Contemporary Studio Artworks from the Estate of Jack R. Bershad New York / 8 June 2022
Contemporary Studio Artworks
from the Estate of Jack R. Bershad New York / 8 June 2022
Auction Wednesday, 8 June at 2pm 432 Park Avenue, New York, NY 10022 Please register to bid online, absentee or by phone. Viewing 432 Park Avenue, New York, NY 10022 2–7 June 2022 Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY050322 or Contemporary Studio Artworks from the Estate of Jack R. Bershad.
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Craft’s Horizons by Glenn Adamson Draw a straight line and follow it. That is the complete text of LaMonte Young’s Composition 1960 No. 10, an example of a Fluxus “score,” intended to open the creative mind. It directly inspired Nam June Paik’s Zen for Head (1961), in which the young Korean avant gardist dunked his head and shoulders in a bucket of ink, and dragged himself along a long scroll of paper—a witty parody (or perhaps a modern paragon?) of traditional East Asian calligraphy. Young’s injunction comes to me now, as I look at the outstanding objects that Jack R. Bershad collected over his many years of involvement in the craft field. Begin almost anywhere in this impressive assembly—perhaps at the top of Alev Siesbye’s divinely celestial blue bowl, with its thread-thin unglazed band—and imagine following that line to the next object, and the next, and the next, in an ongoing association of people, materials, and skills. No two itineraries would be the same, but imagine tracing this one: from Siesbye’s bowl on to Ruth Duckworth’s, with its riffling layers of contrasting clay, then Richard DeVore’s upright vase, circling the rim with its sensitive declivities, and round and round the topsy-turvy shapes of Wouter Dam’s monochromatic sculptures. They vault onward to the architectonic curves of William Daley’s Triaxial Procession and then, taking in the bright stripes of Jun Kaneko’s oval form on the way, slide along to the powerful diagonal vector of Nicholas Rena’s Brancusian bowl, and thence to the invisible waterline under which Jane Hamlyn’s adroitly angled Empty Vessels seem to sink. Keep going now, and change discipline, to the jellyfish translucence of Dale Chihuly’s nested glass Sea Forms, each one delineated at the
lips by a fine ribbon of dark purple. Then turn toward Wendell Castle’s tables, with their twisting torqued shapes defined by beautifully carved edges, standing proud, and his swanlike dictionary stand on slim tripod legs. Then back, at last, to ceramics: the garment-like flutings of Alison Britton’s White Jar, suggestive of classical drapery; the drawn line that meanders up Gordon Baldwin’s Standing Form, lending it the aspect of a contrapposto figure; and finally, Edmund De Waal’s pair of porcelains, whose only lines are the subtle rhythms imparted by the potter’s wheel, which are more than enough. One could carry on further, touching on every object in this auction, tracing common experience, kindred aesthetics, and shared intention. The pleasure would not abate as you followed that continuous line of craft. How fitting that the American craft movement, which generated all these majestic things, had as its definitive document a magazine called Craft Horizons, edited during its glory years by the acute, astute Rose Slivka. The name of that publication could not have been better chosen. It implied a field looking beyond itself, both outward—to places in the world that still retained an intact craft culture—and also ahead, to the unknowable future. In a painting, even one as unorthodox as Nam June Paik’s, a horizon necessarily appears as a defined length, edge-to-edge. In real life, by contrast, it lies on all sides of us, describing a circle with ourselves at the center. Given a sufficient vantage—a mountaintop, or the prow of a ship –we can turn and turn to take it in, but we never see it all at once. A similar spatial dynamic plays out in our imaginary tour of the Bershad collection. In each of these crafted objects, the experience of the distant horizon is effectively inverted, compressing infinite extent
into an object that can be held in the hands. Some artists explicitly depict that internal landscape—witness Wayne Higby’s multipart vessels, collectively capturing the sublimity of a canyon, and Jennifer Lee’s subtly asymmetrical pots, with their geological stratigraphies gradually deposited by her skilled hands. Other craft artists transmute this microcosmic potential into otherworldly terms. Toshiko Takaezu, the greatest exponent of Abstract Expressionism in ceramics, perfected a pictorial depthexperience in her “closed forms.” Her veils, splashes, and brushstrokes seem to hover within works’ glazed surfaces, an ethereal realm that is conceptually twinned with their unseen internal voids. Her contemporary Rudy Staffel, meanwhile, exploited the translucent properties of porcelain (and admixtures of many other materials, in a constant stream of alchemical experimentation) to create his “light gatherers,” which present the unique experience of seeing abstraction within the wall-thickness of a pot, defined by the differential transmission of illumination. Bodil Manz also uses porcelain, thin as can be, visually welding together the interior and exterior of her cylindrical vessels, each of the two compositions haunting the other. And then there is Hans Coper, a sort of demigod of ceramic history. His beautiful Cycladic Pot in the Bershad collection epitomizes his combination of tactful restraint and titanic ambition, its two graceful volumes meeting in a tiny junctionpoint. As if to say: it all comes down to this. Coper died far too young, after only 25 years of work in ceramics. We lost Bill Daley earlier this year, and also Garry Knox Bennett, the great
Californian furniture designer, a larger-than-life figure in every sense. His Black Freighter console table, a forceful composition in patinated steel, possesses a very different sense of line from everything else in the Bershad collection, borrowed from the lexicon of industry. Bennett was one of the few genuine postmodernists who enlivened the craft field toward the end of the 20th century. (John Gill, with his willfully disjunctive polychrome pottery, and Elizabeth Fritsch, master of the spellbinding, playfully precise optical pot, are two others.) Jack Bershad himself—one of the greatest of all American craft collectors— passed in 2020. Sobering as it may be to point out, about half of the works in his collection were made by artists who are no longer with us. This marks a new condition for the studio craft movement. It now finds itself positioned on another horizon: the line dividing the contemporary from the historic. This is not to say that the key craft mediums are becoming moribund. On the contrary, they are just as exciting as ever, in part thanks to the new possibilities afforded by digital technology—a virtual realm referenced, if not actually occupied, by the glowing vases of Nicholas Arroyave- Portela, the youngest maker included in this auction—and new hybrid strategies within design and fine art. As we hurtle headlong toward the next frontier of craft, it is worth pausing for a moment and looking back. Whatever the next breakthroughs may turn out to be, they will be built on foundations built by the generations represented here. They laid down so many lines, so many compelling trajectories, that we’ll never follow them all to the end. But there’s no reason not to try.
1. Toshiko Takaezu
1922-2011
“Closed Form (Ocean Edge)” circa 1995 Glazed porcelain. 6 3/4 in. (17.1 cm) high Underside incised with artist’s mark. Estimate $3,000-5,000
Provenance Rago, Lambertville, “Mid 20th-21st Century/Modern,” October 2, 2010, lot 776 Acquired from the above by the present owner Literature Toshiko Takaezu, Toshiko Takaezu, Honolulu, 1993, p. 22 for a similar example Felice Fischer, Kathleen A. Foster, and Darrel Sewell, The Poetry of Clay: The Art of Toshiko Takaezu, Philadelphia, 2005, p. 6 for a similar example J. Stanley Yake, Toshiko Takaezu: The Earth in Bloom, New York, 2005, n.p. for similar examples
Ceramic artist Toshiko Takaezu dedicated her five-decade career to abstract expressions of form. Born in Honolulu in 1922 to a family of Japanese émigrés, Takaezu was first introduced to pottery in 1940, at the Hawaii Potter’s Guild, where she crafted functional ceramics. She later attended the Honolulu Academy of Arts at the University of Hawaii, studying with ceramist Claude Horan. Seeking to further her education, Takaezu then attended the Cranbrook Academy of Art, training under acclaimed Finnish-American ceramist Maija Grotell. During a formative eight-month trip to Japan between 1955 and 1956, Takaezu encountered the avant-garde Sodeisha group (“Crawling through Mud Association”), a collective of artists that aimed to reorient ceramics from the utilitarian Mingei (folk-craft) movement to a means of sculptural expression.
After this trip, Takaezu created her first closed form, whose rotund volume and tapered rim would become her signature structure. Takaezu hand-built and threw her closed forms, creating them in a wide range of proportions. She often glazed them in abstract, gestural strokes, selecting colors that invoked the landscape of her native Hawaii. The present lot comes from her Ocean Edge series, a body of work that explores the effects of glaze layering on porcelain, relying on rich turquoise and cranberry red pigments. Seeking to activate the auditory senses, Takaezu sometimes placed clay beads into the closed forms, allowing them to gently rattle. Internationally celebrated, Takaezu’s work is in the permanent collections of The Metropolitan Museum of Art, New York; the Art Institute of Chicago; the DeYoung/Fine Arts Museum of San Francisco; and the Los Angeles County Museum of Art, among several others. Toshiko Takaezu’s work is the subject of an upcoming exhibition at The Noguchi Museum, New York.
2. Elizabeth Fritsch
b. 1940
3. Elizabeth Fritsch
b. 1940
“Blown Away” cup
“Ziggurat” bowl
circa 1991 Stoneware, colored slips. 9 1/2 in. (24.1 cm) high
circa 1995 Stoneware, colored slips. 5 1/8 x 6 5/8 x 5 3/4 in. (13 x 16.8 x 14.6 cm)
Estimate $7,000-9,000
Estimate $3,000-5,000
Literature Edward Lucie-Smith, Elizabeth Fritsch: Vessels from Another World, Metaphysical Pots in Painted Stoneware, London, 1993, illustrated p. 64
British ceramist Elizabeth Fritsch initially studied as a classical harpist and pianist before she self-taught herself to hand build pots in her London kitchen. Following this interest in ceramics, she studied at the Royal College of Art under Hans Coper and Lucie Rie. During her time there, Fritsch became a pioneer of modern ceramics alongside his peers Alison Britton and Jacqui Poncelet. This group of progressive women ceramicists explored radical new forms and surface decorations and favored experimentation over the more traditional utilitarian forms that had previously characterized British ceramics. The present offering evidences Fritsch’s ability to create optical illusions through her hand-painted surface decorations as well as her propensity for striking yet delicate hand-built forms. Elizabeth Fritsch’s work belongs to the collections of the Victoria & Albert Museum, London and The Metropolitan Museum of Art, New York, among others.
4. Hans Coper
1920-1981
“Cycladic” pot circa 1972 Stoneware, layered porcelain slips and engobes over a textured and incised body, the interior with a manganese glaze. 7 1/2 in. (19.1 cm) high Underside impressed with artist’s seal. Estimate $40,000-60,000
Provenance Peter Dingley, acquired directly from the artist, 1974 John Armstead, acquired from the above, 1974 Driscoll & Walsh, Boston, acquired from the above, 1984 Acquired from the above by the present owner, 1985 Literature Tony Birks, Hans Coper, Yeovil, 1991, pp. 178, 186, 201 for similar examples Tony Birks, Hans Coper, Catrine, 2013, pp. 190, 206-07
Recognized as one of the greatest contributors to modern English ceramics, Hans Coper is acclaimed for his primeval vessels. Coper learned his craft in the London studio of Lucie Rie, having emigrated from Germany as a young Jewish engineering student in 1939. Coper favored compound shapes that, while simple in appearance, were in fact complex in construction. He would build his vessels by bringing several thrown forms together, for example joining bowls rim to rim.
Coper eschewed glazes, preferring the textured surfaces achieved through the application of white and black slips, which evoke the abraded texture of excavated vessels. This interest in ancient objects was very much in step with other modernists of his time—Coper admired Constantin Brancusi and Alberto Giacometti and his textured markings have been compared to sculptors such as William Turnbull. In the last phase of his career, Coper reduced the scale of his work creating works like lot X, small “Cycladic” pots that stood on pedestals or drums, recalling the clay figures of Bronze Age Greece. Critically renowned, Coper’s work is held in the permanent collections of The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; and the Victoria & Albert Museum, London, among others.
5. Wendell Castle
1932-2018
Center table 1973 Stack-laminated cherry. 25 1/4 x 39 3/4 x 36 1/8 in. (64.1 x 101 x 91.8 cm) Base incised WC 73. Estimate $50,000-70,000
Provenance Likely acquired from Richard Kagan Gallery, Philadelphia, by the present owner, circa 1973 Literature Emily Evans Eerdmans, Wendell Castle, A Catalogue Raisonné 1958-2012, New York, 2014, pp. 106, 111, 114, 116, 117, 120 for similar examples
American furniture designer Wendell Castle was among the most outstanding contributors to woodworking, committing his nearly six-decade career to expanding the boundaries of the field. Castle studied industrial design and sculpture at the University of Kansas between 1958 and 1961. He was introduced to the stack-lamination technique shortly after completing his training, a method that involves the stacking of wooden sheets upon one another, enabling the woodworker to carve complex shapes and sinuous lines from the amalgamated material. Utilizing this process, Castle sculpted fantastic and winsome pieces, each one a sculptural masterpiece and functional object.
Sculpting forms at once streamlined, organic, and expressionist, Castle engaged with the formal vernacular of such acclaimed modernists as Jean Arp and Henry Moore. Internationally acclaimed, Castle’s work is held in the permanent collections of the Centre Georges Pompidou, Paris; the Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; and the Victoria & Albert Museum, London, among several others.
6. Gordon Baldwin
b. 1932
Standing form 1986 Earthenware, painted slip. 27 3/4 in. (70.5 cm) high Underside painted in glaze GB/86. Estimate $6,000-8,000 Literature Dorris U. Kuyken-Schneider, ed., Gordon Baldwin: Mysterious Volumes, Rotterdam, 1989, p. 1 for a similar example
A prominent exponent of “pots for pots’ sake,” Gordon Baldwin is amongst the most celebrated artists in the sculptural ceramics movement. Baldwin studied at the Lincoln School of Art and at the Central School of Art and Design in London, where he trained with Dora Billington, a central figure in British studio pottery. Seeking to develop ceramics beyond utilitarian function, Baldwin dedicated his early career to hand-building abstract sculptural forms, experimenting with form and gestural surface decoration, as appreciable in the present selection of his work. In a continuation of his abstract sensibility, later series conjured the vessel form, re-defining the corporeal borders of the shape. Baldwin washes many works in exclusively black or white glazes, referring to these dichotomous tones as his inner and external beings, respectively. Baldwin’s work is held in the permanent collections of the British Museum, London; The Metropolitan Museum of Art, New York; and the Museum Boijmans van Beuningen, Rotterdam, among several others.
7. Gordon Baldwin
b. 1932
Head form 1984 Earthenware, painted slip. 10 1/2 x 20 3/8 x 11 in. (26.7 x 51.8 x 27.9 cm) Underside inscribed in pencil GB/84/June. Estimate $3,000-5,000
8. Alison Britton
b. 1948
“Flask/Filter” 2005-2006 Hand-built earthenware, painted slips and pigments, clear matte glaze. “Flask”: 18 1/2 in. (47 cm) high “Filter”: 17 1/2 in. (44.5 cm) high Underside of “Flask” incised Alison Britton/2006 and underside of “Filter” incised Alison Britton/2005. Estimate $8,000-12,000 Provenance Barrett Marsden Gallery, London Acquired from the above by the present owner, 2006
A leading figure in British ceramics, Alison Britton came to prominence among an influential group of potters who emerged from the Royal College of Art in the 1970s, including Elizabeth Fritsch and Jacqueline Poncelet, whose work sought to re-establish the vessel as an abstract form. Rather than throw on a wheel, Britton hand-builds her pieces by assembling slabs in an asymmetrical, often architectonic method and paints them in energetic gestural patterns, marrying sculpture with painting. The present offering of Britton’s work expresses her deconstructionreconstruction approach, as well as her explorations in painting. Internationally recognized as a curator, writer and recipient of the Most Excellent Order of the British Empire, her ceramic artworks are held in the permanent collections of numerous institutions including the Stedelijk Museum, Amsterdam; The Powerhouse Museum, Sydney; and the Los Angeles County Museum of Art.
9. John Gill
b. 1949
Ewer 1997 Glazed stoneware. 14 1/8 x 15 x 10 1/8 in. (35.9 x 38.1 x 25.7 cm) Underside painted in glaze Gill/97. Estimate $1,000-1,500 Literature Alfred Now: Contemporary American Ceramics, Urbana, Illinois, 1994, p. 31 for a similar example Robert A. Ellison et al., Shapes from Out of Nowhere: Ceramics from the Robert A. Ellison Jr. Collection, exh. cat., The Metropolitan Museum of Art, New York, 2021, cover for a similar example
Created from slabs of clay that are glazed in riots of color and bold patterns, John Gill’s works have a sculptural quality even though he does not identify himself as such. Describing his process, Gill says, “In my work I try to utilize simple techniques. This allows for freedom of ideas and process. Shape, form, use and color inform and question other possibilities…Working within the realm of function expands the potential.” With reference points ranging from ancient Persian ewers to the abstract art of Arthur Dove and stack mills in Ohio, Gill’s penchant for playfully reinterpreting historical references lends a Postmodern sensibility to his work, as seen in the present ewer. Similar works are held in the permanent collections of museums including The Metropolitan Museum of Art, New York; the Los Angeles County Museum of Art, California; and the Victoria & Albert Museum, London, among others.
10. Jennifer Lee
b. 1956
“Dusky banded” vessel 1992 Stoneware, oxides. 8 3/4 in. (22.2 cm) high Underside painted with artist’s mark. Estimate $20,000-30,000 Provenance The Crafts Council Shop at the Victoria & Albert Museum, London
A major figure in contemporary English ceramics, Jennifer Lee is acclaimed for her quietly rhythmic hand-built vessels. Lee attended the Edinburgh College of Arts in the 1970s, studying ceramics and tapestry-making. Her practice is an exploratory one; Lee allows her oxides and clays to age, sometimes for over a decade, before mixing them together to form and fire the material into a vessel or bowl. Although this process celebrates experimental spontaneity, the resulting works are striking for their self-containment and balance, appearing to us as perfectly preserved artifacts discovered during an excavation. Lee hand-builds different bodies of clay upon each other, creating layers that are evocative of geological strata. This effect is especially salient in the present offering of her work. The passing of time is critical to Lee, who deftly handles the natural processes of decay and erosion. Internationally acclaimed, Lee’s works are held in the permanent collections of the Victoria & Albert Museum, London; the Philadelphia Museum of Art; and the Museum für Kunst und Gewerbe, Hamburg, among others.
11. Jennifer Lee
b. 1956
“Slate-olive, speckled and coral rim” vessel 1993 Stoneware, oxides. 5 7/8 in. (14.9 cm) high Underside painted with artist’s mark. Estimate $8,000-12,000 Provenance Contemporary Applied Arts, London Acquired from the above by the present owner, 1993
12. Jennifer Lee
b. 1956
“Pale, speckled flanged ridge” vessel circa 1987 Stoneware, oxides. 7 1/2 in. (19.1 cm) high Estimate $8,000-12,000 Literature Jennifer Lee, Ceramics, London, 1987, n.p. for a similar example
13. Jennifer Lee
b. 1956
“Pale shale, ivory and speckled bands” vessel 1993 Stoneware, oxides. 11 7/8 in. (30.2 cm) high Underside painted with artist’s mark. Estimate $20,000-30,000 Provenance The Crafts Council Shop at the Victoria & Albert Museum, London
14. Jennifer Lee
b. 1956
“Smoky pot, haloed and speckled bands” vessel 1987 Stoneware, oxides. 6 7/8 in. (17.5 cm) high Underside painted with artist’s mark. Estimate $10,000-15,000 Provenance The Crafts Council Shop at the Victoria & Albert Museum, London Acquired from the above by the present owner, 1993
15. Jennifer Lee
b. 1956
“Pale, haloed band, speckled rim” vessel 1997 Stoneware, oxides. 12 3/4 in. (32.4 cm) high Underside painted with artist’s mark. Estimate $30,000-40,000 Provenance Galerie Besson, London Acquired from the above by the present owner, 1997
16. Jennifer Lee
b. 1956
“Dark, tilted rim, amber bands” vessel 1992 Stoneware, oxides. 8 3/8 in. (21.3 cm) high Underside painted with artist’s mark. Estimate $6,000-8,000 Provenance Osiris Gallery, Brussels
Exhibited “Handheld” in “The Domestic Plane: New Perspectives on Tabletop Art Objects,” The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, May 20, 2018January 13, 2019 Literature Elizabeth Essner, “Handheld” in The Domestic Plane: New Perspectives on Tabletop Art Objects, exh. cat., The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, 2018, illustrated pp. 130, 139, 141, 155
17. Jennifer Lee
b. 1956
“Mottled dark, amber bands and flashes” bowl circa 1989 Stoneware, oxides. 7 3/8 in. (18.7 cm) high, 9 1/8 in. (23.2 cm) diameter
Estimate $5,000-7,000 Provenance Graham Gallery, New York
18. Jennifer Lee
b. 1956
“Dark mottled pot, amber rim, flat shelf” vessel 1993 Stoneware, oxides. 8 1/2 in. (21.6 cm) high Underside painted with artist’s mark. Estimate $15,000-20,000 Provenance The Crafts Council Shop at the Victoria & Albert Museum, London Acquired from the above by the present owner, 1995
19. Richard DeVore
1933-2006
Bowl 1976 Glazed stoneware. 3 1/2 in. (8.9 cm) high, 14 5/8 in. (37.1 cm) diameter Underside inscribed in pen 76. Estimate $1,500-2,500 Literature Gregory Wittkopp, ed., Richard DeVore, Bloomfield Hills, Michigan, 2008, p. 29 for similar examples Janet Koplos and Bruce Metcalf, Makers: A History of American Studio Craft, Chapel Hill, North Carolina, 2010, p. 330 for a similar example
Richard DeVore preferred the nomenclature of potter over ceramic sculptor, having dedicated his career to exploring the ancient form of the vessel. Having trained at the Cranbrook Academy of Art with acclaimed Finnish-American ceramist Maija Grotell, DeVore built an oeuvre predicated on the integrity of form. His work communicates a primordial sensibility, the thrown vessels altered to bear folds and tears, and whose matte surfaces appear gently weathered by nature—features rendered clearly in the present selection. In some works DeVore folds clay upon itself, creating forms that invoke the female body, his work drifting into the realm of the erotic. An important figure in postwar pottery, DeVore’s work is included in the permanent collections of the Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; and the Victoria & Albert Museum, London, among others.
20. Richard DeVore
1933-2006
Vessel circa 1980 Glazed stoneware. 14 3/4 in. (37.5 cm) high Estimate $6,000-8,000 Literature Gerald Nordland, Richard DeVore: Pottery, Chicago, 1981, p. 5 for a similar example Janet Wilson, ed., Skilled Work: American Craft in the Renwick Gallery, Washington, D.C., 1998, pp. 41, 60 for a similar example Gregory Wittkopp, ed., Richard DeVore, Bloomfield Hills, Michigan, 2008, pp. 22, 32, 49, 96-97 for similar examples Robert A. Ellison et al., Shapes from Out of Nowhere: Ceramics from the Robert A. Ellison Jr. Collection, exh. cat., The Metropolitan Museum of Art, New York, 2021, p. 243 for a similar example
21. Nicholas Rena
b. 1963
Asymmetric bowl 1999 Press-molded and waxed earthenware infused with inks. 11 5/8 x 24 1/2 x 12 in. (29.5 x 62.2 x 30.5 cm) Underside incised NR 99. Estimate $2,000-3,000
Provenance Contemporary Applied Arts, London Acquired from the above by the present owner, 2000 Literature Annie Carlano, ed., Contemporary British Studio Ceramics, exh. cat., Mint Museum of Craft + Design, New Haven, 2010, p. 125 for a similar example
Nicholas Rena studied architecture before turning to ceramics, an influence visible in the precision of his forms and surfaces. The simplicity with which Rena combines a familiar form with an abstract form immediately questions its intended purpose. This mystery is emphasized by the polished smoothness of the surface, leaving the focus of the work to the space it inhabits and displaces. Rena begins his work by drawing a silhouette of his intended form. He then creates a plaster mold into which strips of clay are compressed. Once the clay begins to harden, the mold is removed and the work is fired. He completes the work by applying multiple layers of ink to the bisque surface and then polishing the piece with beeswax. Rena’s work is held in the permanent collections of the Louvre, Paris and the Victoria & Albert Museum, London, among others.
22. Alison Britton
b. 1948
“Green Wrinkled Pot” 2000 Hand-built earthenware, painted slips and pigments, clear matte glaze. 19 1/8 in. (48.6 cm) high Underside incised Alison Britton/2000. Estimate $5,000-7,000
23. Alison Britton
b. 1948
“Red Apron Pot” 1995 Hand-built earthenware, painted slips and pigments, clear matte glaze. 18 1/4 in. (46.4 cm) high Underside incised Alison Britton 95. Estimate $5,000-7,000 Provenance Crafts Council Gallery Shop, London Acquired from the above by the present owner, 1997 Literature Glenn Adamson, Martina Droth and Simon Oldings, eds., Things of Beauty Growing: British Studio Pottery, New Haven, 2017, p. 327 for a similar example
24. Alison Britton
b. 1948
“White Jar” 2000 Hand-built earthenware, painted slips and pigments, clear matte glaze. 18 5/8 in. (47.3 cm) high Underside incised Alison Britton/2000. Estimate $5,000-7,000
Provenance The Clay Studio, Philadelphia Acquired from the above by the present owner, 2001 Literature David Whitting, “Alison Britton: New Ceramics,” Crafts, March/April 2001, illustrated p. 53
25. Wouter Dam
b. 1957
Four sculptures 1997-2001 Stoneware, powder oxides. Largest: 12 1/2 x 13 1/2 x 14 1/2 in. (31.8 x 34.3 x 36.8 cm) Underside of each inscribed in pen WD and further inscribed, respectivley, ‘97, ‘98, MM, and MMI. Estimate $3,000-5,000
Provenance Blue and red sculpture: Barrett Marsden Gallery, London Acquired from the above by the present owner, 1999 Green and dark red sculpture: Galerie Carla Koch, Amsterdam Acquired from the above by the present owner, 2001
Literature Edmund de Waal, 20th Century Ceramics, London, 2003, p. 185 for a similar example Jane Perryman, Naked Clay, London, 2004, pp. 11-14 for similar examples Emmanuel Cooper, Contemporary Ceramics, London, 2009, p. 154 for similar examples
Dutch ceramist Wouter Dam creates abstract forms that seem to defy the logic and physics of clay construction. Though abstract in form, his monochromatic creations hint at a range of sources: Neolithic pots, body parts, wooden boats. To create these intricate thin-walled forms, Dam combines throwing and slabbing techniques. Typically he throws several cylinder, bowl, and vase forms which are later cut into fragments and then spliced together. Describing this element of his work, he has said, “The most important aspect of my work is the contrast between round and flat surfaces when the two meet at sharp angles, thereby interrupting the soft curving surfaces with abrupt lines. Another important aspect is the openness of the piece.” After the initial bisque firing, the sculptures are repeatedly hand rubbed with oxides and stains and then re-fired. As seen in the largest sculpture in the present lot, the edges are sometimes left bare to further accentuate the form.
26. Nicholas Arroyave-Portela b. 1972 “Dimpled,” “Cut Wave,” and “Zig-Zag” forms circa 2000 Stoneware with airbrushed terra sigillata. Tallest: 19 in. (48.3 cm) high Underside of “Cut Wave” and base of “Dimpled” form impressed with artist’s seal.
Provenance “Dimpled” and “Zig-Zag” forms: Beaux Arts, London Acquired from the above by the present owner, 2000 “Cut Wave” form: The Clay Studio, Philadelphia Acquired from the above by the present owner, 2001
Estimate $3,000-4,000
As an art student at Bath College, Nicholas Arroyave-Portela became mesmerized by the moiré silks that he saw at the city’s Museum of Costume. Wanting to emulate these textiles’ sense of movement, he began creating vessels with delicate, undulating surfaces that resemble flowing water. Arroyave-Portela was equally inspired by artists such as Lucio Fontana and Anish Kapoor, and his work began taking on some of the same formal and conceptual preoccupations as the modern art that he saw during visits to museums and galleries in London. Arroyave-Portela’s works are wheel-thrown. After he creates the basic, thin-walled form and before the clay becomes leather hard, he manipulates their surfaces, sometimes slicing through the body of the vessel—as seen in the present “Slashed” form. He sprays on a terra sigilata slip which gives the outside of the form a satin-like appearance while the inside is glazed with a high-gloss finish. Ceramist and writer Emmanuel Cooper described this element of Arroyave-Portela’s work, saying, “There is an intriguing element of risk in the bowls and vessel forms of Nicholas Arroyave-Portela; the walls are so lean and minimal, the edges so crisp and precise, the undulating surfaces both controlled and wayward.”
Literature Nicholas Arroyave-Portela, Throwing Lines: Nicholas Arroyave-Portela, Leicester, 2002, p. 23 for a similar example Annie Carlano, ed., Contemporary British Studio Ceramics, exh. cat., Mint Museum of Craft + Design, New Haven, 2010, p. 33 for a similar example
27. Dale Chihuly
b. 1941
Four-piece “Seaform” set 1981 Blown glass. 14 x 18 x 20 in. (35.6 x 45.7 x 50.8 cm) Underside of the largest element incised Chihuly 1981. Estimate $10,000-15,000
Provenance Charles Cowles Gallery, Inc., New York Acquired from the above by the present owner, 1981 Literature Mark McDonnell, ed., Chihuly on Fire, Seattle, 2016, pp. 76-77, 80-81 for similar examples Suzanne Rus and Muriel Ramuz, eds., Chihuly, Groningen, 2019, pp. 40-41, 4445 for similar examples
Acclaimed for his glass sculptures, vessels, and installations, American artist Dale Chihuly has dedicated his career to exploring the boundaries of the medium. After training with Harvey Littleton, founder of the American Studio Glass movement at the University of Wisconsin, Chihuly attended the Rhode Island School of Design for his M.F.A. and worked briefly in the Venini Fabrica, Venice. Chihuly creates works evocative of natural motifs, hyperbolizing their color and form to a tantalizing effect. One such series, Seaforms, reimagines marine flora in sinuous glass cradles, nodding to the origins of the medium in the ocean. The present Seaform work reveals rippled glass, invoking the assuaging character of a gentle current in the water. An artist, educator, and founder of the Pilchuck Glass School in 1971, Chihuly is recognized internationally. His work is situated in several public sites and is held in the permanent collections of the the Los Angeles County Museum of Art, Los Angeles, the Victoria and Albert Museum, London and the National Museum of Modern Art, Tokyo, among others.
28. William Daley
1925-2022
“Triaxial Procession” circa 1982 Unglazed stoneware. 21 x 25 x 21 in. (53.3 x 63.5 x 53.3 cm) One side impressed TRIAXIAL PROCESSION. Estimate $4,000-6,000
Provenance Helen Drutt Gallery, Philadelphia Acquired from the above by the present owner, 1982 Literature Michael McTwigan, “Duality in Clay: William Daley,” American Craft, December 1980/January 1981, cover, p. 33 for similar examples Ruth Fine, William Daley: Ceramic Artist, Atglen, Pennsylvania, 2013, illustrated p. 101
William Daley was born in New York in 1925 and served in World War II during which he was taken as a prisoner. After the war, he studied at Massachusetts College of Art and then went on to spend the majority of his career teaching at Philadelphia College of Art. He described himself, saying, “I am a teacher who makes pots and things rather than a craftsman or artist who teaches.” Despite his influential tenure as a professor, he truly was a master of ceramics in his own right. His works are often large in scale and left unglazed, as seen in the present lot. Daley began his process by drawing sketches of his forms, which he then constructed with large slabs of clay. His work is often described as architectonic and Triaxial Procession is a quintessential expression of this stylistic approach. Daley’s work belongs to collections such as The Metropolitan Museum of Art, New York and the Museum of Fine Arts, Houston, among others.
29. Wendell Castle
1932-2018
Dictionary stand 1976 Stack-laminated American black walnut. 41 1/4 x 24 1/8 x 19 1/2 in. (104.8 x 61.3 x 49.5 cm) Underside incised WC 76. Estimate $18,000-24,000
Provenance Richard Kagan Gallery, Philadelphia Acquired from the above by the present owner, 1976 Literature Victoria Donohoe, “Handmade Furniture Shows Individualism,” Philadelphia Inquirer, February 6, 1976, p. 3-D Emily Evans Eerdmans, Wendell Castle, A Catalogue Raisonné 1958-2012, New York, 2014, p. 124
30. Jun Kaneko
b. 1942
“Untitled” oval form 1982 Glazed stoneware. 24 3/4 x 19 7/8 x 8 1/2 in. (62.9 x 50.5 x 21.6 cm) Reverse incised Kaneko 82. Estimate $3,000-5,000 Provenance Helen Drutt Gallery, Philadelphia Acquired from the above by the present owner, 1983
The oval form is one of just a few forms that ceramist Jun Kaneko has returned to repeatedly. He has explored this form with endless variety, glazing them with bold geometric shapes such as polka dots, lines, and zig-zags. Kaneko executed the present platter in 1982 during his tenure as an art professor at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. Kaneko’s work belongs to dozens of museum collections including the Los Angeles County Museum of Art; the Smithsonian American Art Museum, Washington, D.C.; and the Victoria and Albert Museum, London.
31. James Makins
b. 1946
Two footed bowls 1982 Unglazed porcelain with black oxide. Taller: 7 in. (17.8 cm) high, 9 5/8 in. (24.4 cm) diameter Interior of each foot incised Makins 1982. Estimate $1,500-2,500 Provenance Taller bowl: Hadler-Rodriguez Galleries, New York Acquired from the above by the present owner, 1982 Shorter bowl: Helen Drutt Gallery, Philadelphia Acquired from the above by the present owner, 1982
Pennsylvania-born James Makins creates works in ceramic that, as he describes them, “synthesize a complex set of references from the history of ceramics, [fusing] them with contemporary issues in music, dance, painting and sculpture. Through the employment of focused attention, heightened awareness and constant decision making, a vocabulary of mark making is established through gesture, finger pressure and varying wheel speed.” In his early career, Makins studied with Byron Temple, a student of potter Bernard Leach. Similar to his predecessors, Makins became interested in British and Japanese ceramics. He later studied at Cranbrook Academy of Art with Richard DeVore, whose work is also included in the present offering. Over the past four decades, Makins has created a wide body of work in ceramics—from dinnerware services to abstract arrangements of vessel forms—that evidence their meticulous handmade quality. Makin’s work belongs to the Philadelphia Museum of Art and the Los Angeles County Art Museum, among others.
32. Rudolf Staffel
1911-2002
“Light Gatherer” 1980s Unglazed porcelain with cobalt oxide, wheel-thrown and incised. 8 5/8 in. (21.9 cm) high Underside incised Rudolf Staffel. Estimate $3,000-4,000 Literature Paula Winokur and Robert Winokur, “The Light of Rudolf Staffel,” Craft Horizons, April 1977, cover for a similar example
Rudolf Staffel began his artistic career as a painter, studying at the Art Institute of Chicago and later with Abstract Expressionist Hans Hofmann. Inspired by a trip to Mexico where he saw pre-Columbian ceramics, Staffel decided to begin working with clay. Though his early work was often figurative, his style changed in the late 1950s when he began to work in porcelain. Creating vessels in porcelain allowed Staffel to explore not only with the physical materials at hand but also the immaterial qualities of light. Describing his fascination with light, he said, “Even when I was a painter, I was always interested in light… Something about light coming through glass, wax, or snow. I wanted to achieve a passage of light.” The present works, which belong to his most well-known and acclaimed “Light Gatherer” series, are perfect expressions of this preoccupation. The present offering also demonstrates two different processes: lot 32 is an example of one vessel that was wheel-thrown, and lot 33 consists of two hand-built works in which he constructed his forms by layering patches of porcelain in a manner not altogether different than an Abstract Expressionist painting. Rudolf Staffel’s work belongs to the Los Angeles County Museum of Art and the Philadelphia Museum of Art, among others.
33. Rudolf Staffel
1911-2002
Two “Light Gatherers” circa 1985 Unglazed porcelain, handbuilt from overlapping elements. Cylinder: 7 1/2 x 5 3/4 x 6 1/2 in. (19.1 x 14.6 x 16.5 cm) Bowl: 7 x 9 x 8 1/2 in. (17.8 x 22.9 x 21.6 cm) Each incised Rudy Staffel. Estimate $4,000-6,000
Provenance Bowl: Helen Drutt Gallery, Philadelphia Acquired from the above by the present owner, 1985 Exhibited Bowl: “Rudolf Staffel - Searching for a Light: A Retrospective View 1936-1996,” Philadelphia Museum of Art, May 3-August 3, 1997
Literature Paula Winokur and Robert Winokur, “The Light of Rudolf Staffel,” Craft Horizons, April 1977, pp. 26-27 for similar examples Rob Barnard, “Focus: Rudolf Staffel at Temple Gallery,” American Craft, December 1989/January 1990, p. 72 for a similar example of the cylinder Peter Dormer, The New Ceramics: Trends + Traditions, London, 1994, figs. 25-26 for similar examples
34. Robert Turner
1913-2005
“Dome” vessel circa 1976 Glazed stoneware. 10 5/8 in. (27 cm) high Underside incised TURNER. Estimate $2,000-3,000
Provenance Daniel Jacobs, New York Garth Clark Gallery, New York Acquired from the above by the present owner, 2007 Literature Garth Clark, American Potters: The Work of Twenty Modern Masters, New York, 1981, p. 123 for a similar example Rosalie Goldstein, ed., Robert Turner: A Potter’s Retrospective, exh. cat., Milwaukee Art Museum, 1986, p. 5 for a similar example Ward Doubet, “Robert Turner,” American Ceramics, vol. 9, no. 4, 1991, illustrated p. 21
In the catalogue for Robert Turner’s 1986 retrospective, philosopher Kenneth Westphal wrote, “There is nothing accidental or arbitrary in Turner’s pots, and yet there is nothing in them that is forced or contrived. Their combination of necessity and grace is achieved only by Turner’s sensitivity to the materials and structures he uses and to the content they express.” Turner began focusing on abstract vessel forms rather than utilitarian forms in the late 1960s and he often drew inspiration from his various travels across the American Southwest as well as more distant places such as West Africa. He primarily created conical, domed, and cylindrical forms in reds, white, and dark browns, as seen in the present offering, which are all exquisite examples of the artist’s commitment to this restrained vocabulary of forms and palette of glazes. Robert Turner’s work belongs to museum collections including the Los Angeles County Museum of Art and the Philadelphia Museum of Art, among others.
35. Robert Turner
1913-2005
“Onitcha II” vessel circa 1996 Glazed stoneware, epoxy cement. 23 in. (58.4 cm) high Underside incised TURNER. Estimate $4,000-6,000 Provenance Wright, Chicago, “Post War + Contemporary Art,” February 26, 2009, lot 141 Acquired from the above by the present owner Literature Wayne Higby et al., Materiality: The Miller Ceramic Art Collection, Stuttgart, 2019, p. 55 for a similar example
36. Robert Turner
1913-2005
“Dome” vessel circa 1976 Glazed stoneware. 9 3/4 in. (24.8 cm) high Underside incised TURNER. Estimate $2,000-3,000
Provenance Collection of the artist’s family Sollo Rago, Lambertville, “A 20th Century Modern Weekend,” October 27, 2007, lot 477 Acquired from the above by the present owner
Literature Garth Clark, American Potters: The Work of Twenty Modern Masters, New York, 1981, p. 123 for a similar example Rosalie Goldstein, ed., Robert Turner: A Potter’s Retrospective, exh. cat., Milwaukee Art Museum, 1986, p. 5 for a similar example
37. Jane Hamlyn
b. 1940
Five vessels, from the “Empty Vessel” series 2006 Salt-glazed stoneware. Tallest: 8 in. (20.3 cm) high Underside of each impressed with artist’s seal. Estimate $1,500-2,500
Provenance Galerie Besson, London Acquired from the above by the present owner, 2006 Literature Jane Hamlyn, “Empty Vessels,” Ceramic Review, November/December 2003, pp. 32-35 for similar examples Cigalle Hanaor, ed., Breaking the Mould: New Approaches to Ceramics, London, 2007, pp. 152-53 for similar examples
When Jane Hamlyn built a new kiln at her studio in the East Midlands region of England, her artistic practice changed. Though she continued to create works with the salt glazes for which she is best known, her forms changed from being largely functional in nature to more sculptural. She begins by throwing oval cylinders on the wheel which she then cuts at a diagonal and attaches to a base. This process allows her to create tilted cylindrical forms that are then glazed and arranged in groupings which Hamlyn calls Empty Vessels. This process of selection and arrangement was new to Hamlyn. She noted how the making process was no longer simply about the production of a vessel, for example, but now extended to decisions made after the firing. The present arrangement of vessels exhibits not only the potter’s aesthetic sensibility through her grouping but also the extraordinary yet subtle variations that occur from the salt-glazing process.
38. Edmund de Waal
b. 1964
Lidded jar and vessel circa 1996 Porcelain, celadon glaze. Lidded jar: 11 1/2 in. (29.2 cm) high Vessel: 7 3/4 in. (19.7 cm) high Sides of each impressed with inventory mark under the glaze. Estimate $8,000-12,000
Literature Annie Carlano, ed., Contemporary British Studio Ceramics, exh. cat., Mint Museum of Craft + Design, New Haven, 2010, p. 165 for similar examples of the vessel Edmund de Waal, Edmund de Waal, London, 2014, pp. 30-31, 67, 106, 108 for similar examples
Entering the fifth decade of his career, critically acclaimed English ceramist and writer Edmund de Waal imbues his porcelain works with traces of human intervention. De Waal throws “wobbly” pots, vessels and cylinders, subverting the preciousness of the medium and the works it traditionally begot. This approach encourages a consideration of tactility, a sense overlooked in the modern history of porcelain, perhaps due to its smooth, often pristine surfaces. Internationally recognized, De Waal’s work is held in the permanent collections of the Rijksmuseum, Amsterdam; the Museum of Arts and Design, New York; and the Victoria & Albert Museum, London, among others.
39. Chun Liao
b. 1969
“Installation” 2007 Glazed porcelain, gold. 3 5/8 in. (9.2 cm) high, 10 1/2 in. (26.7 cm) diameter Underside of base and each vessel inscribed Chun Liao/2007. Comprising tray and 64 vessels. Estimate $2,000-3,000
Provenance Barrett Marsden Gallery, London Acquired from the above by the present owner, 2008 Literature Matthew Kangas, “Chun Liao at Marsden Woo,” Ceramics: Art & Perception, June 2013, pp. 90-91 for similar examples
Taiwanese-English ceramist Chun Liao celebrates the intimacy of porcelain in her colorful, self-contained groupings of cylinders and pots. Trained at the Royal College of Art, London, Liao undermines the symmetry and polished lines characteristic of traditional porcelain works by subtly tearing the rims of the pots, dimpling their walls, or adding specks of gold. Such interventions are visible only to the most observant viewer, though, encouraging careful observation. Liao’s work is held in the permanent collections of the Victoria & Albert Museum, London, and The Metropolitan Museum of Art, New York.
40. Bodil Manz
b. 1943
Cylinder circa 2000 Slipcast and transfer-printed porcelain. 4 1/8 x 10 1/8 x 6 7/8 in. (10.5 x 25.7 x 17.5 cm) Underside painted BODIL MANZ and with artist’s mark. Estimate $2,000-3,000 Provenance Galerie Carla Koch, Amsterdam Acquired from the above by the present owner, 2000 Literature Nanna Bruun and Bodil Busk Laursen, eds., The Ceramist: Bodil Manz, Copenhagen, 2008, p. 93 for a similar example
Danish ceramist Bodil Manz has perfected her craft for over forty years, creating primarily cylinder forms with an endless variety of surface decorations. To create these paper-thin cylinders, she first makes plaster molds that she fills with liquid clay. She then vacuums out the clay, leaving only a thin layer of clay against the mold which hardens and is eventually fired in the kiln. After a first firing, paper decals are then applied to the body, often in bold geometric patterns inspired by Russian Suprematism and De Stijl art. Later iterations of her practice have involved using sand-cast molds which feature textured and complex surfaces, as seen in her large cylinder. Describing her fascination for exploring endless variations on the same theme, Manz said, “Focusing and concentrating on a single object such as…a cylinder…[seems] indeed almost banal. But during the process [I] discovered fresh aspects, and suddenly ‘the ordinary’ became a new experience.” Bodil Manz’s work resides in The Museum of Modern Art, New York; the Victoria & Albert Museum, London; and the Los Angeles County Museum of Art, among others.
41. Bodil Manz
b. 1943
Cylinder circa 2001 Slipcast and transfer-printed porcelain. 3 7/8 x 9 7/8 x 6 7/8 in. (9.8 x 25.1 x 17.5 cm) Underside painted BODIL MANZ and with artist’s mark. Estimate $2,000-3,000
Provenance Galerie Carla Koch, Amsterdam Acquired from the above by the present owner, 2001 Literature Nanna Bruun and Bodil Busk Laursen, eds., The Ceramist: Bodil Manz, Copenhagen, 2008, p. 93 for a similar example
42. Bodil Manz
b. 1943
Cylinder circa 2003 Slipcast and transfer-printed porcelain. 5 x 14 7/8 x 10 1/2 in. (12.7 x 37.8 x 26.7 cm) Underside painted BODIL MANZ and with artist’s mark. Estimate $2,000-3,000
Provenance Barrett Marsden Gallery, London Acquired from the above by the present owner, circa 2003 Literature Nanna Bruun and Bodil Busk Laursen, eds., The Ceramist: Bodil Manz, Copenhagen, 2008, p. 100 for a similar example
43. Wendell Castle
1932-2018
Side table 1980 Stack-laminated and ebonized maple. 24 1/2 x 19 3/4 x 18 in. (62.2 x 50.2 x 45.7 cm) Base incised W. Castle 80. Estimate $20,000-30,000 Provenance Richard Kagan Gallery, Philadelphia Acquired from the above by the present owner, 1980
44. Gordon Baldwin
b. 1932
Vessel 1993 Earthenware, painted slip. 13 1/2 x 17 1/2 x 8 in. (34.3 x 44.5 x 20.3 cm) Underside incised GB/93. Estimate $2,000-3,000 Literature David Whiting, Gordon Baldwin: Objects for a Landscape, York, 2012, p. 37 for a similar example
45. Gordon Baldwin
b. 1932
“Monad” 1988 Earthenware, painted slip. 24 in. (61 cm) high Underside painted in glaze GB 88. Estimate $4,000-6,000 Literature Dorris U. Kuyken-Schneider, ed., Gordon Baldwin: Mysterious Volumes, Rotterdam, 1989, cover, pp. 1, 28-29 for similar examples David Whiting, Gordon Baldwin: Objects for a Landscape, York, 2012, pp. 101-02, 104 for similar examples
46. Ruth Duckworth
1919-2009
Vase circa 1978 Mixed clays. 5 1/2 in. (14 cm) high Underside painted in glaze R. Estimate $2,000-3,000
A German Jewish émigré to England, Ruth Duckworth attended the Liverpool School of Art, enrolling in courses on painting, drawing and sculpture. She turned her focus to clay in the 1950s, perhaps due to her brief tenure as a headstone mason, and attended the Central School of Arts and Crafts to study ceramics. Influenced by the stylized forms of Cycladic art, as well as the abstract character of Henry Moore’s sculpture, Duckworth created both large-scale works occupying public space and more intimately sized tableware, all united by their organic nature. In the 1960s, Duckworth took great interest in the then-nascent field of geomorphology; the present lots reveal her dedication to abstracted natural motifs, the painted lines evocative of geological striations. Internationally recognized, Duckworth’s work is included in the permanent collections of the Smithsonian American Art Museum, Washington, D.C.; the British Museum, London; and The Metropolitan Museum of Art, New York, among others.
47. Ruth Duckworth
1919-2009
Large bowl circa 1978 Glazed stoneware. 5 3/4 in. (14.6 cm) high, 23 1/2 in. (59.7 cm) diameter Underside painted in glaze R. Estimate $3,000-5,000
Provenance Hadler-Rodriguez Galleries, New York Helen Drutt Gallery, Philadelphia, acquired from the above, 1978 Acquired from the above by the present owner, 1984 Literature Garth Clark and Margie Hughto, A Century of Ceramics in the United States, 18781978, New York, 1979, illustrated p. 252
48. Toshiko Takaezu
1922-2011
“Closed Form” 1980s Glazed stoneware. 18 1/8 in. (46 cm) high Underside incised with artist’s mark. Estimate $6,000-8,000 Literature J. Stanley Yake, Toshiko Takaezu: The Earth in Bloom, New York, 2005, n.p. for a similar example
49. Wayne Higby
b. 1943
“Calico Canyon Overlook” lidded vessel 1976 Raku-fired glazed earthenware. 14 1/2 x 13 x 7 1/2 in. (36.8 x 33 x 19.1 cm) Underside impressed with artist’s seal. Estimate $4,000-6,000
Provenance Theo Portnoy Gallery, New York Acquired from the above by the present owner, 1976 Exhibited “Infinite Place: The Ceramic Art of Wayne Higby,” Arizona State University Art Musuem, Tempe, Arizona; Smithsonian American Art Museum, Renwick Gallery, Washington, D.C.; Reading Public Museum, Reading, Pennsylvania; Philadelphia Art Alliance, Philadelphia, Pennsylvania; Racine Art Museum, Racine, Wisconsin; Memorial Art Museum, Rochester, New York; April 26, 2013May 29, 2015
Wayne Higby grew up in Colorado and often rode horseback through the panoramic landscapes of the American West as a youth. His work in ceramic draws on these experiences—not only in their titles but also through their forms and surface decorations. The present selection of works by Higby reflect three distinct expressions of these landscapes; they are abstract representations of the vast canyons, rivers, and rock formations that he witnessed as a child. Higby’s work explores both traditional forms, as seen in his “White Bridge Canyon” bowl, as well as extraordinarily sculptural forms, as seen in his lidded vessel forms which are entirely innovative within the history of modern ceramics. Describing his work, Higby said, “I strive to establish a zone of quiet coherence—a place full of silent, empty space where finite and infinite, intimate and immense intersect.”
Literature Peter Held, ed., Infinite Place: The Ceramic Art of Wayne Higby, exh. cat., Arizona State University Art Museum, Tempe, Arizona, 2013, illustrated p. 33
50. Wayne Higby
b. 1943
“Cathedral Canyon” 1985 Raku-fired glazed earthenware. 13 1/2 x 36 x 7 in. (34.3 x 91.4 x 17.8 cm) Underside of one piece impressed with artist’s seal and 85. Comprising five lidded vessels. Estimate $15,000-20,000 Provenance Helen Drutt Gallery, Philadelphia Acquired from the above by the present owner, 1986 Exhibited “Contemporary Arts: An Expanded View,” The Monmouth Museum, Lincroft, New Jersey, March 9-June 13, 1986 Literature Janet Wilson, ed., Skilled Work: American Craft in the Renwick Gallery, Washington, D.C., 1998, pp. 68-69 for a similar example Peter Held, ed., Infinite Place: The Ceramic Art of Wayne Higby, Stuttgart, 2013, pp. 63, 70-71, 76-78 for similar examples
51. Wayne Higby
b. 1943
“White Bridge Canyon” 1982 Raku-fired glazed earthenware. 11 1/4 x 16 1/4 x 18 7/8 in. (28.6 x 41.3 x 47.9 cm) Edge of base impressed with artist’s seal. Estimate $4,000-6,000
Provenance Helen Drutt Gallery, Philadelphia Acquired from the above by the present owner, circa 1982
Literature Helen Drutt, Wayne Higby, New York, 1991, pp. 2, 7 for similar examples Janet Koplos and Bruce Metcalf, Makers: A History of American Studio Craft, Chapel Hill, North Carolina, 2010, p. 332 for a similar example Peter Held, ed., Infinite Place: The Ceramic Art of Wayne Higby, Stuttgart, 2013, pp. 45-47 for similar examples
52. Wendell Castle
1932-2018
Lidded box 1976 Stack-laminated maple. 5 x 12 1/2 x 8 3/4 in. (12.7 x 31.8 x 22.2 cm) Base incised WC 76. Estimate $8,000-12,000
Provenance Richard Kagan Gallery, Philadelphia Acquired from the above by the present owner, 1976 Literature Emily Evans Eerdmans, Wendell Castle, A Catalogue Raisonné 1958-2012, New York, 2014, pp. 80-81 for similar examples
53. Gordon Baldwin
b. 1932
Tall bottle 1992 Earthenware, painted slip. 27 in. (68.6 cm) high Underside painted in glaze GB/92. Estimate $3,000-5,000
54. Gordon Baldwin
b. 1932
Vessel 1994 Earthenware, painted slip. 10 5/8 x 15 3/4 x 15 7/8 in. (27 x 40 x 40.3 cm) Underside incised GB 94. Estimate $2,000-3,000 Literature David Whiting, Gordon Baldwin: Objects for a Landscape, York, 2012, p. 126 for a similar example
55. Bodil Manz
b. 1943
Cylinder circa 2001 Slipcast and transfer-printed porcelain. 6 in. (15.2 cm) high, 7 1/4 in. (18.4 cm) diameter Underside painted BODIL MANZ and with artist’s mark. Estimate $2,000-3,000
Provenance Galerie Carla Koch, Amsterdam Acquired from the above by the present owner, 2001 Literature Nanna Bruun and Bodil Busk Laursen, eds., The Ceramist: Bodil Manz, Copenhagen, 2008, pp. 89, 91 for similar examples
56. Bodil Manz
b. 1943
Cylinder circa 1999 Slipcast and transfer-printed porcelain. 4 7/8 in. (12.4 cm) high, 5 5/8 in. (14.3 cm) diameter Underside painted BODIL MANZ and with artist’s mark. Estimate $2,000-3,000
Provenance Galerie Besson, London Acquired from the above by the present owner, 1999 Literature Nanna Bruun and Bodil Busk Laursen, eds., The Ceramist: Bodil Manz, Copenhagen, 2008, p. 79 for a similar example
alternate views
57. Bodil Manz
b. 1943
Cylinder circa 2006 Slipcast and transfer-printed porcelain. 7 1/8 in. (18.1 cm) high, 8 7/8 in. (22.5 cm) diameter Underside painted BODIL MANZ and with artist’s mark. Estimate $2,000-3,000 Provenance Galerie Carla Koch, Amsterdam Acquired from the above by the present owner, 2006
58. Robert Turner
1913-2005
“de Chelly” vessel 1980s Glazed stoneware. 9 3/8 in. (23.8 cm) high Underside incised TURNER. Estimate $3,000-5,000 Provenance Collection of the artist’s family Sollo Rago, Lambertville, “A 20th Century Modern Weekend,” October 27, 2007, lot 480 Acquired from the above by the present owner Literature Rosalie Goldstein, ed., Robert Turner: A Potter’s Retrospective, exh. cat., Milwaukee Art Museum, 1986, pp. 8-9, 15, 18-20, 24 for similar examples Janet Wilson, ed., Skilled Work: American Craft in the Renwick Gallery, Washington, D.C., 1998, pp. 32, 78 for a similar example Marsha Miro and Tony Hepburn, Robert Turner: Shaping Silence, A Life in Clay, Tokyo, 2003, p. 41 for a similar example
59. Robert Turner
1913-2005
“Beach” vessel 1970s Glazed stoneware. 10 in. (25.4 cm) high Underside incised TURNER. Estimate $4,000-6,000 Literature Rosalie Goldstein, ed., Robert Turner: A Potter’s Retrospective, exh. cat., Milwaukee Art Museum, 1986, pp. 17, 23 for similar examples Peter Dormer, The New Ceramics: Trends + Traditions, London, 1994, p. 36 for a similar example
60. Alev Ebüzziya Siesbye
b. 1938
Large bowl 1990s Stoneware, turquoise glaze, unglazed band. 9 in. (22.9 cm) high, 14 3/4 in. (37.5 cm) diameter Underside incised Alev. Estimate $15,000-20,000 Literature John Pagliaro, ed., Shards: Garth Clark on Ceramic Art, New York, 2003, pp. 178, 183 for similar examples Wayne Higby et al., Materiality: The Miller Ceramic Art Collection, Stuttgart, 2019, n.p. for a similar example
The Turkish-Danish ceramist Alev Ebüzziya Siesbye established herself as a formidable artist in the 1970s and 1980s when she began making bowls and vessels with serene cerulean glazes. Having trained as an artist in Istanbul and as a worker at ceramic factories in Germany and Denmark, she ultimately settled in Paris where she makes about thirty bowls a year. With minimal yet powerful forms she aims to obtain a vibration or an aura in her work which creates a sense of dynamism—a certain metaphysical quality—that supersedes aesthetic beauty. This quality arises from her meticulous process and from an intimate relationship between maker and material. It takes years to develop her glazes and hours to manipulate the clay into their perfected forms and surface textures. Alev Ebüzziya Siesbye’s works belongs to the permanent collections of over thirty-four museums worldwide such as the Victoria & Albert Museum, London; the Musée des Arts Décoratifs, Paris; and the Cooper-Hewitt, Smithsonian Design Museum, New York.
61. Bodil Manz
b. 1943
Cylinder circa 2000 Slipcast and transfer-printed porcelain. 4 5/8 x 7 7/8 x 6 3/8 in. (11.7 x 20 x 16.2 cm) Underside painted BODIL MANZ and with artist’s mark. Estimate $2,000-3,000
62. Bodil Manz
b. 1943
Large cylinder circa 2001 Sand-cast porcelain. 8 1/8 x 17 3/4 x 12 5/8 in. (20.6 x 45.1 x 32.1 cm) Underside painted BODIL MANZ and with artist’s mark. Estimate $2,000-3,000
Provenance Galerie Carla Koch, Amsterdam Acquired from the above by the present owner, circa 2001 Literature Nanna Bruun and Bodil Busk Laursen, eds., The Ceramist: Bodil Manz, Copenhagen, 2008, p. 171 for a similar example
63. Bodil Manz
b. 1943
Cylinder circa 2010 Slipcast and transfer-printed porcelain. 6 3/4 x 10 3/4 x 8 1/8 in. (17.1 x 27.3 x 20.6 cm) Underside painted BODIL MANZ and with artist’s mark. Estimate $2,000-3,000
Provenance Galerie Carla Koch, Amsterdam Acquired from the above by the present owner, 2010 Literature Nanna Bruun and Bodil Busk Laursen, eds., The Ceramist: Bodil Manz, Copenhagen, 2008, p. 99 for a similar example
64. Garry Knox Bennett
1934-2022
“Black Freighter” console table 1990 Patinated steel. 39 x 111 x 19 1/2 in. (99.1 x 281.9 x 49.5 cm) Fabricated by Reynaldo Terrazas. Top impressed IN OAKLAND GKB ANNO 90 and underside inscribed in marker IN OAKLAND/GKB ANNO/90/MR & MRS BERSHAD/THANKS. Estimate $4,000-6,000
Provenance Franklin Parrasch Gallery, New York Acquired from the above by the present owner, 1990 Literature Michael A. Stone, Contemporary American Woodworkers, Layton, Utah, 1986, pp. 134, 143 for similar forms in wood Ursula Ilse-Neuman, Made in Oakland: The Furniture of Garry Knox Bennett, exh. cat., American Craft Museum, New York, 2001, p. 59 for similar examples
A self-proclaimed “furnituremaker,” Garry Knox Bennett mastered an impressively disparate portfolio of mediums during his six-decade career. Attending the California College of Arts and Crafts (now the California College of the Arts) in the early 1960s, he trained initially as a painter, later pursuing design. Acclaimed for his inventive formal language, Bennett rejected the postmodern return to basic forms, more interested in the hyperbolized shapes of finely crafted materials. A testament to his craftsmanship, Bennett designed without prior sketches or planning, privileging a direct experience with his materials, which included wood, metal, glass and marble, amongst others. This California sensibility, bringing fine craft to experimental syntheses of materials and forms, is appreciable in the present lot, the Black Freighter console table, executed in 1990 during the zenith of Bennett’s career. Known for his affability, Bennett inscribed the underside of the table with a note thanking Jack and Helen Bershad for their patronage. Heralded in the craft and design communities, his work is held in the permanent collections of the Boston Museum of Fine Arts; the San Francisco Museum of Modern Art; and the Victoria & Albert Museum, London, among others.
Sale Information Auction
Auction License
Wednesday, 8 June at 2pm 432 Park Avenue, New York, NY 10022
2013224
Please register to bid online, absentee or by phone. Viewing 432 Park Avenue, New York, NY 10022 2–7 June 2022 Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY050322 or Contemporary Studio Artworks from the Estate of Jack R. Bershad. Absentee and Telephone Bids Tel +1 212 940 1228 Fax +1 212 940 1749 bidsnewyork@phillips.com
Auctioneers
Design Department Head of Design, West Coast, Senior International Specialist
Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Jonathan Crockett - 2056239 Rebecca Tooby-Desmond - 2058901 Aurel Bacs – 2047217 Blake Koh – 2066237 Susanna Brockman – 2058779 Rebekah Bowling - 2078967 Cathy Elkies – 2088939
Meaghan Roddy mroddy@phillips.com
Catalogues
Specialist
catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery
Kimberly Sørensen ksorensen@phillips.com
Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 432 Park Avenue +1 212 940 1200 Shipping Steve Orridge +1 212 940 1370 Anaar Desai +1 212 940 1320 Photography Kent Pell
Senior International Specialist Beth Vilinsky bvilinsky@phillips.com Head of Department, New York Cordelia Lembo clembo@phillips.com
Associate Specialist, Associate Head of Sale Benjamin Green bgreen@phillips.com Administrator Cecilia Moure cmoure@phillips.com
Index Arroyave-Portela, N. 26
Kaneko, J. 30
Baldwin, G. 6, 7, 44, 45, 53, 54
Lee, J. 10, 11, 12, 13, 14, 15, 16, 17, 18
Bennett, G. K. 64
Liao, C. 39
Britton, A. 8, 22, 23, 24 Makins, J. 31 Castle, W. 5, 29, 43, 52
Manz, B. 40, 41, 42, 55, 56, 57, 61,
Chihuly, D. 27
62, 63
Coper, H. 4 Rena, N. 21 Daley, W. 28 Dam, W. 25
Siesbye, A. E. 58
de Waal, E. 38
Staffel, R. 32, 33
DeVore, R. 19, 20 Duckworth, R. 46, 47
Takaezu, T. 1, 48 Turner, R. 34, 35, 36, 59, 60
Fritsch, E. 2, 3 Gill, J. 9 Hamlyn, J. 37 Higby, W. 49, 50, 51
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