Modern Ceramics, Including Glass

Modern Ceramics, Including Glass May 28, 2015

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Modern Ceramics, Including Glass

Cowan’s Cleveland Salesroom 26801 Miles Road Cleveland, Ohio 44128 216.292.8300 Fax 216.292.8303

Auction May 28, 2015 12 p.m.

Exhibition May 27, 2015 12:00 p.m. - 5 p.m.

May 28, 2015 9 a.m. - 12 p.m.

Bid In person, by phone, absentee or live online at bidsquare.com

cowans.com Phone and Absentee Bidding 513.871.1670 or visit cowans.com Buyer’s Premium 20%

This is our 10th annual auction of Modern Ceramics with Cowan’s Auctions, Inc. and we proudly present over 70 carefully selected lots.

Among the highlights are two works by Robert Turner from the artist’s own collection, a lively Picasso Madoura offered at a time when the market for these artworks is soaring and a most important work by the gifted New York sculptor Michele Oka Doner ever to come to auction; a massive, powerfully tribal, sensual, eleven-part assembly of primal ceramic forms on metal stands.

In addition we are most fortunate to have a group of pottery from Albert Green’s Estate, works the New Jersey artist kept aside as representing the finest examples of his art.

Green was born in 1914 into a working class family. Driven by a fierce work ethic, he was able to enter the University of Pennsylvania at the age of 16 on a full scholarship for both his academic and athletic achievements. He was a champion middle distance runner throughout college.

He studied painting at the Art Students League in New York City. But in a chance encounter in 1946, a rare one at that time, saw a display of contemporary Japanese pottery by the Mingei master Shoji Hamada that changed his life. On the spot Green decided to switch from painter to potter.

Green did not go to any ceramic schools, such as Alfred University, but learned pottery techniques through the rather daunting method of ceramic engineering manuals and through his knowledge of college chemistry, taught himself glaze technology.

Merged with his painting skills, he produced a translation of Japanese style pottery decoration that was thoroughly Western and unique within this widespread Japonisme treatment in America. His use of color was striking and bold and felt connected to mid-century modernism just as it was breaking through into American culture, with geometric panels of bright color and powerful slip drawing.

Whereas the Mingei style presented reticence, Green delivered bravado. Now that mid-century is so significant, collected as style artifacts and design trophies, and also influencing the new, Green’s pottery is finding a new life and appreciation for its zest, adventurous color and complex compositions all anchored in sturdy, handsome vessel forms.

Green received numerous awards for his art from the Cooper-Hewitt Museum and National Museum of Design in New York and was made a Fellow of the American Craft Council. He is in the collection of the Chicago Art Institute; High Museum of Art, Atlanta; Los Angeles County Museum of Art, Los Angeles; Everson Museum of Art, Syracuse, NY; Renwick Gallery of the National Museum of American Art, Smithsonian Institution, Washington, DC and Museum of Fine Arts, Boston, MA. Garth Clark

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1 Albert Green (1914-1994; USA) Tall Bottle in Red, Blue and Brown ca 1970-80 Glazed Stoneware; ht. 19.75, wd. 7.5, dp. 4 in.

Signed Green on base.

Directly from the Family of the Artist $800 - $1,200 2 Albert Green (1914-1994; USA) Square Blue and White Bottle ca 1970-80 Glazed Stoneware; ht. 10.25, wd. 7, dp. 2.5 in.

Signed Green on base.

Directly from the Family of the Artist $400 - $600 3 Albert Green (1914-1994; USA) Square Bull’s Eye Bottle ca 1970-80 Glazed Stoneware; ht. 12.75, wd. 8.75, dp. 3 in.

Signed Green on base.

Directly from the Family of the Artist $500 - $800

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4 Albert Green (1914-1994; USA) Yellow Bull’s Eye Platter with Impressed Cross Hatch Pattern ca 1970-80 Glazed Stoneware; ht. 2.75, dia. 16 in.

Unsigned $700 - $900 5 Albert Green (1914-1994; USA) Circular Platter in Blue ca 1970-80 Glazed Stoneware; ht. 3, dia. 19.5 in.

Signed Green on base.

Directly from the Family of the Artist $800 - $1,200 6 Albert Green (1914-1994; USA) Large Circular Platter in Green ca 1970-80 Glazed Stoneware; ht. 2.5, dia. 17.5 in.

Signed Green and numbered 791 on base.

Directly from the Family of the Artist $800 - $1,200 7 Albert Green (1914-1994; USA) Square Platter in Blue ca 1970-80 Glazed Stoneware; ht. 1.5, wd. 12.5, dp. 11.5 in.

Signed Green on base.

Directly from the Family of the Artist $800 - $1,000 8 Albert Green (1914-1994; USA) Large Teal and Brown Lidded Vessel with Pigtail Pull ca 1970-80 Glazed Stoneware; ht. with lid 8.5, dia. 16.5 in.

Stone gray speckled interior.

Unsigned Directly from the Family of the Artist $400 - $800 SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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9 Albert Green (1914-1994; USA) Large Modeled White Covered Vessel ca 1970-80 Glazed Stoneware; ht. with lid 6, dia. 14.5 in.

Unsigned Directly from the Family of the Artist $400 - $800 10 Albert Green (1914-1994, USA) Tall Lidded Vessel ca 1970-80 Glazed Stoneware; ht. with lid 9, dia. 10 in.

Unsigned Directly from the Family of the Artist $400 - $800 11 Albert Green (1914-1994, USA) Banded Tea Bowl ca 1970-80 Glazed Stoneware; ht. 4.25, dia. 5.5 in.

Unsigned Directly from the Family of the Artist $200 - $400 12 Albert Green (1914-1994, USA) Tea Bowl ca 1954 Glazed Stoneware; ht. 3.25, dia. 5.25 in.

‘54 slip signed on base.

Directly from the Family of the Artist $200 - $400

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13 Shoji Hamada (1894-1978; Japan) Handsome Shouldered Vase with Ladle-poured Glaze ca 1955 Salt-glazed Stoneware; ht. 12.5, dia. 18.5 in.

Includes artist signed box.

Hamada was a significant influence on studio pottery of the twentieth century and a major figure of the Mingei folk-art movement establishing the town of Mashiko as a world-renowned pottery center.

In 1955 the Japanese Ministry of Education, Culture, Sports, Science and Technology designated Hamada a “Living National Treasure”. $4,000 - $5,000 14 Bernard Leach (1887-1979; Hong Kong/Britain) Classic Square Tenmoku Bottle ca 1960 Stoneware; ht. 7.75, wd. 5, dp. 3.25 in.

Artist stamp on inside of foot.

This handsome press molded bottle features Leach’s elegant relief drawing. Tenmoku iron glaze “breaks” on the edges producing a rich red-rust wash of color that captures the rhythm and vigor of Japanese calligraphy. $1,500 - $2,000

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MacKenzie was the first American apprentice of the father of studio pottery, Bernard Leach. MacKenzie and his wife Alix worked with Leach in England from 1949 to 1952. Upon their return they became champions of the Leach style. Since 1952 MacKenzie has taught at the University of Minnesota, where he is a Regents’ Professor Emeritus. His students have included Randy Johnston, Mike Norman, Jeff Oestreich, Wayne Branum, Mark Pharis, Barbara Diduk, Paul Dresang, Shirley Johnson, Michael and Sandy Simon.

15 Warren MacKenzie (1924; USA) Exceptional Set of Six Plates ca 1980 Stoneware; ht. 1.5, 7.75 in.

Artist stamps at foot. $300 - $500 16 Warren MacKenzie (1924; USA) Shallow Bowl ca 1980 Stoneware; ht. 1.5, dia. 6.75 in.

Artist stamp on foot. $100 - $200

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17 Tanko Mohammad (Nigeria) “Abuja Steins” Rare Pair of Abuja Steins ca 1960s Glazed stoneware; ht. 6.75, dia. 4.5 in.

Each with Artist ATM stamp and Pottery stamp at the base of handle.

One of the outgrowth artists of the Cardew era in Africa, Tanko Mohammad’s work is rare and highly sought-after. $100 - $200 18 F. Carlton Ball (1911-1992; USA) Large White Bowl Stoneware, ht. 6.5, dia. 10.75 in.

Artist signature incised on base.

Ball was born in Sutter Creek, California and studied art at Sacramento Junior College before enrolling at USC. He graduated from the University of Southern California in 1933 and later did graduate studies under Glen Lukens at USC. He taught at several colleges and universities such as the CCAC (his first position in 1935), Mills College, University of Wisconsin at Madison, University of Southern Illinois at Carbondale, USC University of Puget Sound and etc. His last teaching position was at the Tacoma Community College in Washington State.

Primarily known for his throwing Ball exhibited at the Association of San Francisco Potters, 1952, the Los Angeles County Fair’s “6000 Years of Art in Clay” and the Crocker-Kingsley of Sacramento, CA. Purchased from Clar’s Auctions, 2008 $500 - $900

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19 Vivika Heino (1910-1995; USA) Decorated Creamer ca 1948 Glazed earthenware; ht. 3, dia. 4 inches.

Signed Vivika ‘48 N.H. on base.

An exceptionally early “creamer” by Vivika Heino showing her exceptional decoration skills. $300 - $600 20 Vivika and Otto Heino (1910-1995 and 1915-2009; USA) Pair of Weed Pots ca 1955 Stoneware; ht. 4, wd. 5, dp. 2 in.

Each signed V & O on base.

Highly influential early Southern California artists, Otto and Vivika Heino collaborated as a husband-and-wife team for thirty-five years.

These two “Weed Pots” are wonderful examples of this pottery couple’s energy and execution. $300 - $500 21 Ralph Bacerra (1938-2008; USA) Exceptionally Rare Early Lidded Vessel and Large Bowl ca 1968 Stoneware Lidded Vessel, ht. 4.5, dia. 5.5 in.

Bowl, ht. 5.5, dia. 14.5 in.

Signed Ralph on base of vessel. No signature on the bowl.

Bacerra will be the subject of a retrospective at the Otis Ben Maltz Gallery of the Otis Art Institute in Los Angeles September 26 to December 6, 2015 entitled “Exquisite Beauty” curated by Meg Linton and Jo Lauria. $400 - $600

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1938 marked the beginning of the Naztlers’ serious commitment to their craft. After winning the silver medal on March 11 of that year, the couple married in June and fled Vienna for Los Angeles in September, with the help of Otto’s cousin. From 1938 to 1971, the year of Gertrud’s death, the duo produced an increasingly notable body of work, with Gertrud as the potter and Otto as the glazer. Gertrud’s forms were reminiscent of the Vienna Secessionist movement, while Otto perfected over 2,000 colors and styles of glazes. In 1999, Modernism Magazine declared that the Natzlers’ work “among the finest pottery of all time.”

23 Gertrud and Otto Natzler (1908-1971 and 1908-2007; Austria/USA) Sensual Light Blue Folded Bowl Earthenware; ht. 3.75, wd. 9, dp. 6.25 in.

Artist signature on base. $1,500 - $1,800

22 Gertrud and Otto Natzler (1908-1971 and 1908-2007; Austria/USA) Brilliant Gloss Green Bowl 1962 Earthenware; ht. 2, dia. 7.5 in.

Artist signature on base with paper label “L881”. $2,000 - $2,500

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24 Gertrud and Otto Natzler (1908-1971 and 1908-2007; Austria/USA) Exceptional Large Crater Plate Earthenware; dia. 15.5, ht. 3.25 in.

Artist signature on base with label reading “2.NATZLER” $2,000 - $2,500

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25 Beatrice Wood (1893-1998; USA) Glass Glazed Plate ca 1959 Stoneware with pooled glaze; ht. 1.75, dia. 12 in.

Illegible signature on base.

These plates are often referred to as “glass glaze”, a surface Beatrice Wood loved to create in her early years. A firing of a thick glaze that would blend into other colors and add a “crackle” as she made her many kiln experiments. Rare in her work, this is an excellent example of this amazingly creative artist.

Gifted by the artist and passed down through the family $800 - $1,500

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26 Peter Voulkos (1924-2002; USA) Teapot with Wax Resist ca 1950s Stoneware; ht. with handle 8, wd. 8, dp. 6.25 in Signed Voulkos on base.

This large teapot is a perfect example of Voulkos’ pre-abstract expressionist work made between 1949 and 1955. Millard Sheets hired Voulkos to create a ceramics department at the Otis Art Institute in 1954. The decision was based on his affection for this generation of work. This Teapot reveals Voulkos’ precocious throwing skills creating a form that is powerful and elegant.

Purchased in Claremont, CA in the early 1950s $1,500 - $2,000

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Henry Halem grew up in the Bronx, attended the Rhode Island School of Design studying ceramics. He became the resident craftsman at the Virginia Museum of Fine Arts, attended and then transferred to the University of Wisconsin becoming Harvey Littleton’s glass studio assistant. Friendship with artists Stanislav Libensky and Jaroslava Brychtova, Peter Voulkos, Don Reitz, Fritz Dreisbach, Erwin Eisch, Dominick Labino, Marvin Lipofsky, Mark Peiser, Audrey Handler, Dale Chihuly, and others were the primary influences in his art. .

These works were made from a life casting of Peter Voulkos’s face during a conference in Mt Snow in July of 1967, an event witnessed

by Rudy Autio, John Mason and Bill Wyman. The plaster cast has since been lost. The works are stoneware and painted with acrylic paint. The platter was exhibited at the Museum of Contemporary Craft in New York and featured in an issue of Craft Horizon at the time. Photographs of Henry Halem with Voulkos (and his cigar) at the 1967 conference also exist in the American Craft Archives.

27 Henry Halem (1938; USA) Peter Voulkos Portrait Plate ca 1967 Stoneware and acrylic; ht. 11, wd. 14.5, dp. 5 in.

Signed Halem on verso. $1,500 - $2,500

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28 Henry Halem (1938; USA) Voulkos Portrait Box with Cigar 1967 Stoneware with acrylic and cigar; ht. 20.25, wd. 11 , dp. 6.25 in.

Inscribed Oct 24 1967 To Pete With Love the Halem’s on base.

From the collection of the Artist $2,000 - $3,000

Detail SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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29 Ted Randall (1914-1985; USA) Raised Cup with Incised Decoration ca 1970 Stoneware; ht. 7, wd. 4, dp. 6.5 in.

Artist signature incised inside foot.

Randall studied, worked and taught ceramics at Alfred University over the course of five decades, eventually serving as Chairman of Art and Design. A multi-talented artist, Randall studied architecture, sculpture, industrial design, and ceramics and was the inventor of an improved potter’s kickwheel. In his graduate student years, he produced a wide range of functional work. His interest in the vessel form continued throughout his life.

Property from the collections of Anne Serra, Cuba, NY $500 - $700 30 Tony Hepburn (1942; Britain) Cup with Base ca 1990 Ceramic and mixed media; ht. 16.5, wd. 7, dp. 8 in.

Hepburn is a full-time artist having retired from a lifetime of teaching, most recently as the head of ceramics at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. His thoughts on the transition: “Obviously, a lot of reflection,” says the British-born sculptor. “Primarily, the odd coincidence that I have had 16 years at Cranbrook, preceded by 16 years at Alfred University in New York. Two great institutions, but so different.” $500 - $900 14

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31 John Pagliaro (1970; USA) Sad Aurora ca 2003 Stoneware and porcelain; ht. 9.75, wd. 14.5, dp. 12.25 in.

Artist signed on base.

Pagliaro was born in Swarthmore, Pennsylvania and attended Swarthmore College, obtaining his BA in Fine Art in 1993. He also attended the Penland School of Crafts, Penland, NC, 1995-97 and the University of Oregon, Eugene, OR, where he received his MFA in Ceramics, 2000. Awards include the Mendocino Art Center Merit Award, 1997; the Jonathan Leigh Altman Grant for Summer Research, 1992. Pagliaro “pinches” his pots, the oldest of the vessel-making techniques, predating coiling, throwing and molding by thousands of years. His studio is in Shelter Island, NY. Purchased from the Garth Clark Gallery, NY $1,500 - $2,000

33 Rudy Autio (1926-2007, USA) Large Vessel ca 1964 Stoneware; ht. 15.5, wd. 7, dp. 6 in.

Artist slip-signed signature and date at foot.

“I still love clay”, Autio wrote, “because there are so many ways you can go with it and because it requires great focus and concentration.

There’s the interesting technical side to firing clay, the sculptural side and the painting side. Other arts seem so distant to me right now.”

Born in the shadows of the Depression, Autio drew inspiration from his immigrant Finnish heritage. He spent the majority of his career in Montana and had a deep sense of place about the open western environment. Informed by his childhood experiences and his love of Montana’s rich history, Rudy created a unique body of work that captured the artist’s personal worldview. Autio altered his color palate during his career becoming ever more primary in his glazes. This exceptional early (and rare) work shows just how Autio revered clay using abstract surface decoration to his distinctive forms. $1,800 - $2,500

32 Arnie Zimmerman (1954; USA) Carved Floor Vase 1982 Stoneware; ht. 31.5, dia. 15 in.

Artist signature and date incised on base.

Zimmerman is an alumnus of the Kansas City Art Institute and Alfred University. His work is in the collections of the Honolulu Museum of Art, the Los Angeles County Museum of Art, the Nacional Museu do Azulejo in Portugal and the Runnymede Sculpture Farm in Woodside, California plus many other public collections. This exceptional early example of his incredible throwing skills is a benchmark of American Ceramic art. $700 - $1,100

34 Rudy Staffel (1911-2002; USA) Pair of Cups ca 1970 Porcelain, largest ht. 3.25, dia. 2.5 in.

Larger signed RS on base; each numbered.

Staffel taught for 38 years at the Tyler School of Art and was known nationally and internationally for his porcelain “light-gatherer” vessels.

They were featured in a retrospective exhibition at the Philadelphia Museum of Art in 1997.These particular works were created in the 1970s, while Staffel was teaching at the Tyler School of Art on the Stella Elkins estate in Elkins, PA. Most recently his work has been shown, along with Robert Ryman the minimalist painter, at David Nolan Gallery in New York showing just how relevant both artist’s work remain today.

Gifted by the Artist $400 - $800

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Toshiko Takaezu was born to Japanese immigrant parents in Pepeekeo, Hawaii and studied at the Honolulu Museum of Art and the University of Hawaii from 1948-51. From 1951 to 1954, she continued her studies at the Cranbrook Academy of Art where she where she befriended Finnish ceramist Maija Grotell who became her mentor.

In 1955, Takaezu traveled to Japan where she studied Buddhism and the techniques of traditional Japanese Pottery which continued to influence her work. She taught for 10 years at the Cleveland Institute of Art and then from 1967 to 1992, she taught at Princeton University where she was awarded an honorary doctorate. She retired in 1992 to become a studio artist. In addition to her studio in New Jersey, she made many of her larger sculptures at Skidmore College in Saratoga Springs, New York and then lived in Hawaii for 10 years and died March 9, 2011 in Honolulu.

35 Toshiko Takaezu (1922-2011; USA) Diptych ca 1970 Porcelain; ht. 8.5, dp. 8.5 in.

Artist signature incised on verso.

Purchased directly from the artist $900 - $1,100 36 Toshiko Takaezu (1922-2011; USA) Bottle Form ca 1970 Stoneware; ht. 8, dia. 6 in.

Artist signature incised on base. $2,000 - $3,000

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37 Toshiko Takaezu (1922-2011; USA) Closed Form ca 1990 Porcelain; ht. 6, dia. 4.25 Artist incised signature on base. $2,000 - $3,000 38 Toshiko Takaezu (1922-2011; USA) Blue Platter ca 1990 Stoneware; ht. 1.5, dia. 11 in.

Artist incised signature on base. $200 - $300 39 Toshiko Takaezu (1922-2011; USA) Wood Fired Bowl ca 1990 Stoneware; ht. 3, dia. 6.5 in.

Artist signature incised on base. $200 - $300

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40 Toshiko Takaezu (1922-2011; USA) Tea Bowl ca 1990 Porcelain; ht. 2.75, dia. 5.25 in.

Artist signature incised on base.

Purchased from Perimeter Gallery, Chicago IL $200 - $400

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41 Karen Karnes (1925; USA) Slit Foot Lidded Vessel ca 1988 Stoneware; ht. 9, dia. 5 in.

Artist KK stamp at foot.

Karnes is unusual among wood-fire potters in that she plays with deep saturated color as with this radiant blue and soft buff glaze. What is of particular interest in this piece is the modernist architecture in that the form is built around a cross shape made up by a “slit” foot that puts her within the modernist movement. This series is the most sought-after of all of her artworks.

From the Collection of Mikhail Zakin $1,500 - $1,800 42 Colin Pearson (1923-2007; Britain) Textured White Slab Container ca 1970 Stoneware; ht. 12.75, wd. 13.5, dp. 5 in.

Artist stamp on left wing.

Pearson was born in Friern Barnet, London in 1923 and studied at Goldsmiths College, University of London. He worked at Winchsombe Pottery under Ray Finch before going to Lambeth in 1954 to work at Royal Doulton. In 1955 he took over as manager of Aylesford Pottery, Kent which David Leach had set up a year earlier. In 1961 he set up Quay Pottery making domestic ware in Aylesford and is best known for his “Winged Vessel”, a true classic among the British Pottery of the late 20th Century. This is a rare example showing his profundity at form and handling clay. $800 - $1,200 41

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43 Lucie Rie (1902-1995; Austria/UK) Blue Lava Vase ca 1958 Stoneware; ht. 7.5, wd. 5.5, dp. 4 in.

Artist LR stamp on base.

Dame Lucie Rie was and remains one of the most important ceramic figures in Britain today. This rare and early piece has a subtle blue cast to the crater glaze and is a unique example of this artist’s work.

Purchased from the Galerie Besson, London $6,000 - $10,000

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44 Ruth Duckworth (1919-2009; Germany) Untitled Vessel ca 1965 Stoneware; ht. 19, 12.5, dp. 10 in.

Duckworth’s ceramics are often praised for their ambitious scale. Like Hans Coper, whom she revered, Duckworth had the ability when working in stoneware to imbue sculptures with great presence and fecund energy. In particular the earlier works are overlooked masterpieces as can be seen by this predecessor to her much admired “Mama Pot” that she would create upon moving to the USA. $5,000 - $6,000 45 Ruth Duckworth (1919-2009; Germany) Pair of Untitled Sculptures ca 1964 Porcelain; each ht. 6.25, wd. 3.75, dp. 2.5 in.

Each slip signed R inside base.

A superior example of Duckworth’s early work in porcelain, this pair of organic abstractions are quintessential Duckworth of her latter years in Britain before moving to the USA. $2,500 - $5,000

46 Ruth Duckworth (1919-2009, Germany) Untitled #180790 ca 1991 Porcelain; ht. 6.5, wd. 8.5, dp. 3 in.

Numbered 180790 on base.

Few 20th century artists have worked with porcelain as dramatically and as unconventionally as Duckworth. Porcelain is referred to by potters as being a ‘tight’ body, meaning that it has little plasticity and is ungenerous in modeling. In Duckworth’s hands porcelain takes on organic vitality. This work is one of the artist’s finest. Large and and spacious, its abstracted wings create a powerful white arc. It is named Untitled as is most of Duckworth’s work because the artist believes that titles are limiting.

Illustrated: Ruth Duckworth: Keramische Objecte, SchleswigHolsteinisches, Landsmuseum, 1994, page 24.

Reference: Lauria, Jo and Birks, Tony. Modernist Sculptor. Aldershot (UK): Lund Humpries, 2005.

Garth Clark Gallery, New York $4,000 - $6,000

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47 Rick Dillingham (1952-1994; USA) Tall Vessel ca 1980 ht. 17.5, dia. 9 in.

Signed and dated on base.

Dillingham was known as much for his contemporary ceramics as for his scholarship of the pottery traditions of the North American Indian and published classic texts such as “Acoma and Laguna Pottery” and “Fourteen Families in Pueblo Pottery”. This ‘shard’ vessel grew out of his restoration work at the Laboratory of Anthropology in Santa Fe. His works are broken and decorated with glazes, gilded or painted before reassembling.

His work can be found in the collections of the Los Angeles County Museum of Art, Mint Museum of Craft and Design, and Victoria and Albert Museum in London.

Purchased from the Nina Freudenehim Gallery, Buffalo, NY $6,500 - $8,500

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48 Alev Ebuzziya Siesbye (Turkey; 1938) Lilac Bowl 1984 Stoneware; ht. 7, dia. 11 in.

Siesbye was born in Turkey and studied sculpture before moving to Copenhagen in 1963 absorbing the cool chic of Scandinavian modern forms as can be seen in this elegant bowl. The upward gradation of color from lilac into a more muted purple-brown in the work gives the surface richness and depth. Despite its symmetrical perfection of form, this bowl is coiled and not thrown. It begins with an invisible foot about the size of a coin and then floats upward, ending with a thin, revealing band of unglazed clay.

Exhibited: Solo Exhibition (Siesbye’s first in the United States) Garth Clark Gallery, New York 1984. $5,000 - $6,000

Detail

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49 Jun Kaneko (1942; Japan/USA) Untitled Black Slab 1998 Stoneware; ht. 22, wd. 29.25 in.

Acquired from the artist; from the Sandy Besser Collection Kaneko studied painting with Satoshi Ogawa during his adolescence in Nagoya, Japan. He came to the United States in 1963 to study at the Chouinard Institute of Art. LA collector Fred Marer drew him to sculptural ceramics and he studied with Peter Voulkos, Paul Soldner, and Jerry Rothman in Southern California. The following decade, Kaneko taught at some of the nation’s leading art schools, including Scripps College, Rhode Island School of Design and Cranbrook Academy of Art. Since 1990 Kaneko has been working in Omaha, Nebraska on massive ceramic sculptures. $1,000 - $2,000 50 Jun Kaneko (1942; Japan/USA) 49 Dango 1998 Stoneware, ht. 36, wd. 42, dp. 32 in.A Acquired from the artist; from the Sandy Besser Collection Kaneko’s artwork, known for its color, pattern and scale, is included in more than seventy museum collections. He has been based in Omaha since 1986. Recently Kaneko has been a production designer for opera including Mozart’s Magic Flute for the San Francisco Opera as well as companies in other cities. This monolith sculpture is a classic within Kaneko’s oeuvre.

References: Peterson, Susan. Jun Kaneko, Royersford, PA, Weatherill 2001.

Kaneko, Jun and Xavier Toubes. Jun Kaneko Between Light and Shadow, European Ceramic Workshop, s’Hertogenbosch, Netherland, 1996. $8,000 - $12,000

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Details

51 Richard DeVore (USA; 1933-2006) Pierced Bowl ca 1974 Stoneware; ht. 5, dia. 10.5 in.

DeVore was an American ceramicist born in Toledo, Ohio who earned a B.Ed. degree with an art major from the University of Toledo in 1955 and received an MFA from the Cranbrook Academy of Art in 1957. In 1966 DeVore became head of the ceramics department at Cranbrook and was a member of the Colorado State University art faculty from 1978-2004. In 1987 DeVore became a fellow of the American Craft Council. He is known for organic forms finished in matte glazes that suggest sun bleached bones or even translucent skin. This exceptional early example shows the delicate and provocative nature of this artists work including a seductive rim and an interior “break-away”. $7,500 - $9,500 SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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A star of post-WWII studio pottery, Ralph Bacerra’s dazzlingly work is prized both polychromatically and technically. His difficult, multifiring method ensured that only works which emerged in immaculate condition could be shown; lesser items were dispatched to the shards pile. Subsequently, about half the pots he began ended up there. Of what remains, are superbly constructed and lusciously sensual pots and sculptures. But that is just what we came to expect of him. It was simply “what he did.” It kept getting better and we accepted that as well without much comment. Now that he has passed on we are realizing for the first time the magnificence of his legacy.

He represented the pinnacle of a certain approach to ceramics — a master craftsman — unapologetic about his love of process and impervious to pressures to make his work seem more “art-like” and conceptual. Simply stated, we have lost the most extraordinary decorative potter of the last fifty years. Initially, I was hesitant to make this claim so boldly but the more I thought about it the more I realized that it was an unassailable statement. Yes, America has produced many masters of decoration in the past half century. But it is no insult to any of them to say that Bacerra’s vast multi-facetted oeuvre

stands in a class alone. Bacerra described his goals modestly and unfashionably, “I am not making any statements — social, political, conceptual, or even intellectual. There is no meaning or metaphor. I am committed more to the idea of pure beauty. When it is finished, the piece should be like an ornament, exquisitely beautiful.”

This statement dovetails perfectly with the writing of Amy Goldin, the critical voice of the Pattern and Decoration painting movement during the 1970s, when she argued that “decoration can be intellectually empty but that does not mean that it has to be stupid”.

Indeed, Bacerra’s vessels bristle with intelligence but of the visual sort; layered planes both receding and advancing, interlocking patterns, and graceful but contemporary appropriation of Japanese Imari, Kutani and Nabeshima porcelain. But given his vocal skepticism of the artworld, it is surprising that even Andy Warhol’s work was a strong influence. A print from the pop artist’s flower series was the first thing one saw when entering the foyer of Bacerra’s home. If one spoke of his “art,” Bacerra would argue that it was nothing more than quality craft with some science thrown in for good effect. That is true but not complete. What he achieved bordered on the magic of alchemy.

52 Ralph Bacerra (1938-2008; USA) Luster Cup 1993 Porcelain; ht. 3, wd. 5, dp. 3 inches Signed and dated, Bacerra ‘93, on base.

Gifted Directly from the Artist $500 - $700

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53 Ralph Bacerra (1938-2008; USA) Large Iris Bowl with Luster Detailing ca 1975 Porcelain; ht. 6.25, dia. 16.25 inches.

Signed Bacerra on base.

Impeccably thrown and glazed, this is one of the classic Bacerra works of the mid 1970’s.

Private Collection $4,500 - $6,500

Detail SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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54 Betty Woodman (1930; USA) Teacup and Underplate ca 1990 Porcelain; total ht. 8, wd. 9.25, dp. 7.25 in.

Woodman stamped on lip of underplate.

Woodman is internationally recognized as one of today’s most important American artists with works in more than fifty public collections. She began her career in the 1950s as a production potter with the aim of creating beautiful objects to enhance everyday life. Since then, the vase form has become Woodman’s subject, product and muse. Over the course of her prolific career, Woodman has participated in group and solo exhibitions at major museums and galleries worldwide, including her first retrospective at the Metropolitan Museum of Art, entitled “The Art of Betty Woodman,” in 2006. In 1987, the Ministry of Culture in Paris, France invited Woodman for a residency at the Manufacture Nationale de de Sevres, home of the acclaimed Sevres porcelain. She has continued working there on and off over the past 25 years using 18th century techniques. $2,500 - $3,500

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55 Betty Woodman (1930; USA) Luscious Pillow Pitcher ca 1981 Whiteware; ht. 17.25, wd. 22.5, dp. 13.75 in.

Artist stamp at base of pulled handle.

As Woodman would develop her signature “Pillow Pitcher”, she would eventually move into rich glazes as can be seen on this piece. The form retains its powerful presence but takes on a different quality with her variation on the “Tang” glazes of the 8th Century Chinese. $8,000 - $12,000

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56 Richard Notkin (1948; USA) Pyramidal Skull Teapot with Four Cups ca 1980 Porcelain Teapot ht. 6.25, wd. 9, dp. 6.75 in.

Cups each ht. 2.75, wd. 3.75, dp. 2.75 in.

Each piece signed Notkin and dated on base.

Notkin is an American artist born in Chicago, Illinois. He earned a BFA from the Kansas City Art Institute in 1970 studying under Ken Ferguson. In 1973 he received his MFA from the University of California, Davis where he studied under one of America’s greatest ceramic sculptors, Robert Arneson. This skull set is a rare and highly sought-after work made at a time when computers were not common and each piece is individually sculpted with a sense of power not seen in the world of ceramic art. The shear detail of this piece is overwhelming and it has not lost it’s power since being made in the early 1980’s.

Private Collection, Sag Harbor, New York $6,500 - $8,500 57 Norma Minkowitz (1937; USA) Dementia ca 1988 Fiber and Mixed Media; ht. 20, 13.75, dp. 9 in.

For the artist, her interlaced and hardened mesh sculptures are statements about enclosure and entrapment, creating work that is both personal and psychologically complex.

Minkowitz’s work draws on the cycles of death and regeneration. $3,000 - $5,000

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These works by Turner have exiting and unexpected surfaces, raw and gritty with earthy slips. This brings every touch, line and gouge by this subtle artist into sharp relief. In 1958, he joined the Alfred University faculty, where he remained until his retirement as Professor Emeritus of Ceramic Art in 1979 and was also honored by the establishment of the Robert C. Turner Chair in Ceramic Art. 58 Robert Turner (1913-2005; USA) Canyon #2 ca 1998 Stoneware; ht. 10, dia. 10 in.

From the personal collection of the artist.

Directly from the Family of the Artist $5,500 - $7,500 59 Robert Turner (1913-2005; USA) Untitled 1976 Stoneware; ht. 9.5, dia. 10 in.

Signed Turner on base.

From the personal collection of the artist.

Directly descended in the family of the artist $6,500 - $8,500

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59 SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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Details

61 Michael Lucero (1953; USA) Teapot with Flowers and Eyes, Ha Ha Ha 2009 Earthenware; ht. 14.5, wd. 11.5, dp. 7.5 in.

Signed Michael Lucero at base of teapot.

In 2009, Lucero began a series of “Teapot” forms that both abstracted the shape and added his bright glazed palette to create something more than a teapot. The teapot from is simply the beginning. Few of these works were exhibited and are rarely seen in collections. $4,500 - $5,500

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Details

62 Michael Lucero (1953; USA) Pre-Colombian Female 2010 Earthenware, ht. 16.5, wd. 7.5, dp. 6 in.

Signed Made by Michael Lucero N.Y.C. at rear.

The Pre-Columbian figures have a special place in Lucero’s oeuvre bringing out the full range of his palette and sculptural inventiveness.

The imagery is a collision of Pre-Columbian and contemporary images making it an important part of the American post-modern movement.

This piece is a highly significant part of American ceramic history.

Reference: Michael Lucero Sculpture 1976-1995, organized by the Mint Museum of Art, Charlotte, NC and traveled to various venues between 1996 and 1998. Barbara J Bloemink and Mark Richard Leach (with essay by Lucy R. Lippard) Michael Lucero Sculpture 1976-1995, New York: Hudson Hills Press, 1996. $6,000 - $8,000

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Detail

63 Michael Lucero (1953; USA) Tree Beetle 1986 Glazed earthenware; ht. 17.25, wd. 7.75, dp. 5 in.

Artist signature and date on base.

Among the many bodies of work created by Lucero in the 1980’s, his most subtle were his “bug and fish” series from the mid 1980’s.

Taking the form of an actual creature and surfacing it with his amazing matte glazed imagery and then surrounding the edge of the creature with black, these works, mainly exhibited at the Everson Museum in Syracuse New York have a classicism that overwhelmed the viewer.

This piece is a prime example of that body of work that would never be repeated as the years went on. $4,500 - $6,000

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63 Jean-Pierre Larocque (1953; Canada) Untitled (Horse) 2005 Stoneware; ht. 27, wd. 31.5, dp. 9 in.

Larocque is proud of the fact that “horse people” do not like his work.

Some are disturbed by the artist’s disregard for equine fidelity in his art, but here, he chides them to remember that the work is first about being a sculpture, hence the struts and supports left in the finished work. The piece is distinguished by a remarkable textured surface, subtle tonal gradations from burnt sienna to black, and the workhorse’s solid, unyielding presence. Larocque is a significant artist leading the way in Canadian art. $7,000 - $10,000

SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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64 Seth Randal (1957; USA) Amphora Vase ca 1980 Opaque blown and cast glass with applied scarabs and base. ht. 12, dia. 8 in.

Artist’s initials on glass near foot.

Seth Randal, through inspiration and passion, has transformed the pate de crîstal (a derivative of pate de verre) genre. His palate ranges from richly saturated purples and greens to hues of amber and taupe. Randal’s artwork is fueled by the historical objects of Egypt

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and Greece. As a child, he would travel with his mother and soak in the enigma of the objects that he encountered. Little did he know that years later, as an adult, these memories would revisit him as artistic inspiration.

A prevalent theme found in Randal’s work is his re-connection with the ideas inherent in jewelry making, which he studied and practiced in college, while at the Royal College of Art and Parsons School of Design.

Randal’s work, which emphasizes preciousness, intricate handling, and vibrant colors is reminiscent of the Art Nouveau period. His pieces can be found in the collections of the Los Angeles County Art Museum and the Corning Museum of Glass. $6,000 - $10,000

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65 Ginny Ruffner (1952; USA) Dancing Box Fused and sandblasted glass; ht. 23.5, wd. 7.5, dp. 7.5 in.

Ruffner is a Seattle artist who works in a variety of media. Her glass sculptures helped create the field of torchworked glass art world-wide.

This magnificent sculpture has an icy frosted quality resembling forks but put into a perspective of abstract sculpture making this one of Ruffner’s most important works. $400 - $600 66 Dale Chihuly (1941; USA) Amethyst Persian ca 2000 Blown Glass; ht. 12, wd. 11, dp. 8.5 in.

Etched signature and PP05 on bowl World renowned glassmaker and artist Dale Chihuly has transformed the medium in four decades, introducing new techniques, monumental scale and an unparalleled flair for marketing. His bowls with blown and manipulated elements are his signature works — an undulating assembly of color, light, pattern and form. This work is from his Persian Series. This inquiry started in 1986 when Chihuly began to examine the art of Classical Greece, Persia, Byzantium, the Islamic world, Venice, and the art nouveau style. The confluence of these past streams of beauty can be seen in this exceptional work with its rich Iznik palette of blue and mauve. The series has also contributed to the artist’s larger installations, much like the Persian Ceiling at the Oklahoma City Museum of Art or Fiori di Como at the Bellagio Resort – a two thousand piece sculpture.

Reference: Oldknow, Tina. Chihuly Persians. Seattle: Portland Press, 1997. $3,000 - $5,000

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66 SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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67 Michele Oka Doner (1945; USA) Set of Eleven Sculptures ca 1970 Porcelain Larger Figure ht. 19.5, wd. 5, dp. 3.5 in Smaller Figure ht. 17.25, wd. 4.5, dp. 3 in.

Smallest Segment ht. 4.5, wd. 4.75, dp. 2 in.

Michele Oka Doner is best known today for her large bronze sculptures that she shows at Marlborough Gallery, New York and for her large scale installation pieces such as A Walk On the Beach, Miami 38

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International Airport, 1995. But in 1968 she was a ceramist having graduated from the University of Michigan the year before. Her career was quick out of the gate and attracted considerable attention even while she was a student. This is an exceptional opportunity to acquire a set of 11 works that are hard to find and highly sought-after. The assemblage is magnificent and show Oka Doner at her most seminal period.

Reference: Nordness, Lee. Objects USA. New York: Viking Press, 1970.

Ramljak, Susanne, Lapidus, Morris and Danto, Arthur C. Michele Oka Doner: Natural Seduction, New York: Hudson Hills Press, 2003. $80,000 - $100,000 BID LIVE ONLINE AT BIDSQUARE.COM

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MAY 28, 2015 CLEVELAND, OHIO

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68 Arman (Armand Pierre Fernandez) (1928-2005; France) La Prima Opera 1994 Earthenware, ht. 9, wd. 15, dp. 6.75 in.

Original, cast of 30 Signed Arman” and Bottega Gatti, Faenza.

Although this comes from a declared edition, fewer were made. In 1994 Arman worked at the Bottega d’Arte Ceramica Gatti in the Italian pottery town of Faenza. He had not worked much with ceramics besides some dinnerware designs in the 1980s and two porcelain editions for an Artus Magnus project in New York. Although he had a love of the medium (he collected early African terracotta figures) it posed obstacles in that unlike found metal, wood and other objects, fired ceramics could not easily be cut into slices as Arman often did in his work. At the Gatti workshop he made various works, all individual and by hand then reassembled and fired making his ceramic work among the most important of the artists career.

Exhibited: Le Ceramica di Arman, Pallazzo dell Esposizioni Faenza and the Galleria d’Arte Maggiore, Bologna 1994 in conjunction with the International Museum of Ceramic Art, Faenza, 1994 and Arman CeramicsGarth Clark Gallery, NY. Reference: Illustrated in Henry Martin and Umberto Eco. La Ceramica di Arman. Bologna: Edizioni Maggiore, 1994, unpaginated. $5,000 - $7,000

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69 Pablo Picasso (Spain; 1881-1973) Madoura Plate No. 111 1963 Glazed Ceramic; ht. .75, dia. 9.25 in.

Marked and numbered No 111 | Edition Picasso | 77/500 | Madoura on base.

Sales of Picasso’s ceramic editions from the Ramie Pottery in Vallauris on the French Riviera have been stunning the market for the last four years with their unstoppable climb. Sales have been turning in results that are almost triple the pre-sale estimates. Prices have varied from under $10,000 to as much as a third of a million dollars each for the most rare of the editions.

Picasso loved working in the ceramic medium and returned to the Ramie family pottery summer after summer. He particularly enjoyed the kinetic quality of the vessel form, the way a painted line escaped him, disappearing around the back of the pot only to reemerge on the other side. The work was a favorite motif drawn from Spanish folk pottery with its brusque drawing and took its inspiration from tribal arts and African facemasks. $5,000 - $7,000

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MAY 28, 2015 CLEVELAND, OHIO

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Details

70 Pablo Picasso (Spain; 1881-1973) Chouette; Madoura Owl 1969 Earthenware; ht. 11.5, wd. 9, dp. 5.5 in.

Stamped Edition Picasso | Madoura Plein Feu; incised Edition Picasso | 30/350 | Madoura The Owl has been a favorite form of potters in Asia, south America and Europe with the earliest examples dating back 4000 years. The bird’s plump body and large jutting head allowed for generous interpretation as a jar or vase shape.

Picasso, with his deep knowledge of ceramic history was well aware of this lineage. In his birth country of Spain, some of the most impressive examples occur in the Hispano Moresque wares from the mid-14th century, decadently painted in shimmering luster. The Owls make their appearance in Picasso’s career on large platters and vessels as fantastical creatures. Picasso’s notebooks are filled with hundreds of variations of the Owl vessel theme, the architecture of which both charmed and fascinated him. $20,000 - $30,000

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MAY 28, 2015 CLEVELAND, OHIO

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Now Accepting Consignments

Silkscreen of Marilyn Monroe by Bert Stern To be offered October 2015

Modern Art Live Salesroom Auction October 23, 2015 Contact modern@cowans.com 513.871.1670 x220

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Consignment Deadline July 24, 2015

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9) ABSENTEE BIDDING. Absentee bids are accepted via mail, fax, email and on Cowan’s website. Such bids will be posted with the time and date of arrival, with ties being awarded to the earliest bidder. Absentee bids that are faxed or emailed to Cowan’s need to be in the office at least 2 hours before the sale begins.

An absentee bidder unknown to Cowan’s may be required to submit a bank letter of credit prior to the auction, or, using a credit card, deposit with Cowan’s a fee equaling 30% of the absentee bid.

All absentee bids are executed competitively by a member of the auction staff. The auction staff will try to purchase the lot for the lowest price possible and will bid up to the amount designated by the absentee bidder only if necessary. Cowan’s does not accept “buy bids,” or absentee bids which have no limit. In the event of a tie bid between a floor and an absentee bidder, the floor bid will be honored.

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COWAN’S MODERN CERAMICS, INCLUDING GLASS

BID LIVE ONLINE AT BIDSQUARE.COM

10) TELEPHONE BIDDING. Bidding live via the telephone is available on a first come, first served basis for those lots with a low estimate of $500 or greater. In order for Cowan’s to efficiently serve the needs of those who wish to bid by phone, please note the following: • To participate in the auction by telephone, potential bidders must complete and sign the absentee bid form and check “I WISH TO BID BY TELEPHONE” for the designated lots. Potential bidders may also reserve a phone line on Cowan’s website. If faxing or emailing requests for phone bidding, they need to be in Cowan’s office 2 hours before the sale begins. Once the auction begins, requests left on Cowan’s website may not be retrieved by the staff.

• Telephone bidders are advised to indicate an “insurance bid”, which amount will become an absentee bid, pursuant to the absentee bidding process set forth above, if Cowan’s can not reach the bidder by telephone for a particular indicated lot.

• Telephone bidders must disable any caller ID or other call blocking mechanism.

• Cowan’s sells about 100 lots per hour, so telephone bidders should plan accordingly. Cowan’s will attempt to reach each telephone bidder, but Cowan’s is in no way responsible for missed calls.

11) INTERNET BIDDING. Internet bidding is available through our website; additionally, Cowan’s may post certain auctions on Bidsquare (bidsquare.com) or Proxibid (proxibid.com). There may be terms which apply solely to internet bids that should be reviewed online at the time of sale. Cowan’s is not responsible for any failure to execute a bid and shall have no liability to any bidder for any technical or other failure associated with an internet auction.

12) BIDDING INCREMENTS. The following increments are used at the auction. Absentee bids must fall within these increments. Cowan’s will automatically reduce any absentee bid to the closest increment if the bid falls outside the published range of increments.

For Bids Falling Between Bidding Increment $0-500 $25 $501-1,000 $50 $1,001-3,000 $100 $3,001-5,000 $250 $5,001 and up $500 or at the discretion of the auctioneer Cowan’s reserves the right to modify increments at any time during the auction.

AFTER THE AUCTION 13) BUYER’S RESPONSIBILITY. Upon the fall of the hammer, title to the offered lot shall pass to the buyer and the buyer immediately (a) assumes full risk and responsibility for the lot, including liability for loss or damage and (b) is liable for payment of the Purchase Price (as defined below) to Cowan’s. It is the buyer’s responsibility to ask specific questions on condition related concerns prior to the auction. Cowan’s will not rescind sales with buyers that have disputes regarding firearm’s bore condition.

14) PURCHASE PRICE AND PAYMENT. The discounted “Purchase Price” for each lot shall equal the hammer price, buyer’s premium, sales tax and, if applicable, all packing, handling, insurance and shipping costs. Payment may be made with cash, personal or traveler’s check or credit card.

Cowan’s reserves the right to hold a purchased lot until a check has cleared.

A convenience fee of $15.00 will be assessed to all transactions made in the alternate payment channels: Phone payments are made available as a convenience outside Cowan’s Auctions customary payment channels, therefore these payments are qualified as payments made in the alternative payment channel. All forms of payment made using this method will be assessed the convenience fee. Please call Cowan’s Auctions if you have any questions regarding this policy.

PLEASE NOTE: A surcharge of 2% will be assessed to all credit card transactions. This surcharge is not greater than our cost of acceptance.

Buyers who are present at the auction must pay the full Purchase Price at the time of the sale. Buyers who bid by telephone or who are absentee bidders will be invoiced within 5 days after the close of the auction and must pay the full Purchase Price for each purchased lot within 14 days after the date of the auction. By signing the absentee bid form or placing a bid by telephone, an absentee bidder authorizes Cowan’s to charge the Purchase Price for each lot for which such bidder is the successful bidder to the credit card number provided by telephone or on the absentee bid form, unless payment in full or alternative payment instruction is received within 14 days after the date of the auction. No property will be released

by Cowan’s unless the Purchase Price has been paid in full.

Institutional billing may be available, and should be arranged prior to the auction.

Cowan’s may impose late charges of 1.5% per month (or the highest interest rate allowed) on any amount owed to Cowan’s that remains unpaid after 30 days. Buyer shall be liable for any collection costs or attorney’s fees incurred by Cowan’s to collect payment, to the extent permitted by law.

15) SALES TAX. Buyers are required to pay any applicable state and local sales tax.

16) SHIPPING. At the request of the buyer, Cowan’s will authorize the shipment of purchased items usually within two weeks after payment has been received. Shipment is generally made via UPS or Fed-Ex Ground. Unless buyer gives special instructions, the shipping method shall be at the sole discretion Cowan’s Auctions. Cowan’s is in no way responsible for the acts or omissions of independent handlers, packers or shippers of purchased items or for any loss, damage or delay from the packing or shipping of any property.

ADVICE TO INTERNATIONAL BUYERS. Cowan’s will not ship any package containing a firearm to any location other than within the United States.

Buyers outside the United States must make their own shipping arrangements taking full risk for the transportation of any firearm.

Property made of or containing certain plant or animal materials, such as coral, crocodile, ivory, whalebone, baleen, tortoiseshell, etc., may require a license or certificate before exportation from the United States and importation to another country. If you are purchasing items that contain these materials, you need to check the government wildlife import requirements in the countries from which and to which the item is being shipped prior to bidding. Since the export and import licenses are independently issued by the countries of origin and destination, obtaining one does not guarantee that you can obtain the other. Purchasers are responsible for making timely payments on items won at auction, even if a license is delayed or denied.

17) SHIPPING CHARGES. Buyers are required to pay for all packing, shipping and insurance charges. Overseas duty charges are the responsibility of the successful bidder. Be aware that for larger and/or valuable items, shipping charges can be substantial.

18) REMOVAL AND STORAGE OF PROPERTY. If purchased property has not been removed, or Cowan’s has not received shipping instructions within 21 days after the auction date, a $10 per item per day storage fee may be charged to the buyer.

19) CANCELLATION OF SALE. If purchased property remains in the custody of Cowan’s for a period of 60 days following the auction, Cowan’s may, at its option, cancel the sale, retaining as liquidated damages any payments made by the buyer, or resell the property at auction or by any other commercially reasonable means, for the account and at the risk of the buyer, and in such event, buyer shall be liable for the payment of all deficiencies plus all of Cowan’s costs, including but not limited to storage and costs of both sales. This right of cancellation is in addition to any and all other remedies available to Cowan’s.

Copyright © 2015 Cowan’s Auctions MAY 28, 2015 CLEVELAND, OHIO

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ABSENTEE BID FORM REGISTRATION NO. ___________________________________________________

6270 Este Avenue Cincinnati, Ohio 45232 513.871.1670 Fax: 513.871.8670 info@cowans.com cowans.com

DATE/TIME RECEIVED _________________________________________________ PH/FAX_________________ MAIL___________ E-MAIL______________________ SALE NO. ___________________________________________________________ (FOR OFFICE USE ONLY)

Name (please print)____________________________________________________________________________________________________________________ Address______________________________________________________________________________________________________________________________ City__________________________________________________________ State_________________________________________ Zip______________________ Phone________________________________________Fax____________________________________________ Email____________________________________ price I have indicated forfor each lotlot in the “Absentee Bid”Bid” column; or (ii) I request that Cowan’s Cowan’s Auctions, Auctions,Inc. Inc.(“Cowan’s”) (“Cowan’s”)(i)(i)enter enterbids bidson onthe thefollowing followinglots lotsupuptotothe themaximum maximum price I have indicated each in the “Absentee column; or reserve (ii) reserve a telephone line for telephone forindicated. the lots indicated.

I request that ifisCowan’s is unable to for reach me for telephone forCowan’s a lot, that Cowan’s enter a telephone line for telephone bidding bidding for the lots I request that if Cowan’s unable to reach me telephone bidding forbidding a lot, that enter bids on suchbids lot on such lot up to the maximum price indicated in the “Insurance Bid” column.

I understand that Cowan’s will execute the absentee bids competitively on my behalf.

I furup to the maximum price indicated in the “Insurance Bid” column. I understand that Cowan’s will execute the absentee bids competitively on my behalf. I further understand that ther understand Cowan’s executes absentee bids bids and allows telephone for bids as a convenience customers that Cowan’s is not to execute Cowan’s executesthat absentee bids and allows telephone as a convenience customers and that for Cowan’s is not and responsible for failure toresponsible execute bidsfororfailure for errors relating to bids or for errors relating the execution of my I agree be bound for

by Bidders the Terms and Conditions for Bidders printed in on theCowan’s auctionweb catalog listed on Cowan’s the execution of my bids. to I agree to be bound by bids. the Terms andtoConditions printed in the auction catalog and listed site and www.cowanauctions.com web site www.cowanauctions.com and I understand that I am responsible for determining the condition and authenticity of any lot, and that all items are sold AS IS with and I understand that I am responsible for determining the condition and authenticity of any lot, and that all items are sold AS IS with no returns or refunds. By submitting this no returns or refunds. By submitting this Absentee Bid Form, I authorize Cowan’s to obtain a copy of my individual consumer credit report and authorize Cowan’s, at its sole Absentee Bid Form, Cowan’s to obtain a copy of mybusiness individual consumer credit report and authorize at itsprocess. sole discretion, to use the information contained discretion, to use theI authorize information contained therein to make decisions regarding my participation in Cowan’s, the bidding therein to make business decisions regarding my participation in the bidding process.

Lot No.

Description

Absentee Bid

I Wish to Bid by Phone

Insurance Bid (phone bidders only)

IfIf my is successful, successful, II understand understandthat thatthe thepurchase purchaseprice pricefor foreach eachlot lotwill willbebethe thesum sumofofthe thehammer hammer price, the buyer’s premium, sales all packing, handling, insurmy bid bid is price, the buyer’s premium, sales taxtax andand all packing, handling, insurance ance and shipping (the “purchase I understand that will be invoiced 5 days the auction I will be responsible forCowan’s paying the Cowan’s the full and shipping costs costs (the “purchase price”).price”).

I understand that I will beI invoiced within 5within days after theafter auction and thatand I willthat be responsible for paying full purchase purchase price immediately upon receipt of the invoice. Cowan’s may impose late charges of 1.5% per month (or the highest interest rate allowed) on any amount owed price immediately upon receipt the30 invoice. may impose late bid charges 1.5% per month (ortothe highest rate listed allowed) on any amount owed to price Cowan’s that to Cowan’s that remains unpaidof after days. Cowan’s By signing this absentee formofI authorize Cowan’s charge theinterest credit card below for the full purchase of each remains unpaid days. By signing absentee bidorform I authorize Cowan’s to charge are the received credit card below for the lot for which my bid is lot for which myafter bid is30successful, unlessthis payment in full alternative payment instructions bylisted Cowan’s within 14 full dayspurchase after theprice dateof ofeach the auction. successful, unless payment in full or alternative payment instructions are received by Cowan’s within 14 days after the date of the auction.

Visa/Mastercard Number_______________________________________ Exp. Date_________________ Security Code (3 or 4 digit number on credit card)________ Print Name (as it appears on credit card)_________________________________________Signature (must be signed)______________________________________

How did you find out about the auction?

(Please check as many as appropriate)

or flier q Received postcard printed flier q Received printed catalogue q Received email blast

q Saw an advertisement Which publication: __________________________________________________________ q Referred by a friend q Other: ____________________________________________________________________

q Saw it on our website 48

COWAN’S MODERN CERAMICS, INCLUDING GLASS

BID LIVE ONLINE AT BIDSQUARE.COM

Cowan’s 26801 Miles Road Cleveland, Ohio 44128 216.292.8300 fax 216.292.8303 info@cowans.com cowans.com