This is a busy week for marketplace issues; Christie’s is hiding its online auction results, Rago Arts’ last Modern Ceramics sale is revisited, and a new survey gave surprisingly good news about the size and value of the British crafts sector.
To add to that list is Cowan’s bi-annual Modern Ceramics Auction, now in its 9th Edition. It takes place this week on Friday, November 7, 2014. This auction is growing stronger from year to year and is becoming more selective. Some of the standout works are illustrated below, a major early vessel by Ruth Duckworth, a graphically dramatic terra sigillata signature pillow pot by Betty Woodman, several top quality Lucie Rie bottles and a vase, a pair of wild Micheal Lucero teapots, and the most sought after of all studio pottery, a vase by Magdalene Odundo. A gem is three extremely rare Adventures of Lorna cups by Ken Price.
Above image: Ken Price, The Adventures of Lorna Cup #3, ca 1992, earthenware with underglaze; ht. 2.75, dia. 2 in. Inventory sticker on base JCG/36581
Later in Price’s career, he re-explored the cup form with “Lorna,” a character which would appear in his drawings as well. Few of these works exist today but this collection of three, all from the James Corcoran Gallery in Los Angeles, show his dynamic draftsmanship in glaze. The character “Lorna” would age through the years as Price drew her but these cups are among the few examples that can be found today, a prize for any collector of Ken Price’s work.
This auction has many of the usual suspects but what makes this auction special is a large collection of stoneware pots from students and residents at Nigeria’s Abuja Pottery Center. Many of these are utilitarian and so they are reasonably priced. A large number of works are by the legendary potter Ladi Kwali.
Ruth Duckworth (1919-2009; Germany), Untitled Vessel, ca. 1965, stoneware; ht. 19, 12.5, dp. 10 in. Duckworth’s ceramics are often praised for their ambitious scale. But, like Hans Coper, whom she revered, Duckworth had the ability when working in stoneware to imbue sculptures with great presence and fecund energy. In particular the earlier works are overlooked masterpieces as can be seen by this predecessor to her much admired “Mama Pot” that she would create upon moving to the USA.
The Pottery Training Center was founded by Michael Cardew in 1951 (represented here with one of his Gwari casseroles) in the then small village of Abuja. It is now a city with 250,000 residents and it has lost its name to a nearby city that became the Nigerian capital and is now known as Suleja. The center, reamed the Dr. Ladi Kwali Pottery continues to this day.
Garth Clark is the Chief Editor of CFile.
Any thoughts about this post? Share yours in the comment box below.
Betty Woodman (1930; USA), Classic Terra Sigillata Pillow Pitcher, ca. 1980, Earthenware; ht. 19, wd. 27, dp. 14.5 in. Artist stamp on the base of applied handle. When Woodman came upon this form, known as a “Pillow Pitcher,” the ceramics world went crazy. This particularly superb example is surfaced in “terra-sigillata,” a fine suspension of clay slip that gives a smooth silky surface. These works are extremely rare as Woodman would eventually move to glazes on these forms in her long career. This is one of the signatures of late 20th Century Studio Pottery.
Lucie Rie (1902-1995; Austria/UK), Narrow Rim Bottle, ca. 1986, stoneware: ht. 11, dia. 4.5 in. Artist stamp on base. The “swirl” crater glaze by Lucie Rie is one of her most sought-after and this elegant tall bottle form is a classic example of Britain’s leading ceramic artist. Acquired in 1986, this is a superb example of Rie’s work.
Magdalene Odundo (1950; Kenya; Britain), Black Flared Rim Vessel, 1991, reduction fired earthenware; ht. 14.5, dia. 12.25 in. Artist Odundo signature and date incised on base. Born in Nairobi, Odundo received her early education in both India and Kenya. She moved to England in 1971 to continue her training in graphic art. In 1974-1975, she visited Nigeria and Kenya to study traditional hand-built pottery techniques. She also traveled to San Ildefonso Pueblo, New Mexico to observe the making of blackware vessels. In 1976, Odundo received a BA from St. Joseph’s College of Art and Design. She then earned a master’s degree at the Royal College of Art in London. She taught at the Commonwealth Institute in London from 1976 to 1979 and at the Royal College of Art from 1979 to 1982. She lives and works in Surrey.
Michael Lucero (1953; USA), Smoke in Eye, 2010, earthenware; ht. 9.75, wd. 11, dp. 4.25. Artist signed and dated within body of work. In 2010, Lucero began a series of “Teapot” forms that both abstracted the shape and added his bright glazed palette to create something more than a teapot. At the core is a “house” and from there is simply the beginning. Few of these works were exhibited and are rarely seen in collections. This small series of “Teapot” works by Lucero, his classic glazing and abstract form is iconic, including the mysterious “eye” that has appeared throughout his career.
Michael Cardew, Wenford Bridge Gwari Casserole, ca. late 1960s, stoneware; ht. 8.75, dia. 13 in. Artist stamps on base.
Ladi Kwali, Blue Bug Plateca, ca. 1960s, glazed stoneware with incised decoration; ht. 2, dia. 10.5 in. Artist LK and Pottery stamps at base.
Ladi Kwali, Teapot with Incised Decoration, ca. 1960s, glazed stoneware; ht. 8 (with handle), wd. 7.5, dp. 5.5 in. Artist LK and Pottery stamp at foot.
Hassan Lapai, Pair of Abuja Coffee Pots, ca. 1960s, glazed stoneware; largest, ht. 10, dia. 5.5 in. Each with Artist HLP stamp and Pottery stamp at base of handle.
Beautiful pictures, inspirational for a student.