17” x 9” x 16”
Hutch: 80” x 57.25” x 16”
drawings.
$3,000-6,000
251
405
GERALD MCCABE
CIRCULAR COFFEE TABLE
Orange Crate Modern, designed c. 1970
Shedua
$1,000-1,500
406
GERALD MCCABE
DESK
Shedua
Branded “Gerald McCabe Orange Crate
Modern Eon Furniture Company, Santa
Monica, CA”
28.75” x 60” x 31”
$2,000-3,000
407
GERALD MCCABE
NESTING TABLES (3)
Shedua
Each branded “Gerald McCabe Orange
Crate Modern Eon Furniture Company,
Santa Monica, CA”
A: 19.75” x 16.75” x 16.75”; B: 18.5” x
15.75” x 14.5”; C: 17.5” x 13.75” x 13.75”
$1,000-1,500
408
GERALD MCCABE
RECTANGULAR COFFEE TABLE
Shedua
Branded “Gerald McCabe Orange Crate
Modern Eon Furniture Company, Santa
Monica, CA”
18” x 29.75” x 19.75”
$1,000-1,500
LOT 407
LOT 408
NOT ILLUSTRATED
409
GERALD MCCABE
WALL MOUNTED BED
Shedua
One side drawer signed “Gerald McCabe”
With built-in drawers
Mounted Headboard: 19.5” x 112” x 1.5”
$2,500-3,500
NOT ILLUSTRATED
410
GERALD MCCABE
VITRINES (2)
Shedua, glass
Each with four glass shelves
Each: 72” x 36” x 16”
$1,500-2,000
NOT ILLUSTRATED
411
GERALD MCCABE
SOFA MIRROR
Shedua, mirror plate
33” x 51” x .75”
$1,000-1,500
412
GERALD MCCABE
TRESTLE DINING TABLE
Shedua, glass
28.75” x 72” x 40”
$3,000-4,000
413
GERALD MCCABE
BUFFET
Shedua
36” x 84” x 17.75”
$3,000-4,000
414
GERALD MCCABE
CHEST OF DRAWERS (2)
Shedua
Branded “Gerald McCabe Orange
Crate Modern Eon Furniture Company,
Santa Monica, CA”
Comprised of eight-drawer and
six-drawer chest
36” x 54” x 20” and 28.75” x 60” x 21”
$3,000-4,000
253
415
THEODORE ROSZAK
UNTITLED (STUDY)
1939
Ink, graphite, and marker on tracing
paper in original mat
Signed “T. Roszak 1939” in graphite
lower right; initialed upper left; mat
inscribed “R.” lower right; mat retains
ink stamp “Theodore Roszak/One Street
Lukes Place/New York, NY 10014” verso
Sheet: 8.375” x 10.875”; Mat: 16” x 20”
$2,000-3,000
416
RICHARD SERRA
PATHS AND EDGES #8
2007
Etching printed on heavy
Lanaquarelle watercolor paper
#19 of 60
Signed and dated verso with edition;
Gemini G.E.L. print information verso
Sheet: 23.5” x 29.5”; Frame: 31.5” x 37.5”
$5,000-7,000
417
EMIL BISTTRAM
UNTITLED (ABSTRACT COMPOSITION)
1959
Oil on Masonite
Signed “Bisttram 59” lower left with
stylized “M” inscribed above signature
Masonite: 48” x 36”; Frame: 49” x 37”
The artist won the Grand Prize for
painting at the New Mexico State Fair
in the year this painting was executed.
A retrospective at the Harwood Art
Museum in Taos, New Mexico was also
held in 1959.
$6,000-9,000
255
418 (OPPOSITE PAGE)
WILLIAM WOLFSON
THE PLAYGROUND
c. 1960s
Oil on canvas
Signed lower left
Canvas: 63.5” x 48”;
Frame: 67.5” x 51.625”
William Wolfson studied under painter
and founder of the Ashcan School, Robert Henri. Wolfson later went on to teach
at Otis College of Art & Design.
Provenance: C E DA R S - SI N AI
ME D IC AL
CENTER
$2,000-3,000
419
YEHOSHUA KOVARSKY
CHIEF BLACK RAVEN
420
YEHOSHUA KOVARSKY
JUDEAN WARRIOR
1964
Oil on canvas
Signature in paint lower center; retains
Canvas: 50” x 41.5”; Frame: 52” x 44”
1962
Oil on canvas
Signed with date lower right; retains
Canvas: 49.75” x 42”; Frame: 52” x 43”
Provenance: C E DA R S - SI N AI
ME D IC AL
CENTER
C E N TE R
$1,500-2,000
$1,500-2,000
M EDI CAL
257
421
LIONEL BARRYMORE
GROUP OF WORKS (3)
Early 20th century
Talio-chrome etching facsimiles
Each retains Cedars-Sinai label on the
frame verso
A: Point Mugu; B: Purdy’s Basin;
C: San Pedro
A: Impression: 8.25” x 11.5”; Sheet (vis.):
11.5” x 14”; Frame: 12.5” x 15”;
B: Impression: 8” x 10.25”; Sheet (vis.):
11.625” x 10.25”; Frame: 12.5” x 15”;
C: Impression: 8.5” x 11.375”; Sheet
(vis.): 11.625” x 13.825”; Frame: 12.625”
x 14.825”
CENT ER
$900-1,200
MED I C A L
422
RICO LEBRUN
UNTITLED
(FROM DANTE’S INFERNO) (4)
1963
Lithograph on Strathmore cover
Two plates from the edition of 150
signed in graphite by the artist; aside
Published by Kanthos Press, Los Angeles; printed by Joe Funk, Kanthos Press,
Los Angeles
Each with signature in plate; one plate
signed “Lebrun” in graphite lower
center; one plate signed “Lebrun 63” in
graphite with “95-125” inscribed lower
left
Four lithographs from Drawings for
Dante’s Inferno with illustrations by Rico
Lebrun and portfolio design by Leonard
Baskin.
A: Sheet: 17” x 12.5”; Frame: 23” x 19”;
B: Sheet: 17” x 12.75”; Frame: 23.75” x
18.75”; C and D: Sheet: 21.75” x 28.75”;
Frame: 22.25” x 29.25”
C E N TE R
$1,500-2,000
M EDI CAL
259
423
SADAMASA MOTONAGA
UNTITLED (TAPESTRY)
1976
Machine-woven wool
Signature in black marker verso “S. Motonaga ‘76” with “6” inscribed on label
39” x 117”
This artist is part of the Gutai group,
an association of conceptual and performance artists from Japan, founded
in 1954. The Guggenheim New York
will be showing the first U.S. museum
retrospective of the Gutai group in
February 2013.
MED I C A L
CENT ER
$2,000-3,000
424
THOMAS ALTHAUS
SOFA
De Sede, designed c. 1990
Enameled steel frame, leather
Retains ticking “De Sede of Switzerland”
29.5” x 95” x 36.5”
$3,000-4,000
425
PAOLO PIVA
ALANDA SOFA
C&B Italia, designed 1982
Enameled metal, leather upholstery
34” x 81.5” x 32”
$800-1,200
426
WILLIAM T. WILEY
UNTITLED (LIL’ DECLARATION OF
INDEPENDENCE AT CHRISTMAS)
1977
Color lithograph
Signed and inscribed in graphite
“Dorothy Best Wishes for 78--Wiley”
lower left
Sheet (vis.): 29” x 22”; Frame: 30” x 23”
M EDI CAL
C E N TE R
$2,000-3,000
427
JACK BETTS
DON’T FALL FOR ENEMY PROPAGANDA
c. 1943
Color lithograph
Published by Veterans of Foreign Wars
of the U.S.; printed by L.I.P. & B.A.,
Kansas City
Printed “illustrated by Jack Betts” lower
right; publisher and printer information
printed lower left
Sheet: 21.75” x 16.75”;
Frame: 22.125” x 17”
M EDI CAL
C E N TE R
$500-700
428
AMOS SEWELL
MILES OF HELL TO TOKYO!
1945
Lithograph
Printed and published by the Government Printing Office
Printed lower margin “US Government
Printing Office 1945”
Printed by the Government for the War
Manpower Commission
25.75” x 18.125”; Frame: 26.25” x 18.5”
M EDI CAL
C E N TE R
Literature: B R E D H O FF,
STAC EY, P OWER S
O F P E R S UAS IO N : P O STER ART FR OM WOR LD
WAR II, WAS H IN GTO N: NATI ONAL AR C H I VES
TR UST F UN D B OAR D, 1 994 , I LLU STR ATED
P 2 0.
$500-700
261
429
T.H. ROBSJOHN-GIBBINGS
DINING CHAIRS (6)
Widdicomb, designed c. 1950
Walnut, fabric upholstery
Comprised of four side chairs and two
armchairs
Each: 34” x 22.5” x 24”
430
EDWARD WORMLEY
TUXEDO COUCH
Dunbar, designed c. 1965
Mahogany, upholstery
Sold with original manufacturer’s label
and sample of original upholstery
26.25” x 84” x 30”
431
DANISH MODERN
Y-LEG COFFEE TABLE
designed c. 1955
Teak, oak
Stamped “Denmark”
17.5” x 59” x 19.5”
$500-700
432
CHARLES BRAGG
THE GOLDEN CHRISTMAS DUCAT AND
THE GRAND HOTEL (2)
A: 1973; B: 1969
A: Oil on panel; B: Gouache on illustration board mounted to particle board
A: The Golden Christmas Ducat;
B: The Grand Hotel
A: Board: 12.5” x 9.25”, Frame: 16.75”
x 13.5”; B: Board: 10.75” x 14”, Frame:
12” x 15”
Each signed
Provenance:
P L AY B OY E N TE R P R IS ES, C H I CAG O;
$2,000-3,000
263
433
SALVADOR DALÍ
LINCOLN IN DALIVISION
1974
Bronze relief in velour clamshell case
#154 of 195
Martin Lawrence, Ltd., Van Nuys, publisher; Grapholith, Paris, printer
Signature incised lower right; edition
lower left
Sold with certificate of authenticity from
the publisher
Relief: 28” x 19” x .5”;
Case: 29.5" x 20.5" x 2"
MED I C A L
CENT ER
$1,000-1,500
CLAMSHELL CASE
434
JOHN OKULICK
UNTITLED
1986
Hand painted metallic acrylic on wood
Signed and dated underneath base
14.5” x 14” x 5”
LAMA would like to thank the artist for
his gracious assistance in cataloguing
this work.
265
435
NIKI DE SAINT PHALLE
UNTITLED (EIGHT BY EIGHT TO
CELEBRATE THE TEMPORARY
CONTEMPORARY)
1983
#182 of 250
Signature with edition in graphite lower
left margin
Sheet: 28.75” x 41.75”
$3,000-4,000
436
HENDRICK VAN KEPPEL
& TAYLOR GREEN
PATIO SUITE (12)
Model no. 905 (table),
803 (Sun Chaise),
800 and 801 (lounge and ottomans)
VKG, designed c. 1950
Comprised of four lounge and ottomans,
three Sun Chaise and low table
Table: 15.25” x 48” diameter;
Chaise: Each 18.5” x 68.5” x 35.5”;
Lounge chair: 26.25” x 20.75” x 33.25";
Ottoman: 11.25” x 20.75” x 18.25”
Literature: VA N
KEPPEL- GREEN: M ODE R N
FURN IT URE (CATA LOGU E), NO DAT E .
$4,000-6,000
A Handbook of California Design, 1930–1965:
Craftspeople, Designers, Manufacturers
A new companion book to the Los Angeles County Museum of Art’s
groundbreaking exhibition and catalogue California Design, 1930–1965:
“Living in a Modern Way.”
Documenting the lives and work of more than 140 of the most
significant twentieth-century California design figures, including
such highly distinguished designers as Charles and Ray Eames and
Saul Bass, as well as many lesser known yet influential practitioners,
this book offers new information and more than 100 rare photographs.
It will become an indispensable resource for scholars, students,
collectors, and all those interested in modern design.
Copublished by
LACMA and the MIT Press
Book designed by Irma Boom
Paperback, 6 x 9 in.
320 pages
150 illustrations
$34.95
Publication date
January 2013
267
NOW ACCEPTING
CONSIGNMENTS
S P R I N G
2 0 1 3
A U C T I O N
Larry Rivers, White Camel, 1980
Acrylic on canvas, Signed “Larry Rivers ‘80” lower right; inscribed “White Camel 1980” verso; retains
Marlborough Gallery and Elaine Horwitch Gallery labels on the canvas stretcher verso, Canvas: 60” x 42.5”
Estimate: $40,000 - 60,000
To submit material for consideration, please email images to [email protected] or call 323-904-1950
The Young and
the Beautiful:
Michael Cardew,
Modern Pots and the
Counterculture in North
America, 1967-1981
Lecture by Tanya Harrod
independent design historian, author, and
co-editor of the Journal of Modern Craft
lacma | Decorative Arts and Design Council
Wednesday, December 5, 2012 | 7 pm
Brown Auditorium | 5905 wilshire boulevard (at fairfax Avenue)
Free Admission for DADC Members and students with id | $15 lacma members | $20 general admission
the 2012-2013 DADC lecture series is sponsored by the Elsie de Wolfe Foundation
photo credit: By kind permission of Noel Osheroff
^
Conditions of Sale/Notice to Buyers
The following are our “Conditions of Sale” for the items listed in this catalogue to be
sold by Modern Auctions, Inc. (L.A. Modern Auctions or “LAMA”). We are acting as an
agent on behalf of our consignors.
PAYMENT
All sales are final. All sold lots are to be paid for on the day of the sale. We accept
cash, bank wire transfers, checks, and Mastercard and Visa (PLEASE NOTE: Credit
card payments are accepted only when presented in person and will not be accepted
over the phone, fax, or e-mail). All payments made by personal checks will be subject
to clearance before purchases can be collected. Buyers who have not purchased from
Modern Auctions, Inc. (Los Angeles Modern Auctions) previously are asked to provide
a method of payment and/or letter of reference from a bank or creditor prior to the
auction. Bank wire information is available upon request, please phone
(323) 904-1950. If payment is not received by December 24th, collection and storage
fees will begin incurring immediately.
BUYER’S PREMIUM
A buyer’s premium of 25% will be added to the hammer price on all property sold if
bids are placed directly with Modern Auctions, Inc. This buyer’s premium can be
discounted to 22.5% if payment by cash, check, or bank wire is received by
December 24th. 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 24th,
2012. (PLEASE NOTE: Credit card payments are accepted only when presented in
person and will not be accepted over the phone, fax, or e-mail).
CALIFORNIA SALES TAX
Sales 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 & RESERVES
The estimates printed after each lot should be used as a guide only and should not be
relied upon as a prediction of final selling prices. Many of the lots offered for sale
carry a reserve and are confidential. The reserve is a minimum price at which the
seller has agreed to let the auctioneer sell the property.
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.
GUARANTEE
The authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc.
warrants only the authorship of an item (as printed in BLUE type) and does not
guarantee the condition, age, or any identifying characteristic used by Modern Auctions,
Inc., in any descriptions such as color, method of construction, and type of materials.
Any lot using the terms “attributed,” “attribution,” “in the style of,” “in the manner of,” or
“after” does not qualify for our guarantee. In addition, the buyer assumes responsibility
of reading all addendums and posted corrections to the catalogue prior to bidding.
CONDITION
EVERYTHING IS SOLD IN “AS-IS” CONDITION. No statement regarding
condition of any item, whether it is made orally at the auction or at any other time or in
writing in this catalogue shall be deemed to be a warranty, representation, or
assumption of liability. It is the sole responsibility of the buyer to inspect all goods
prior to the sale. We strongly encourage all bidders to request a condition report on
any item before bidding. All electrical items are sold for decorative value only and
should be assumed not to be working. All measurements are approximate.
Photographs of any lots not illustrated can be found on our website LAMODERN.com.
COLLECTION AND STORAGE
ALL LOTS MUST BE REMOVED FROM THE AUCTION SHOWROOM BY 12:00 PM ON
DECEMBER 21st. Please note: Our offices will be closed from December 22nd
through January 1st. Purchases not removed by January 6th will be assessed a daily
storage fee of $15 per day per lot. Items in storage are not insured by Modern
Auctions, Inc. Unless other arrangements are made and confirmed in writing; the
buyer assumes sole responsibility for shipping, packing, insurance, and storage
concerns. A list of shippers can be provided upon request.
BIDDING
We encourage you to attend the sale in-person. However, if you can not attend in person
we offer an “absentee” or phone bidding service. For this service fill out and submit an
“Absentee/Phone bid” form. To obtain this form please call (323) 904-1950 or go to our
website. We will not execute absentee or phone bid orders unless a signed and completed
bid form has been received. All Absentee/Phone bid forms must be received by Saturday,
December 15th by 5:00 p.m. (PST) via fax to (323) 904-1954. We encourage you to call
after faxing to confirm we have received your bid. We kindly ask that you do not call on the
day of the sale to submit bids or to check if your bids were successful. All successful
absentee bids should be notified by phone by December 18th. In addition, the auction
prices realized will be posted the day after the sale on our website. Do not rely on any
auction results (prices realized) unless published on www.lamodern.com or as provided
directly by Modern Auctions, Inc.
RESCISSION
Should the authenticity of an item be disputed after a sale, the buyer has 90 days from
the date of the auction to provide written documentation or conclusive opinion of a
mutually agreed upon independent expert, retained at the buyers sole expense, that the
item in question is not as stated in the catalogue. In the event of an error, Modern
Auctions, Inc. will rescind the purchase contract. Modern Auctions, Inc. will reimburse
the buyer for no more than the hammer price plus the buyer’s premium and only after
the item is returned to the original point of sale in the condition in which it was sold.
Taxes, packing, shipping, and storage costs will not be reimbursed. Modern Auctions,
Inc. is not liable for any costs, such as expert's 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's
fees, attorney’s fees, and other costs.
RIGHTS TO PHOTOGRAPHS
It is important to note that the images printed in this catalogue are considered
intellectual property and are copyrighted. Buyers do not acquire the rights to reproduce
any images in any form.
All images and text contained in this catalogue are the sole property of Modern Auctions,
Inc. and may not be used or reproduced in any medium without the expressed written
permission of Modern Auctions, Inc.
Modern Auctions, Inc.
Bond # 7900369478
Peter Loughrey, Principal Auctioneer
Los Angeles Modern Auctions (LAMA)
16145 Hart Street, Van Nuys, CA 91406
INDEX
A
Aalto, Alvar
94
Ackerman, Evelyn
67-69
Adnet, Jacques
211, 213-15
Althaus, Thomas
424
Anderson, J.
390
Appel, Karel
224-25
Archizoom97
Arp, Jean
280
Aublet, Felix
343
Avery, Milton 28
Avery, Sally
29
B
Baldessari, John
305-06
Barrymore, Lionel
421
Baughman, Milo
192-95
Bayer, Herbert
167
Bel Geddes, Norman 334, 347
Bellini, Mario
87, 375
Bengston, Billy Al
43
Benjamin, Karl
245-48
Bertoia, Harry
169-71
Betts, Jack
427
Bianchi, Romano
93
Bill, Max
40
Bisttram, Emil
417
Bitters, Stan 397-98
Blochet, E. 349
Blunk, J.B.
45
Bobrick, Mitchell
190
Borenstein, Martin
396
Borofsky, Jonathan
55
Bragg, Charles
432
Brown, William Theophilus 25
Bucher, Oscar
44
Burton, Elizabeth Eaton 133-34
C
Cadestin, Michel
Cage, John
Caivano, Ernesto
Calder, Alexander
Carroll, Lawrence
Chagall, Marc
Chihuly, Dale
Cohen, Bruce
Cohen, Larry
Crash (John Matos) 198
368
17
281-84
57-58
209-210
72
26
24
357-60
D
Dalí, Salvador
de Saint Phalle, Niki
Deskey, Donald
Diebenkorn, Richard
Dill, Laddie John
Draeger, Christoph
Dreyfuss, Henry
Dupré-Lafon, Paul
433
435
268-69
27, 366
52-53
295
265
336
E
Eames, Charles 4-8, 150,
158-63
Edmondson, Leonard
168
Ekström, Terje
373
Ellis, Harvey
112, 116, 120, 129
Eriksson, Stenerik
39
F
L
Fabry, Erno
86
Fairey, Shepard
302-03
Falkenstein, Claire
185
Fantoni, Marcello
81
Ferren, John
219
Finkelstein, Max
354
Fisch, Olga
371
Fischinger, Oskar
165-66
Ford, Gordon Onslow
277-78
Fornasetti, Piero
74-79
Frame, Robert
220
Francis, Sam
146, 249-52
Frankenthaler, Helen
290
Frankl, Paul
319-21, 338-39
Friberg, Berndt
240
Friedeberg, Pedro
287
LaChapelle, David
297
Lacroix, Boris Jean
259
Lafer, Percival
372
László, Paul
330-35
Le Corbusier
275
Lebadang71
Lebrun, Rico
422
Lichtenstein, Roy
364-65
Lindberg, Stig
236-37
Lodato, Peter
383
Longo, Robert
294
Lundin, Ingeborg
241
Lust, Xavier
378
Lyda, Steve
391
G
Gall, François
204
Gallé, Emile
217
Giacometti, Alberto
201
Ghost301
Grabe, Klaus
400
Graham, Robert
54
Grawunder, Johanna
98
Gregory, Jackson
187-88
Grossman, Greta
176-79
Gruen, Victor
2
H
Hagenauer, Karl
340
Hammersley, Frederick 243-44
Haring, Keith
361-62
Henningsen, Fritz
242
Henry, Jon
286
Hermès216
Hirst, Damien
19-20
Hockney, David
367
Horti, Paul
132
Hutton, John
212
J
Jacobsen, Arne
Jarvie, Robert
Jelles, Evert Jelle
Jenkins, Paul
Judd, Donald
Juhl, Finn
M
Mangold, Robert
311-12
Mapplethorpe, Robert
298
Masset136
Matta, Roberto Sebastian 221
McArthur, Warren
266
McCabe, Gerald
405-14
McIntosh, Harrison
63-66
Mies van der Rohe
276
Miró, Joan
205-08
Moses, Ed
56
Motherwell, Robert
289
Motonaga, Sadamasa
423
Mulhauser, George
385
Murakami, Takashi
304
N
Nakashima, George
59-62
Natzler, Gertrud & Otto 172-75
Nelson, George 1, 9-11, 152-57
Neri, Manuel
180-81
Neuhart, Marilyn
6
Nierman, Leonardo
393-95
Noguchi, Isamu
151, 285
Nylund, Gunnar
238
O
226-33
135
88
222-23
315
239
K
Kauffer, E. McKnight
327
Kelly, Ellsworth
291-93
Kendrick, George Prentiss 121
Keppel-Green, Hendrick
436
Kienholz, Edward
50-51
Kline, Franz
164
Knoll, Florence
147-48
Koons, Jeff
18
Koppel, Henning
234-35
Kostabi, Mark
380-81
Kovarsky, Yehoshua
419-20
Krebs, Patsy
316
Krenchel, Herbert 3
Okulick, John
Olbrich, Joseph Maria
Oldenburg, Claes
Oliveira, Nathan
434
119
370
182-84
P
Park, David
21-22
Pascin, Jules
203
Pascoe, Clifford
310
Paulin, Pierre
307-09
Perez, Enoc
16
Perzel, Jean
350
Pesce, Gaetano
90, 92
Pettibon, Raymond
253-56
Picasso, Pablo
196-97,
200, 202
Pistoletto, Michelangelo
15
Piva, Paolo 425
Pocci, Marco
374
Ponti, Gio
83-85
Price, Ken
41-42
Putman, Andrée
73
Q
Quistgaard, Jens
227
R
Rauschenberg, Robert
102-11
RAAK89
Ray, Man
279
Robsjohn-Gibbings, T.H. 429
Rohde, Gilbert
264, 322-26,
342, 351-53
Rookwood122-25
Rosenquist, James
355-56
Roseville341
Roszak, Theodore
415
Royère, Jean
199
Ruscha, Ed
46-49
S
Saarinen, Eero
149, 376
Saarinen, Eliel
263
Sarfatti, Gino
80
Schapiro, Stephen
144
Scharf, Kenny
382
Schindler, R.M.
272, 401-04
Serra, Richard
416
Sewell, Amos
428
Shire, Peter
91
Shulman, Julius
273
Simmons, Laurie
300
Sottsass, Ettore
96, 99-101
Springer, Karl
392
Starck, Philippe
377, 379
Stickley Brothers
113
Stickley, Gustav
115, 117, 130
Stickley, L. & J. G. 114, 118,
126-27
Summers, Carol
386-89
T
Teague, Walter Dorwin 328-29
Tobey, Mark
186
Trova, Ernest
14
Tuttle, Richard
288
V
Vasarely, Victor
Venard, Claude
von Nessen, Walter
12-13
218
260
W
Warhol, Andy
137-45
Weber, K.E.M.
262, 267,
270-71, 336
Wegman, William
299
Wegner, Hans J.
30-38
Wesselmann, Tom
363
Wiley, William T.
426
Wolfson, William
418
Wonner, Paul
23
Wormley, Edward 70, 191, 430
Wright, Russel
257-58, 337
Wright, Frank Lloyd
274
Y
Yanagi, Sori
399
Z
Zaki, Amir
Zox, Larry
296
313-14
AUCTION:
SUNDAY, DECEMBER 16, 2012
12 p.m. Noon (PST)
Peter Loughrey
Director, Modern &
Contemporary Fine Art
Dan Tolson
Director, 20th Century
Decorative Art & Design
PREVIEW:
DECEMBER 1 - 15, 2012
10 a.m. - 6 p.m. (PST)
Shannon Loughrey
Managing Director
ADDRESS:
Elizabeth Portanova
Marketing Director
16145 Hart Street
Van Nuys, CA 91406
Julie Wearing
Client Services
TELEPHONE:
Zoe Weinberg
Client Services
323-904-1950
Joe Alascano
Shipping
WEBSITE:
LAMODERN.com
DIRECTIONS TO AUCTION & PREVIEW:
FROM HOLLYWOOD
VAN NUYS
AIRPORT
SEPULVEDA BLVD
405 FREEWAY
LAMA
WOODLEY AVE
VALJEAN AVE
SHERMAN WAY
HART ST
Photography
Susan Einstein
Robert Wedemeyer
Mario de lopez
Essays
Paul Des Marais
Dan Tolson
FROM THE WESTSIDE
101 FREEWAY
WOODLAND HILLS
N
Make your way to the 101 Freeway
Proceed North on the 101
Merge onto the 405 Freeway, 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
Cataloguer/Editor
Zoe Weinberg
Dan Tolson
Paul Des Marais
HOLLYWOOD
GETTY
CENTER
Take the 405 Freeway, NORTH
Continue past the Getty Museum and the 101 Interchange
Exit onto “Sherman Way, WEST”
(this is 4 exits North of the 101)
Proceed WEST on Sherman Way
Turn LEFT at the 3rd light onto “Woodley”
Take the first RIGHT onto “Hart” street,
which is a side street
Complimentary Valet Parking
FSC Stamp

LAMA Dec. 2012

Transcription

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