Scottsdale Auctions & Appraisals announces its latest online fine art auction

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250 BC-200 AD, ca 500 to 900 CE, Ca. 1200-1400 A.D., ceramic horse, Chupicuaro figure, Costa Rica, human skull, Jaguar Urn, Madhya Pradesh, Madura, Margaret Tafoya, Maria Martinez, matte black-on-black ceramic jar, Mayan Territories, Nicoya Peninsula, Pablo Picasso, Popovi Da, Pre-Columbian Costa Rican, Rajasthan, San Ildefonso Pueblo, sandstone torso, Tang dynasty, wedding vase with impressed bear paws, Yakshi

Pre-Columbian, Mayan Territories, ca 500 to 900 CE. Carved volcanic stone head in the form of a human skull. Provenance: Important Hollywood Collection of Donick Cary, an American television writer. 8″H. Estimate $4,000 – $6,000. Photo Scottsdale Auctions & Appraisals

SCOTTSDALE, AZ.- Scottsdale Auctions & Appraisals, a gallery specializing in Pre-Columbian, Classical, Egyptian, Tribal & Native American Art announced its latest online fine art auction – Fine Pre-Columbian and Tribal Art, Classical and Asian Antiquities – featuring more than 400 lots of authentic examples from around the world. Offered on LiveAuctioneers auction bidding format allows bidders to register and then place bids at their own pace right up until each auction’s closing.

Everything in the auction is an authentic, quality item. All art has been legally acquired and is legal to sell. All auction lots can be viewed online or by visiting the gallery now through Jan. 17, 2015. The auction features numerous lots of ancient Pre-Columbian art including items selected from the Wally Katz collection and selected fine quality lots from the collection of Walter Knox in Scottsdale.

The first part of The auctions offers numerous selections of ancient Anasazi, prehistoric ceramics dating from 1000 AD. Including three large ancient storage ollas. The first section continues with offerings of several contemporary Native America artists such as Maria Martinez and Margaret Tafoya from Santa Clara pueblo. Also a number of lots of plains Indian beadwork, large selection of Navajo Jewelry, Hopi Kachinas and Apache baskets.

Classic matte black-on-black ceramic jar by Maria Martinez and Popovi Da, San Ildefonso Pueblo. Dimensions: 4.75 in. high x 6.5 in. diameter. Estimate $4,500 – $6,500. Photo Scottsdale Auctions & Appraisals

Substantially sized, flawlessly potted, polished, and painted. An Avanyu (mythical horned water serpent) encircles the jar from just above the shoulder to just below the rim. The image is painted in the negative, Maria’s signature technique. Borderline gunmetal finish. The body of work Maria created with her son Popovi is widely considered to be the finest of her long career. This stunning jar is a prime example of Maria’s artistry at its peak. Signed Maria / Popovi as shown.

Large wedding vase with impressed bear paws. 11.5″ h x 8″ w. Signed Margaret Tafoya (1904-2001) on the bottom. Estimate $3,500 – $4,500. Photo Scottsdale Auctions & Appraisals

Large Native American, Mogollon Tularosa storage olla 1200 AD – 1300 AD 13 inches tall and 15 inches dia. Estimate $4,000 – $6,000. Photo Scottsdale Auctions & Appraisals

Mogollon refers to the pre-historic site which bordered the Anasazi and Hohokam in the Central valley. This massive, 13 inches tall and 15 inches diameter is done in interlocking stair step designs, beautiful rim. The paint is bold and really stands out in a room. Comes with display ring. A wonderful and rare piece being offered at a fraction of its value. Legally excavated on private ranch.

Reassembled by a museum qualified restorer, restoration is barely visible, reassembled from approx. 10 pieces, which is expected in ollas of this size.

The second group of offerings is ancient Pre-Columbian artifacts including important pieces such as a Costa Rican Jaguar jar from the museum displayed estate of Wallace Katz NY., and an impressive and rare Chupicuaro Female Figure from Arte Primitivo and the collection of Walter Knox along with over a hundred other lots of authentic pre-Columbian art.

A rare and authentic Pre-Columbian Costa Rican Jaguar Urn, Nicoya Peninsula, Costa Rica. Ca. 1200-1400 A.D. Size: 11″ H. Provenance: The Estate of Wallace Katz. Estimate $5,000 – $7,000. Photo Scottsdale Auctions & Appraisals

A highly decorated, polychrome pottery vessel in the form of a crouching jaguar with loop arms and paws resting on knees. Open toothy mouth, openwork tail support, rattles incorporated in the legs. Painted ocher-cream ground with elaborate black and red-orange zoomorphic and geometric decoration. Mineral deposits on the surface. Two minor stable hairlines from the rim. Size: 11″ H.

Large, 14-1/4”H. pre-Columbian hollow pottery standing female Chupicuaro figure, 250 BC-200 AD. A rare and impressive example. Provenance: Ex. Mort Lipkin Collection, acquired in London, 1970s, Ex- Arte Primitivo Gallery NY,NY, Ex- Knox Artifacts Gallery, Scottsdale, AZ. Estimate $15,000 – $20,000. Photo Scottsdale Auctions & Appraisals

holding both hands to her chest. Depicted with an elongated head, open mouth with individually applied teeth, large incised eyes and wearing ear spools. Cream ground with red painted geometric facial decoration, poncho and lower leg bands. Scattered surface deposits. A rare and impressive example. Custom Lucite base. Large, 14-1/4”H.

Next a fine offering of world class Asian artifacts including a very large Han Dynasty 250 AD warrior and an absolutely breathtaking Tang Dynasty horse, 24 inches tall with a Thermoluminescence test from Oxford dating the pieces to the Tang Dynasty 618 AD – 906 AD and a beautiful India sandstone sculpture, ca. 900 AD – 1100 AD of a sexy female form of Madhya Pradesh over 23″ tall.

Chinese Tang Dynasty, 618-906 AD . An exceptional, world class, very large ceramic horse, 61 cm (24″). Oxford, England thermoluminescence acquired July 17th 2013, report # C113E14. Estimate $25,000 – $30,000. Photo Scottsdale Auctions & Appraisals

the goddess of nature standing in a graceful tribhanga with her hips swung to the right, wearing a long dhoti, wide beaded belt with three beaded festoons suspended from her waist. Beaded collar with central beaded strand falling between her ample, rounded breasts. Some minor losses and normal surface weathering. Mounted on a custom metal base.

in active pose with arched neck and head slightly tilted; the musculature carefully defined to the neck, chest and legs; the mouth open showing power and aggression; shallow channel to the rear of the neck to accept a separate mane; the saddle and saddle blanket carefully molded, colored with orange and ochre pigment; the tail shown docked and bound. Similar in style to the Sancai but this one is painted and not glazed. The quality of this sculpture and it’s size suggests that it was for a royal tomb or a high ranking person. 8 kg, 61 cm (24″).

UK art market, acquired prior to 1980. Oxford, England thermoluminescence acquired July 17th 2013, report # C113E14. All four samples dated between 618 AD – 906 AD.

We have handled hundred of Tang and Han Dynasty horses over the years and this is by far the finest we have ever seen. The powerful pose is one that is extremely rare and I have not seen a similar pose in any museum or collection. Cf. Sotheby’s NY. 23 March 2004, lot 595 for lesser example, price realized $226,400 (USD) : Also Sotheby’s NY. 19 March 2007, lot 519, price realized $228,000.00 also a much inferior piece.

Large sandstone torso, high relief carving of Yakshi, Madhya Pradesh or Rajasthan, the goddess of nature. Provenance: Private NYC collection, ex. Massachusetts collection, acquired 1970s. Ex- Arte Primitivo Auctions NY, NY. Estimate $12,000 – $15,000. Photo Scottsdale Auctions & Appraisals

the goddess of nature standing in a graceful tribhanga with her hips swung to the right, wearing a long dhoti, wide beaded belt with three beaded festoons suspended from her waist. Beaded collar with central beaded strand falling between her ample, rounded breasts. Some minor losses and normal surface weathering. Mounted on a custom metal base. Size: 23-1/2inch.

The auction continues with a number of selections of fine art including three Pablo Picasso ceramic Madura plates, an original oil painting of noted artists Carl Oscar Borg, Billy Schenck, Marion Kavanagh Wachtel and several original photographs from the last sitting of Marylin Monroe by Bert Stern.

Picasso, Pablo (1881 – 1973), Bull Under Tree, 1952. Ceramic Madura plate 7 1/2 inches diameter. Signed: This work is stamped ‘Edition Picasso,’ and glazed ‘Edition Picasso,’ on the reverse. Estimate $2,500 – $3,5000. Photo Scottsdale Auctions & Appraisals

Picasso, Pablo (1881 – 1973), Picador, 1952. Ceramic Madura plate 7 1/2 inches diameter. Signed: This work is stamped ‘Edition Picasso,’ and glazed ‘Edition Picasso,’ on the reverse. Estimate $2,500 – $3,5000. Photo Scottsdale Auctions & Appraisals

Picasso, Pablo (1881 – 1973), Bird Under the Sun, 1952. Ceramic Madura bowl 6 1/4 inches diameter. Signed: This work is stamped ‘Edition Picasso,’ and glazed ‘Edition Picasso,’ on the reverse. Estimate $800 – $1,500. Photo Scottsdale Auctions & Appraisals

These works are stamped ‘Edition Picasso,’ and glazed ‘Edition Picasso,’ on the reverse
In 1946 Picasso in Golfe Juan with his friend Louis Fort, decided to visit the pottery exhibition in Vallauris. He took a particular interest in the Madura stand and asked to be introduced to the owners РSuzanne and Georges Rami̩. They invited him to their Madura Pottery workshop in Vallauris. There he made three pieces which he left to dry and bake.
A year later Picasso returned to see how the pieces had turned out. He was delighted with the quality of the work and asked if he could make more. They agreed and an area of the workshop was arranged especially for him. Immediately, he began to work, inspired by his portfolio of sketches. So began a long and very productive partnership between Picasso and Madura. The whole Madura team became part of the creative process. They made sure Picasso had all the materials he needed and assisted in producing perfectly finished works of art. Suzanne Ramié shared her vast experience, teaching him all the secrets of ceramics.
The ceramics ranged from vases, sculptures, plaques to even a complete dinner service. The familiar themes included bullfighting scenes, portraits and nature – goats, birds, and fish. In 24 years over 633 pieces were created in limited editions all engraved with the Madura stamp.
Literature: Ramié, Alain, 1988, Picasso, Catalogue of the Edited Ceramics

Bert Stern (American, 1929-2013), Marilyn Monroe, from The Last Sitting, 1962, 12.5″ x 13″ on 13″ x 19″ archival photo matte paper or pigment print., ed 41/100 made in 2012. Signed in crayon in the margin recto; artist’s stamp & Signature verso. Estimate $5,000 – $7,000. Photo Scottsdale Auctions & Appraisals

If you are in Scottsdale we invited you to stop by and preview the auction at 7056 E. Main St. Scottsdale, AZ. Please call ahead (480) 703-3122 the owner of the gallery, invites you to visit in-person, no appointment needed. A printed copy of the current auction Catalog is available upon request through the website www.scottsdaleauctions.com

Scottsdale Auctions & Appraisals is a brick and mortar gallery located in the art of the Scottsdale gallery district. We also specialize in auctions of small collections to entire estates on staff specialists and experts in Pre-Columbian Art, Classical and Egyptian Antiquities, Asian Antiquities and Antiques and Ethnographic Art including Native American collectables and Navajo weavings. The gallery conducts absentee internet auctions approximately 6 times a year, plus special exhibitions, retail, and private sales. We offer free appraisals and can assist in museum donations and authenticity testing.

Otto and Gertrud Natzler, “Crater” glazed ceramic, 1961

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“Crater” glazed ceramic, Otto and Gertrud Natzler

Otto and Gertrud Natzler, “Crater” glazed ceramic, 1961.

Otto and Gertrud Natzler, Small bowl, crater glaze

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Otto and Gertrud Natzler

Otto (1908 – 2007) and Gertrud (1908 – 1971) Natzler, Small bowl, crater glaze. Photo Rago Auctions

Small bowl, verdigris and blue Pompeian glaze, Los Angeles, CA; Signed NATZLER; 4″ x 6″. Estimate $2,000 – $3,000

Provenance: Rago Auctions, Modern Design, March 2014, lot 511

Rago Auctions. Early 20th C. / Modern Ceramics & Glass. Oct 18, 2014

Harumi Noguchi’s second exhibition of sculpture in New York opens at Ippodo Gallery

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Harumi Noguchi, Ippodo Gallery, Okami

Harumi Noguchi, Okami ( Wolf ). Ceramic + Porcelain. H16 1/4xW8 2/4xD20in.

 “There was a time when I was small that I was looked after by a cross between a Japanese wolf and a dog.  
In Japanese the term for wolf, okami, has the same pronunciation as that for ‘great god’. 
Mountains are the site of death and rebirth; it is not actual wolves that people worship, rather they represent the Okami, the great god that controls the endless cycle of infinite life possessed by the mountains. The Japanese wolf is now extinct, but I would like to take this solo exhibition as an opportunity to consider ‘ the Japanese, God and Religion’. ” – Harumi Noguchi

NEW YORK, NY.- Ippodo Gallery New York announced that from December 8, it will be presenting Harumi Noguchi’s second exhibition of sculpture in New York, entitled OKAMI-The Wolf and The Elemental Spirits of Nature.

Since ancient times the Japanese people have believed that ‘Kami’, elemental spirits, inhabited the plants and wind, the mountains, seas, forests, and rivers. Even today, when we walk through the countryside we frequently come across shrines dedicated to these elemental spirits. Using clay as her medium, the remarkably talented woman sculptor, Harumi NOGUCHI , recreates the demons and spirits that appear in ancient Japanese tales or legends, as well as some of the countless gods that reside in nature.

Born in Tokyo in 1954, NOGUCHI delighted in reading books on mythology, legends and old tales from an early age, becoming fascinated with the view of nature held by the Japanese of the eighth century when Japan’s oldest books, the Kojiki and the Nihon Shoki were written. As she grew, she played with the spirits that inhabited the great trees of the forests and whenever she stepped into the sea or a river, she fantasized that she was coming into direct contact with the god of water. She devoted herself to the study of documents and literature, becoming deeply versed in the Japanese character and folk beliefs. “The faith of the Japanese is based on an awareness of a vast, invisible power. As soon as a people is no longer able to feel this power, the beauty of their country will fade.” She was in her forties when she began to work in clay and ever since she has concentrated on the creation of thee-dimensional sculptures that express her unique worldview. She says that when she is working, she sometimes feels that her body is unable to keep up with the images that flow from her mind. It is as if the elemental spirits have taken over her hands in order to embody themselves in this world, appearing in an abundant variety of guises, richly individualistic and displaying lively expressions.

The title of this exhibition, ‘OKAMI’, can mean either ‘wolf’ or ‘great god’ depending on the Japanese characters used to write it. This has a great significance for NOGUCHI as when she was small, her grandmother kept dog that was a cross between a Japanese wolf and a dog and it protected her when she was small. In the area stretching from Mt. Mitsuminesan to Mt. Mitakesan, northwest of Tokyo, the shrines devoted to mountain asceticism, have statues of wolves, known as ‘Oinu-sama’, enshrined at their entrances in place of the usual guardian dogs and from this we can see that the ancient worship of wolves remains alive in Japan to this day.

Like foxes and deer, wolves are considered messengers of the gods, and in ancient times they were venerated as gods in their own right under the name, ‘Okuchi’ (Big Mouth). Ms. Noguchi believes that as the apex predator, the wolf symbolized the rich cycle of life and death upon which mountain worship is based and that is why it was given the name ‘Okami’ (great god).

Her works take us back to the primordial beliefs of Japan. They are neither judgmental nor subservient; they exist humbly and kindly together with nature, representing countless prayers to the souls that live within tiny things. Today, people think only of personal profit, destroying the mountains for the wealth they contain, polluting the oceans and slaughtering vast numbers of living creatures through the reckless exploitation of resources. The Japanese wolf is now extinct but we hope that the works in this exhibition will allow you to feel the close relationship that once existed between nature and humankind, taking you back to a vivid world, full of life. As NOGUCHI says, “I hope that this solo exhibition will provide an opportunity for everybody to consider ‘the Japanese, God and religion’. ”

Harumi Noguchi, Tora-no-doji. Ceramic + Porcelain. H7 2/4xW4 1/4xD11 1/4in.

‘Tradition on Fire: Contemporary Japanese Ceramics from the Paul and Kathy Bissinger Collection » at Asian Art Museum

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Akiyama Yo, Black porcelain with white porcelain inlay, Fujino Sachiko, Fukami Sueharu, Kondo Takahiro, Koyama Yasuhisa, Matsui Kosei, Mihara Ken, Nagae Shigekazu, Pale blue glazed porcelain, Porcelain with suffusion of kutani color glaze, Porcelain with white glaze and spotted patterning, Sakiyama Takayuki, Shigaraki stoneware, Stoneware, Tashima Etsuko, Tokuda Yasokichi III

Sky Space <Soar> (Tenku <sho>), 2007, by Fukami Sueharu (Japanese, b. 1947). Pale blue glazed porcelain; mounted on a walnut base. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.2. Image © Asian Art Museum of San Francisco.

SAN FRANCISCO —Tradition on Fire: Contemporary Japanese Ceramics from the Paul and Kathy Bissinger Collection introduces museum visitors to the vibrant shapes and diverse textures of contemporary Japanese ceramics created since the late 20th century. On view at the Asian Art Museum from August 19, 2014 through April 5, 2015, the exhibition presents 22 ceramic artworks by 20 artists, showcasing the innovative designs and techniques of the generation born after World War II. These talented artists draw upon the long and revered traditions of Japanese ceramics in search of the new.

Untitled, 1998, by Tokuda Yasokichi III (1933–2009). Porcelain with suffusion of kutani color glaze. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.21. Image © Asian Art Museum of San Francisco.

Featured in the exhibition are some of the most innovative artists exploring the potential of clay. Akiyama Yō’s distinctive non-functional works have cracked surfaces that have been compared to cooling volcanic magma, as seen in Untitled T-071. Fukami Sueharu incorporates the slip-casting method to create his sleekly sculptural works, using a compressor to inject liquid clay into a mold under high pressure, as inSky Space <Soar>. Kondō Takahiro applies glass and precious metals such as silver and gold to his porcelain works, creating surfaces that resemble beaded water, as demonstrated in Silver Mist Glaze. Other highlights of the exhibition include Nagae Shigekazu’s Chain Formation and Kohyama Yasuhisa’s Wind (Kaze).

Cornucopia 03-III, 2003, by Tashima Etsuko (b. 1959). Stoneware, pigments, glass. Courtesy of Asian Art Museum, promised gift of Paul and Kathy Bissinger, R2014.8.20. Image © Asian Art Museum of San Francisco.

Works in Tradition on Fire are lent for the exhibition from the Paul and Kathy Bissinger Collection of San Francisco. Since 2008, the Bissingers have amassed an extensive collection of Japanese ceramics by artists active from the late 20th century to the present day. The Bissingers have generously donated to the museum Cornucopia 03-III, a major work by artist Tashima Etsuko. Displayed in Tradition on Fire, Cornucopia 03-III is an intriguing biomorphic form sculpted from opaque white stoneware and vivid, translucent blue glass.

Chain Formation, 2009, by Nagae Shigekazu (b. 1953). Porcelain with white glaze and spotted patterning. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.16. Image © Asian Art Museum of San Francisco.

Tradition on Fire was organized by the Asian Art Museum and curated by Dr. Laura Allen, curator of Japanese art, and Dr. Yuki Morishima, assistant curator of Japanese art. The Asian Art Museum is the only venue for the exhibition.

Untitled, 1979, by Matsui Kosei (1927-2003). Stoneware with layers of colored clay. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.14. Image © Asian Art Museum of San Francisco.

Untitled T-071, 2007, by Akiyama Yo (b. 1953). Stoneware. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.1. Image © Asian Art Museum of San Francisco.

Wind (Kaze), 1998, by Koyama Yasuhisa (b. 1936). Shigaraki stoneware. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.11. Image © Asian Art Museum of San Francisco.

Silver Mist Glaze, 2010, by Kondo Takahiro (b. 1958). Black porcelain with white porcelain inlay, silver mist overglaze and black glass cover. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.13.a-.b. Image © Asian Art Museum of San Francisco.

Untitled, 2005, by Sakiyama Takayuki (b. 1958). Stoneware with sand glaze. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.18. Image © Asian Art Museum of San Francisco.

Pulse, 2011, by Mihara Ken (b. 1958). Multi-fired unglazed stoneware. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.15. Image © Asian Art Museum of San Francisco.

A Moment in White, 2012, by Fujino Sachiko (b. 1950). Stoneware with grayish-white matte glaze. Courtesy of the Paul and Kathy Bissinger Collection, R2014.8.24. Image © Asian Art Museum of San Francisco.

Adam Buick Ceramics

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Adam Buick, Mission Gallery

Adam Buick Ceramic © Mission Gallery

« By adding some of the essential and actual elements of the natural landscape to my work I am able to show how my practice is embedded in a study of my surroundings. Through my work I reference places that have significance to my life within the landscape. I intentionally source my own local materials, using them unrefined to show my personal relationship with the landscape, the materials within it and my past experiences from where they were collected. »

Adam Buick Ceramic © Mission Gallery

« The shapes I throw are based on Moon Jars, a Korean form from the Choson Dynasty originally made from plain white porcelain. I was struck by their serenity and simplicity. Due to the making process the subtleties of the form are beyond my complete control something I relish and nurture. I want perfection yet the form I am striving for is far from perfect. Paradoxical though it is, I think this is what fascinates me what drives me to continue. This pure jar form has become my canvas, into which I incorporate selected sources of local materials such as clays, rocks and seaweeds. I am inspired to do this through a fascination with landscape and how the resources within it can be utilised. » Adam Buick

Adam Buick Ceramic © Mission Gallery

Mission Gallery, Gloucester Place, Maritime Quarter, Swansea SA1 1TY, Wales, UK.Tel: +44 (0)1792 652016 | info@missiongallery.co.uk. Opening Hours: Tuesday – Sunday 11am – 5pm

Cliff Lee porcelain art

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'Dragon' vase, Celadon Porcelain, Cliff Lee, Porcelain

Celadon Porcelain. Lee Gallery & Studio. Photo Douglas Lee

Celadon Porcelain. Lee Gallery & Studio. Photo Douglas Lee

Celadon Porcelain. Lee Gallery & Studio. Photo Douglas Lee

Porcelain Dragon Vase. Lee Gallery & Studio. Photo Douglas Lee

Celadon Porcelain. Lee Gallery & Studio. Photo Douglas Lee

Celadon Porcelain Dragon Vase. Lee Gallery & Studio. Photo Douglas Lee

Celadon Porcelain Dragon Vase. Lee Gallery & Studio. Photo Douglas Lee

Celadon Porcelain Vase. Lee Gallery & Studio. Photo Douglas Lee

Wheel Thrown Porcelain Vase. Lee Gallery & Studio. Photo Douglas Lee

Wheel Thrown Porcelain Vase. Lee Gallery & Studio. Photo Douglas Lee

Cliff Lee transforms kaolin clay from England’s white cliffs of dover into vessels inspired by Chinese Song dynasty porcelain. he is well-known for recreating chinese glazes long lost to history.

The artist creates two kinds of porcelain art: intricately carved vessels inspired by nature and sleek teardrop shapes narrowing to a slender stem. both are rare, primarily because it is so difficult to throw, carve and fire porcelain

Lee Gallery & Studio, 170 West Girl Scout, Stevens, PA 17578. Tel: 717.733.9373 – cliffleeporcelain.com

Delicate and bold, Bonhams presents ceramics by Gertrud and Otto Natzler in Los Angeles auction

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Appliqué Murale, Axel Johann Salto, blue crater glazed earthenware, cobalt blue crystalline glazed earthenware, Cylindrical Vessel, Dale Chihuly, George Nakashima, Gertrud and Otto Natzler, Paul Evans, Serge Mouille

A group shot of Gertrud and Otto Natzler (Austrian, 1908-1971 and 1908-2007) ceramics. Estimates vary from $900-40,000. Photo: Courtesy of Bonhams.

Los Angeles – Bonhams, one of the largest international fine art auction houses, is excited to highlight a stunning group of ceramics by Austrian duo artists Otto and Gertrud Natzler in its upcoming 20th Century Decorative Arts auction on October 27 in Los Angeles. The top valued item being offered in this impressive group is a rare 1960 Volcanic Blue Ceramic Cylinder (est. $30,000-40,000), measuring at more than a foot tall and six inches in diameter.

Gertrud and Otto Natzler (Austrian, 1908-1971 and 1908-2007), Cylindrical Vessel, 1960, blue crater glazed earthenware, signed NATZLER in black, later inscribed 1960 and L007 in black ink; height 13 1/2in (34cm); diameter 6in (15cm). Estimate US$ 30,000 – 40,000 (€24,000 – 32,000). Photo: Courtesy of Bonhams.

Since the late 1930s the husband and wife team, mostly self-taught in ceramics, produced fine vessels through a distinctive division of labour. Gertrud excelled at her talent for « throwing clay » and Otto accentuated the pieces through a mastery of glazing. The result was the creation of works of art that were interconnected and complemented each other’s talents. In March of 1938, the Natzlers were awarded a silver medal at the World Exhibition in Paris, the same time that Germany took over Austria during the Anschluss. They then fled to escape the Nazi threat and settled in California, where they also achieved great international success over more than four decades that includes approximately 25,000 works and 2,500 glazing techniques. Numerous exhibitions and awards followed such as retrospectives at the Los Angeles County Museum and the Museum of Arts and Design in New York.

Gertrud and Otto Natzler (Austrian, 1908-1971 and 1908-2007), Cylindrical Vessel, 1960, cobalt blue crystalline glazed earthenware, signed NATZLER in black and bearing paper label with typedL095; height 6 1/4in (16cm). Estimate US$ 5,000 – 7,000 (€4,000 – 5,500). Photo: Courtesy of Bonhams.

Bonhams Director of 20th Century Decorative Arts in Los Angeles, Dan Tolson, commented, « We are thrilled to be offering such an expertly curated private collection whose range and breadth perfectly articulates the immense talents of arguably two of the greatest ceramic artists of the 20th century. »

The auction also features glass, metalware, sculptures, ceramics and furniture from the late 19th century to the present day. Top highlights include Dale Chihuly’s Postrio Persian Installation (est. $70,000-100,000), made of 13 bright coloured glass discs on a bronze framework. An important and unique glazed stoneware bowl in the « budding style, » from the 1940s by Danish artist Axel Johann Salto is being offered (est. $15,000-25,000). Also offered are ceramics by Beatrice Wood (who at the beginning of her potting career was under the tutelage of the Natzlers), George Nakashima furniture as well as a striking group of Serge Mouille light fixtures and lamps.

Dale Chihuly (American, born 1941), Postrio Persian Installation, 1996, blown glass, plate glass and bronze; height overall 110in (279cm); width 102 1/2in (260cm).  Estimate US$ 70,000 – 100,000 (€55,000 – 79,000). Photo: Courtesy of Bonhams.

Axel Johann Salto (Danish, 1889-1961), Important and Unique Bowl in the Budding Style (Spirende Stil), executed circa 1940s, glazed stoneware, underside incised SALTO, and with the Royal Copenhagen wave mark in blue; height 5 1/2in (14cm); diameter 13 1/2in (34cm). Estimate US$ 15,000 – 25,000 (€12,000 – 20,000). Photo: Courtesy of Bonhams.

George Nakashima (American, 1905-1990), Double Drawer Chest, 1968. American black walnut, together with a copy of the original completion invoice, dated September 2nd, 1968, and a copy of a letter of authenticity signed by Mira Nakashima, dated July 21, 2014; height 32 1/2in (83cm); width 22in (56cm); length 72in (183cm). Estimate US$ 7,000 – 10,000 (€5,500 – 7,900). Photo: Courtesy of Bonhams.

A Serge Mouille enameled aluminum, steel and brass Appliqué Murale, designed circa 1953, manufactured by the Atelier Serge Mouille; height 34in (86cm); width 70in (178cm); depth 14 1/2in (37cm). Estimate US$ 12,000 – 18,000 (€9,500 – 14,000). Photo: Courtesy of Bonhams.

Also noteworthy is a set piece interior of 1970s luxurious opulence collected by the late Larry Harmon for his apartment on the Wilshire Corridor. Harmon, who popularised the beloved children’s character Bozo the Clown, brought it to television in the 1950s after buying the rights from Capitol Records. The highlight of the group is a Paul Evans walnut burl and brass wall-mounted Faceted credenza, designed circa 1975 (est. $30,000-50,000).

A Paul Evans walnut burl and brass wall-mounted faceted credenza, designed circa 1975 for Directional; height 23in (58.5cm); width 86in (218cm); depth 23in (58cm). Estimate US$ 30,000 – 50,000 (€24,000 – 40,000). Photo: Courtesy of Bonhams.

Gertrud and Otto Natzler, Footed bowl, 1957

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earthenware, footed bowl, Gertrud and Otto Natzler, verdigris and copper crystalline glaze

Gertrud and Otto Natzler, Footed bowl, 1957. Estimate $5,000 – 7,000. Sold for $5,000. Photo Phillips

Earthenware, verdigris and copper crystalline glaze with glaze flow and throwing rings. 7 5/8 in. (19.4 cm) diameter. Underside signed with NATZLER, and with original inventory label printed J105.

PHILLIPS. THE BETTY LEE AND AARON STERN COLLECTION NEW YORK 17 DECEMBER 2013 10AM. 

Gertrud and Otto Natzler, Footed vase, 1962

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blue, earthenware, Footed vase, Gertrud and Otto Natzler, turquoise and copper glaze

Gertrud and Otto Natzler, Footed vase, 1962. Estimate $8,000 – 12,000. Sold for $16,250. Photo Phillips

Earthenware, blue, turquoise and copper glaze with iridescence, crystal formations and flow patterns. 9 1/4 in. (23.5 cm) high. Underside signed with NATZLER and with original inventory label printed M163.

PHILLIPS. THE BETTY LEE AND AARON STERN COLLECTION NEW YORK 17 DECEMBER 2013 10AM.