{"title":"ART","description":"","products":[{"product_id":"ruth-duckworth-wall-relief","title":"Ruth Duckworth Glazed Stoneware Sculptural Vessel Group, c. 1975","description":"\u003cp\u003e\u003cstrong\u003eThree vessels on a tray — a small, complete world, entirely Duckworth's.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eARTIST — Ruth Duckworth (German-American, 1919–2009)\u003c\/p\u003e\n\u003cp\u003ePERIOD — c. 1975 \u003c\/p\u003e\n\u003cp\u003eCATEGORY — Studio Ceramic \/ Sculpture\u003c\/p\u003e\n\u003cp\u003eMATERIALS — Glazed stoneware, unsigned\u003c\/p\u003e\n\u003cp\u003eDIMENSIONS — 8 h × 9 w × 9 d in (20 × 23 × 23 cm)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eCONTEXT — Duckworth left England in 1964 to accept a teaching position at the University of Chicago, where she remained until her death, drawing her inspiration from the natural world — \"I think of life as a unity. This unity includes mountains, mice, rocks, trees, and women and men. It is all one lump of clay.\" Influenced by Isamu Noguchi, Henry Moore, and Constantin Brancusi, her signature organic abstract forms adorn public spaces and museum collections throughout the world, including the Metropolitan Museum of Art, the Art Institute of Chicago, the Philadelphia Museum of Art, the Museum of Fine Arts Boston, the Smithsonian American Art Museum, the Stedelijk Museum Amsterdam, and the Victoria and Albert Museum, London. This multi-element composition — three vessels of varying scale arranged on a shared tray base, glazed in blush, celadon, and terracotta — is among her more intimate and domestic works, the grouping functioning as a single sculptural statement. Unsigned.\u003c\/p\u003e","brand":"BradburyLewis","offers":[{"title":"Default Title","offer_id":46033117905204,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/files\/duckworthuntitled.png?v=1708933392"},{"product_id":"ruth-duckworth-ceramic-wall-relief","title":"Ruth Duckworth Glazed Stoneware Wall Relief, Large-Scale, American Studio Ceramic","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eThe wind through tall grass. The way a cliff face peels. Everything moving in the same direction at once.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eARTIST — Ruth Duckworth (German-American, 1919–2009)\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003ePERIOD — 1970s \u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eCATEGORY — Studio Ceramic \/ Sculpture \/ Wall Relief\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eMATERIALS — Glazed stoneware, unsigned\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eDIMENSIONS — 20 h × 41½ w × 5½ d in\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eCONTEXT — One of the world's foremost ceramic sculptors, Duckworth spent her most productive decades in Chicago, where she taught at the University of Chicago and pursued a fiercely personal vision that placed clay alongside stone and bronze as a serious sculptural medium. Influenced by Noguchi, Moore, and Brancusi, she built forms from the natural world outward — landscapes, atmospheres, geological forces translated into stoneware. This large-scale wall relief, with its fanning layered planes, jagged edges, and celadon ground punctuated by spherical nodes, is among her most architecturally ambitious work in this format — a category foregrounded in the Smart Museum of Art's 2023 retrospective \u003cem\u003eRuth Duckworth: Life as a Unity\u003c\/em\u003e, the first major museum exhibition of her work in nearly twenty years. Her work is held in the collections of the Metropolitan Museum of Art, the Art Institute of Chicago, the Philadelphia Museum of Art, the Museum of Fine Arts Boston, the Smithsonian American Art Museum, the Stedelijk Museum Amsterdam, and the Victoria and Albert Museum, London. Provenance: Estate of Mr. Richard B. Cook, Crystal Lake, Illinois. Unsigned.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"BradburyLewis","offers":[{"title":"Default Title","offer_id":47584716095796,"sku":"","price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/files\/Screenshot2025-07-19at9.54.29AM.png?v=1752933957"},{"product_id":"mel-bochner-kick-against-the-pricks","title":"Mel Bochner, Kick Against the Pricks, Screenprint, 2018, 25\/30","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMel Bochner turns an ancient proverb into a battle cry — in white letters on blue, edition 25 of 30.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eARTIST: Mel Bochner (American, 1940–2025)\u003c\/p\u003e\n\u003cp\u003ePERIOD: Contemporary, 2018\u003c\/p\u003e\n\u003cp\u003eCATEGORY: Works on Paper \/ Print\u003c\/p\u003e\n\u003cp\u003eMATERIALS: Screenprint in colors on metallic paper\u003c\/p\u003e\n\u003cp\u003eDIMENSIONS: 10½ h × 27⅞ w in. (27 × 71 cm)\u003c\/p\u003e\n\u003cp\u003eEDITION: 25\/30. Signed, dated and numbered to lower right 'Bochner 2018'. Published by Two Palms, New York. Framed.\u003c\/p\u003e\n\u003cp\u003eCONTEXT: Bochner transforms the ancient proverb \"It is hard for thee to kick against the pricks\" — warning against fighting authority — into a latter-day affirmative commandment to rebel, shouted in all caps against his trademark \"Blah Blah Blah\" ground. The work was first sold by Downtown for Democracy, a political action committee raising funds for Democratic candidates, lending this edition a specific political and historical moment. One of the most charged prints of Bochner's late career, from an edition of only 30. His work is held in the collections of the Art Institute of Chicago, the Carnegie Museum of Art, the Courtauld Institute of Art in London, and the National Gallery of Art in Washington, D.C.\u003c\/p\u003e","brand":"BradburyLewis","offers":[{"title":"Default Title","offer_id":48959008833844,"sku":null,"price":5200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/files\/Screenshot2024-10-17at10.25.02PM_1.png?v=1764912847"},{"product_id":"john-baldessari-plate-for-the-pasadena-art-alliance-1994","title":"John Baldessari, Painted Ceramic Charger, Pasadena Art Alliance Edition, 1994, Edition of 50","description":"\u003cp\u003e\u003cstrong\u003eJohn Baldessari turns a dinner plate into a conceptual proposition — figures, animals, and a floating red ball in his signature crosshatch palette, from an edition of fifty.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eARTIST: John Baldessari (American, 1931–2020)\u003c\/p\u003e\n\u003cp\u003ePERIOD: 1994\u003c\/p\u003e\n\u003cp\u003eCATEGORY: Decorative Object \/ Ceramics \/ Works on Paper\u003c\/p\u003e\n\u003cp\u003eMATERIALS: Painted ceramic\u003c\/p\u003e\n\u003cp\u003eDIMENSIONS: 13½ in. diameter\u003c\/p\u003e\n\u003cp\u003eEDITION: Edition of 50. Stamped verso: Pasadena Art Alliance \/ John Baldessari \/ Edition of 50 \/ Gaetano America Inc. \/ 1994. Gaetano Pottery impressed mark to rim.\u003c\/p\u003e\n\u003cp\u003eCONTEXT: The Pasadena Art Alliance has fostered the appreciation of contemporary visual art in Southern California since 1955, commissioning artists and supporting major institutions through benefit editions and grants. This charger was produced for the PAA's benefit program — a collaboration between Baldessari and Gaetano Pottery of California resulting in an edition of only 50 examples. By blending photography, painting, and text, Baldessari's work examines the plastic nature of artistic media while offering commentary on contemporary culture — his practice shaped the conceptual art landscape and influenced generations of artists through his long teaching career at CalArts and UCLA. The decoration is pure Baldessari: three figures rendered as colored crosshatch silhouettes — a black animal, a green figure mid-leap, a blue seated figure — orbit a floating red ball in an open-ended narrative the viewer completes. The ceramic format is a characteristically deadpan choice — functional object, conceptual proposition, collector's piece, all at once. Baldessari's work is held in the collections of MoMA, the Tate, the J. Paul Getty Museum, the Smithsonian American Art Museum, and the Guggenheim Museum, among others.\u003c\/p\u003e","brand":"BradburyLewis","offers":[{"title":"Default Title","offer_id":48967553679668,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/files\/Photoroom_007_20251108_162846.png?v=1765717775"},{"product_id":"bernard-reder-head-of-centaur","title":"Bernard Reder, Head of a Centaur, Bronze, 1955, 2\/II","description":"\u003chr\u003e\n\u003cp\u003e\u003cstrong\u003eA centaur regards the world from some interior distance — Bernard Reder's bronze head, dated 1955, cast in the year he returned from Italy transformed.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eARTIST: Bernard Reder (Ukrainian-American, 1897–1963)\u003c\/p\u003e\n\u003cp\u003ePERIOD: 1955\u003c\/p\u003e\n\u003cp\u003eCATEGORY: Sculpture\u003c\/p\u003e\n\u003cp\u003eMATERIALS: Bronze with dark patina\u003c\/p\u003e\n\u003cp\u003eDIMENSIONS: 25 h × 15½ w × 14 d in.\u003c\/p\u003e\n\u003cp\u003eINSCRIBED: Signed and dated \"Reder 1955\" on neck; numbered \"2-II\" on verso\u003c\/p\u003e\n\u003cp\u003ePROVENANCE: The Boca Raton Museum of Art\u003c\/p\u003e\n\u003cp\u003eCONTEXT: In 1961 the Whitney Museum gave Bernard Reder a solo retrospective — the first time in its history the museum devoted three of its floors to a single artist. Reder's work is held in the permanent collections of the Whitney Museum of American Art, MoMA, the National Gallery of Art, the Brooklyn Museum, the Art Institute of Chicago, and the Museu d'Arte Moderna in São Paulo, among others. As his career progressed Reder moved from realism toward a rhythmic abstraction, as expressed in works including the Centaur's Head. This bronze, dated 1955, was made the year after Reder returned from Italy where he had studied the lost-wax casting technique that would define his late work — a period of extraordinary productivity that produced some of his most powerful mythological subjects. The head is cast in a very small edition, numbered 2-II, and carries the Boca Raton Museum of Art as its provenance. The surface is alive with the marks of Reder's direct modeling in wax — no distance between the hand and the metal. When the Nazis destroyed Reder's Paris studio, all his plaster works were lost with it. The bronzes he cast after arriving in America are the only surviving record of his mature sculptural vocabulary. This is one of them.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"BradburyLewis","offers":[{"title":"Default Title","offer_id":48978425839924,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/files\/centaur1-2.png?v=1765890741"},{"product_id":"abe-ajay-polychrome-wood-relief-a67abe-ajay-polychrome-wood-relief-a67-acrylic-on-wood-12-h-24-w-in-31-61-cm-impressed-signature-and-date-to-lower-right-ajay-67","title":"Abe Ajay, Polychrome Wood Relief #A67, 1967","description":"\u003chr\u003e\n\u003cp\u003e\u003cstrong\u003eAbe Ajay builds a world in miniature — primary colors, colliding planes, and a red dot that stops everything cold.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eARTIST: Abe Ajay (American, 1919–1998)\u003c\/p\u003e\n\u003cp\u003ePERIOD: 20th Century, 1967\u003c\/p\u003e\n\u003cp\u003eCATEGORY: Sculpture \/ Wall Relief\u003c\/p\u003e\n\u003cp\u003eMATERIALS: Acrylic on wood, shadow box frame\u003c\/p\u003e\n\u003cp\u003eDIMENSIONS: 12¼ h × 24 w in. (31 × 61 cm)\u003c\/p\u003e\n\u003cp\u003eINSCRIBED: Impressed signature and date to lower right, 'Ajay 67'\u003c\/p\u003e\n\u003cp\u003eCONTEXT: A self-proclaimed \"unrepentant object maker,\" Ajay combined found objects, polyester resin, wood, canvas and wire into his mixed media constructions — works that drew frequent comparisons to Louise Nevelson, though the New York Times noted his sculpture was \"as masculine and puritanical as hers is feminine and baroque.\" Art historian Irving Sandler suggested the works possess \"a thoughtfully conceived structure and the fine workmanship of Russian Constructivism,\" with compositions revealing an abstract and imagined architecture influenced by Spanish and Middle Eastern culture. This relief, dated to 1967 — the height of Ajay's mature period — deploys white, red, yellow, dark green, and cerulean blue across a complex field of interlocking planes and cast shadows, the whole anchored by a single red circle that functions almost as punctuation. The construction is substantial in every sense: heavily built, precisely engineered, and finished with the exacting hand of an artist who came up through graphic design and never lost his commitment to craft. Ajay's work is held in the collections of the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum, and the Hirshhorn Museum and Sculpture Garden.\u003c\/p\u003e","brand":"BradburyLewis","offers":[{"title":"Default Title","offer_id":48984414322996,"sku":null,"price":3375.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/files\/Screenshot2026-04-05at11.18.08PM.png?v=1775445580"},{"product_id":"michael-byron-untitled-monkey","title":"Michael Byron, Untitled (Monkey), Mixed Media Sculpture, c. 1985","description":"\u003cdiv data-v-a888cf23=\"\" class=\"details_section ds_one block\"\u003e\n\u003cdiv data-v-a888cf23=\"\" class=\"details_content title_text\"\u003e\n\u003cp\u003eSolid institutional pedigree — MoMA, Whitney, Whitney Biennial. This is a good one.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eA tiny sovereign on a grand throne — Michael Byron's polychrome figure \u003cmeta charset=\"utf-8\"\u003ecommands its weathered timber post like a forgotten deity.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eARTIST: Michael Byron (American, b. 1954)\u003c\/p\u003e\n\u003cp\u003ePERIOD: Late 20th Century, c. 1985\u003c\/p\u003e\n\u003cp\u003eTITLE: Untitled (Monkey)\u003c\/p\u003e\n\u003cp\u003eCATEGORY: Sculpture\u003c\/p\u003e\n\u003cp\u003eMATERIALS: Mixed media, found wood\u003c\/p\u003e\n\u003cp\u003eDIMENSIONS: 51 h × 8¼ w × 9 d in. (130 × 21 × 23 cm)\u003c\/p\u003e\n\u003cp\u003eCONTEXT: Michael Byron's inclusion in MoMA's landmark survey An International Survey of Recent Painting and Sculpture in 1984 marked the beginning of his international career. This sculpture dates from that pivotal moment — between 1984 and 1989, Byron worked and exhibited in New York City as well as in solo and group exhibitions across the United States and Europe, culminating in his participation in the 1989 Whitney Biennial. Byron integrates two- and three-dimensional aspects of his vision, typically placing objects in relation to painted or constructed surfaces. Here the diminutive, heavily worked figure — its surface alive with color and gesture — is set against the mute gravitas of a weathered timber post, a pairing that is characteristically his: raw material and made object held in productive tension. Byron's work is held in the collections of the Whitney Museum of American Art, MoMA, the Saint Louis Art Museum, and the Museum Boijmans Van Beuningen in Rotterdam, among others.\u003c\/p\u003e\n\u003chr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"BradburyLewis","offers":[{"title":"Default Title","offer_id":49017030443316,"sku":null,"price":1780.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/files\/Screenshot2024-10-27at11.03.24AM_a30a6c65-2cd4-4ba1-9c8b-7a03817ee99f.png?v=1775403301"},{"product_id":"richard-devore-earthenware-vessel-american-studio-ceramic-c-1985","title":"Richard DeVore Earthenware Vessel, American Studio Ceramic, c. 1985","description":"\u003cp\u003e\u003cstrong\u003eTerracotta the color of Cranbrook in November — DeVore at his most spare, and his most certain.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eARTIST — Richard DeVore (American, 1933–2006)\u003c\/p\u003e\n\u003cp\u003ePERIOD — c. 1985\u003c\/p\u003e\n\u003cp\u003eCATEGORY — Studio Ceramic \/ Sculpture\u003c\/p\u003e\n\u003cp\u003eMATERIALS — Earthenware, unglazed, burnished terracotta surface\u003c\/p\u003e\n\u003cp\u003eDIMENSIONS — 7½ h × 6 w × 4¾ d in (19 × 15 × 12 cm)\u003c\/p\u003e\n\u003cp\u003eCONTEXT — DeVore studied under Maija Grotell at Cranbrook and later chaired its ceramics department before a long tenure at Colorado State University. \u003cmeta charset=\"utf-8\"\u003eHis vessels are held in over forty museum collections worldwide, including the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Louvre, and the Victoria and Albert Museum.This example works in the unglazed mode — raw, burnished earthenware — that foregrounds form over surface incident. The angled, open rim is characteristic of his mature language: asymmetry that reads as inevitability rather than gesture.\u003c\/p\u003e","brand":"BradburyLewis","offers":[{"title":"Default Title","offer_id":49131794137396,"sku":null,"price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/files\/434_1_art_design_january_2020_richard_devore_vessel__wright_auction.jpg?v=1779211742"},{"product_id":"richard-devore-glazed-earthenware-vessel-american-studio-ceramic-c-1985","title":"Richard DeVore Glazed Earthenware Vessel, American Studio Ceramic, c. 1985","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003cstrong\u003eA darker DeVore, more elemental, more ancient — the palette is almost geological.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-pre-wrap leading-[1.7]\"\u003eARTIST — Richard DeVore (American, 1933–2006)\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-pre-wrap leading-[1.7]\"\u003ePERIOD — c. 1985\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-pre-wrap leading-[1.7]\"\u003eCATEGORY — Studio Ceramic \/ Sculpture\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-pre-wrap leading-[1.7]\"\u003eMATERIALS — Earthenware, glazed, two-zone reduction-fired surface\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-pre-wrap leading-[1.7]\"\u003eDIMENSIONS — 7¾ h × 6½ w × 4¾ d in (20 × 17 × 12 cm)\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-pre-wrap leading-[1.7]\"\u003eCONTEXT — DeVore studied under Maija Grotell at Cranbrook and later chaired its ceramics department before a long tenure at Colorado State University. His vessels are held in over forty museum collections worldwide, including the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Louvre, and the Victoria and Albert Museum. This example is among his more atmospheric — the dark, carbonized lower register moving into warm terracotta above, the angled rim asymmetric and unhurried. Form and surface, inseparable.\u003c\/p\u003e","brand":"BradburyLewis","offers":[{"title":"Default Title","offer_id":49131797938484,"sku":null,"price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/files\/432_1_art_design_january_2020_richard_devore_vessel__wright_auction.jpg?v=1779246873"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/2735\/5956\/collections\/ART.png?v=1778294220","url":"https:\/\/bradburylewis.com\/collections\/art.oembed","provider":"BradburyLewis","version":"1.0","type":"link"}