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Sale Date:
Dec. 3, 2006
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Lot Numbers, Descriptions and Estimates
801. Gerald Nees, (American, b. 1938), “About Time for Church to Start”, c. 1978; oil/board, 24” x 18”, signed; dated and titled verso. 600-800
802. George Colin (American, contemporary), “Pink Trees”, c.2000; pastel, 22” x 29”, signed. 500-700
803. George Colin (American, contemporary), “Plantation Workers”, c.2000; pastel, 21” x 29”, signed. Colin is a contemporary folk artist from Salisbury, Illinois who has a significant following in Chicago and the Midwest. His work is in the collections of Oprah Winfrey and Michael Jordan. 500-700
804. Pepe Romaro (Mexican, 20th century), “Still Life”, c. 1950; oil/board, 22” x 26”, signed; label verso: Casa del Arte-Mexico. 300-500
805. American School, “New York (World Telegram Building)” c. 1935; oil/board, 18” x 24”, initialed, unframed. 500-700
806. Maxa Nordau (French, 1897-1991), “Buildings in a Landscape”, c. 1930; oil/canvas, 15” x 18”, signed. This is an early work by the artist. 300-500
807. Delarosa, “Nude”, c. 1958; mixed media/paper, 14” x 11”, signed and dated; label verso from D’Goya-Mexico. 300-500
808. A.George Miller (American, 20th century), “City Scene”, c. 1950; mixed media, 14.5” x 21.5”, signed. 400-600
809. James D. Brooks  (American, 1906 - 1992), “Untitled”, c. 1968; mixed media and collage, 9.25” x 10.75”, signed; artist’s name on verso with 68. Brooks was a social realist painter until about 1949, when he was influenced by the work of Jackson Pollock, at which point he began executing abstract works. 3000-5000
810. William Corasick, (American, 1907-2002), “Abstract”, oil/canvas, 28” x 34”, signed. 1000-2000
811. Joseph Meert, (American 1905-1989), “Man-Dog-Cat”, oil/canvas, 36” x 30”, signed and dated; titled verso; label verso from Studio 421 inventory #124, unframed. 3000-5000
812. Cynthia Bissell (American, 20th Century), “Monster Slayer (Pricking Vagina)”, c.1961; oil/canvas, 72” x 42”, initialed and dated; titled verso. 3000-4000
813. Abraham Walkowitz  (American, 1878 - 1965) “New York”, c. 1925; mixed media, 11.5” x 9.5”, signed and dated. 800-1200
814. Peter Ostuni (American, 1908-1992), "Abstract Composition"; tempura/board, 19.5” x 21.5”, signed and dated ’84 on verso. 500-700
815. Peter Ostuni (American, 1908-1992), "Abstract Composition"; oil/canvas, 16” x 24”, signed. 500-700
816. C. Hartwig (American, 20th century), “Ram”, c. 1960; bronze-clad resin on limestone base, 7” x 8”, signed. 300-500
817. American School, “Abstracted Figure”, c.1960; welded iron, 8”h, unsigned. 400-600
818. American School, “Abstracted Figure”, c.1960; bronze, 8”h, unsigned. 500-700
819. American School, “Abstracted Figure”, c.1960; welded iron, 8”h, unsigned. 400-600
820. American School “Tree”, c. 1960; welded iron, 14”h, unsigned. 300-500
821. American School, in the manner of Alexander Calder, “Portrait”, c. 1950; joined wire, 16”h x 11”w, unsigned. 500-700
822. Bill Barrett, (American, b. 1934), “Untitled”, oil/canvas, 30” x 40”, signed verso; provenance, unframed. 2000-3000
823. Bill Barrett, (American, b. 1934), “Abstract”, c. 1991; oil/canvas, 30” x 24”, dated; signed verso, provenance, unframed. 2000-3000
824. Mario De Ferrante  (Italian/American, 1898-1992), Abstract Composition; oil/canvas, 30” x 40”, signed, unframed. 800-1200
825. Mario De Ferrante  (Italian/American, 1898-1992), “Eclipse”; oil/board, 24” x 23”, signed, titled on verso, framed. 600-800
826. Mario De Ferrante  (Italian/American, 1898-1992), Abstract Composition; oil/canvas, 30” x 40”, signed, unframed. 800-1200
827. Mario De Ferrante  (Italian/American, 1898-1992), Abstract Composition; oil/canvas, 28” x 22”, signed, unframed. 600-800
828. Mario De Ferrante  (Italian/American, 1898-1992), Abstract Composition; oil/canvas, 30” x 40”, signed, unframed. 800-1200
829. Mario De Ferrante  (Italian/American, 1898-1992), Abstract Composition; oil/canvas, 28” x 22”, signed, unframed. 600-800
830. Alexander Calder (American, 1898-1976), “Composition”, c. 1965; color lithograph, 26” x 20”, signed, and numbered, 89/125. 800-1200
831. Adolph Gottlieb (American, 1903-1974), “Figure Eight”, c. 1967; silkscreen, 18” x 24”, signed, titled, dated, and numbered 69/75; Marlborough Graphics, pub.; label verso from Hokin Gallery. 600-800
832. Alexander Calder (American, 1898-1976), “Spiral”, c. 1965; color lithograph, 26” x 20”, signed, and numbered, 69/75. 800-1200
833. Charles Cobelle  (American, 1902 - 1994), “Paris”, c. 1960; gouache, 23” x 30”, signed. 400-600
834. J. Stancin (European, 20th century), “Surreal Landscape”, c. 1960; oil/canvas, 8” x 10”, signed. 300-500
835. Italo Botti  (American, 1923 - 2003) “Cyclists”, c. 1970; oil/canvas, 36” x 36”, signed. 400-600
836. Italo Botti  (American, 1923 - 2003) “Soccer”, c. 1970; oil/canvas, 19” x 23.5”, signed. 400-600
837. Victor Vasarely (American, 1908 - 1997), “BIDIM-MC”, executed from 1968-88, circle editions, 27.6” x 13.8” x 4.1”, (edition 31 of 175). 2500-3500
838. Victor Vasarely (French/Hungarian, 1908-1997), lot of two prints, one pictured, “Figure on Stairway”, c. 1970; color lithograph, 38” x 28.5”, signed in pencil, unframed. 400-600
839. J. Jay McVicker  (American, 1911 - 2004) “Geometric Composition”, c. 1950; oil/board three dimensional construction, 22” x 22” (2.25” deep), identified verso. McVicker painted and taught at Oklahoma State University. He began his career as an “American Scene” type painter, but turned to abstraction in the late 1940s. He also executed sculpture. This is an important early abstract work by this artist, revealing his aptitude as both a painter and sculptor. 5000-7000
840. Andy Warhol  (American, 1928 - 1987) “Mick Jagger”, c. 1975; screenprint in colors, 43” x 28.9”, signed by Jagger and Warhol, numbered, 248/250. This is an important print by the artist, and the most desirable colorway of the series. 20,000-30,000
841. David Hockney  (British, b. 1937), “Big Celiaprint #2”, c. 1981; lithograph. 52.5” x 57.4”, signed, dated, and numbered, 15/100; Gemini G.E.L. (publisher). 12,000-18,000
842. John Stanley (American, 20th century), "Men in a Park", c. 1930; watercolor, untitled, signed, 4.75” x 8.25” 100-200
843. Gustav Heinrich Wolff (1886 - 1934), “Head of a Man”, c. 1930; pastel, 9” x 6.5”, initialed. 150-250
844. Louise Woodroofe (American, 20th century), “Circus Collage”, c.1960; 14" x 18", signed. 250-350
845. Peter Ostuni (American, 1908-1992), Untitled; oil/board, 19” x 23”, unsigned. 300-500
846. Victor Raphael (American, contemporary), “Symbol-Gesture”, oil and pastel/paper, 24" x 32", signed. 300-500
847. Victor Raphael (American, contemporary), “Scale”, oil and pastel/paper, 24" x 32", signed. 300-500
848. Alexander Calder (American, 1898-1976), "Pennants", c. 1965; color lithograph, 23" x 30", signed and numbered, 57/110. 800-1200
849. Edloe Risling (American, 20th century), “Still Life with Shell and Leaves”, charcoal and pastel on board, signed, unframed, 10.5” x 13”. 150-250
850. George Nelson Swagged-leg dining table, by Herman Miller, c. 1958, round top in walnut over four polished chrome legs with walnut cross support, one 18” leaf, all footpads intact, original finish, 47.5”dia. x 29”h, excellent condition 2000-3000
851. George Nelson CSS wall unit, by Herman Miller, c.1950s, consisting of: one open storage unit with dividers; one drop-front desk unit with storage compartment and interior drawer with white porcelain pull; four-drawer component (one file drawer); display cabinet with one glass shelf and two sliding glass doors; and one shelf; three vertical supports with attached black enameled lights, signed wth round metal tag, original finish, 65”w x 14”d x 96”h, very good condition 3000-3500
852. George Nelson CSS wall unit, by Herman Miller, c.1950s, consisting of five adjustable walnut shelves with 37 removable metal dividers (some not shown), two vertical supports, 49”w x 14”d x 96”h, excellent condition 1200-1500
853. Charles and Ray Eames chaise, by Herman Miller, eggplant-colored cast aluminum frame and nylon-coated fabric sling seat supports six connected black leather seat cushions, two loose cushions, 17.5”w x 76”d x 29”h, excellent condition 3000-3500
854. Charles and Ray Eames LCW, by Herman Miller, 1996, rosewood, molded plywood seat, back and legs, no. 461 from a limited edition of 500, marked with Herman Miller metal tag with edition number, 22”w x 25.5”d x 26.75”h, original finish, excellent condition 900-1200
855. Charles and Ray Eames LCW, by Herman Miller, 1996, rosewood, molded plywood seat, back and legs, no. 464 from a limited edition of 500, marked with Herman Miller metal tag with edition number, 22”w x 25.5”d x 26.75”h, original finish, excellent condition 900-1200
856. Charles and Ray Eames 670/671 lounge chair and ottoman, by Herman Miller, molded rosewood plywood shell with original black leather foam-filled cushions over a black enameled and polished aluminum base, original finish, marked with black rectangular decals, chair: 33”w x 32”d x 32.5”h, ottoman: 26”w x 22”d x 16”h, very good original condition 2500-3000
857. George Nelson Steelframe cabinet, by Herman Miller, 1950s, black enameled metal frame with white laminate surface under a glass top, two drawers with original pulls, 33.5”w x 17”d x 29.5”h, original finish, all glides intact, very good condition 600-800
858. Charles and Ray Eames fiberglass chairs, set of 8, by Herman Miller, bright blue seats over zinc H bases, signed with impressed mark, 18.5”w x 21.5”d x 31.5”h, very good condition 500-700
859. Steve Frykholm Herman Miller picnic posters, 1970s, set of five, screen print on paper, includes 1970, 1971, 1972, 1973, and 1976, each matted and framed, image is 24” x 38.5”h, framed size 31.25” x 45.75”, very good original condition 300-500
860. George Nelson cabinet, by Herman Miller, walnut case with four drawers with primavera fronts and original curved metal pulls, ebonized wood legs, signed with foil label, original finish, 34”w x 18.5”d x 29.5”h, some scratches, good condition 400-600
861. Charles and Ray Eames bar stools, three, by Herman Miller, fiberglass shells over floor-mounted poles with swivel and return mechanism, chrome covers to bases, two white and one black seats (bases can be used with other shells), 18.5”w x 20.5”d x 38.5”h, seat height: 23”, very good condition 600-800
862. George Nelson Bubble lamp, by Howard Miller, saucer shape with sprayed fiberglass over wire, marked with Howard Miller label, 26”dia. x 10”h, very good condition 300-400
863. George Nelson Meridian wall clock, ceramic, made in Italy by Raymor, green and blue hi-glaze with impressed decoration, white enameled hands, battery operated, paper label, 14.5”dia., with a matching Raymor ceramic cat, 7.5"l, stamped "Italy, mint condition 200-300
864. Early George Nelson bench/settee, by Herman Miller, c.1950, birch frame with bent arms and floating backrest, black vinyl upholstery with stud detail, original finish, 51.5”w x 25”d x 31”h, excellent condition 1200-1500
865. George Nelson and Robert Propst Action Office roll-top desk, by Herman Miller, wall-mounted form with walnut tamboured top, woodgrain laminate desk surface, black painted sides, 48”w x 24.5”d x 16”h, very good original condition 400-600
866. Alexander Girard “Black and White” Environmental Enrichment panel, by Herman Miller, 1971, screen print on cotton of couple holding hands, screened signature and date, mounted on a wood frame, 46”w x 57.5”h, excellent original condition 500-700
867. George Nelson Easy chairs, pair, by Herman Miller, 1950s, upholstered form with rounded backs over birch legs, original blue/green upholstery, 28”w x 30”d x 32”h, very good original condition 1500-1800
868. George Nelson Ball clock, by Howard Miller, birch balls on brass spokes around a brass center, black metal hour and minute hands and red second hand, signed with Howard Miller label, original finish, also includes mounting plate (not attached) for hard wiring into wall, 13.25”dia., very good condition 500-700
869. Laurel table lamps, pair, USA, 1960s, white enameled metal bases with original frosted glass shades, label to one shade, 12.5”dia. x 17”h, wear to finish of one base, very good condition 500-600
870. George Nelson coffee table, by Herman Miller, no. 4652, comb grain oak top over ebonized wood legs, pull-out rack at each end which conceals a removable serving tray that can also be used upside down to extend coffee table length, original finish, closed: 36”w x 24”d x 18”h, open: 70”, very good condition 1500-2000
871. George Nelson occasional table, by Herman Miller, walnut, one drawer and one shelf in a steel frame, signed with foil label, 17”w x 24”d x 18.5”h, original finish, very good condition 400-600
872. George Nelson cabinet, by Herman Miller, ebonized case with five drawers with original wood and aluminum pulls, ebonized wood legs, original finish, signed with foil label, 40”w x 18.5”d x 39.75”h, some wear to finish, good original condition 400-600
873. George Nelson cabinets, pair, by Herman Miller, comb grain oak cases over hairpin legs, each with five drawers and one door, original pulls, repainted, 56.5”w x 18.5”d x 39.5”h, good condition 400-600
874. Alexander Calder hammock, by CAC Publications, Nicaragua, 1975, edition of 100, wood and woven fiber, original cloth label and woven initials, central portion: 50”w x 80”l, total length is 130”, very good condition 3000-4000
875. Alexander Calder “Doll” wall hanging, by CAC Publications, Guatemala, 1975, natural jute with yellow, orange and black decoration, signed on front “CA 75” and numbered 75/100, original cloth label, 57” x 81”, very good original condition 3000-4000
876. Large 1960s Modern outdoor lamps, pair, USA, cast aluminum base and shaft with spun aluminum shade, glass diffuser, unsigned, 25”dia. x 84”h, very good condition 700-900
877. Edgar Bartolucci and Jack Waldheim Barwa outdoor lounge chair, tubular aluminum frame with green canvas sling seat, 20.5”w x 70”d x 27”h, very good condition 300-500
878. Walter Lamb chaise lounge, by Brown Jordan, bronze tubing with original cotton rope seats, 26”w x 64”d x 33”h, very good condition 1200-1500
879. Walter Lamb chaise lounge, by Brown Jordan, bronze tubing with original cotton rope seats, 26”w x 64”d x 33”h, very good condition 1200-1500
880. Walter Lamb coffee table, by Brown Jordan, bronze frame supports a round glass top, 36.75”dia. x 17”h, very good condition 1000-1500
881. Walter Lamb lounge chairs, three, by Brown Jordan, bronze tubing with original cotton rope seats, 21.5”w x 24”d x 32”h, very good condition 1200-1500
882. Impressive Paul Evans bar cabinet, 1973, USA, large form with two half-round doors in sculpted bronze concealing a square cabinet with one locking door and one drawer in sculpted bronze, and two shelves to interior with original black finish, signed in surface “PE 73”, 72”dia. x 16”d, cabinet is 48”w x 48”h, very good original condition 10,000-12,000
883. Paul Evans wall cabinet, 1973, USA, sculpted bronze exterior with two inset slate panels to top, two bi-fold doors with two adjustable shelves to interior, interior with original black finish, signed in surface “PE 73”, 72”w x 21”d x 24”h, excellent original condition 4000-6000
884. Paul Evans dining chairs, set of ten, two armchairs and eight side chairs, sculpted bronze forms with upholstered seats, backs and armrests, original paper labels included but not attached, side chairs: 21”w x 21”d x 32”h, arm chairs: 27”w x 21”d x 32”h, excellent condition 6000-8000
885. Paul Evans Stalagmite dining table, 1973, USA, large form with serpentine base in sculpted bronze, large rectangular glass top, 96”w x 48”d x 29”h, excellent condition 5000-6000
886. Man Ray mirror, “Les Grands Transparents”, by Simon, France, from the Ultramobile Collection, recent production, screenprint on mirror, 71”h x 36”w, excellent condition 1500-2000
887. Curtis Jeré floor lamp, crane-like form with chromed steel wire structure over a black enameled star-shaped base, two bulbs with black enameled metal diffusers, adjustable arm, 21”dia. x 72”h, excellent condition 1500-1800
888. Post-Modern bar stools, four, 1987, heavy and well-made forms in birch with painted and applied craquelure finish, illegibly signed “Andrew Pa….” and dated, original finish, 14”dia. x 30”h, very good condition 400-600
889. Frank Gehry Easy Edges dining table, 1972, for Bloomingdale’s, rectangular top and slab supports in corrugated cardboard with masonite trim to sides, 82”w x 35.75”d x 28.5”h, very good condition 2500-3000
890. Margaret Wharton (American, b.1943) sculpture, “Houdini’s Habit”, 1988, wood, paper and resin construction on a sanded Lucite base, shown open and closed, 11.25”w x 8.75”d x 9”h, hand-signed, dated and titled on base, excellent condition 2000-3000
891. Ettore Sottsass Carlton bookcase, by Memphis, Italy, c.1981, multicolored and patterned laminate with two drawers, perhaps the most famous piece from Memphis and an icon of 80s design, metal tag with date included but not attached, 75”w x 12”d x 76”h, excellent condition 6000-8000

 

 

Mary Ellen Davis Collection

In the early 1930s, Mary Ellen Porter moved with her family to Las Vegas, Nevada from Bemidji, Minnesota.  Her father, JD, was an auto salesman whose business suffered during the depression. He saw that Hoover Dam was being built in Nevada and realized that there would be hundreds of well-paid workers with paychecks burning holes in their pockets. In High School, Mary Ellen regularly drove the latest new car to school. JD thought this was a great way to advertise his cars, and it worked. In 1933, the family attended the World’s Fair in Chicago. The experience had a profound affect on Mary Ellen and sparked her love affair with everything “modern”.
 
Jerry Davis, like Mary Ellen’s father, realized that Hoover Dam would generate booming businesses.  His approach was to open a boat dealership to supply the growing business at Lake Mead.  One day in 1941, Mary Ellen went to his store to look at boats, but began dating Jerry instead.  After they were married in 1942, they opened Marjer’s (a name they created by combining Mary Ellen and Jerry) in Las Vegas. The store sold the latest modern designs, with an emphasis on Herman Miller. They lived in a modern apartment above the store, which was featured in the local paper and in Las Vegas Magazine.
Mary Ellen was a member of the “Ninety Nines”, a club of women pilots. She often flew back and forth between Las Vegas and Kanab, Utah, where she and Jerry had a summer home. In the 1950s, Kanab was known as Little Hollywood because of all the Westerns that were being filmed there.  Jerry Davis rode horses as an extra in several films. In 1956, Marjer’s closed its doors.

 
892. Charles and Ray Eames ESU 100-N, by Herman Miller (Mary Ellen Davis Collection), 1950s, first series, birch top over black laminate-faced lower shelf, neutral palette of white, gray and black, masonite panels, zinc-plated frame, all glides intact, unsigned, 47”w x 16”d x 20.5”h, top recoated, lower shelf repainted, very good condition 1800-2200
893. Charles and Ray Eames ESU 400, second series, by Herman Miller (Mary Ellen Davis Collection), 1950s, unusual configuration, upper dimpled sliding doors, birch top and shelf above eleven drawers with black metal pulls, neutral palette of white, gray, beige and black masonite panels, bright chrome frame and legs, all glides intact, 47”w x 16.75”d x 58.25”h, entirely original, excellent condition 10,000-12,000
894. Charles and Ray Eames ESU 251-C, by Herman Miller (Mary Ellen Davis Collection), 1950s, first series, birch top over black laminate-faced middle and lower shelves, colorful palette of red, blue, white and gray masonite panels, zinc-plated frame, all glides intact, signed with paper label, 24”w x 16”d x 32.75”h, excellent original condition 2500-3000
895. Charles and Ray Eames ESU 211-C, by Herman Miller (Mary Ellen Davis Collection), 1950s, first series, birch top over black laminate-faced middle and lower shelves, three birch drawers with original pulls, one perforated metal panel, colorful palette of red, blue, white and gray masonite panels, zinc-plated frame, rubber missing from glides, signed with paper label, 47”w x 16”d x 32.75”h, very good original condition 4000-5000
896. Charles and Ray Eames ESU 251-N, by Herman Miller (Mary Ellen Davis Collection), 1950s, first series, birch top over black laminate-faced middle and lower shelves, neutral palette of white gray masonite panels, zinc-plated frame, all glides intact, signed with paper label, 24”w x 16”d x 32.75”h, excellent original condition 2500-3000
897. George Nelson corner storage cabinet, by Herman Miller (Mary Ellen Davis Collection), model 652, c.1952, primavera case over zinc hairpin legs, with removable tops finished in original Forest Green lacquer, large compartment has vertical metal dividers for phonograph storage, original finish, 34”w x 34”d x 22.5”h, very good original condition 700-900
898. Isamu Noguchi coffee table, by Herman Miller (Mary Ellen Davis Collection), 1950s, two-piece ebonized birch base connected by original aluminum pin, original 3/4” thick light green glass top, unmarked, original finish, 50”w x 36”d x 16”h, excellent original condition 1800-2200
899. George Nelson Platform bench, by Herman Miller (Mary Ellen Davis Collection), 1950s, birch top over ebonized wood legs, original finish, 48”w x 18.5”d x 14”h, excellent original condition 600-800
900. George Nelson Platform bench, by Herman Miller (Mary Ellen Davis Collection), 1950s, birch top over ebonized wood legs, includes loose seat cushion (not shown), original finish, 48”w x 18.5”d x 14”h, excellent original condition 600-800
Sale Date:
Dec. 3, 2006