Masterworks of Craft from Jane & Leonard Korman by Wright Auction

9 November 2023

Masterworks of Craft

Korman

from Jane & Leonard

Rago 333 North Main St Lambertville NJ 08530 609 397 9374 ragoarts.com

Masterworks of Craft from Jane & Leonard Korman

auction 9 November 2023 11 am est preview / lambertville 2 – 9 November 2023 11 am – 4 pm, daily selected preview / new york 17 – 30 October 2023 Monday – Friday, or by appointment 507 W 27th Street New York, NY 10001

In over fifty years of helping to both build and sell collections, I’ve experienced only a small percentage of interiors that were assembled with an artist’s eye, where every element was carefully considered and chosen as part of a unified whole. Even rarer is a collector or designer who possesses the depth of knowledge and a nuanced understanding across various disciplines with the industry insider access to match. In walking through the home of Jane Korman, I soon realized she was one of those people. From fine art and prints (there is a Warhol portrait of her, now in the family collection; the Pop icon was part of her circle), to sophisticated glass, ceramics, and furniture, Jane Korman was consistent in taste and selection. Her impeccable design sensibility extended to the grounds outside her home, which hosted a large Richard Serra sculpture, a monumental Kaneko Dango (lot 140), and an oversized garden bell by Toshiko Takaezu, who was a personal friend. This curated sale is but a brief glimpse of Ms. Korman’s eye. As a gallerist specializing in fine and decorative art she was at least as influential in building collections as she was in supporting important artists for decades. I hope you enjoy exploring the exceptional offerings presented here as much as we did in working with the Korman family to assemble them. —David Rago

Art for Life’s Sake

opposite lot 127, 128 right lot 146 below lot 107

by Sarah Archer

ake a walk through center city Philadelphia, you’ll find evidence of Jane Korman’s vision all around you: on Arch Street, the innovative textile studios and galleries at the Fabric Workshop and Museum will be abuzz with creativity, with thought-provoking exhibitions on view. On Walnut Street, you’ll pass the Jane & Leonard Korman Respiratory Institute at Thomas Jefferson University Hospital—an initiative inspired by her own experience as a lung cancer patient who never took the ability to breathe for granted. Each November at the nearby Pennsylvania Convention Center, the Philadelphia Museum of Art Contemporary Craft Show welcomes thousands of eager shoppers whose purchases support both the livelihoods of the artists displaying their work, and the Museum’s ability to acquire important works of contemporary craft. Korman was a longtime supporter and member of the Board of Directors of this annual event through the Women’s Committee of the Philadelphia Museum of Art, where she also served on the Modern and Contemporary Art Committee. And if you venture

a bit further afield to the northwest corner of the city, you’ll reach the Morris Arboretum of the University of Pennsylvania, where Korman was a Trustee and chair of the Fine Arts Committee. There, she spearheaded the creation of a permanent installation for children called Out on a Limb: A Tree Adventure Exhibit, complete with a nest of giant robin’s eggs and a Squirrel Scramble. It was designed as a fully accessible place for children and adults to explore and revel in nature, and to help them see that “we need trees, and trees need us.” These efforts have something important in common: breathing deeply and enjoying nature in every season, celebrating art and creativity in all its forms, and sharing the wonder of exquisite craftsmanship with the historic city she loved, all demonstrating that for Jane Korman, art, life and nature were not separate entities, but deeply intertwined facets of a life well lived. The diversity and exceptional quality of the works of art in this important sale speak to this sense of interconnectedness, and reflect her eye for idiosyncratic beauty and adventurous form. From the playful wit of Judy Kensley McKie’s furniture to the trompe-l’œil everyday objects created in clay by Marilyn Levine, Korman’s collection demonstrates reverence for material mastery, an appreciation for originality and nontraditional forms, and enjoyment of the unpretentious humor that animates craft’s whimsical side. It also offers proof of her artistic foresight: McKie’s Table With Dogs was featured in the American Craft Council’s exhibition New Handmade Furniture: American Furniture Makers Working in Hardwood back in 1979. Korman was well known as a connoisseur and philanthropist, but she was also a gallery owner and published author. Her 2010 book Splendid Settings: The Art + Craft of Entertaining captured the spirit of her much-beloved collection. On the cover, a bouquet of peonies keeps company with a pair of elegant champagne flutes and three brilliantly glazed works by Toshiko Takaezu; this could only be Jane Korman’s table. Born in Philadelphia, she earned a BA in fine arts from Arcadia University, married Leonard Korman in 1957, and they raised three daughters

together. In 1977, she established a gallery dedicated to contemporary American craft called Sign of the Swan in Philadelphia’s Chestnut Hill neighborhood. She later opened Swan Gallery near Rittenhouse Square, overseeing both spaces until 1989. Her passion for craft and expertise only grew as she became a trustee of the American Craft Council, and the Museum of Arts and Design, both located in New York, among other organizations. Splendid Settings explains how her varied passions overlapped: nearly 70 recipes, both her own and those shared from friends and artists, are presented against the vibrant backdrop of tables featuring Korman’s collections. She believed that like food and nature, works of art, craft and design are part of our shared feast, and should be enjoyed, not tucked away for “someday.” To build a collection that encompasses works from such a wide array of genres, time periods, and materials suggests that Korman was inspired by something akin to artistic hospitality. Her collection includes quite a few greats: delicate vessels by George Ohr, vibrant and modern forms by Lucie Rie and Ruth Duckworth, and luminous Toots Zynsky bowls that seem to radiate color and light from their fused glass threads. Rudy Autio’s Blue Horse and Rider shows a woman clinging to the side of a vessel as though it were a wild steed, linking the two distinct forms of pottery and sculpture as though they couldn’t live without one another. Also striking is the number of works obtained directly from the artist, or even commissioned specifically for the Kormans, like Wendell Castle’s sculptural sets of dining tables and chairs.

above left lot 147 above right lot 124 opposite lot 154

Jane Korman admired beauty, but didn’t insist on a narrow definition of it. She felt a kinship with artists, being one herself, and understood them through a shared language. Many of the works in her collection are straightforwardly lovely, like Wayne Higby’s serene Landscape Bowl from 1980 or Harvey Littleton’s nearlyedible Ruby Sliced Descending Form from 1985. Others possess a kind of rugged beauty that can only be truly appreciated with an understanding of artistic intent and preternatural skill. Observers might have glanced at Marilyn Levine’s 1984 KCP Bag and seen an ordinary useful object—sturdy, but worn a bit past its prime. Jane Korman saw Levine’s artistic devotion to capturing the contours and details of a personal item freighted with meaning, something that deserved to be realized through careful attention and virtuosic skill. Like nature, artistic inspiration takes infinite forms, and what strikes most people as traditionally beautiful represents just a narrow band of human creative endeavor. As long as a work of art was a triumph of technique, keenly observed, and authentically inspired, it was welcome at Jane Korman’s table.

Sarah Archer is a design writer based in Philadelphia who has authored several books and contributed essays to exhibition catalogs for the Print Center New York, the Renwick Gallery of the Smithsonian Institution, the Portland Art Museum, the Milwaukee Museum of Art, and the Museum of Arts and Design. She served as senior curator at the Philadelphia Art Alliance from 2011 through 2014 and was the 2017 Jentel Visiting Critic at the Archie Bray Foundation in Helena, Montana.

100 George E. Ohr Vase USA, 1897–1900 glazed earthenware 3 h x 5 ¼ w x 5 d in (8 x 13 x 13 cm) Vase features a ruffled rim, a pinched body, and a speckled brown and ochre glaze. Impressed signature to underside ‘G.E. OHR, Biloxi, Miss.’. $ 2,500 – 3,500

101 George E. Ohr Exceptional vase USA, 1898–1910 scroddled bisque earthenware 5 h x 5 ¼ w x 5 d in (13 x 13 x 13 cm) Vase features a pinched rim and manipulated body. Incised script signature to underside ‘GE Ohr’. $ 10,000 – 15,000

102

103

George E. Ohr Vase USA, 1897–1900 glazed earthenware 5 h x 4 dia in (13 x 10 cm)

George E. Ohr Vase USA, 1897–1900 glazed earthenware 4 h x 4 ¼ dia in (10 x 11 cm)

Vase features a pinched and folded rim, in-body dimples, and a speckled brown with gunmetal drip glaze. Impressed signature to underside ‘G.E. OHR Biloxi, Miss’ and incised ‘Biloxi, Miss’.

Vase features a lobed rim, in-body dimples, and green and gunmetal glaze. Impressed signature to underside ‘G.E. OHR, Biloxi, Miss’. PROVENANCE

$ 3,000 – 4,000

Charles Cowles Gallery, New York $ 2,000 – 3,000

104 George E. Ohr Vase USA, 1897–1900 glazed earthenware 6 h x 5 ½ w x 3 ½ d in (15 x 14 x 9 cm) Vase features an in-body twist, two ribbon handles, and an ochre, gunmetal, and brown polka dot glaze. Impressed signature to underside ‘G.E. OHR Biloxi, Miss.’. PROVENANCE

Charles Cowles Gallery, New York $ 4,000 – 6,000

105 Richard DeVore #1075 USA, 2003 glazed stoneware 17 ¾ h x 15 ½ w x 13 d in (45 x 39 x 33 cm) Titled to underside ‘1075’. LIT ERATURE

American Potters: The Work of Twenty Modern Masters, Clark, ppg. 68–70 PROVENANCE

Max Protetch Gallery, New York $ 3,000 – 4,000

106 Richard DeVore #913 USA, 2003 glazed stoneware 18 h x 11 ½ w x 9 ½ d in (46 x 29 x 24 cm) Titled to underside ‘913’. LIT ERATURE

American Potters: The Work of Twenty Modern Masters, Clark, ppg. 68–70 $ 3,000 – 4,000

107 Judy Kensley McKie Fish Bench USA, 1999 patinated bronze 18 h x 76 w x 29 d in (46 x 193 x 74 cm) Incised signature, date and number to underside ‘JKM 1999 8/10’. This work is number 8 from the edition of 10. LIT ERATURE

The Furniture Art of Judy Kensley McKie, exhibition catalog, unpaginated $ 75,000 – 100,000

108

109

Peter Voulkos Untitled (Plate) USA, 1980 glazed and incised gas-fired stoneware with porcelain pass-throughs 21 ½ dia x 4 ½ d in (55 x 11 cm)

Peter Voulkos Untitled (Plate) USA, 1980 glazed and incised gas-fired stoneware with porcelain pass-throughs 22 dia x 4 ¼ d in (56 x 11 cm)

Glazed signature and date to verso ‘Voulkos 80’.

Glazed signature and date to verso ‘Voulkos 1980’.

LIT E RATURE

LIT ERATURE

$ 8,000 – 12,000

Peter Voulkos Retrospective, Sezon Museum of Art, ppg. 98–101

110 Peter Voulkos Untitled (Plate) USA, 1981 anagama-fired stoneware 20 ½ dia x 5 ¼ d in (52 x 13 cm) The present work was fired in Peter Callas’s Piermont, New York anagama. Glazed signature and date to verso ‘Voulkos 81’. LIT ERATURE

Peter Voulkos Retrospective, Sezon Museum of Art, ppg. 98–101 PROVENANCE

The Greenberg Gallery, St. Louis, MO $ 10,000 – 15,000

111 Robert Turner Form IV (Basket) USA, 1989 glazed stoneware with slab and wheel-thrown applied decoration 14 ½ h x 11 ½ w x 11 d in (37 x 29 x 28 cm) Incised signature to underside ‘Turner’. LIT ERATURE

Robert Turner: Shaping Silence, A Life in Clay, Miro and Hepburn, ppg. 50, 124–125 PROVENANCE

American Craft Museum Charity Auction, 29 October 1990, Lot 26 $ 3,000 – 4,000

112 Robert Turner Oshogbo USA, 1984 glazed stoneware 14 ½ h x 11 dia in (37 x 28 cm) Glazed signature and number to underside ‘Turner 230’. LIT ERATURE

Robert Turner: Shaping Silence, A Life in Clay, Miro and Hepburn, ppg. 40, 116–117 PROVENANCE

The Artist The Greenberg Gallery, St. Louis, MO $ 4,000 – 6,000

113 Lucie Rie Vase with flaring lip United Kingdom, 1989 glazed stoneware with manganese decoration 9 ¾ h x 5 dia in (25 x 13 cm) Impressed artist’s seal to underside. LIT E RATURE

Lucie Rie, Houston, pg. 64 PROVENANC E

The Artist Schneider-Bluhm-Loeb Gallery, Chicago $ 15,000 – 20,000

114 Lucie Rie Bowl United Kingdom, c. 1989 glazed porcelain with sgraffito decoration, manganese lip and foot 4 h x 8 ¾ dia in (10 x 22 cm) Impressed artist’s seal to underside. PROVENANC E

The Artist Graham Gallery, New York $ 8,000 – 10,000

115 Lucie Rie Bowl United Kingdom, c. 1978 glazed porcelain with sgraffito decoration 3 ½ h x 6 ½ dia in (9 x 17 cm) Impressed artist’s seal to underside. PROVENANCE

Christie’s, New York, Contemporary Glass & Ceramics, Art Nouveau, Art Deco, & Erté, 18 March 1991, Lot 76 $ 6,000 – 8,000

116 Hans Coper Cup on stand form United Kingdom, c. 1975 stoneware with slips and engobes, manganese-glazed interior 5 ¼ h x 3 ¼ w x 3 ½ d in (13 x 8 x 9 cm) This work features an interior cylindrical stem-holder. Artist’s chop mark to underside. LIT ERATURE

Hans Coper, Birks, ppg. 180–181 PROVENANCE

Bonham’s, London, Contemporary Ceramics, 19 October 2004, Lot 88 $ 10,000 – 15,000

117 Ruth Duckworth Untitled (Form 071989) Germany/USA, 1989 porcelain 7 h x 4 w x 3 ½ d in (18 x 10 x 9 cm) Incised artist’s initial to underside ‘R’ and numbered ‘071989’ EX HIBIT ED

Garth Clark Gallery, New York, November 1990 PROVENANCE

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

118 Ruth Duckworth Untitled (Form 18990) Germany/USA, 1990 porcelain 6 ½ h x 10 w x 5 d in (17 x 25 x 13 cm) Incised artist’s monogram to underside ‘DR’ and numbered ‘18990’. EX HIBIT ED

Garth Clark Gallery, New York, November 1990 PROVENANCE

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

119 Ruth Duckworth Untitled Germany/USA, c. 1990 stoneware 37 ½ h x 10 ½ w x 7 d in (95 x 27 x 18 cm) Glazed signature to edge of base ‘R’. $ 20,000 – 30,000

120 Marilyn Levine Bonsecours Canada/USA, 1985 hand-built and glazed earthenware, leather string 4 ¾ h x 11 w x 5 ½ d in (12 x 28 x 14 cm) Incised signature, date and number to underside ‘Levine 85-11A’. PROVENANCE

Fuller Goldeen Gallery, San Francisco $ 4,000 – 6,000

121 Marilyn Levine Jim’s Case Canada/USA, 1981 hand-built and glazed earthenware, metal 11 ¾ h x 13 ¾ w x 5 ½ d in (30 x 35 x 14 cm) Incised signature and date to underside ‘Levine 1981’. PROVENANCE

The Clay Studio, Philadelphia $ 9,000 – 12,000

122 Judy Kensley McKie Table with Dogs USA, 1979 carved and laminated mahogany, glass 34 ½ h x 62 w x 18 d in (88 x 157 x 46 cm) Carved signature and date to underside of each base ‘JKM 1979’. LIT E RATURE

“Working Wonders with Wood: American Furnituremakers Working in Hardwood,” American Craft, June/July 1979, pg. 12 Art That Works: The Decorative Arts of the Eighties, Crafted in America, Herman, pg. 46 illustrate this example E X H IBIT E D

Art That Works: The Decorative Arts of the Eighties, Crafted in America, 19 August – 7 October 1990, Mint Museum of Art, Charlotte (traveling exhibition) PROVENANC E

Acquired directly from the artist $ 20,000 – 30,000

123 Marilyn Levine Lace Cup Canada/USA, 1974 hand-built and glazed earthenware, leather string 4 ¾ h x 5 ½ w x 4 d in (12 x 14 x 10 cm) Glazed signature and date to underside ‘Levine 74’. PROVENANCE

Wright, Modernist 20th Century, 18 May 2003, Lot 392 $ 4,000 – 6,000

124 Marilyn Levine KCP Bag Canada/USA, 1984 hand-built and glazed earthenware, metal 8 ½ h x 11 w x 10 ½ d in (22 x 28 x 27 cm) PROVENANCE

The Clay Studio, Philadelphia $ 7,000 – 10,000

125 Harry Bertoia Untitled (Sonambient) USA, c. 1970 beryllium copper, brass 48 ¼ h x 10 w x 10 d in (123 x 25 x 25 cm) LIT E RATURE

Harry Bertoia Catalogue Raisonné SO.TO.373 PROVENANC E

Estate of Max Korman $ 40,000 – 60,000

126 Toshiko Takaezu Green Moon (with rattle) USA, 1993 glazed stoneware 24 h x 23 w x 23 d in (61 x 58 x 58 cm) $ 30,000 – 50,000

127

128

Toshiko Takaezu Makaha Blue USA, 1993 glazed porcelain 47 ¾ h x 17 w x 17 ¼ d in (121 x 43 x 44 cm)

Toshiko Takaezu Makaha Blue USA, 1994 glazed porcelain 31 ½ h x 10 ½ w x 10 d in (80 x 27 x 25 cm)

A monumental example of this form. Incised signature near base ‘TT’.

Incised signature near base ‘TT’. LIT ERATURE

LIT E RATURE

Toshiko Takaezu: An Essential Balance, Perimeter Gallery exhibition catalog, pg. 6 illustrates this example

Toshiko Takaezu: An Essential Balance, Perimeter Gallery exhibition catalog, pg. 7 illustrates this example EX HIBIT ED

E X H IBIT E D

Toshiko Takaezu: New Works, Featuring the Makaha Blue Forest, 1997, Charles Cowles Gallery, New York Toshiko Takaezu: An Essential Balance, 13 October – 25 November 2000, Perimeter Gallery, Chicago

Toshiko Takaezu: New Works, Featuring the Makaha Blue Forest, 1997, Charles Cowles Gallery, New York Toshiko Takaezu: An Essential Balance, 13 October – 25 November 2000, Perimeter Gallery, Chicago PROVENANCE

PROVENANC E

Perimeter Gallery, Chicago

Perimeter Gallery, Chicago $ 40,000 – 50,000

$ 25,000 – 35,000

129 Toshiko Takaezu Untitled USA, 1991 glazed stoneware 33 h x 22 ½ w x 21 d in (84 x 57 x 53 cm) Incised signature to underside ‘TT’. $ 30,000 – 50,000

130 Toshiko Takaezu Untitled (two works) USA, c. 1990 glazed porcelain 8 h x 7 dia in (20 x 18 cm) 6 ½ h x 6 dia in (17 x 15 cm) Incised signature to underside of each example ‘TT’. E X H IBIT E D

Toshiko Takaezu from Private Collections: The Memorial Exhibition, 2011, LongHouse Reserve, Easthampton $ 8,000 – 12,000

131 Toshiko Takaezu Momo USA, 2000 glazed stoneware 16 h x 11 dia in (41 x 28 cm) Incised signature near base ‘TT’. LIT ERATURE

The Poetry of Clay: The Art of Toshiko Takaezu, Philadelphia Museum of Art exhibition catalog, pg. 15, pl. 10 illustrates this example EX HIBIT ED

The Poetry of Clay: The Art of Toshiko Takaezu, 7 August 2004 – 6 March 2005, Philadelphia Museum of Art $ 8,000 – 12,000

132 Toshiko Takaezu Mahina White (Crater Moon) USA, 1989 glazed stoneware 26 ½ h x 28 ½ dia in (67 x 72 cm) LIT E RATURE

Toshiko Takaezu: 1989–1990, The Gallery at Bristol-Myers Squibb exhibition catalog, ppg. 1, 8 Toshiko Takaezu: 1980–1992, The Contemporary Museum of Honolulu exhibition catalog, pg. 2 Toshiko Takaezu, Neuberger Museum of Art exhibition catalog, unpaginated illustrate this example E X H IBIT E D

Toshiko Takaezu: 1989–1990, 1990, The Gallery at Bristol Myers-Squibb, Princeton Toshiko Takaezu: New Works, Featuring the Makaha Blue Forest, 1997, Charles Cowles Gallery, New York Toshiko Takaezu: At Home, 1998, Hunterdon Art Museum, Clinton PROVENANC E

Perimeter Gallery, Chicago $ 20,000 – 30,000

133 Toshiko Takaezu Ocean Edge; Makaha Blue (with rattle) (three works) USA, c. 1994–95 glazed stoneware and porcelain 7 h x 6 ½ dia in (18 x 17 cm) 5 ½ h x 4 dia in (14 x 10 cm) 4 h x 3 ½ dia in (10 x 9 cm) Lot is comprised of two examples from the Ocean Edge series and one from the Makaha Blue series. Incised signature to underside of two examples ‘TT’. EX HIBIT ED

Toshiko Takaezu from Private Collections: The Memorial Exhibition, 2011, LongHouse Reserve, Easthampton $ 10,000 – 16,000

134 Toshiko Takaezu Moon USA, c. 1995 glazed stoneware 20 ½ h x 22 ½ dia in (52 x 57 cm) Incised signature near base ‘TT’. $ 30,000 – 50,000

135 Sam Maloof Rocker USA, 1987 maple, ebony 34 h x 35 ½ w x 28 d in (86 x 90 x 71 cm) Signed, dated, numbered and inscribed to underside ‘No. 37 1987 Sam Maloof f.A.C.C. JMO’. LIT E RATURE

The Furniture of Sam Maloof, Adamson, pg. 221 Sam Maloof: Woodworker, Maloof, ppg. 122–123 PROVENANC E

The Hand and the Spirit Gallery, Phoenix $ 15,000 – 20,000

136 Stephen De Staebler Standing Figure with Tilting Head USA, 1985 pigmented clay 94 h x 20 w x 30 d in (239 x 51 x 76 cm) Incised signature and date to base of sculpture ‘De Staebler 1985’. PROVENANC E

John Berggruen Gallery, San Francisco $ 18,000 – 22,000

137 Betty Woodman His/Hers Vases, 4th of July USA, c. 2000 glazed earthenware, epoxy resin, lacquer, and paint 27 h x 30 ½ w x 9 d in (69 x 77 x 23 cm) 20 ½ h x 40 ¼ w x 8 ½ d in (52 x 102 x 22 cm) Impressed signature to body of each element ‘Woodman’. $ 45,000 – 65,000

138 Adrian Saxe Untitled (Ampersand Ewer) USA, 1988 glazed and gilt porcelain 8 ¾ h x 10 ¼ w x 2 ¼ d in (22 x 26 x 6 cm) Impressed signature and date to underside ‘Saxe 1988’ and incised ‘Saxe’. LIT ERATURE

The Clay Art of Adrian Saxe, Lynn, ppg. 46, 99, 131–132 $ 2,000 – 3,000

139 Thomas Hoadley Nerikomi bowl USA colored porcelain, gold leaf 6 ½ h x 6 ¾ dia in (17 x 17 cm) Signed to underside ‘TH’. $ 500 – 1,000

140 Jun Kaneko Untitled (Dango) Japan/USA, 1987 glazed stoneware 38 h x 42 w x 28 d in (97 x 107 x 71 cm) PROVENANC E

Klein Gallery, Chicago $ 15,000 – 20,000

141 Ken Price 1935 –2012 Molten Lava 2004 acrylic and ink on paper 8 ½ h x 9 w in (22 x 23 cm) Signed and dated to lower right ‘Price ‘04’. PROVENANC E

Matthew Marks Gallery, New York $ 2,500 – 3,500

142 Ron Nagle Cartwright USA, 2001 glazed and gilt ceramic, china paint 3 ¼ h x 4 ¾ w x 3 d in (8 x 12 x 8 cm) PROVENANCE

Garth Clark Gallery, New York $ 5,000 – 7,000

143 Buster Simpson b. 1942 Fish to Foot 1992 suspended metal and found objects, monofilament 83 h x 32 w in (211 x 81 cm) $ 500 – 800

144 Robert Arneson Messed With! USA, 1992 glazed earthenware, bisque earthenware 22 ½ h x 22 w x 2 ¾ d in (57 x 56 x 7 cm) For the present work, the artist added a broken Self-Portrait Trophy Bust to a pre-made Greenwich House Pottery ceramic platter for the 1992 American Craft Museum Benefit Auction. Rago would like to thank the Robert Arneson Archive for their assistance cataloging this lot. Impressed signature to recto ‘Arneson’. Signed and dated to verso ‘Arneson 1992’ and ‘Bryan 1992’. PROVENANCE

American Craft Museum Benefit Auction, 30 November 1992, Lot 1 $ 10,000 – 15,000

145 Rudy Autio Blue Horse and Rider USA, 1986 hand-built glazed stoneware 27 h x 22 w x 19 d in (69 x 56 x 48 cm) PROVENANCE

Dorothy Weiss Gallery, San Francisco $ 4,000 – 6,000

146 Rudy Autio Esplanade USA, 2000 hand-built glazed stoneware 33 h x 23 w x 23 d in (84 x 58 x 58 cm) Incised signature and date near base ‘Autio ABC 10/00’. PROVENANCE

Archie Bray Foundation for the Ceramic Arts, Helena, MT $ 10,000 – 15,000

147 Wendell Castle Triad Chair USA, 2007 gel-coated fiberglass, gold leaf 34 h x 35 ½ w x 28 d in (86 x 90 x 71 cm) Carved signature, date and number to underside ‘Castle 07 7/8’. This work is number 7 from the edition of 8 plus 2 artist’s proofs and is registered with the artist’s studio as number 1411C. LIT E RATURE

Wendell Castle: A Catalogue Raisonné 1958–2012, Eerdmans, pg. 393, no. v.21 references the edition PROVENANC E

The Artist Friedman Benda, New York $ 13,000 – 17,000

148 William Morris Urn USA, 1999 blown, hot-sculpted and etched glass, rope 17 h x 17 ½ dia in (43 x 44 cm) Etched signature and date to underside ‘William Morris 1999’. This work is registered with the artist’s studio as number U1199.05.02. EX HIBIT ED

SOFA New York, 2002 PROVENANCE

Heller Gallery, New York $ 15,000 – 20,000

149 Dan Dailey Bird Sconces, pair USA/Ireland, 1999 House of Waterford Crystal diamond cut, sandblasted, and acid-polished crystal, chrome-plated metal, glass each: 23 h x 25 w x 7 ½ d in (58 x 64 x 19 cm) Impressed signature to mounting plate of each example ‘Dailey’. These works are from the edition of 2 pairs. LIT ERATURE

Dan Dailey, Dailey, pg. 208 PROVENANCE

Acquired directly from the artist $ 15,000 – 25,000

150

151

Kyohei Fujita Liuli box Japan gold and silver leaf, mold-blown glass, silver-plated metal 6 h x 7 w x 6 ½ d in (15 x 18 x 17 cm)

Ingrid Donat Femme Girafe floor lamps, pair Sweden/France, 2003 patinated bronze, parchment 80 h x 18 w x 10 ¾ d in (203 x 46 x 27 cm)

Etched signature to underside ‘Kyohei Fujita’. $ 2,000 – 3,000

Impressed signature, number, and foundry mark to top of each shade ‘ID 1/8 and 2/8 Landowski Fondeur 2003’. These works are numbers 1 and from the edition of 8. PROVENANCE

Barry Friedman Ltd., New York $ 35,000 – 45,000

152 Judy Kensley McKie Baby Elephant Table USA, 1992 chip-carved walnut 18 ¼ h x 17 ¼ w x 31 ¼ d in (46 x 44 x 79 cm) Carved signature and date to underside ‘© JKM 92’. This is a unique work. PROVENANCE

Commissioned from the artist (via Pritam & Eames, East Hampton) $ 10,000 – 15,000

153 William Morris Artifact: Tooth USA, 1993 vitrified and enameled glass 11 ½ h x 18 ½ w x 13 ¼ d in (29 x 47 x 34 cm) Etched signature and date to smaller element ‘WM 93’. Illegible signature to underside of larger element. LIT ERATURE

William Morris: artifacts/glass, Blonston, ppg. 42–43 $ 10,000 – 15,000

154 Toots Zynsky Untitled USA, 1993 filet de verre fused and thermo-formed glass threads 6 ½ h x 10 ¾ w x 6 ½ d in (17 x 27 x 17 cm) Signed to underside ‘Z’. PROVENANCE

Snyderman Gallery, Philadelphia $ 9,000 – 14,000

155 Toots Zynsky Bramasole Mizimah USA, 2000 filet de verre fused and thermo-formed glass threads 11 ¼ h x 21 w x 11 d in (29 x 53 x 28 cm) The title of this work translates to ‘yearn for the sun.’ Signed to underside ‘Z’. PROVENANCE

Habatat Galleries, Boca Raton $ 9,000 – 14,000

157 Harvey Littleton Ruby Sliced Descending Form USA, 1985 cased, hot-worked, cut, and polished glass 13 ¾ h x 10 ½ w x 5 ¼ d in (35 x 27 x 13 cm) 7 h x 4 ¼ w x 1 ¾ d in (18 x 11 x 4 cm) Etched signature and date to each element ‘© Harvey K Littleton 9-1985-2’. PROVENANCE

Maurine Littleton Gallery, Washington, D.C. $ 7,000 – 9,000

158

159

Paul Seide Untitled (Double Loop) USA, 1980 hand-blown satin glass, neon or argon gas, acrylic overall: 16 ½ h x 19 w x 8 d in (42 x 48 x 20 cm) pedestal: 36 ¼ h x 19 w x 8 d in (92 x 48 x 20 cm)

Dale Chihuly May Green Putti Venetian USA, 1990 hand-blown glass 21 ¾ h x 13 dia in (55 x 33 cm)

Etched signature and date to base of display ‘Seide ‘80’.

Etched signature and date near base ‘Chihuly 90’. This work is registered with Chihuly Studio as number 91.74.pu1.

$ 3,000 – 5,000

LIT ERATURE

Chihuly Putti, Chihuly, ppg. 2–3 illustrates this example PROVENANCE

Holsten Galleries, Stockbridge, MA $ 8,000 – 12,000

160 Dale Chihuly Black Seaform set USA, 1981 hand-blown glass overall: 7 h x 18 w x 18 d in (18 x 46 x 46 cm) largest: 7 h x 18 w x 18 d in (18 x 46 x 46 cm) smallest: 1 h x 1 ¾ w x 2 d in (3 x 4 x 5 cm) Set is composed of nine elements. Etched signature and date to underside of largest element ‘Chihuly 1981’. PROVENANCE

Acquired directly from the artist $ 7,000 – 9,000

161 Dale Chihuly Gray Macchia group USA, 1982 hand-blown glass overall: 12 h x 25 w x 26 ¾ d in (30 x 64 x 68 cm) largest: 9 h x 18 w x 19 ¼ d in (23 x 46 x 49 cm) smallest: 5 h x 4 w x 3 d in (13 x 10 x 8 cm) Group is composed of five elements, originally six. Etched signature and date to underside of three elements ‘Chihuly 1982’. PROVENANCE

Acquired directly from the artist $ 10,000 – 15,000

162

163

Laura de Santillana Bodhi (Golden Yellow) Italy, 2006 blown, shaped, and hand-ground glass with mirrored interior 14 ¼ h x 17 ½ dia in (36 x 44 cm)

Laura de Santillana Bodhi (Green) Italy, 2006 blown, shaped, and hand-ground glass with mirrored interior 19 h x 13 ½ dia in (48 x 34 cm)

Etched signature and date to underside ‘Laura de Santillana 2006’.

PROVENANC E

PROVENANCE

Barry Friedman Ltd., New York

$ 3,000 – 5,000

$ 4,000 – 6,000

164 Ivana Šrámková Big Bird / Velky Ptak Czech Republic, 2003–2004 kiln-cast glass 28 ½ h x 33 ½ w x 6 ¾ d in (72 x 85 x 17 cm) Etched signature and date to edge of base ‘I. Šrámková 2003 I. Šrámková 2004’. PROVENANCE

Heller Gallery, New York $ 3,000 – 5,000

165 Albert Paley Dragon’s Back floor lamp USA, 1992 forged and fabricated steel, frosted glass 78 h x 32 ½ dia in (198 x 83 cm) Impressed signature and date to base ‘© Albert Paley 1992’. This work is from the edition of 11. LIT ERATURE

The Art of Albert Paley: Iron, Bronze, Steel, Lucie-Smith, pg. 209, no. 384 PROVENANCE

Peter Joseph Gallery, New York $ 7,000 – 9,000

166

167

Albert Paley Plant stand USA, 1984 forged and fabricated steel with a blackened finish, slate 53 h x 16 ½ dia in (135 x 42 cm)

Paul Soldner Pedestal Piece USA, c. 1985 slab-built, raku-fired earthenware, patinated bronze 30 ½ h x 29 w x 20 d in (77 x 74 x 51 cm)

LIT ERATURE

Paul Soldner: A Retrospective, Levin et. al., ppg. 112–113, 120 illustrate similar examples

L I TERATURE

The Art of Albert Paley: Iron, Bronze, Steel, Lucie-Smith, pg. 199, no. 264 PROVENANC E

Acquired directly from the artist $ 6,000 – 9,000

$ 3,000 – 4,000

168 Modern Large bowl enameled metal, chromed metal 12 h x 32 dia in (30 x 81 cm) $ 2,000 – 3,000

169 Albert Paley Dragon’s Back floor lamp USA, 1992 forged and fabricated steel, frosted glass 78 h x 32 ½ dia in (198 x 83 cm) Impressed signature and date to base ‘© Albert Paley 1992’. This work is from the edition of 11. LIT ERATURE

The Art of Albert Paley: Iron, Bronze, Steel, Lucie-Smith, pg. 209, no. 384 PROVENANCE

Peter Joseph Gallery, New York $ 7,000 – 9,000

170 Dona Look and Linda Bills Baskets, set of three USA, c. 1984–1990 various woods, bark, thread 9 h x 20 w x 5 d in (23 x 51 x 13 cm) 9 h x 10 ¾ w x 4 ¾ d in (23 x 27 x 12 cm) 6 h x 8 ¼ dia in (15 x 21 cm) Lot is comprised of two works by Dona Look and one by Linda Bills. Incised signature and number to underside of two examples ‘Dona Look 894’, ‘Dona Look 84’ and signed to underside of one example ‘L. Bills’. PROVENANCE

Perimeter Gallery, Chicago (one example) $ 1,000 – 1,500

171 J. Paul Fennell Vessel (from the Basketweave series) USA, 2000 mesquite 9 ¼ h x 8 dia in (23 x 20 cm) Incised signature, date, number and wood type to underside ‘J. Paul Fennell ‘00 Mesquite 425’. PROVENANCE

Gallery Materia, Scottsdale $ 3,000 – 5,000

172 Roy McMakin Untitled (Vases about Language and Redemption) USA, 2004 glazed stoneware largest: 10 ¾ h x 4 ¼ dia in (27 x 11 cm) smallest: 4 ¾ h x 8 ¼ w x 6 ¼ d in (12 x 21 x 16 cm) Signed, numbered, and stamped manufacturer mark to underside of each element ‘Roy McMakin Heath Ceramics 2/60’. These works are number 2 from the edition of 60. PROVENANC E

Matthew Marks Gallery, New York $ 1,000 – 1,500

173 Albert Paley Plant stand USA, 1988 forged and fabricated steel with a blackened finish, slate 55 h x 16 dia in (140 x 41 cm) Incised signature and date to base ‘© Paley Studios LTD 1988’. LIT E RATURE

The Art of Albert Paley: Iron, Bronze, Steel, Lucie-Smith, pg. 199, no. 264 PROVENANC E

Acquired directly from the artist $ 6,000 – 9,000

174 Patti Warashina Long Shot USA, 1982 porcelain, acrylic, painted wood 18 h x 19 w x 12 d in (46 x 48 x 30 cm) Incised signature and date to top of base ‘M Patti Warashina 82’. PROVENANCE

The Hand and the Spirit Gallery, Phoenix $ 3,000 – 5,000

175 Akio Takamori Woman Japan/USA, 1984 hand-built and glazed porcelain 24 ¾ h x 16 w x 6 d in (63 x 41 x 15 cm) Glazed signature to one side ‘Akio’. PROVENANCE

The Clay Studio, Philadelphia $ 3,000 – 5,000

176 Roger Asay and Rebecca Davis Untitled USA, 1999 desert olive 8 h x 8 dia in (20 x 20 cm) Signed and dated with wood type to underside ‘Asay / Davis 1999 desert olive’. PROVENANCE

Gallery Materia, Scottsdale $ 1,000 – 1,500

177 Ofer Lellouche b. 1947 Two 2006 patinated bronze, laminated wood base 18 h x 19 ½ w x 15 ¾ d in (46 x 50 x 40 cm) Incised signature and number to edge of base ‘OFER lellouche 1/5’. This work is number 1 from the edition of 5 plus 2 artist’s proofs. PROVENANCE

Acquired directly from the artist $ 3,000 – 5,000

178 Michal Zehavi Jar No. 4 Israel, 2004 bisque porcelain 24 h x 23 w x 16 d in (61 x 58 x 41 cm) Incised signature and date to underside ‘MZ 2004’. $ 1,000 – 1,500

179 Jiro Yonezawa Mirage No. 9940 Japan, 1999 bamboo, cane, cedar root, wood and urushi lacquer 11 ½ h x 18 ½ w x 9 d in (29 x 47 x 23 cm) Incised artist’s cipher to underside. PROVENANCE

browngrotta arts, Wilton, CT $ 1,000 – 1,500

180 Richard Shaw Sunny Brook USA, c. 1986 trompe l’oeil hand-decorated and glazed porcelain 25 h x 17 ½ w x 8 ½ d in (64 x 44 x 22 cm) PROVENANCE

The Hand and the Spirit Gallery, Phoenix $ 2,000 – 3,000

181 Charlie Miner Roswell Frogs USA, 2007 cast glass 11 h x 21 dia in (28 x 53 cm) Etched signature and date to underside ‘C.V. Miner 092607’. PROVENANCE

Holsten Galleries, Stockbridge, MA $ 2,500 – 3,500

182 Wendell Castle Korman chairs, set of eight USA, 1986, 1989 ebonized cherry, poplar, leather each: 31 ½ h x 21 w x 23 d in (80 x 53 x 58 cm) Incised signature and date to leg of two examples ‘W.C. 86’ and to six examples ‘W.C. 89’. These works are registered with the artist’s studio as number 789 (1986) and 1721 (1989). LIT ERATURE

Wendell Castle: A Catalogue Raisonné 1958–2012, Eerdmans, pg. 185, nos. III.168–169 references these examples PROVENANCE

Acquired directly from the artist $ 7,500 – 10,000

183 Wendell Castle Korman dining table USA, 1989 dyed imbuia, satinwood, patinated brass, leather 29 ¾ h x 63 ¾ w x 63 ¾ d in (76 x 162 x 162 cm) The Korman dining tables can be joined together to create one monumental table. Incised signature and date to base ‘Wendell Castle 1989’. This work is unique and is registered with the artist’s studio as number 1721. LIT ERATURE

Wendell Castle: A Catalogue Raisonné 1958–2012, Eerdmans, pg. 224, no. III.354 illustrates this example PROVENANCE

Acquired directly from the artist $ 10,000 – 15,000

184 Wendell Castle Korman dining table USA, 1989 dyed imbuia, satinwood, patinated brass, leather 29 ¾ h x 63 ¾ w x 63 ¾ d in (76 x 162 x 162 cm) The Korman dining tables can be joined together to create one monumental table. Incised signature and date to base ‘Wendell Castle 1989’. This work is unique and is registered with the artist’s studio as number 1721. LIT ERATURE

Wendell Castle: A Catalogue Raisonné 1958–2012, Eerdmans, pg. 224, no. III.354 illustrates this example PROVENANCE

Acquired directly from the artist $ 10,000 – 15,000

185 Wendell Castle Korman chairs, set of eight USA, 1986 ebonized cherry, leather each: 31 ½ h x 21 w x 23 d in (80 x 53 x 58 cm) Incised signature and date to leg of each example ‘W.C. 86’. These works are registered with the artist’s studio as number 789. LIT ERATURE

Wendell Castle: A Catalogue Raisonné 1958–2012, Eerdmans, pg. 185, no. III.168 references these examples PROVENANCE

Acquired directly from the artist $ 7,500 – 10,000

186 Wayne Higby Blue Water Noon USA, 1990 glazed and raku-fired earthenware 13 h x 19 w x 15 ½ d in (33 x 48 x 39 cm) Artist’s chop mark to edge of base. EX HIBIT ED

Wayne Higby, 6 December 1990 – 26 January 1991, Helen Drutt Gallery, New York PROVENANCE

Helen Drutt Gallery, New York $ 4,000 – 6,000

187 Wayne Higby Landscape Bowl USA, c. 1980 glazed and raku-fired earthenware 11 ¾ h x 20 w x 16 d in (30 x 51 x 41 cm) Artist’s chop mark to edge of base. EX HIBIT ED

Wayne Higby, 12 December 1982 – 8 January 1983, Helen Drutt Gallery, Philadelphia Contemporary Arts: An Expanding View, 9 March – 15 June 1986, The Monmouth Museum of Art, Lincroft, NJ (traveling exhibition) PROVENANCE

Helen Drutt Gallery, Philadelphia $ 3,000 – 4,000

188 Daniel Rhodes Hand USA, c. 1955 earthenware, metal, wood 13 h x 5 w x 3 ½ d in (33 x 13 x 9 cm) Numbered to underside of base ‘312’. PROVENANC E

ShawGuido Gallery, Pontiac, MI $ 1,000 – 1,500

189 Soonran Youn Island No. 7 2002 cotton thread 27 ½ h x 5 ¼ w x 7 ½ d in (70 x 13 x 19 cm) platform: ½ h x 6 w x 6 d in (1 x 15 x 15 cm) PROVENANC E

Snyderman Gallery, Philadelphia $ 1,000 – 1,500

190 Irv Tepper Cup USA, c. 1990 porcelain 9 ½ h x 13 ¼ w x 9 ¼ d in (24 x 34 x 23 cm) LIT ERATURE

Shapes From Out of Nowhere: Ceramics from the Robert A. Ellison Jr. Collection, Spinozzi et. al., pg. 229 $ 1,000 – 1,500

191 Bennett Bean Vase USA pit-fired, painted, and gilt earthenware 8 ¼ h x 8 ¼ w x 7 ¾ d in (21 x 21 x 20 cm) Impressed bean mark and numbered to underside ‘67’. $ 1,000 – 1,500

192 Jonathan Bonner b. 1947 Rooster 1984 patinated copper, Douglas fir 87 h x 36 ½ w x 7 ¾ d in (221 x 93 x 20 cm) $ 1,500 – 2,000

193 David Gilhooly Gilhooly 10 Pound Sampler Number 6 USA, 1988–89 glazed earthenware, canvas over board, printed paper largest: 2 ½ h x 1 ¾ dia in (6 x 4 cm) smallest: 1 h x 1 ¾ dia in (3 x 4 cm) box: 3 h x 13 w x 11 d in (8 x 33 x 28 cm) Incised signature and date to each miniature ‘Gilhooly 88’. Signed, dated and numbered to interior of lid ‘David Gilhooly The artist affirms the authenticity of this document on this day of 1/21/89 This is Sampler Number 6’. LIT ERATURE

David Gilhooly, Natsoulas, pg. 110 $ 5,000 – 7,000

194 Ed Rossbach High Fiber; Chief (two works) USA, 1987, 1990 ash, splints, found objects 11 ¾ h x 10 ½ w x 11 d in (30 x 27 x 28 cm) 7 ½ h x 8 ¾ dia in (19 x 22 cm) Signed, titled and dated to underside of each example ‘High Fiber Ed Rossbach 1987’ and Ed Rossbach 1990 Chief ’. PROVENANCE

Barbara Okun, Florida $ 500 – 1,000

195 Oliver Herring Bluebird with Handdrawn Features #1 USA, 2007 digital c-print photograph, museum board, foam core and polystyrene 11 h x 7 ¾ w x 7 d in (28 x 20 x 18 cm) Signed and numbered to underside of bird base ‘Bluebird w. hand drawn features #1 Oliver Herring. 2007’. PROVENANCE

Max Protetch Gallery, New York $ 1,000 – 1,500

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