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A Classic California Ranch Home by Cliff May Goes On The Market for $1.75 million

A Classic California Ranch Home by Cliff May Goes On The Market for $1.75 million

Art collectors and lovers of classic California architecture and midcentury modern furniture will appreciate this extensive look at architec...

4:00 PM

Kaufmann House To Be Auctioned By Christies. Care To Bid? There's No Shipping Costs...

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhss1lmz81qQnvGPOI2n9ub-TXMGhMyBeVF_pcq4X-EzLY-dWtufz2kUzOS6gKf7A-VlfWxeIIIDHwhmvex3frEZVNVc3MYlVrKKBzcywCKcdW_I73H5RV9AU65BCy0lnG7DsSlLl3i-RZy/s1600-h/housespan.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127560289070329186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhss1lmz81qQnvGPOI2n9ub-TXMGhMyBeVF_pcq4X-EzLY-dWtufz2kUzOS6gKf7A-VlfWxeIIIDHwhmvex3frEZVNVc3MYlVrKKBzcywCKcdW_I73H5RV9AU65BCy0lnG7DsSlLl3i-RZy/s400/housespan.jpg" style="cursor: pointer; width: 528px; height: 246px;" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGUdsEcclhSL-pHgDew_PTxTk-hw2Rqy_agC4j1gFhQnxNAF9dba3NaIIpdXaF0DEemqs4d29PrL4G49gxOpEKCHk1x-9B19SWjvVYGx5UwqhsYBeJ80wjVSvRlLzPAeQltH7K831RYuNr/s1600-h/kaufmanslide11.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127554976195783970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGUdsEcclhSL-pHgDew_PTxTk-hw2Rqy_agC4j1gFhQnxNAF9dba3NaIIpdXaF0DEemqs4d29PrL4G49gxOpEKCHk1x-9B19SWjvVYGx5UwqhsYBeJ80wjVSvRlLzPAeQltH7K831RYuNr/s400/kaufmanslide11.jpg" style="cursor: pointer; width: 530px; height: 621px;" /></a> Above: The Kaufmann House, a 1946 glass, steel and stone landmark built on the edge of Palm Springs by the architect Richard Neutra, has twice been at the vanguard of new movements in architecture — helping to shape postwar Modernism and later, as a result of a painstaking restoration in the mid-1990s, spurring a revived interest in mid-20th-century homes. NY Times By EDWARD WYATT Published: October 31, 2007 PALM SPRINGS, Calif., The Kaufmann House, a 1946 glass, steel and stone landmark built on the edge of this desert town by the architect Richard Neutra, has twice been at the vanguard of new movements in architecture — helping to shape postwar Modernism and later, as a result of a painstaking restoration in the mid-1990s, spurring a revived interest in mid-20th-century homes. <a class="jumpLink" href="http://www.nytimes.com/2007/10/31/arts/design/31hous.html?_r=1&oref=slogin#secondParagraph"></a><div id="inlineMultimedia"><div class="story first"> <a href="http://www.nytimes.com/slideshow/2007/10/30/arts/20071031_KAUFMAN_SLIDESHOW_index.html"> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNpSCwPAY4ZU_FyMr4erzIA5NUguT1O3YrNb9oNc3C6KYAW2pPt_FfQpqA6Kl7tmIolKL98dBwD4Ia1bndfxZvWptzgRNvSB-4vRTFcGe1w_uSl3a9qm6Y1BLqlLex6ofG-L4245BhFPG/s1600-h/kaufmanslide13.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127554671253105938" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNpSCwPAY4ZU_FyMr4erzIA5NUguT1O3YrNb9oNc3C6KYAW2pPt_FfQpqA6Kl7tmIolKL98dBwD4Ia1bndfxZvWptzgRNvSB-4vRTFcGe1w_uSl3a9qm6Y1BLqlLex6ofG-L4245BhFPG/s400/kaufmanslide13.jpg" style="cursor: pointer; width: 533px; height: 355px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio0rryv8rKJ2bMO1_6Gcud1kP-pEnWATHnuTJbfbg0Ey2VP9khsSUPyS1iVFpL-zNXR2c_YS-Sa1SSsRoIvL2CCKsziMkHK_nr_e4REVPjgMlGBwS5ZfeWddNHAL2RBHD4eNpwede7WYVY/s1600-h/Picture+6.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><a href="http://www.nytimes.com/slideshow/2007/10/30/arts/20071031_KAUFMAN_SLIDESHOW_index.html"> </a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3MzzddQDiXq626B_NHXEsP-EkWZMDLDf53h4ZDpfX7QX_eO7H5NQpDafLpikog8RT30MTfmKSGTnI8Yl8gWOiEclNc3pLkWYtnZYRsIOzAXeLHD1omLeP6xceYnCyLDSTxKK95I6BfrZ/s1600-h/Picture+8.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127553412827688194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3MzzddQDiXq626B_NHXEsP-EkWZMDLDf53h4ZDpfX7QX_eO7H5NQpDafLpikog8RT30MTfmKSGTnI8Yl8gWOiEclNc3pLkWYtnZYRsIOzAXeLHD1omLeP6xceYnCyLDSTxKK95I6BfrZ/s400/Picture+8.png" style="cursor: pointer; width: 524px; height: 347px;" /></a> Now the California homeowners who undertook that restoration hope Neutra’s masterpiece will play a role in a third movement: promoting architecture as a collectible art worthy of the same consideration as painting and sculpture. Those owners, Brent Harris, an investment manager, and Beth Edwards Harris, an architectural historian, are finalizing their divorce, and plan to auction the Kaufmann House at Christie’s in New York in May. The building, with a presale estimate of $15 million to $25 million, will be part of Christie’s high-profile evening sale of postwar and contemporary art. Commissioned by Edgar J. Kaufmann Sr., the Pittsburgh department store magnate who had commissioned <a href="http://topics.nytimes.com/top/reference/timestopics/people/w/frank_lloyd_wright/index.html?inline=nyt-per" title="More articles about Frank Lloyd Wright.">Frank Lloyd Wright</a> about a decade earlier to build Fallingwater in Pennsylvania, the house was designed as a desert retreat from harsh winters. Constructed as a series of horizontal planes that seem to float over glass walls, the house seems to absorb the mood of the surrounding desert. Auctions of such midcentury landmarks have become more common in recent years. In 2003 Sotheby’s sold the 1951 Farnsworth House southwest of Chicago, designed by Mies van der Rohe, at auction for $7.5 million. In June Jean Prouvé’s 1951 Maison Tropicale (seen below), a prototype for prefabricated homes for French colonial officials stationed in Africa, sold at Christie’s for $4.97 million. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglu6aRx4A51F1slfSUXOHubEO3bvAzfqX45VsvFJ27sug8doWDAg5Fm3s538kcCCv4wCYUx1N2jx7Dd3NsLDHUYagrRqW377rnC-mWWLS1I9op3GNRFiv-LnlQYxTZpGwMIU8-KeR01jmj/s1600-h/Picture+20.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127559193853668690" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglu6aRx4A51F1slfSUXOHubEO3bvAzfqX45VsvFJ27sug8doWDAg5Fm3s538kcCCv4wCYUx1N2jx7Dd3NsLDHUYagrRqW377rnC-mWWLS1I9op3GNRFiv-LnlQYxTZpGwMIU8-KeR01jmj/s400/Picture+20.png" style="cursor: pointer; width: 539px; height: 402px;" /></a> Above: Jean Prouvés Maison Tropicale on Long Island, sold to a private bidder Such auctions are bringing a new level of scrutiny to a form that, little more than a decade ago, attracted so little notice that the Kaufmann House was being offered for sale as a teardown.Still, such sales sometimes draw criticism from preservationists who would prefer that the houses be tended by a public institution or trust that guarantees continued access for architecture students and scholars rather than sold to the highest bidder. (The Farnsworth House, now open to the public, was bought by the <a href="http://topics.nytimes.com/top/reference/timestopics/organizations/n/national_trust_for_historic_preservation/index.html?inline=nyt-org" title="More articles about National Trust for Historic Preservation">National Trust for Historic Preservation</a>, while the Maison Tropicale went to a private bidder.) <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik1mE5oJ1DB85VxWKpyMvmrM087nVFc3Ld5vz9RTNbWe3Xzrhc8TeSSsavMyeN1hkJ2wUW5HK_acY9881uyhxALxcD2JEMg-ZiQc-opFkgVj-H0EzS9xYsI_g6CoE3Im2Owy1h-V3q-t41/s1600-h/Picture+12.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127552927496383730" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik1mE5oJ1DB85VxWKpyMvmrM087nVFc3Ld5vz9RTNbWe3Xzrhc8TeSSsavMyeN1hkJ2wUW5HK_acY9881uyhxALxcD2JEMg-ZiQc-opFkgVj-H0EzS9xYsI_g6CoE3Im2Owy1h-V3q-t41/s400/Picture+12.png" style="cursor: pointer; width: 528px; height: 352px;" /></a> The couple behind the restoration, Brent Harris, an investment manager, and Beth Edwards Harris, an architectural historian, are finalizing their divorce, and plan to auction the Kaufmann House at Christie's in New York in May. The building, with a presale estimate of $15 million to $25 million, will be part of Christie's high-profile evening sale of postwar and contemporary art. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBzJujTj5oDsGbXY21W-xWPG5ozoM62JbeAGqD18g2HpfbNuYzSRSMt-U8JEPBFqKnrV0mW4lQyJy9YF7rf3kLraOVUcTuQpZlxtMSKdnripk1OJp2MACyEA_eoLpQF97mav6NkKQVW5Jb/s1600-h/Picture+13.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127543873705323682" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBzJujTj5oDsGbXY21W-xWPG5ozoM62JbeAGqD18g2HpfbNuYzSRSMt-U8JEPBFqKnrV0mW4lQyJy9YF7rf3kLraOVUcTuQpZlxtMSKdnripk1OJp2MACyEA_eoLpQF97mav6NkKQVW5Jb/s400/Picture+13.png" style="cursor: pointer; width: 531px; height: 358px;" /></a>The Harrises also bought several adjoining plots to more than double the land around the 3,200-square-foot house, restoring the desert buffer that Neutra envisioned. The Harrises “were visionaries in their own way,” said Joshua Holdeman, a senior vice president at Christie's. Asked how it felt to be close to selling the property, Dr. Harris blinked away tears. “Oh, it’s horrifying,” she said. “But we did our time here. There will be other things.” But Dr. Harris, who worked toward her doctorate in architectural history while restoring the Kaufmann House, said she believed an auction would further the preservationist cause. “It’s an odd thing, but the more money this house goes for, the better it is for preservation in my point of view,” she said on Monday while giving a tour of the house to a reporter. “I think it will encourage other people who have the income to go out and get places like these to restore, rather than just looking for some pretty palace somewhere.” <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvaxILHXGKEZjMhqmqb27KNQql2jLPD2oWyQVCtrfpaV-IwZKigfWK7Zd7hWjDIXhmja4TuT_fb_Vl6GAHVfN68nVN_blUSsb_yMXN82XNNpVU-IFfhSDmGrBrW_PUBVByem5TdVVPnuTv/s1600-h/Picture+15.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127545840800345298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvaxILHXGKEZjMhqmqb27KNQql2jLPD2oWyQVCtrfpaV-IwZKigfWK7Zd7hWjDIXhmja4TuT_fb_Vl6GAHVfN68nVN_blUSsb_yMXN82XNNpVU-IFfhSDmGrBrW_PUBVByem5TdVVPnuTv/s400/Picture+15.png" style="cursor: pointer; width: 539px; height: 540px;" /></a> Photo: Tim Street-Porter The Kaufmann House is one of the best-known designs by Neutra, a Viennese-born architect who moved to the United States in the 1920s and designed homes for the next few decades for many wealthy West Coast clients. His buildings are seen virtually as the apotheosis of Modernism’s International Style, with their skeletal steel frames and open plans. Yet Neutra was also known for catering sensitively to the needs of his clients, so that their houses would be not only functional but would also nurture their owners psychologically. When Brent and Beth Harris first saw the Kaufmann House, it was neither a pretty palace nor an obvious candidate for restoration. Strikingly photographed in 1947 by Julius Shulman, it stood vacant for several years after Kaufmann’s death in 1955. Then it went through a series of owners, including the singer Barry Manilow, and a series of renovations. Along the way, a light-disseminating patio was enclosed, one wall was broken through for the addition of a media room, the sleek roof lines were interrupted with air-conditioning units, and some bedrooms were wallpapered in delicate floral prints. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI1S815UZs6piyYYsWHnPOMsDOehReeMecmGSYdULwPFnH9sRIX_BKyeT49veZR0ohG8SdRY9N82KmyB1ZqNzu9qMEdSwN-A-c8n_RGhfGMHH7EmqWZ6nMK3VrThK22wxkYcia3En23Sx5/s1600-h/Picture+16.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127543585942514834" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI1S815UZs6piyYYsWHnPOMsDOehReeMecmGSYdULwPFnH9sRIX_BKyeT49veZR0ohG8SdRY9N82KmyB1ZqNzu9qMEdSwN-A-c8n_RGhfGMHH7EmqWZ6nMK3VrThK22wxkYcia3En23Sx5/s400/Picture+16.png" style="cursor: pointer; width: 529px; height: 689px;" /></a> Photo: Tim Street-PorterThe house stood vacant for several years after Kaufmann's death in 1955. Then it went through a series of owners, including the singer Barry Manilow, and a series of renovations. A patio was enclosed, one wall was broken through for the addition of a media room, the sleek roof lines were interrupted with air-conditioning units, and some bedrooms were wallpapered in delicate floral prints. In 1992 Beth Harris, an architectural tourist of a sort, scaled a fence one afternoon to peek at the famous house while her husband discovered a for-sale sign in an overgrown hedge. “It quite clearly was at some risk of being severely modified by whoever was to buy it, or potentially demolished,” Mr. Harris said, recalling his first glimpses of the house. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC3jPqZHvXtvPxWHYOHhX6fhqGv1Ly_aNV6Jit0ikOIwfdTsnZ5136M-uJ4bRTUrhl3K02KBrVdP9H7Uv0uXF3QYruuz_yFbXf1pru123Tn9-7L5ToUL46gyqQQG2cbTiKg6r-sQnbLbB_/s1600-h/Kaufmannslide1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127557110794530098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC3jPqZHvXtvPxWHYOHhX6fhqGv1Ly_aNV6Jit0ikOIwfdTsnZ5136M-uJ4bRTUrhl3K02KBrVdP9H7Uv0uXF3QYruuz_yFbXf1pru123Tn9-7L5ToUL46gyqQQG2cbTiKg6r-sQnbLbB_/s400/Kaufmannslide1.jpg" style="cursor: pointer; width: 538px; height: 359px;" /></a> above:Constructed as a series of horizontal planes that seem to float over glass walls, the house seems to absorb the mood of the surrounding desert. Photo: Julius Shulman and Juergen Nogai In Palm Springs, increasingly dominated by faux Spanish estates, Neutra’s Modernism “wasn’t the prevailing style,” Mr. Harris said, and the Kaufmann House “had been for sale for at least three and a half years.” He added: “No one wanted it. And so it was a gorgeous house, an important house, and it was crying out for restoration.” <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigzB4Mmh3IqwiYHuYoHIoh-SEetjBoKcbZDoJbtzOV1iuDWwnSlCwA8nyxbvWWtss-GGuhq3wf7iusAqxDBkLBNM9BUSRzIYlsg6rDt0IZbPVVzZaCdC1Ai21zfmZD1bxQs2O8vez6BHLn/s1600-h/Picture+7.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127545621757013186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigzB4Mmh3IqwiYHuYoHIoh-SEetjBoKcbZDoJbtzOV1iuDWwnSlCwA8nyxbvWWtss-GGuhq3wf7iusAqxDBkLBNM9BUSRzIYlsg6rDt0IZbPVVzZaCdC1Ai21zfmZD1bxQs2O8vez6BHLn/s400/Picture+7.png" style="cursor: pointer; width: 536px; height: 357px;" /></a> Auctions of such midcentury landmarks have become more common. In 2003 Sotheby's sold Mies van der Rohe’s 1951 Farnsworth House for $7.5 million. In June, Jean Prouvé's 1951 Maison Tropicale sold at Christie's for $4.97 million. After purchasing the house and its more than an acre of land for about $1.5 million, the Harrises removed the extra appendages and enlisted <a href="http://www.marmol-radziner.com/">two young Los Angeles-area architects, Leo Marmol and Ron Radziner,</a> to restore the Neutra design. They sought out the original providers of paint and fixtures, bought a metal-crimping machine to reproduce the sheet-metal fascia that lined the roof and even reopened a long-closed section of a Utah quarry to mine matching stone to replace what had been removed or damaged. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYPR-wbGf4EFm0Jtca4goAE1Avp87nHFQ1Hz8tpVPyVGDCVA11WlRO0v76X43rWhzjeIJ86GYKVEgIW7CaPL5fqdHH1wy3xfcBadtcJsJMcd3T8dpYYDHuMaHCmG3tG-WzaoykYuyQZrer/s1600-h/Picture+19.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127533419754925154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYPR-wbGf4EFm0Jtca4goAE1Avp87nHFQ1Hz8tpVPyVGDCVA11WlRO0v76X43rWhzjeIJ86GYKVEgIW7CaPL5fqdHH1wy3xfcBadtcJsJMcd3T8dpYYDHuMaHCmG3tG-WzaoykYuyQZrer/s400/Picture+19.png" style="cursor: pointer; width: 547px; height: 365px;" /></a> Photo: Tim Street-Porter Without the original plans for the house, the Harrises dug through the Neutra archives at the University of California, Los Angeles, looking at hundreds of Neutra’s sketches of details for the house. They persuaded Mr. Shulman to let them examine dozens of never-printed photographs of the home’s interior, and found other documents in the architectural collections at <a href="http://topics.nytimes.com/top/reference/timestopics/organizations/c/columbia_university/index.html?inline=nyt-org" title="More articles about Columbia University.">Columbia University</a>. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9NoBwbi77pg_vFFDj2OM3bI-9iBHVwBrpizgBJw0WmgrEW_srSm-Rb2BA6H4FN9o_oDFaTTlOD-_AmjaBOTYq52p6yFWXgCw6Jpy4FQK-Ib3wQBJ3hIWSl4yM6vB4JY9oQo8NB2piYFQp/s1600-h/Picture+11.png" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127546725563608290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9NoBwbi77pg_vFFDj2OM3bI-9iBHVwBrpizgBJw0WmgrEW_srSm-Rb2BA6H4FN9o_oDFaTTlOD-_AmjaBOTYq52p6yFWXgCw6Jpy4FQK-Ib3wQBJ3hIWSl4yM6vB4JY9oQo8NB2piYFQp/s400/Picture+11.png" style="cursor: pointer; width: 529px; height: 358px;" /></a> The Harrises also bought several adjoining plots to more than double the land around the 3,200-square-foot house, restoring the desert buffer that Neutra envisioned. They rebuilt a pool house that serves as a viewing pavilion for the main house, and kept a tennis court that was built on a parcel added to the original Kaufmann property. The Harrises “were visionaries in their own way,” said Joshua Holdeman, a senior vice president at Christie’s who oversees the 20th-century decorative art and design department. With the renovation “they created a whole new public awareness of midcentury-modern architecture.” Describing the results of the restoration in The Los Angeles Times in 1999, Nicolai Ouroussoff, now the architecture critic for The New York Times, said the house could “now be seen in its full glory for the first time in nearly 50 years.” <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmekWb7P5urU5KOTfde4yaNhoRPOi2OGeJgujWyPmLcBZCpdDnQTZUKMTqAzjydwpeDBx3XT-5i-Ul2Qw6rHcVxnACRuvtCKO4JOJN0V8wIbGHVzbF10j6AZj17z81bu48SnFi65wyEfqA/s1600-h/Kaufmannslide2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5127558042802433346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmekWb7P5urU5KOTfde4yaNhoRPOi2OGeJgujWyPmLcBZCpdDnQTZUKMTqAzjydwpeDBx3XT-5i-Ul2Qw6rHcVxnACRuvtCKO4JOJN0V8wIbGHVzbF10j6AZj17z81bu48SnFi65wyEfqA/s400/Kaufmannslide2.jpg" style="cursor: pointer; width: 538px; height: 359px;" /></a> The pending sale is bittersweet for the current owners, who said they planned to give a portion of the proceeds to preservation groups. Asked how it felt to be close to selling the property, Dr. Harris looked back at the house, blinking away tears. “Oh, it’s horrifying,” she said. “But we did our time here. There will be other things.” <a href="http://www.christies.com/home_page/home_page.asp">Click here to go to Christies Auction site.</a> </div></div>

Kaufmann House To Be Auctioned By Christies. Care To Bid? There's No Shipping Costs...

Above: The Kaufmann House, a 1946 glass, steel and stone landmark built on the edge of Palm Springs by the architect Richard Neutra, has twi...

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OCMA gives birth to COOL: An exhibit about 50s and 60s California art, design and culture

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXJu2ZSLZ7RARWuuYpPAM783dzke6Bo8JFOyBGj4tOqhJAIc0dtTmsD2NHoJ4Bx4CPLi418x3teDZbCOcReR42_a76gzdk5LH-NJ-ZtiVBzORgDrlPwGrb2EoaDDc4UN8u1t4IUC25O2Vs/s1600-h/index_ShulmanCaseStudy21-croppedWeb.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5121663596889606786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXJu2ZSLZ7RARWuuYpPAM783dzke6Bo8JFOyBGj4tOqhJAIc0dtTmsD2NHoJ4Bx4CPLi418x3teDZbCOcReR42_a76gzdk5LH-NJ-ZtiVBzORgDrlPwGrb2EoaDDc4UN8u1t4IUC25O2Vs/s400/index_ShulmanCaseStudy21-croppedWeb.jpg" style="cursor: pointer; width: 223px; height: 223px;" /></a> Birth of the Cool: California Art, Design, and Culture at Midcentury October 7, 2007–January 6, 2008, Newport Beach Birth of the Cool examines the broad cultural zeitgeist of “cool” that influenced the visual arts, graphic and decorative arts, architecture, music, and film produced in California in the 1950s and early 1960s. The widespread influences of such midcentury architects and designers as Harry Bertoia, Charles and Ray Eames, John Lautner, and Richard Neutra, have been well-documented. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTAXXadD6MbUN0-zOxEUO5pWZekqf83k7rBmXfokY0PgrDZRltTJ2vc7rziuYcrhyphenhyphenebkA26EC925gyrsSDsB1DhbTbZGLQ6qmpu6aD19s0rEYAM3YSuxauLVkUcQdJ2d8WlL-rk3XpZmqM/s1600-h/current2051_current2041_Copy-of-Benjamin_Black-Pillars.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5121662325579287122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTAXXadD6MbUN0-zOxEUO5pWZekqf83k7rBmXfokY0PgrDZRltTJ2vc7rziuYcrhyphenhyphenebkA26EC925gyrsSDsB1DhbTbZGLQ6qmpu6aD19s0rEYAM3YSuxauLVkUcQdJ2d8WlL-rk3XpZmqM/s400/current2051_current2041_Copy-of-Benjamin_Black-Pillars.jpg" style="cursor: pointer; width: 529px; height: 633px;" /></a> Above: Karl Benjamin, Black Pillars, 1957, oil on canvas, 48 x 24 in. (121.9 x 61 cm), private collection. © Karl Benjamin, courtesy of Louis Stern Fine Art, West Hollywood Less well-known, however, are the innovations of a group of Hard-Edge painters working during this period including Karl Benjamin, Lorser Feitelson, Fredrick Hammersley, Helen Lundberg and John McLaughlin, whose work retains a freshness and relevance today. Birth of the Cool revisits this scene, providing a visual and cultural context for West Coast geometric abstract painting within the other dynamic art forms of this time. Birth of the Cool is organized by <a href="http://www.ocma.net/">the Orange County Museum of Art</a> and curated by Elizabeth Armstrong, deputy director for programs and chief curator at OCMA. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGPNA0m2oey9IRjGPFa1_QBLw6N2MQNRAQq4gS4hGAoN5s9uuGYo3B-obEx81-MXPuOIbg0E7f92ve74ZhXp19B_V6Hn56os9SDMpbdMIs1QMGkDz6IpxC3I5a1EhLNSfwN7Pg2ZGC8i-L/s1600-h/current2060_Feitelson-Dichotomic-lo-res-.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5121662948349545074" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGPNA0m2oey9IRjGPFa1_QBLw6N2MQNRAQq4gS4hGAoN5s9uuGYo3B-obEx81-MXPuOIbg0E7f92ve74ZhXp19B_V6Hn56os9SDMpbdMIs1QMGkDz6IpxC3I5a1EhLNSfwN7Pg2ZGC8i-L/s400/current2060_Feitelson-Dichotomic-lo-res-.jpg" style="cursor: pointer; width: 528px; height: 526px;" /></a> above image: Lorser Feitelson, Dichotomic Organization, 1959, oil on canvas, 60 x 60 in. (152.4 x 152.4 cm), Nora Eccles Harrison Museum of Art, Utah State University, Logan, Utah, Marie Eccles Caine Foundation Gift. © Feitelson Arts Foundation The exhibition is accompanied by a 300-page publication (see the end of this post). Major support for Birth of the Cool is provided by Brent R. Harris, The Segerstrom Foundation, and the National Endowment for the Arts. Significant support is provided by Bente and Gerald Buck, Twyla and Chuck Martin, Jayne and Mark Murrel, Pam and Jim Muzzy, Barbara and Victor Klein, and Victoria and Gilbert E. LeVasseur Jr.. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz91SeZbNL5BkFvuxAB6hnKqWELzeIzEnzDHqxCf8rQpNDT5BMzV76WEo9lBThRIDKtIrTfc9KM-ZHDUKBW-cuI1oA-79KsyP8tPDCnzVrqtlmuCWBjNTUh06VzHR-4vk_JnltU7jNzoID/s1600-h/current2041_grl_2004-r-10-2980-20p-lf.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5121662536032684642" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz91SeZbNL5BkFvuxAB6hnKqWELzeIzEnzDHqxCf8rQpNDT5BMzV76WEo9lBThRIDKtIrTfc9KM-ZHDUKBW-cuI1oA-79KsyP8tPDCnzVrqtlmuCWBjNTUh06VzHR-4vk_JnltU7jNzoID/s400/current2041_grl_2004-r-10-2980-20p-lf.jpg" style="cursor: pointer; width: 253px; height: 312px;" /></a> Above: Julius Shulman, photograph of Case Study House #22 (Pierre Koenig, architect, Los Angeles, 1959–60), 1960. © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute Additional support is provided by Toni and Steven Berlinger and Patricia and Max Ellis. Corporate sponsorship is provided by Gucci and Design Within Reach. The official media sponsor of OCMA is The Orange County Register. Additional media sponsorship is provided by KCRW and KKJZ. Image credit: Karl Benjamin, Black Pillars, 1957, oil on canvas, private collection. © Karl Benjamin, courtesy of Louis Stern Fine Arts, West Hollywood. If you can't make the exhibit, buy the book. Birth of the Cool Catalogue <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWsEG59_aRWN6JozNQmwXD19snNJvysEdr0xrLbzSgmjiQxc1M127r-9gLAoLgmQwWfHJesWenAIz503zWCWXlTAUE4xuY1SnMvVHXUOVtZbwBM-oNV6hgupMGK8hUCvDln8btZg3SL4uX/s1600-h/413_Birth-of-the-Cool-Cover.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5121661866017786434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWsEG59_aRWN6JozNQmwXD19snNJvysEdr0xrLbzSgmjiQxc1M127r-9gLAoLgmQwWfHJesWenAIz503zWCWXlTAUE4xuY1SnMvVHXUOVtZbwBM-oNV6hgupMGK8hUCvDln8btZg3SL4uX/s400/413_Birth-of-the-Cool-Cover.JPG" style="cursor: pointer; width: 530px; height: 497px;" /></a> Hardcover; 304 pages $65 (member price: $58.50) EDITED BY ELIZABETH ARMSTRONG 1950s West Coast style exuded “cool”: from the smooth, hypnotic strains of a Miles Davis riff through Richard Neutra’s elegant modernist residences to the hard-edged paintings of Helen Lundeberg and Karl Benjamin. This richly illustrated volume casts a fresh eye on Fifties West Coast style with illuminating commentary from a variety of perspectives. Designed to echo the period it celebrates, this catalog explores modernist innovations in art, architecture, design, film and music. Prominent cultural critics write on an array of topics: Thomas Hine about the culture of cool; Elizabeth Smith on domestic aspects of the period’s architecture; Frances Colpitt on hard-edged abstract painting; Dave Hickey on jazz; Michael Boyd on modernist design in Southern California; Lorraine Wild on graphic design and advertising; and Bruce Jenkins on the crossover between animation and experimental film. The result is a multi-faceted exploration of the 1950s West Coast zeitgeist in all its color, creativity, and cool Elizabeth Armstrong is Deputy Director for Programs and Chief Curator of the Orange County Museum of Art. Available as of October 7th, 2007 <a class="small" href="http://www.ocma.net/index.html?page=cart&action=add_item&id=413&qty=1&prod_option=">pre-order the book here</a>

OCMA gives birth to COOL: An exhibit about 50s and 60s California art, design and culture

Birth of the Cool: California Art, Design, and Culture at Midcentury October 7, 2007–January 6, 2008, Newport Beach Birth of the Cool exami...

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OCMA gives birth to COOL: An exhibit about 50s and 60s California art, design and culture

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