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Lot 369
Warren MacKenzie (American, 1924-2018). Large studio pottery ceramic fluted vase. Stoneware with a drip glaze. Double stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 10 1/2 in x diameter: 6 1/2 in.
Lot 370
Warren MacKenzie (American, 1924-2018). Group of three studio pottery ceramic lidded round boxes. Glazed stoneware. Two marked along the footrim. The ceramic with the darker brown glaze is unmarked.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height (including lids) ranges from 4 3/4 in to 5 3/4 in; diameter ranges from 5 in to 5 1/2 in.
Lot 371
Michael Gross (American, 20th c). Group of two outsider art ceramic pieces, decorated with Gross' signature sharply comic illustrations. Includes "Two Women on a Red Horse," 1986, and "Large Women," 1986. Both signed and dated in the decoration.(Large Women) height: 14 1/2 in x diameter: 8 1/2 in. (Two Women) height: 4 in x diameter: 18 3/4 in.
Lot 372
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic low bowl. Glazed stoneware with MacKenzie's iconic finger marks along the inside of the bowl. Marked along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 4 1/4 in x diameter: 15 in.
Lot 373
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic fluted white vase. Glazed stoneware. Marked along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 7 1/4 in x diameter: 7 in.
Lot 374
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic charger. Glazed stoneware with dotted decoration along the bowl. Marked along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 2 in x diameter: 13 1/2 in.
Lot 375
Warren MacKenzie (American, 1924-2018). Set of three handled studio pottery ceramic mugs and one pitcher. Glazed stoneware with MacKenzie's iconic finger marks along the sides. Each marked along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Pitcher; Height: 5 1/4 in x width: 6 1/2 in x depth: 5 in. Mugs; Height ranges from 3 3/4 in to 4 in; Width ranges from 4 1/2 in to 5 in; depth ranges from 3 1/2 in to 3 5/8 in.
Lot 376
Warren MacKenzie (American, 1924-2018). Large studio pottery ceramic bowl. Glazed stoneware with abstract decoration along the sides. Marked along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 3 3/4 in x diameter 5 3/4 in.
Lot 377
Warren MacKenzie (American, 1924-2018). Group of nine small studio pottery ceramic teabowls. Glazed stoneware with various decoration along the sides. Each marked along the foot.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height ranges from 1 3/4 in to 3 1/4 in; Diameter ranges from 2 1/2 in to 4 in.
Lot 527
Giuseppe Armani (Italian, 1936-2006). Ceramic figure of an owl perched on a branch titled "Night Vigil." Signed, numbered 9/3000, and impressed "copyright 1995 Florence" along the lower edge of the ceramic sculpture. Mounted on a wooden base with a brass nameplate. With original box and papers.Height: 16 1/2 in x width: 10 in x depth: 8 in.
Lot 528
Giuseppe Armani (Italian, 1936-2006). Ceramic figure of an owl titled "Wisdom." Signed and numbered 60/3000 along the lower edge of the ceramic sculpture, additionally impressed "Copyright 1995 Florence." Mounted on a wooden base with a brass nameplate. With original box and papers.Height: 24 in x width: 9 1/2 in x depth: 10 in.
Lot 529
Giuseppe Armani (Italian, 1936-2006). Ceramic figure of a peacock in a gravity-defying pose titled "Peacock." Hand signed, numbered 1897/5000, impressed "copyright 1988," and impressed "Florence" along the lower edge of the ceramic sculpture. Mounted on a wooden base with a brass nameplate. With original box and papers.Literature: "Master-Sculptor Guiseppe Armani Creates Art for Today," Volume 1, Miller Import Corp, 1994, pp. 132-133.Height: 16 1/2 in x width: 16 1/2 in x depth: 8 in.
Lot 530
Giuseppe Armani (Italian, 1936-2006). Ceramic figure of a parrot curled in a vase titled "Parrot Vase." Hand signed, numbered 12/3000, and impressed "copyright 1992 Florence" along the lower edge of the ceramic sculpture. Mounted on a wooden base with a brass nameplate. With original box and papers.Literature: "Master-Sculptor Guiseppe Armani Creates Art for Today," Volume 1, Miller Import Corp, 1994, p. 138.Height: 17 in x width: 8 1/2 in x depth: 6 1/2 in.
Lot 531
Giuseppe Armani (Italian, 1936-2006). Ceramic figure of a falcon perched on a falconer's glove titled "The Falconer." Hand signed, numbered 9/3000, and impressed "copyright 1993 Florence" along the lower edge of the ceramic sculpture. Mounted on a wooden base with a brass nameplate. With original box and papers.Height: 24 in x width: 13 in x depth: 12 in.
Lot 532
Giuseppe Armani (Italian, 1936-2006). Ceramic figure of a hawk landing on a branch, wings outstretched, titled "White Hawk." Hand signed and impressed "copyright 1988" and "Florence" along the lower edge of the ceramic sculpture. Mounted on a wooden base with a brass nameplate. With original box.Literature: "Master-Sculptor Guiseppe Armani Creates Art for Today," Volume 1, Miller Import Corp, 1994, p. 127.Height: 21 1/2 in x width: 22 in x depth: 7 1/2 in.
Lot 533
Giuseppe Armani (Italian, 1936-2006). Group of three ceramic clown figures titled "The Merry Clown," "The Musical Clown," and "The Learned Clown." Each with an impressed signature to the ceramic base. With original boxes and papers.Literature: "Master-Sculptor Guiseppe Armani Creates Art for Today," Volume 1, Miller Import Corp, 1994, pp. 58-61.(Clown on chair) Height: 18 3/4 in x width: 8 in x depth: 8 in. (Striped reading clown) Height: 18 in x width: 6 1/2 in x depth: 9 1/2 in. (Trumpet playing clown) Height: 18 in x width: 6 3/4 in x depth: 6 1/2 in.
Lot 534
Giuseppe Armani (Italian, 1936-2006). Ceramic figure of a fair of graceful cranes titled "Elegance in Nature." Signed, numbered 631/3000 and impressed "copyright 1994 Florence" along the lower edge of the ceramic sculpture. Mounted on a wooden base with a brass nameplate. With original box and papers.Height: 24 in x width: 11 in x depth: 10 in.
Lot 535
Giuseppe Armani (Italian, 1936-2006). Ceramic figure of a pair of lovers embracing, one mounted on a horse, titled "Embrace." Signed and numbered 453/3000 along the lower edge of the ceramic sculpture. Mounted on a wooden base with a brass nameplate. With original box and papers.Literature: "Master-Sculptor Guiseppe Armani Creates Art for Today," Volume 1, Miller Import Corp, 1994, p. 77.Height: 23 in x width: 15 in x depth: 11 in.
Lot 11
Magna Graecia red-figure crater, 4th century BC.Polychrome pottery.Provenance: Spanish private collection A.B.Measurements: 31 x 32.5 cm.Ceramic vessel with a circular base, a bell-shaped body with two handles, almost hidden under a pronounced rim at the top, which also opens outwards. The exterior of the piece is decorated on the obverse with the figures of Dionysus and a Menade, a figure from the Bacchic entourage, facing the front. The lady wears a chiton and holds a fiale in her right hand. The nude male figure, wearing only a toga covering his back, offers her a tray and holds a palm branch. The reverse shows two ephebos conversing.The name of this type derives from its inverted bell shape, which opens from the base, a shape adapted to the function of this vessel. Craters such as this one were key utensils in the banqueting culture, as they were used to mix wine with water before drinking it, since the Greeks rarely drank pure wine. Once mixed with water, the wine was drunk directly from the krater using small vessels. The shape of the krater is therefore perfectly designed to facilitate the mixing of liquids and their subsequent extraction.Red-figure pottery was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing the painters to portray anatomical details with greater accuracy and variety. Over time these decorations became more complex, incorporating numerous details in both black and white, which enhanced the narrative and decorative sense of the depictions. The technique consisted of painting the motifs on the piece while it was still wet, using a transparent varnish which, when fired, acquired an intense black hue. The motifs were therefore invisible before firing, which meant that the painters had to work entirely from memory, without being able to see their previous work. Once the piece was fired, the unglazed areas remained with the reddish hue of the clay, while the glazed, "painted" areas took on a dense, glossy black colour.
Lot 40
Bowl, probably from the Amul or Kashan workshops. Persia, 13th century.Coloured ceramic. With traces of glaze.Provenance: Private collection in Barcelona.Measurements: 14 x 28 cm.Ceramic bowl with a strong pottery constitution and a glazed surface, not preserved today. The truncated cone-shaped profile, with a fairing near the wide mouth, rises steeply from a small, circular base until it reaches the aforementioned fairing. From there to the mouth it reverses direction and forms a broad, flat lip. It is distinguished by its physical integrity as well as its pottery quality, as a small base supports a wide mouth in perfect balance and symmetry.
Lot 51
Ushebti. Egypt, Saita period, Dynasties XXVI to XXX (663-341 BC).Greenish-brown faience.In very good condition.Attached is a report issued in the 1970s by Ricardo Batista Noguera, former director of the Archaeological Museum of Barcelona, of the Archaeological Museum of Olérdola (Barcelona), of the Archaeological Museum of Catalonia and municipal archaeologist of Tossa de Mar.Attached is a photocopy of the purchase invoice from 1984.Measurements: 13.5 x 4 x 2.5 cm.Ushebti with a mummiform body, as they were never represented in the clothes of the living. It has inscriptions along the front related to agricultural work, as these figures were used as servants in the fields of the divinities. They replaced the deceased in these duties and were therefore represented with the most common tools: the hoe and the hatchet. The piece we present here shows the typical smooth tripartite wig, braided beard and arms crossed over the chest, with the aforementioned tools. The feet rest on a base.Ushebtis, an Egyptian term meaning 'those who respond', are small statuettes that in ancient Egypt were placed in tombs as part of the grave goods of the deceased, and whose function was to replace them in the work they were to perform in the afterlife. Most were made of ceramic, wood or stone, although in the richest tombs they could be found carved in lapis lazuli. The oldest surviving examples come from the Middle Kingdom, although references to them can be found in texts from the end of the Old Kingdom. After the sacred scarabs, ushebtis are the most numerous and possibly the most characteristic pieces of Egyptian art that have survived to the present day. Throughout the ages they have always had the same function in the religious sphere, but while during the Middle Kingdom they were conceived as a representation of their owner before Osiris in the work of tilling the kingdom of the shadows, replicas of the deceased, from the New Kingdom onwards they came to be seen as his servants or slaves, and were produced in large numbers.
Lot 93
Bell-shaped crater with the figure of a satyr. Magna Graecia, Campania, 4th century BC.Ceramic with red figures.Provenance: Private collection, Fontainebleau, France.In perfect condition. Intact. Only a slight nick on the base.Measurements: 19.5 cm (height) x 20.5 cm (diameter).Magna Graecia bell krater, made of ceramic and decorated with figures in reserve, in red and white, on a background of black varnish. On one side there is a scene depicting a woman seated on a stool, assisted by a lady and a man, the latter naked and wearing a cloak over his shoulders. The lady serves her food on a tray and holds a palm leaf, and the boy offers her an ornate mirror. On the opposite side we see three robed men in a frieze composition. Between the two figurative scenes, under the handles, there are palmettes flanked by brackets. At the base of this main band is a border of curved fretwork, and below the mouth is a laurel wreath.The krater was a large vessel, intended to contain a mixture of water and wine. It was carried to the place where the meal took place, placed on the floor or on a platform. The cupbearer administered the drink with a spoon or jug, and then filled the cups of the guests. The type known as 'bell-shaped' has small horizontal, protruding, upward-facing handles and an inverted bell-shaped bowl; it is a late type. The chalice krater is a more modern type than the column and scroll kraters, although it predates the bell krater, and its shape, with an almost inverted trapezoid profile, is reminiscent of the flower chalice.Red-figure ware was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing the painters to portray anatomical details with greater accuracy and variety.The technique consisted of painting the motifs on the still-wet piece, using a transparent varnish which, when fired, took on an intense black hue. The motifs were therefore invisible before firing, which meant that the painters had to work entirely from memory, without being able to see their previous work. Once the piece was fired, the unglazed areas remained with the reddish hue of the clay, while the glazed, "painted" areas took on a dense, glossy black colour.
Lot 96
Applique; Celtiberian culture, 3rd century.Bronze.Provenance: Private collection of the Berenguer family.Measurements: 11.8 x 4 cm.The term Celtiberian groups together a series of pre-Roman Celtic or Celticized peoples who inhabited the area of the Iberian Peninsula known as Celtiberia in classical sources from the end of the Bronze Age (around the 13th century BC) until the Romanisation of Hispania (2nd-1st century BC). One of the main sources of information on the material culture of the Celtiberian peoples are the funerary trousseaus, with metal objects (generally bronze and iron, but also silver), including weapons, ornaments and tools, and also ceramic pieces, ranging from the cinerary urn itself to beads and fusayoles. These grave goods were made up of functional objects from everyday life as well as others of purely symbolic and social value, indicating the status of the deceased. The important role of weaponry and, in particular, swords is particularly noteworthy, as they speak of the privileged place occupied by warriors in Celtiberian society.
Lot 18
An early 20th century ceramic brooch, the twin ceramic portraits within a split pearl shared surround, stamped 9ct, length 5.2cm, gross weight 13.9g.Overall condition good to fairScratches and discolouration in keeping with age and wearWith safety chainSome adhesive to reverse of portraits, scratches to front visible with magnification
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