Modern Ceramics and Modern Art+Design

Modern Ceramics Modern Art+Design October 28, 2016

Modern Ceramics Modern Art+Design

Specialists For This Auction Garth Clark Mark Delvecchio ceramics@cowans.com

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

cowans.com

Maureen Buri maureen@cowans.com

Auction October 28, 2016 10:00 a.m.

Pauline Archambault pauline@cowans.com

Jennifer Howe jenniferhowe@cowans.com

Exhibition October 27, 2016 Noon - 5:00 p.m.

October 28, 2016 8:00 a.m.- 10:00 a.m.

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

Modern Ceramics — Lots 1 - 79 The Collection of Allan Stone, New York Robert Arneson: Playing Dirty Playing Dirty was the title of the exhibition held at the Allan Stone Gallery, New York (November 1 – December 21, 2013). Many of the exceptional works from that important show are in this auction and illustrated in a catalog of the same name. You can access this catalog via Cfile Foundation) The catalog comes with an introduction by Jonathan Fineberg and an interview with the artist from 1979 that was published for the first time.

This rare collection of Funk and post-Funk ceramics, with the most significant group of Arneson works to be offered at auction, comes from the collection of legendary New York art dealer Allan Stone (1932-2006). He was perhaps more of a collector than he was a merchant and when shows did not sell, he usually bought all the work himself.

The New York Times described Stone as “A stocky man with an expansive personality and a booming voice, (friends jokingly named him Citizen Stone, a reference to the film Citizen Kane), he attended Phillips Academy Andover and Harvard before earning his law degree from Boston University. He studied painting at Andover, where he saw his first de Kooning. While studying at Harvard Stone bought his first artwork, a de Kooning drawing. His father, a lawyer, was so upset by the $250 expenditure that Stone found himself paying for his own education for a while.

Allan Stone was considered an expert on the work of the Abstract Expressionists Willem de Kooning, Arshile Gorky, Barnett Newman and Franz Kline as well as their contemporaries John Graham and Joseph Cornell. His gallery was especially known for imposing exhibitions of their work, often accompanied by catalogs for which he wrote essays filled with personal reminiscences and unusual insights. At one point he owned untold numbers of de Koonings and nearly 30 Bugatti automobiles.

While he was an expert on Abstract Expressionism, Stone was increasingly drawn to outsider art, tribal artifacts and was an early champion of the junk aesthetic and super-realist painters. Given his interest in the margins, it was only a matter of time before he was drawn to the Bay Area in Southern California, the rebellious Funk Art movement and, via Wayne Thiebaud, to Robert Arneson.

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In the catalog, Stone is quoted telling Arneson during a visit to his home whose interest was then in bronze, pointing to the toilets and other ceramic objects stored in the garage he said, “Forget the bronzes, this is your stuff.” Arneson later agreed. In 1964 he gave Arneson his first solo show in New York, drawn from objects he had seen in the garage and exhibited his art for the next 28 years.

Arneson was hardly a big seller at the time and many of the shows disappeared almost intact into Stone’s massive collection.

The pieces in this auction mainly come from three explorations; the biomorphic, sexual, vessel abstractions from 1963-4, his bricks from 1965-69 and his phallic teapots from 1969 (Stone purchased the entire show).

These three bodies of works, abstract expressionist vessels and trophies, the bricks with the use of language, and risqué teapots, are each key points in his career and rare (goodness knows where all of the teapots went, only a few have surfaced).

For serious collectors of his art this is a singular opportunity with three early and critical genres of Arneson’s work. The strange vessels are the most difficult yet among the most profound of the early works. They are trophies, some quite literally, others figuratively, in that they celebrate his personal aesthetic, standing, slumping, crawling slouch slug-like from surreal anthropomorphism and evolve into an almost Darwinian parade as he moves towards the detailed, clearly illustrative figurative élan of his later sculpture.

Stone did not only deal with Arneson. He was captivated by the ceramics scene centered at University of California, Davis where Arneson ran the ceramics department (known to the inner circle as T8-9). Included in the auction are works by those who studied with or were influenced by him: David Gilhooly (early and charmingly modeled), Peter VandenBerge, Victor Cicansky, Chris Unterseher and Dennis Clive.

The second part of the auction comes from various collections and is also star-studded with work by Akio Takamori, Anne Kraus, Michael Lucero, Beatrice Wood, Lucie Rie, Bodil Manz, Jerry Rothman, Phil Cornelius, Adrian Saxe, Peter Voulkos and others.

- Garth Clark

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In 1965, in a search for new form and content, Arneson began to make “bricks”.

Jonathan Fineberg writes of this in his book A Troublesome Subject: The Art of Robert Arneson (University of California Press, 2013 p.65), noting “The bricks were a burlesque of conventional ceramics; like the toilet it is an ordinary ceramic object that was not normally a subject for art”. The “brick” was the basis for one of his masterpieces and largest works, Fragment of Western Civilization (1972).

He worked with this format on and off, sometimes using bricks as a plinth for larger figurative work, into the 1980’s.

Some of the lots on this auction are from his earliest work of this subject, a suite of ten “plain” bricks he made for Stone in 1965. The largest is Brick Bricks (1965) which is 37 inches in length. In 1969 they begin to change and like zombies from a grave “things” emerge; dead fingers push their way out, he makes a mountain of a brick, and a brick out of little bricks.

1 Robert Arneson (1930-1992; USA) Brick Bricks 1965 Stoneware; ht. 17.5, wd. 34, dp. 10 in.

The Collection of Allan Stone, New York $6,000 - $10,000

3 Robert Arneson (1930-1992; USA) Arneson River Brick ca 1969 Stoneware; ht. 4.75, wd. 8.75, dp. 2.75 in.

The Collection of Allan Stone, New York $6,000 - $10,000

2 Robert Arneson (1930-1992; USA) Arneson Brick with Finger Protruding ca 1965 Stoneware; 6, wd. 9, dp. 3 in.

The Collection of Allan Stone, New York $6,000 - $10,000

4 Robert Arneson (1930-1992; USA) “Arneson” Brick ca 1969 Stoneware; ht. 4.75, wd. 9.25 , dp. 3.25 in.

The Collection of Allan Stone, New York $6,000 - $10,000

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

OCTOBER 28, 2016 CLEVELAND, OHIO

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5 Robert Arneson (1930-1992; USA) “Arneson” Brick 1969 Stoneware; ht. 4.5, wd. 9, dp. 2.75 in.

Edition #6/10 The Collection of Allan Stone, New York $6,000 - $10,000 6 Robert Arneson (1930-1992; USA) Mountain Brick ca 1969 Earthenware; ht. 8.5, wd. 9, dp. 2.75 in.

The Collection of Allan Stone, New York $6,000 - $10,000 7 Robert Arneson (1930-1992; USA) “Arneson” Brick 1969 Earthenware; ht. 4.5, wd. 9, dp. 3 in.

Edition #10/10 The Collection of Allan Stone, New York $6,000 - $10,000 8 Robert Arneson (1930-1992; USA) Arneson Brick Composed of Several Small Bricks ca 1969 Stoneware; ht. 4.25, wd. 8.75, dp. 3.75 in.

The Collection of Allan Stone, New York $6,000 - $10,000

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9 Robert Arneson (1930-1992; USA) Untitled, Brick Box ca 1969 Earthenware; ht. 3, wd. 9, dp. 4.5 in.

The Collection of Allan Stone, New York $6,000 - $10,000 10 Robert Arneson (1930-1992; USA) Untitled, Slab Form with Handle and Ochre Glaze 1964 Earthenware; ht. 13.5, wd. 10, dp. 5 in.

The Collection of Allan Stone, New York $3,000 - $5,000 11 Robert Arneson (1930-1992; USA) Untitled, Footed Vessel with Blue and White Glaze ca 1694 Glazed Stoneware; ht. 13.25, dia. 8.25 in.

Artist signature on base.

The Collection of Allan Stone, New York $3,000 - $5,000

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The mawkish yet erotic mid-60’s vessels are a form of exorcism. Arneson is expelling the pottery tradition and abstract expressionism at the same time, two elements that were powerful influences when he was beginning his career and against which he rebelled. It also suggests a flushing out of certain European Modernism as well, such as the fluid art of Arp, leading to an allAmerican vision of inverted Pop. These vessel/sculptures are profound and important works, his Rosetta Stones in a sense, and are necessary for understanding Arneson’s later oeuvre.

It captures his approach to clay, an aesthetic that so deliberately lacked overt refinement that many, wrongly, described his style as amateurish.

Indeed its squishy fecundity was carefully developed and remained with him through the 1960’s even with his figurative work, until he began his portraits, to exhibit more “conventional” skill with his superb large-scale modeling of busts and other works.

12 Robert Arneson (1930-1992; USA) Untitled, Stomach Form 1969 Glazed Stoneware; ht. 10.5, wd. 13.5, dp. 9 in.

Incised Artist signature and date on base.

The Collection of Allan Stone, New York $6,000 - $8,000 13 Robert Arneson (1930-1992; USA) Untitled, with Red Glaze Clef 1964 Glazed Stoneware; ht. 11.5, wd. 13.5, dp. 6.5 in.

Incised Artist signature and date at foot.

The Collection of Allan Stone, New York $5,000 - $7,000

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14 Robert Arneson (1930-1992; USA) Untitled, with Red Orifice ca 1964 Glazed Stoneware; ht. 8, wd. 7, dp. 8.5 in.

The Collection of Allan Stone, New York $6,000 - $8,000

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15 Robert Arneson (1930-1992; USA) Untitled, with Three Green Stripes 1964 Stoneware; ht. 10, wd. 7.5, dp. 8.5 in.

Incised date on base.

The Collection of Allan Stone, New York $3,000 - $5,000 16 Robert Arneson (1930-1992; USA) Untitled, with Blue Glazed Arrow 1964 Earthenware; ht. 9.26, wd. 15, dp. 7.75 in.

The Collection of Allan Stone, New York $3,000 - $5,000

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17 Robert Arneson (1930-1992; USA) Golden Rod 1969 Stoneware; ht. 7.75, wd. 8, dp. 11.5 Incised and stamped signature and date on base.

The Collection of Allan Stone, New York $15,000 - $20,000

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Arneson’s teapots are extraordinary, their rampant spouts (with roughly carved pubic hair) and other orifices leave nothing to the imagination and they pushed the pornographic button even then. Today they are startlingly lewd.

An amusing Arneson touch is their titles. Arneson’s verbal visual play was significant in much of his art and language, often composed to increase shock or outrage. But with the teapots he mostly gave them polite titles from Australian tea drinking habits like Billy’s Tea is Made in a Bushman’s Kettle.

Their genesis is more profound than one might think given the domestic cliché of the teapot and the coy “naughtiness” of the spout. Teapots were a basis of

rebirth. Arneson had become somewhat rudderless, he was taking on everything and yet concerned about a real direction.

Amongst other things he wanted to “reacquaint myself with the material” and as Fineberg explains: “Decided to ‘do some of the of the disciplinary projects I was unable to do when I went to art school. One of the problems was to do a teapot and I could never do it. So I tried to redeem myself.’ He made ‘thirty eight teapots in celebration of my thirty eight years…I adorned them with some of my personal styles, testicles or mouth, tongues. I mean just a lot of dumb stuff.’ He finished them up in 1969 and showed them at Allan Stone Gallery in 1969.”

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18 Robert Arneson (1930-1992; USA) Post & Rail Tea 1969 Stoneware; ht. 9.5, wd. 9, dp. 7.5 in.

Incised signature and date on base of teapot.

The Collection of Allan Stone, New York $15,000 - $20,000

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OCTOBER 28, 2016 CLEVELAND, OHIO

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19 Robert Arneson (1930-1992; USA) A Pot of TEA 1969 Stoneware; ht. 8.25, wd. 8, dp. 7.5 in.

Incised signature and date on base of teapot The Collection of Allan Stone, New York $15,000 - $20,000

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20 Robert Arneson (1930-1992; USA) Billy Tea is Made in a Bushman’s Kettle 1969 Stoneware; ht. 8, wd. 11, dp. 7.75 in.

Incised signature and date on the base of teapot.

The Collection of Allan Stone, New York $15,000 - $20,000 21 Robert Arneson (1930-1992; USA) “NO!” Cup ca 1965 Stoneware; ht. 4.75, wd. 5, dp. 3.25 in.

Incised signature on base.

The Collection of Allan Stone, New York $3,000 - $5,000

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David Gilhooly was an early member of the 1960s Bay Area “Funk Clay Pack” that included his teacher, Robert Arneson.

In common with others in the group, Gilhooly created his own culture and based it on the bright green frog along with other bizarre concepts of animal/ human culture.

22 David Gilhooly (1943-2013; USA) California Landscape Covered Vessel ca 1968 Glazed Stoneware; ht. 11, dia. 12.5 in.

The Collection of Allan Stone, New York $1,000 - $2,000

24 David Gilhooly (1943-2013; USA) Cephalopods: Devonian Era ca 1970 Earthenware; wd. 6, ht. 4.5, dp. 9 in.

The Collection of Allan Stone, New York $400 - $600 25 David Gilhooly (1943-2013, USA) Primitive Frogs (Devonian Era 40 Million Years Ago) First Animals to Walk on Land 1970 Earthenware; ht. 4, wd. 10.25, dp. 13.5 in.

Artist signature and date, Gilhooly 70, incised on base.

The Collection of Allan Stone, New York $600 - $1,200

23 David Gilhooly (1943-2013, USA) The Temptation and the Exclusion by Michelangelo Frog ca 1968 Glazed Earthenware; wd. 10.5, ht. 11 in.

The Collection of Allan Stone, New York $1,000 - $2,000

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26 David Gilhooly (1943-2013; USA) Pipes: Frog Medusa, Frog Dracula, Frogenstein, and Frog Beauty 1970 Stoneware; largest lg. 4.75, wd. 2.5 in.

Artist signature and dated incised on base of each.

The Collection of Allan Stone, New York $1,000 - $2,000 27 David Gilhooly (1943-2013; USA) Frog Last Supper 1967 Earthenware; ht. 13.5, wd. 22.5 in.

Exhibited: San Jose Museum, September 3 - October 29, 2000; The Lighter Side of the Bay Area, Kemper Museum, Kansas City, MO, April 7 - June 6, 2000; Artscanada Magazine, June 1975, p. 1; Artscanada Exhibition Catalog, Figure 25, pg. 20.

Acquired from the Artist $5,000 - $7,000

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28 David Gilhooly (1943-2013; USA) Bach and David Gilhooly 1969 Stoneware; each 8, wd. 1.5, dp. 2.5 in.

Incised signature and date on the base of Bach.

The Collection of Allan Stone, New York $500 - $1,000 29 David Gilhooly (1943-2013; USA) Warthog ca 1970 Earthenware; ht. 10.5, wd. 17, dp. 27 in.

The Collection of Allan Stone, New York $1,800 - $2,000

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30 David Gilhooly (1943-2013; USA) Frozen Heart 1969 Stoneware; ht. 8, wd. 9, dp. 6 in.

Artist signature and date incised on base.

The Collection of Allan Stone, New York $400 - $600 31 David Gilhooly (1943-2013; USA) The Beaver’s Carving Art 1978 Earthenware; ht. 17, dia. 13.5 in.

Artist signature incised on base.

Exhibited Stanford University Museum of Art, 1997 $3,500 - $4,500

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Peter VandenBerge was also part of the legendary group at University of California, Davis, during the 1960s.

Working under Robert Arneson he was part of the Funk Art movement and has a long and successful career as a teacher: first at California State University, San Francisco and then for nearly 30 years at his alma mater, California State University, Sacramento where he is presently Professor Emeritus having fully retired in 2003.

32 Peter VandenBerge (1935; Netherlands/USA) Radish ca 1969 Stoneware; ht. 10, wd. 13.5, dp. 6.25 in.

The Collection of Allan Stone, New York $800 - $1,200 33 Peter VandenBerge (1935; Netherlands/USA) Scale ca 1969 Stoneware; ht. 10.25, wd. 8, dp. 10 in.

The Collection of Allan Stone, New York $800 - $1,200

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34 Peter VandenBerge (1935; Netherlands/USA) Box of Asparagus ca 1969 Stoneware; ht. 12, wd. 14, dp. 11.5 in.

The Collection of Allan Stone, New York $1,500 - $2,000

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

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Victor Cicansky is a Canadian sculptor known for his witty narrative ceramics.

A founder of the Regina Clay Movement, Cicansky combines a wry sense of humor with a postmodern aesthetic. Inspired by California Funk, his work includes brightly painted figurative narratives.

35 Victor Cicansky (1935; Canada) U.C.D. Cap ca 1969 Stoneware; ht. 3.5, wd. 7, dp. 10.5 in Incised signature on base, under brim.

The Collection of Allan Stone, New York $400 - $600 36 Victor Cicansky (1935; Canada) Untitled; Three Armchairs 1969 Stoneware; each ht. 3.5, wd. 6.25, dp. 4.5 in.

Each with incised signature and date, Cicansky 69, on base.

The Collection of Allan Stone, New York $800 - $1,200 37 Victor Cicansky (1935; Canada) Tie with Zipper 1968 Earthenware; ht. 19.75, wd. 5.25 in Artist signature on verso.

The Collection of Allan Stone, New York $400 - $600

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38 Chris Unterseher (1943; USA) Dunce Bookends ca 1970 Glazed Stoneware; each ht. 10, wd. 5.25, dp. 5.75 in.

Artist signature stamped at l.r. of base.

Chris Unterseher is an active artist living and working in Nevada, Oregon and known for mod-polychrome funk art.

The Collection of Allan Stone, New York $600 - $800 39 Dennis Clive (1950; USA) Z.I.P (Zero International Petroleum) 1978-1980 Glazed Stoneware; ht. 21, wd. 11.5, dp. 7 in.

Clive is known for ceramic sculpture involving aviation, autos, trucks, birds and animal subjects and currently works and lives in California.

The Collection of Allan Stone, New York $5,000 - $6,000 38

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

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40 Dennis Clive (1950; USA) Twentieth Century Pyramid with 4 Trash Trucks 1976 Glazed Stoneware Each Truck ht. 5.5, wd. 6, dp. 9.5 in.

Pyramid ht. 16. wd. 22.5, dp. 22.5 in.

The Collection of Allan Stone, New York $16,000 - $24,000

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41 Dennis Clive (1950; USA) Michael Angelo Truck (Roamin’ Home) 1984 Glazed Stoneware; ht. 14, wd. 18.5, dp. 10.25 in.

The Collection of Allan Stone, New York $6,000 - $10,000 42 L. George (USA) Glass Jar Filled with Dentures Eating Crackers Mixed Media, glass, ceramics and polymer; jar ht. 13, dia. 8.5 in Little is known about the artist who made this piece. Coming from the Allan Stone Collection, Stone had a quirky sense of humor in art and this piece must have amused him tremendously. As his gallery states: “Unfortunately we were unable to confirm if L. George is the artist or the patient / owner of one of the sets of teeth / dental impressions at the bottom of the jar. The name appears directly on one pair of teeth at the bottom of the jar.

The Collection of Allan Stone, New York $1,000 - $2,000

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43 Waylande Gregory (1905-1971; USA) “Electron” Maquette from the 1939 World’s Fair ca 1939 Earthenware; ht. 5.5, wd. 3.5, dp. 2.5 in.

Unsigned Gregory was one of the most innovative and prolific American Art Deco ceramic sculptors of the early 20th century using groundbreaking techniques that enabled him to create monumental ceramic sculpture such as the “The Fountain of the Atoms” shown at the 1939 World’s Fair in New York. This piece, “Electron”, is a maquette for one of the figures in that fountain. There is a lightning bolt at the top and another around the globe at the bottom; both are in dark green, glossy glaze. Maquettes such as this are exceptionally rare. Unsigned and comes directly from the estate of the artist.

From the Estate of the Artist. $800 - $1,200

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44 Jean Cocteau Design (1889-1963; France) Pair of Limoges Plate Designs 1958 Porcelain; dia. each 6.5 in.

Artist signature and date at lip and marked for Limoges on underside Cocteau drew as much as he wrote, his style is widely known. In 1957, he met Marie Madeline Jolly and Philippe Madeline, a couple of artists and it was their workshop where he created more than 300 ceramics and then proceeded to develop drawings for plate designs with Limoges in the late 1950’s.

A conversation between Cocteau and Picasso went as follows: “Picasso once told me that if I put a ceramic in the kiln, I would be lost. But I have always taken great pleasure in losing myself….” $100 - $150 45 Claude Conover (1907-1994; USA) Alcalco (Red Glazed Vessel) ca 1970s Glazed Stoneware; ht. 3.75, wd. 7.25, dp.

7.5 in.

Artist signature on base.

A graduate of the Cleveland Art Institute, Conover worked for thirty years as a commercial designer before making his own ceramics. He was potting full-time by 1960 and became a favorite of the leading modern designers of the day who incorporated his work into their interiors. His stylish monumental forms with their hint of antiquity and attractive stone-like surfaces reflect Conover’s fascination with the Mayan culture of Central America; lelem caanil is the Mayan name for thunder. $1,200 - $1,800

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46 Nancee Meeker (1951; USA) Untitled, Carved Vase ca 1990s Pit-fired earthenware, ht. 4.75, dia. 3.75 in.

Artist signature incised on base.

A graduate of Skidmore College, NY In 1973, Nancy Meeker has made her vessels for over 40 years working in various techniques but most known for her outstanding carved pit-fired vessel forms. $200 - $300 47 Lana Kessler (1940;USA) Raku Vessel ca 2001 Earthenware; ht. 7,dia. 8.75 in.

Artist signature on base.

Kessler is a Brooklyn born ceramic artist who works in Monmouth County, New Jersey. She has received numerous regional awards for her raku fired works. $200 - $400 48 Gerry Williams (1926-2010; USA) Pitcher ca 1970 Glazed Earthenware; ht.8.5, wd. 8, dp.

5.75 in.

Artist signature incised on base.

Lot also includes: Jugtownware Teabowl Glazed Earthenware; Ht. 3.75, dia. 4 in.

Manufacturer stamp on base.

Williams began Studio Potter magazine in 1972, an International Art Journal that became one of the most influential and literate art publications in America to deal with ceramics. He was New Hampshire’s first Artist laureate and received numerous awards in his lifetime.

His work is rarely offered at auction and this pitcher is a brilliant example of his work. This lot includes a Jugtownware Tea Bowl by another artist. $100 - $150

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49 Jeff Shapiro (1949; USA) Untitled ca 2000 Wood-fired Stoneware; ht. 23.25, wd. 5, dp.

3 in. (without stand) Born in the Bronx, Jeff Shapiro works and lives in upstate NY. He studied ceramic arts while living in Japan from 1973-1981. His work has been exhibited internationally in Germany, France, Italy, Australia, Canada, and Japan and his work can be found in numerous Museum collections including The Sevres Museum, Paris, France; The Carlo Zauli Museum, Faenza, Italy; The Massachusetts Museum of Fine Art, Boston, MA; The Brooklyn Museum, Brooklyn, NY; The Everson Museum, Syracuse, NY; The Fuller Museum, Brockton, MA. $400 - $600 50 Jeff Shapiro (1949; USA) Small Vessel ca 2000 Wood-fired Stoneware; ht. 5.75, wd. 3.25 in. $300 - $600 51 Jeff Shapiro (1949; USA) Bowl ca 2000 Wood-fired Stoneware; ht. 6, wd. 12, dp.

9.75 in.

Artist incised signature on base. $500 - $700

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52 Vivika and Otto Heino (1910-1995 and 1915-2009; USA) Large Vase ca 1970s Stoneware; ht. 10, dia. 12 inches.

Artist signatures Vivika + Otto incised on base.

From the dynamic southern California couple who influenced numerous generations of 20th Century west coast potters, this large vessel is a masterpiece of their work.

Collection of Dorothy Miner $700 - $900 53 Don Reitz (1929-2014; USA) Untitled ca 1960 Stoneware; dia. 21 in.

Artist signature incised on base.

Reitz is recognized as one of the most important and influential ceramic artists of this century, highly beloved who sadly passed away last year. $1,000 - $1,500 54 Tatsuzo Shimaoka (1919-2007; Japan) Tea Bowl (Yunomi) ca 1960s Earthenware; ht. 4.75, dia. 3.5 inches Artist stamp impressed above foot.

A member of the Mingei movement, Shimaoka was an apprentice of Shoji Hamada and is the second Mashiko potter to be made a National Living Treasure (1996). His signature Joman zogan pottery surface on this piece is the synthesis of two ancient processes: the prehistoric Joman period technique of impressing silk rope into leather-hard clay and the Korean Yi Dynasty method of white slip inlay. When nearly dry, the pot is painted with dark slip. When the work is dry, the slip is scraped off leaving the slip only in the rope impression.

Gifted by the artist $700 - $900

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55 Bernard Leach (1887-1979; Hong Kong/Britain) Large Vase ca 1958 Glazed stoneware; ht. 14.25, dia. 9.5 in.

Artist BL stamp and SI stamps on base.

Bernard Leach is the best known and most prominent of British studio potters and considered the father of the Studio Pottery Movement. His friendship with Shoji Hamada and his travels between Japan and St. Ives are well documented.

After WWII and the publication of his book A Potter’s Book, he became widely recognized as the master in his field and continued to make work until 1972. $2,000 - $3,000 56 Bennett Bean (1941; USA) Untitled Vase with Matte Black Interior ca 1980 Raku; ht. 8.5, dia. 4.25 in.

Artist “bean” impression on base.

A vibrant and early example of this American artist who has continued to amaze with his handling of raku, the wonderful colors and gold that make him one of the most popular artists of the 20th century. $800 - $1,200 57 Michael W. Denslow (USA) Winter 2001 Stoneware; ht. 10, wd. 12, dp. 7 in.

Exhibited: “New Talent”, Allan Stone Gallery, New York, NY 2001 The Collection of Allan Stone, New York $800 - $1,000

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58 Akio Takamori (1950; Japan/USA) Pieta ca 1987 Stoneware; ht. 26, wd. 17, dp. 5.5 in.

Artist Akio signature on reverse.

Takamori first made his name with his innovative “envelope” vessel forms inspired by Ukiyo-e prints and the way that reclining couples created shallow vessel-like spaces. This piece is a significant example of Takamori’s play with outside cultures. This piece, based on Michelangelo’s “Pieta” showing Christ in the arms of Mary, is among the most important works by this artist crossing boundaries of culture, religion and time.

Reference: Held, Peter, ed. Between Clouds of Memory: Akio Takamori, a mid-career survey. Tempe: Arizona State University Art Museum, Ceramics Research Center, 2005. $7,000 - $9,000

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59 Akio Takamori (1950; Japan/USA) Peasant Woman with Child and Basket 1997 Stoneware; ht. 12, wd. 11, dp. 10.5 in.

Figure and basket are unsigned.

In 1996, Takamori changed his work from the signature “envelope vessel” to full-on sculptural figures of denizens from his past doing typical activities that he recalls from childhood in Japan in the 1950’s. The body of work began in Holland at the European Ceramic Work Center, ‘s-Hertogenbosch and was exhibited at that time in Path, a solo show and in 1997 in a second exhibition at the Garth Clark Gallery, New York.

Garth Clark Gallery, New York, 1997 $4,000 - $5,000

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Anne Kraus studied at the University of Pennsylvania, Philadelphia, PA. B.A. 1978, Painting; 1982, Greenwich House Pottery, New York; 1984, Alfred University, Alfred, NY, B.F.A., Ceramics.

Awards: The New Jersey State Council of the Arts Award, 1988. Collections of her work are included in the Los Angeles County Museum of Art; Houston Museum of Fine Art, the Newark Museum, Carnegie Museum, Everson Museum of Art, the International Ceramic Museum, Shigaraki, Japan and the Victoria and Albert Museum in London. Kraus continued her love of painting, creating narrative scenes on ceramic vessels. On a single artwork there are many different images together with meticulously printed text.

Together they explore stories depicting man’s tenuous balance between reality and the unknown, a psychological state that Kraus mined in all her work.

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60 Anne Kraus (1956-2003; USA) Should I Visit You Today?

Cup, Saucer and Plate 1984 Whiteware with underglaze Plate; dia. 6.5 in.

Cup; ht. 2.5, wd. 4.5 in.

Saucer; dia. 5.5 in.

Each piece with Artist signature on base. $800 - $1,000 61 Anne Kraus (1956-2003; USA) I am Safe Here and I am Scared of Flying Now 2003 Underglazed Whiteware Tiles; ht. 37.75, wd. 27.75, dp. 1.25 in.

Cartouche on Tile reads: “I am safe here and I am scared of flying now. A man standing near me tells me that flying is a known ability and I just have to remember that. He reminds me that there is another world of fantastic possibility from which we all once came.” This piece is from the final works by the artist.

Exhibited: “One Person Exhibition”, Garth Clark Gallery, New York 2003. $8,000 - $10,000

61

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62 John Woodward (1950; USA) Scars, Tattoos, and other Distinguishing Marks #7 ca 1985 Paint and graphite on ceramic; ht. 9.5, wd. 6, dp. 3.5 in.

Woodward was born in Council Bluffs, Iowa and is based in New York City. His surreal imagery against human forms is outstanding as seen in both these works.

The Collection of Allan Stone, New York $3,000 - $5,000 63 John Woodward (1950; USA) Untitled ca 1985 Paint and graphite on ceramic, ht. 17.25, wd. 12.5 in.

The Collection of Allan Stone, New York $6,000 - $8,000

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

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64 Michael Lucero (1953; USA) Elf Flip Teapot 2009 Earthenware; ht. 18, 10.5, dp. 6.5 in.

Signed and dated 2009 Made in NYACK, New York Michael Lucero... at rear. $5,000 - $7,000

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65 Michael Lucero (1953; USA) Young Lady with Tea (Pre-Columbus) 1992 Earthenware; ht. 20, wd. 12.25, dp. 5.5 in.

Signed Made in N.Y.C. Michael Lucero on verso. Date in bar code on verso.

The Pre-Columbus Series by Lucero have a special place in the artists’ oeuvre bringing out the full range of his palette and sculptural inventiveness. The imagery is a collision of ceramic history and contemporary images making it an important part of the American postmodern movement.

Reference: Michael Lucero Sculpture 19761995, 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. $7,000 - $9,000

Detail Lot 65

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66 Beatrice Wood (1893-1998; USA) Blue Animal with Pink Figures Teapot ca 1985 Earthenware; ht. 11.5, wd. 20.5, dp. 7 in.

Artist BEATO signature on base. Stamp on base.

Beatrice Wood was introduced to Marcel Duchamp in 1917 and became an intimate friend of the painter and a member of his reche´rche culturelle clique which included Francis Picabia, Man Ray and others. She was present when the most famous ceramic work of art in the 20th century, Duchamp’s “Fountain” (1917) was thrown off the Independents Salon by the jury. Wood’s interest in making ceramics began in 1933 when she joined the adult pottery classes at Hollywood High School. She studied with Glen Lukens at the University of Southern California in 1938, and in 1940 with Gertrud and Otto Natzler. By 1950 Wood emerged as the leading American exponent of luster pottery and had the most remarkable career, actively making and exhibiting until close to her death at 105. Her work is in scores of museum collections including the Metropolitan Museum of Art, Museum of Modern Art in New York and the Pompidou Center in Paris. $6,000 - $8,000 SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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67 Beatrice Wood (1893-1998; USA) Luster Plate ca 1980s Glazed Earthenware; ht. 1.25, dia. 7 in.

Artist Beato signature on base. $500 - $700

70 Beatrice Wood (1893-1998; USA) Luster Chalice with Applique Decoration ca 1980 Glazed Earthenware; 9.25, dia. 8 in.

Artist Beato signature on base. $3,000 - $4,000

68 Beatrice Wood (1893-1998; USA) Teardrop Bottle with Luster Lava Glaze ca 1980 Earthenware; ht. 5.75, dia. 4.25 in.

Artist Beato signature on base. $1,500 - $2,000

71 Beatrice Wood (1893-1998; USA) Black and Turquoise Pool 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. $700 - $1,000

69 Beatrice Wood (1893-1998; USA) Multi-Handled Gold Luster Chalice ca 1980 Glazed Earthenware; ht. 11.75, dia. 6.25 in.

Artist Beato signature on base. $3,000 - $4,000

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

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Lucie Rie is the most celebrated and widely collected of all 20th century ceramists. In 1938 she moved to London to escape Jewish persecution and by 1950 was established as one of Britain’s leading ceramists together with her one-time employee, Hans Coper.

72 Lucie Rie (1902-1995; Austria/England) Leaf Vase ca 1960 Porcelain and manganese and matte black glaze ht. 5.75, wd. 3.25 inches.

Artist LR stamp on base.

Reference: Birks, Tony. Lucie Rie. London: AC Black, 1994; Issey Miyake Meets Lucie Rie. Tokyo: Miyake Design Studios, 1989; Hans Coper and Lucie Rie: Masterworks by Two British Potters.

New York: Metropolitan Museum of Art. $5,000 - $7,000 73 Lucie Rie (1902-1995; Austria/England) Sgraffito Bowl ca 1960 Porcelain with manganese and matte black glaze ht. 3.75, dia. 7.75 inches Artist LR stamp on base. $7,000 - $9,000

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75

76

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74 Bodil Manz (1943, Denmark) Untitled Cylinder ca 1995 Porcelain; ht. 6.25, dia. 7.5 inches Artist signature inscribed on base.

After graduating from the School of Arts and Craft, Copenhagen in 1965 Bodil Manz went on to study at the Escuela de Diseño y Artesanias in Mexico and Berkeley University in California.

She established a studio with her late husband, Richard Manz, in 1967 in Horve, where she continues to live and work today. Manz works in paper-thin porcelain that allows for maximum translucency. She is the best known Danish potter in the world today and has been shown throughout Europe, Asia and the United States and is in the collections of numerous museums. $2,000 - $3,000

76 Jerry Rothman (1933-2013; USA) Black Lidded Vessel ca 1984 Porcelain; ht. 15, wd. 11.5, dp. 17.5 in.

Rothman was one of the group who came out of the ceramics department at Otis Art Institute in Los Angeles in the 1950s under the tutelage of Peter Voulkos, taking part in a movement that would become known as the “Clay Revolution” in the 1950’s and 60’s. This piece, from the 1980’s, shows Rothman at his peak. Using a porcelain he invented himself, he would surface the works in a gloss gun-metal glaze (also his own invention) and create these table-top tureens of power and poise. Few have been offered at auction and this piece is exceptional. $2,000 - $3,000

75 Bodil Manz (1943, Denmark) 16 Angle Form 1998 Porcelain; ht. 4.75, wd. 8, dp. 6.5 inches Artist signature inscribed on base.

Exhibited: “One Person Exhibition”, Garth Clark Gallery, New York 1998 Garth Clark Gallery, New York $2,000 - $2,500 SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

77 Phil Cornelius (1934-2015; USA) River Scene Teapot 1989 Porcelain, ht. 7, wd. 16.25, dp. 2 inches Artist signed Cornelius, titled and dated on base.

Cornelius attended San Jose University as a science major until he was drafted into the U.S. Army in 1957. Returning from duty with a renewed appreciation for art, he spent 1962 studying ceramics at the Brooklyn Museum in New York and in 1965 earned an MFA from the Claremont Graduate School in California where he studied ceramics with Paul Soldner. Shortly after graduation he began teaching ceramics at Pasadena City College in California. This piece is a signature work of his “thinware” porcelain teapots, few of which ever come up for sale. $1,500 - $2,000

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78 Adrian Saxe (1943, USA) Untitled Mystery ca 1991 Porcelain; ht. 12.5, wd. 8 in.

Artist signature and date incised on inside of foot. $7,000 - $8,500

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79 Peter Voulkos (1924-2002; USA) Untitled (Charger) 1973 Stoneware and porcelain; dia. 19.5, ht. 3.75 in.

Artist signature and date slip painted on verso.

A beautiful gas-fired stoneware charger with porcelain pellet insets and deep punctures accentuated on the reverse with cobalt glaze.

The appearance of Voulkos’ plates changed after his 1967 Milan visit with Lucio Fontana, the modern master of holes (buchi) and cuts (tagli). Thereafter his composition of lines and holes on plates was more formal and considered, evident here with his balanced punctures and incisions. $6,000 - $9,000 SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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Modern Art+Design — Lots 80 - 125

80

80 Minoru Niizuma (Japanese-American, 1930-1998) Untitled marble dated 69 and with artist’s device ht. 15.5 in. (with base) Niizuma was born in Tokyo and studied at the National Tokyo University of Fine Arts. He moved to New York City in 1959 and taught at the Brooklyn Museum Art School and Columbia University. He worked primarily in stone, creating abstract geometric and organic designs. Niizuma’s work is in public collections in the United States, Europe and Japan, including the Museum of Modern Art, the Solomon R. Guggenheim Museum and the Hirshhorn Museum and Sculpture Garden. See his New York Times obituary (September 29, 1998) for more information. $1,500 - $2,500 38

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81 Harry Bertoia (American, 1915-1978) Untitled (Bush Form Sculpture) bronze and copper unmarked ht. 10.25, lg. 15 in. $15,000 - $25,000

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82

82 Curtis Jere (American, 20th Century) Abstract Wall Hanging painted metal signed and dated 1997 l.r.

24.25 x 46 in. $400 - $600 83 Helmut Schaffenacker Hanging Wall Tile German, 20th century. A mid-century modern glazed ceramic hanging wall tile featuring two cats by Helmut Schaffenacker (1921-2010), impressed mark on verso; 9.25 x 19 in. $200 - $300

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83

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84 85

86

84 Mid-Century Modern Bentwood Chairs by William Stephens for Knoll American, mid-20th century. A set of two armchairs and six side chairs designed by William Stephens for Knoll, the bentwood frames painted lime green with pink upholstery, one side chair retaining label for Art Metal - Knoll Corp. / Knoll Associates Division; oah. 31.5 in. $500 - $700

86 John Stuart Modernist Bench American, 20th century. A mid-century modern three-seat bench attributed to retailer John Stuart (New York); ht. 15, wd. 59, dp. 17 in. $400 - $600

85 Eames La Fonda Occasional Table for Herman Miller American, 20th century. A slate-top occasional table with four chrome legs (no. 1139) designed by Charles Eames (1907-1978) and Ray Eames (19121988) for Herman Miller, with original manufacturer’s label to underside of top; top dia. 29.75, ht. 18.75 in. $300 - $500 SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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87 George Nakashima Dining Table American (New Hope, Pennsylvania), mid-20th century. A George Nakashima (1905-1990) walnut dining table of rectangular form, the two-board top with three dovetails, raised on turned legs with stretchers; ht. 28.5, wd. 72, dp. 39.75 in.

Property of Grailville, Loveland, OH Originally purchased by Lydwine Van Kersbergen (1904-1998), a founding Grail member in the United States, between 19561964, while residing at an early Grail center in Burlington, NJ. $3,000 - $5,000 88 Mid-Century Modern Yngve Ekstrom Lounge Chair for Swedese Swedish, ca 1960. A Mid-Century Modern Lamino lounge chair designed by Yngve Ekstrom (1913-1988) for Swedese, in teak with sheep skin upholstery, branded mark on underside; oah. 39.5 in. $400 - $600

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88

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Detail

89

89 Mid-Century Modern Retractable Desk German, ca 1954-1956. A mid-century modern retractable desk by I. Schreibmayr, produced for an industrial fair in Hanover, Germany, having a veneered elm case with a lightwood interior, the double doors opening to reveal a retractable reading lamp, writing surface, and fitted shelves on the doors and on the interior of the case, lot includes original manufacturer’s brochure; ht. 45, wd. 32 in. (closed), wd. 64 in. (open), dp. 28 in. $1,000 - $2,000 90 Walter Von Nessen for Pattyn Products American, ca 1935-1940. A tiered brushed aluminum space age lamp with shade consisting of seven horizontal spaced discs, designed by Walter von Nessen for Pattyn Products (Detroit, MI); ht. 21.75, dia. 15.5 in. $1,500 - $3,000 91 Sciolari Brass and Chrome Chandelier Italian, 20th century. A Modernist twenty-one light Sciolari chandelier of brass and chrome, with manufacturer’s label; ht. 19.5 (without hanging chain), dia. 32 in. $300 - $500

90

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

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92 Chervet Ibex Dining Table French, 20th century. An Ibex dining table by Alain Chervet (b. 1944), having a rectangular glass top over two brass ram-form bases, unmarked; ht. 54, lg. 90, wd. 29.75 in. $1,000 - $2,000

Detail

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93

93 James Van Der Zee (American, 18861983) Barefoot Prophet silver gelatin print signed in print on negative, on mat l.r., and on verso photo date in print on negative, on mat l.l. printing date on mat l.r. and on verso 1929, printed 1981 framed 8 x 10 in. (sheet), 7 x 9 in. (print) The Snickerfritz Gallery/Museum, Cleveland, Ohio $300 - $500

94

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94 Brett Weston (American, 1911-1993) White Sands gelatin silver print initialed BW and dated 1947 l.r. framed 10.25 x 13.5 in. (print size) $800 - $1,200

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95

96

97

98

99

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100

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95 Edward Baynard (American, b. 1940) Untitled (Poppies in Vases) woodcut in color signed and dated 1996 l.r. framed 29.5 x 24 in. (sight) $500 - $700 96 Richard Lindner (German-American, 1901-1978) Girl with Hoop serigraph signed in pencil l.r. inscribed A. P. l.l. framed 26.25 x 20.25 in. (sheet size) $200 - $400

97 Karel Appel (Dutch, 1921-2006) Untitled serigraph in color signed and dated 76 in pencil l.r. in margin numbered 37/99 in pencil l.l. framed 14.75 x 18.75 in. (image size) $200 - $400 98 Karel Appel (Dutch, 1921-2006) Untitled serigraph in color signed in crayon l.r., and numbered XVI/LX in crayon l.l. framed 39 x 26 in. (image size) $250 - $500 99 Karel Appel (Dutch, 1921-2006) L’Âne Trop Paisible pour les Enfants Cruels silkscreen signed l.r. numbered 89/130 l.l. framed 29.75 x 22.75 in. (sheet size) $700 - $900

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100 Marc Chagall (Russian-French, 18871985) Eiffel Tower with Red Donkey color lithograph from Derrière Le Miroir, originally published by Aimé Maeght edition of 2550 with printed text by Marcel Arland on reverse unsigned framed 15 x 10.75 in. (plate size) $300 - $500 101 Marc Chagall (Russian-French, 18871985) L’Artiste Phenix (Artist as a Phoenix ) lithograph on Arches signed l.r., numbered 23/50 l.l. framed 1970s 28.5 x 21.25 in. (sight) Purchased from exhibition at Nahan Galleries, New Orleans, 1979. $5,000 - $8,000

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102 Joan Miro (Spanish, 1893-1983) L’Etrangle (The Strangle) etching, aquatint signed margin l.r., numbered margin 31/50 l.l.

Maeght watermark titled L’Etrangle in pencil on verso, printed by Morsang framed with conservation glass 1974 29 x 45 in. (plate) included: certificate of authenticity from Bowles/Hopkins, San Francisco, dated 4/7/80 Purchased from Arthur L. Feldman Fine Arts, Cleveland, Ohio $8,000 - $12,000 48

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103 Salvador Dali (Spanish, 1904-1989) Alice’s Adventures in Wonderland 12 color woodcuts and one color etching in gilt-letter portfolio frontispiece signed in pencil portfolio numbered 1577 each illustration with printed remarque frontispiece illustration with printed signature in plate 15.5 x 19.5 in. (plate size of each print) 17.5 x 11.5 in. (page size) 118.5 x 13.25 in. (portfolio size) $1,500 - $3,000

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

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105 104

106

50

107

104 Georges Braque (French, 18821963) After 1914 original mixed media work Glass, Carafe and Newspapers color lithograph on Rives paper unsigned numbered 66/300 l.l. bearing BFK watermark u.l.

Rives watermark l.l. framed 25.5 x 11.25 in. (image size) $300 - $500

106 Henri Matisse (French, 1869-1954) Tête de Femme, Illustration for L’Image, from Poésies Antillaises lithograph on Arches paper numbered 32/50 in pencil l.l. unsigned (as published) Arches watermark l.l. with poem title on reverse and poem on adjacent page unframed 15 x 11 in. (page size) $600 - $800

105 Alexander Archipenko (UkrainianAmerican, 1887-1964) Bathers lithograph signed in crayon l.r. published by the Associated American Artists (A. A. A. label on reverse) framed and matted 13.5 x 9.5 in. (sight) $400 - $600

107 Georges Rouault (French, 18711958) L’Aveugle a Parfois Consolé le Voyant plate 55 from Miserere series aquatint signed and dated 1920 in plate l.r. framed and matted 23 x 17.5 in. (plate size) $700 - $900

MODERN ART+DESIGN

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109 108

110

111

108 David Alfaro Siqueiros (Mexican, 1896-1974) Head of Man lithograph on paper signed and numbered 23/50 l.l. framed 23.5 x 19.5 in. (sight) $400 - $600

110 Bernard Buffet (French, 1928-1999) Tête de Hibou drypoint etching signed in margin l.r.

EA (artist proof ) in margin l.l. framed 9.25 x 13 in. (sight) $300 - $500

109 Robert Arthur Goodnough (American, 1917-2010) Three Figures lithograph signed and dated 61 l.r. numbered 24/24 l.l. framed 20 x 25.25 in. (sheet size) #8 of Three Figures is in the permanent collection of MoMA, New York. $250 - $500

111 Bernard Buffet (French, 1928-1999) Still Life with Bouquet color lithograph signed in margin l.r. inscribed épreuve HC in margin l.l. framed and matted 21 x 15.5 in. (sight) $300 - $500

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112

113

114 115

112 Adolph Gottlieb (American, 19031974) Untitled lithograph in color signed and dated 1972 in pencil l.l. numbered 44/125 in pencil l.r. framed 23.5 x 17.75 in. (plate size) $600 - $800 113 Claes Oldenburg (American, b.

1929) Study for Standing Mitt lithograph signed l.c. numbered 49/50 l.l. framed 36 x23 in. (sight) $600 - $800

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114 Nicholas Krushenick (American, 1929-1999) July (From International Contemporary Art: Domberger Screenprint Calendar 1972) screenprint signed, numbered 7/135, and dated 1971 in pencil u.l. and u.c. with printed credit to Krushenick u.l. and printed credit to Edition Domberger Stuttgart u.r. framed 17 x 16 in. (sight) $300 - $500 115 Victor Vasarely (French-Hungarian, 1906-1997) Geometric Composition serigraph signed in pencil l.r. numbered 129/250 l.l. framed 24.25 x 24.25 in. (plate size) $200 - $400 BID LIVE ONLINE AT BIDSQUARE.COM

116 Jasper Johns (American, b. 1930) Flag (Moratorium) offset lithograph in colors signed in pencil l.r. numbered 256/300 in pencil l.l.

1969 framed 17.25 x 25.75 in. (image size) $6,000 - $8,000

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117

118

119

117 Joichi Hoshi (Japanese, 1911-1979) Red Tree woodcut signed and dated ‘73 in pencil l.r. inscriptions in pencil l.l. framed 5 x 14.75 in. (plate size) $300 - $400 118 Joichi Hoshi (Japanese, 1911-1979) Green Tree woodcut signed and dated ‘75 in pencil l.r. pencil inscriptions l.l. framed 4.75 x 7.25 in. (plate size) $300 - $400

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119 Jun’ichiro Sekino (Japanese, 19141988) Portrait of a Girl color woodcut signed in margin l.r. numbered 28/100 in margin l.l. framed and matted 13.5 x 8.5 in. (sight) $300 - $500

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120 121

120 Zao Wou-Ki (Chinese-French, 19212013) Untitled etching and aquatint in color signed and dated 68 in margin l.r. numbered 48/95 in margin l.l. framed under glass 21 x 26.75 in. (plate size) $800 - $1,200 121 Zao Wou-Ki (Chinese-French, 19212013) Untitled etching and aquatint in color signed and dated 71 in margin l.r. numbered 13/99 in margin l.l. printed on Rives paper with Lacourière embossed mark framed under glass 22.5 x 16.5 in. (plate size) $800 - $1,200

122

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122 Otto Muehl (Austrian, 1925-2013) Bald Man pastel on paper signed and dated 1983 on reverse of sheet framed 22 x 29.75 in. (sheet size) $1,200 - $1,500

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123 Paul Chidlaw (American, 1900-1989) The Sound of Light oil on canvas signed l.r. titled on reverse framed 23.25 x 33.5 in. (sight) $4,000 - $8,000

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124 David Burliuk (Russian-American, 1882-1967) Rural Scene oil on canvas signed l.r. housed in a gilt and painted carved wood frame 17.25 x 23.25 in. (sight) $2,000 - $3,000

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125 William Baziotes (American, 1912-1963) Pair of Modernist Still Lifes oil on canvas (2) each unsigned each framed 15.5 x 21.5 in. (sight of each) The reverse of each canvas has a portion of the same nude portrait of a woman. The canvases were repurposed to paint the still lifes.

One of the still lifes offered in this lot is featured as lot 92 in Important Twentieth Century Unreserved Art Auction of Recently Discovered Works by William Baziotes Catalog, From the Private Collection of Constance and the Late Harry Baziotes.

Ex estate of the artist $10,000 - $15,000

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Reverse sides of canvases

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OCTOBER 28, 2016 CLEVELAND, OHIO

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Asch/Grossbardt Mosaic Bracelet with Diamonds in 14 Karat Yellow Gold

Fine Jewelry, Timepieces and Luxury Couture Live Salesroom Auction | Cincinnati December 4, 2016 12:00 pm ET Jewelry and Timepieces: Timed Online-Only Auction November 23 - December 5, 2016 Bid In person, by phone, absentee or live online at bidsquare.com

Catalogs View catalogs online at cowans.com or request a 12/4 printed catalog by emailing catalogs@cowans.com

Contact: Brad Wanstrath jewelry@cowans.com 513.871.1670 x217 6270 Este Ave. Cincinnati, OH 45232 Always Accepting Quality Consignments

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Office Staff President and Principal Auctioneer C. Wesley Cowan - info@cowans.com Business Operations Reid Sikes - reid@cowans.com Specialists American Indian Art Danica M. Farnand - indianart@cowans.com Books and Manuscripts Patricia Tench - pat@cowans.com Fine and Decorative Art Kirstie Craven - kcraven@cowans.com Jennifer Howe - jenniferhowe@cowans.com Leah Vogelpohl - leah@cowans.com Pauline Archambault - pauline@cowans.com Fine Jewelry and Timepieces Brad Wanstrath - jewelry@cowans.com American History Katie Horstman - historic@cowans.com Matt Chapman - matt@cowans.com Katie Wright - katherine@cowans.com Historic Firearms and Early Militaria Jack Lewis - firearms@cowans.com Joe Moran - joe@cowans.com Joe Higgins - photographer Bill Lewis - bill@cowans.com John Gangel - littlejohn@cowans.com Sam Cowan - sam@cowans.com Emery Maury Doug Hamilton William K. Combs Carolyn Luken

Office Manager / Auction Coordinator Phyllis Terry - phyllis@cowans.com Dawnie Komotios - dawnie@cowans.com Donna Samuels Amy Francis - info@cowans.com Consignment Coordinator Laura Meyer - laura@cowans.com Production Manager Maureen Buri - maureen@cowans.com Marketing, Public Relations and Advertising Eric Duncan - eric@cowans.com Photography Linda Gillings - photo@cowans.com David Jackson Ashton Beneke Catalog Design Jennifer Castle - jenny@cowans.com Installations Coordinator Nick Grote - nick@cowans.com Shipping Dan Wolfangel - shipping@cowans.com Dave Shear Michael Schroder Cleveland Office Michael DeFina - michael@cowans.com Carrie Corrigan - carrie@cowans.com Lauren Casale - lauren@cowans.com Denver Office Timothy Stenger - tstenger@cowans.com

DIRECTIONS TO COWAN'S CLEVELAND OFFICE & SALESROOM Cowan’s Auctions 26801 Miles Road Cleveland (Warrensville Heights), Ohio 44128 From 271S · Exit 27B Richmond Road · Right (south) on Richmond Road for approx. ½ mile · 2nd Left (east) on Miles Road for ½ mile · 26801 Miles Road on the left

From 271N · Exit 27A Miles Road – stay to the right · Left (east) on Miles Road for ¾ mile · 26801 Miles Road on the left

Join Cowan’s on Facebook! www.facebook.com/cowansauctions SEE DETAILED DESCRIPTIONS, ADDITIONAL PHOTOGRAPHS AND CONDITION REPORTS OF ALL LOTS AT COWANS.COM

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Terms and Conditions By registering and bidding in an auction conducted by Cowan’s Auctions, Inc. (“Cowan’s”), bidders (whether present in person, by telephone, by agent, by written or telephone absentee bid instruction, or through a live internet connection) agree to be bound by these terms. These are the complete and only terms and conditions on which all property is offered for sale. Cowan’s retains the right to bar any bidder from participating in any auction and to exclude or reject any bid.

1) REGISTRATION. All bidders must register their name, permanent street address (no P.O. Boxes), and telephone number prior to the auction. Unless known to Cowan’s, all registrants are required to present two forms of identification, at least one of which must include a current photograph. Bidders may be required to present a valid Visa or MasterCard. By registering with Cowan’s or submitting an absentee bid form, an individual registrant authorizes Cowan’s to obtain a copy of his or her consumer credit report and authorizes Cowan’s, at its sole discretion, to use the information contained therein to make business decisions regarding the registrant’s participation in the bidding process.

2) ACCEPTANCE OF TERMS. Bidding on any item, whether in person, by phone, by absentee bid or via a live internet auction indicates the bidder’s agreement to be bound by these Terms and Conditions for Bidders. Any right of bidder under this agreement shall not be assignable and shall only be enforceable by the original buyer. The rights and obligations of the parties shall be governed by the laws of the state of Ohio.

All bidders submit to the personal jurisdiction of the state and federal courts in Hamilton County in the State of Ohio.

3) TERMS OF SALE. Announcements made the day of auction take precedence over any previous communication. The auctioneer reserves the right to withdraw any lot at any time before its final sale and to reject any bid for any reason. The highest bidder for each lot acknowledged by the auctioneer shall be the “buyer”. If any dispute arises as to any bidding, or between two or more bidders, at the sole discretion of the auctioneer, the successful bidder will be determined or the disputed lot shall be put up again at the last undisputed bid and resold.

4) BUYER’S PREMIUM. (a) Buyer’s Premium for “Firearms” auctions; the Auctioneer will collect and retain from the Buyer, as additional commission, a premium equal to 15% the Sale Price of each Lot up to and including $200,000, plus 10% of the amount by which the Sale Price exceeds $200,000. (b) Buyer’s Premium for “Fine and Decorative Art”, “Modern Ceramics”, “American Indian and Western Art”, “American History”, “Fine Jewelry and Timepieces” and any other specialized auctions; the Auctioneer will collect and retain from the Buyer, as additional commission, a premium equal to 20% the Sale Price of each Lot up to and including $200,000, plus 15% of the amount by which the Sale Price exceeds $200,000. (c) Buyer’s Premium for online, timed and other third-party bidding platforms may vary.

5) ESTIMATES AND RESERVES. Presale estimates are intended to be guides and may or may not reflect the ultimate hammer price of a lot.

Cowan’s retains the right to change estimates on any lot up to time of sale. A reserve is a confidential minimum price agreed upon by the seller of the lot and Cowan’s. In the case of reserved lots, the seller has authorized Cowan’s to bid on seller’s behalf until the reserve price is reached. In no case will the reserve be higher than the low presale estimate. Cowan’s standard house reserve on all property at auction is one-half of the low estimate.

6) WARRANTIES AND DISCLAIMERS. Cowan’s makes a limited warranty only to the original buyer of record concerning the authenticity of each lot for a period of 14 days after bidder’s receipt of the purchased lot. If a buyer is not satisfied that the lot purchased is genuine, the buyer may, at his or her own expense, obtain the opinion of two mutually agreed upon recognized experts in the field of the disputed lot. If these experts determine that the item is not genuine, the buyer’s sole and exclusive remedy shall be the rescission of the sale and refund of the amount paid for the item. It is specifically understood and agreed that the rescission of the sale and refund is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law or in equity, and such remedy is conditioned upon the buyer returning the property in the same condition as at the time of sale. Cowan’s shall not be liable for any incidental or consequential damages. All sales are final, with no returns or refunds except as provided in this limited warranty.

Except as provided in the immediately proceeding paragraph, EVERY LOT IS SOLD “AS IS”, without any representations or warranties by Cowan’s or the seller as to merchantability, fitness for a particular purpose, condition or value of the property, or the correctness or completeness of the catalog or other description of the property, and no statement, whether written or oral, shall be deemed such a representation, warranty or assumption of liability. Cowan’s makes no representation or warranty that the buyer of manuscript material, photographs, prints or works of art will acquire any copyright or reproduction rights. Cowan’s does not guarantee the working order of any clock, watch, electronic or mechanical device. Dimensions given in the catalog descriptions may be approximate.

7) DEFINITIONS OF AUTHORSHIP. “By” or “Maker/Artist” — in our opinion, the work is by the artist or maker stated “Attributed to” — in our opinion, the work is probably, but not definitely, by the artist or maker stated “Signed” or “Marked” — in our opinion, the signature or mark is that of the stated artist or maker “Bearing the signature (or mark) of” — in our opinion, the signature or mark is probably, but not definitely, that of the artist or maker stated “Circle of” — in our opinion, the work is of the period and by an artist or maker closely associated with the stated artist or maker “School of” — in our opinion, the work is by a pupil or follower of the stated artist or maker “Manner of” — in our opinion, the work is of the period and done in the style of the stated artist or maker “After” — in our opinion, the work is a copy of a work by the stated artist or maker 8) INSPECTION. Except for Online-Only Auctions, all lots are available for inspection prior to the auction. Condition reports for most items can be found online at Cowan’s website, www.cowans.com, and prospective bidders are encouraged to contact Cowan’s directly for additional information regarding the condition of any lot. Cowan’s does not warrant the condition of any item. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Buyers interested in the condition of an item are encouraged to contact Cowan’s and, to the best of our ability, we will document for the prospective bidder the condition status on any lot. Condition is always a subjective evaluation and final responsibility rests with the buyer to assess the condition of any item sold

by Cowan’s.

ABSENTEE, TELEPHONE AND INTERNET BIDDING Absentee and telephone bidding is offered as a free service to our customers and prospective bidders. Cowan’s shall not be responsible for any errors or failures in executing bids, either absentee, telephone or via the internet.

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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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: (a) 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. (b) 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. (c) Telephone bidders must disable any caller ID or other call blocking mechanism. (d) 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, by internet, 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. 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 © 2016 Cowan’s Auctions

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OCTOBER 28, 2016 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 up to theprice maximum price in the “Insurance column. that I understand thatexecute Cowan’sthe will executebids the competitively absentee bidson competitively my behalf.

I fur-that up such to thelot maximum indicated in indicated the “Insurance Bid” column. Bid” I understand Cowan’s will absentee my behalf. I on further understand 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 to the execution of my bids.

I agree to be bound by the Terms and Conditions for Bidders printed in the auction catalog and listed on Cowan’s the execution of my bids. I agree to be bound by the Terms and Conditions for Bidders printed in the auction catalog and listed on Cowan’s web site www.cowanauctions.com web www.cowanauctions.com andforI understand am responsible for determining authenticity lot,noand that all items areBysold AS IS with and Isite understand that I am responsible determiningthat theIcondition and authenticity of anythe lot, condition and that alland items are sold ASofISany with returns or refunds. 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, I authorize Cowan’s to obtain a copy of my individual consumer credit report and authorize Cowan’s, at its sole discretion, to use the information contained discretion, to use the information contained therein to make business decisions regarding my participation in the bidding process. 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 64

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