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Margaret Pennington Collection represented by Ferrin Contemporary Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Pennington Collection represented by Ferrin Contemporary

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FerrinContemporary.com


Margaret Pennington Collection represented by Ferrin Contemporary

text © 2013 Margaret Pennington photography © 2013 John Polak published by Ferrin Contemporary

Margaret Pennington Collection represented by Ferrin Contemporary

FerrinContemporary.com


Margaret Pennington Collection represented by Ferrin Contemporary

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FerrinContemporary.com


Margaret Pennington Collection an introduction by Lesile Ferrin Margaret Pennington’s collection of contemporary American decorative art began in 1981 with the purchase of a Rick Dillingham cylindrical globe from the New York gallery, Hadler Rodriguez. From this elegant vessel, a standard was developed by Pennington for the selection of over 100 artworks which form a broad, historically important collection of sculpture and decorative arts spanning the last 50 years of the American 20th century. A passion to create an in-depth survey of seminal artists led Pennington to search for examples of early, middle and late works by the masters of the movement including, Robert Arneson, Peter Voulkos, Viola Frey, Rick Dillingham, Rudy Autio, Jack Earl, Michael Lucero, Ron Nagle, Mark Lindquist, Dale Chihuly, Harvey Littleton. Drawings and paintings, when available, were added to compliment the sculpture. Pennington’s eye and curatorial perspective built an encyclopedic, historically relevant collection. Pennington carefully detailed her acquisitions with information which had guided her choices including the exhibition, publishing history and relationships between the dealers, artists and fellow collectors. Provenance gathered from her archival files reveal the various owners, often in the hand and on the stationary, invoices and receipts of the original gallerist. Lovely notes from the artists, museum curators and archival material are carefully annotated with reference to publications of actual or similar works of the period. The documentation and presentation of the collection as a whole provides context and added value to the historical and artistic significance of the individual pieces. The Margaret Pennington Collection is based in southwest Florida. Beautifully installed in a private home designed for the display of these objects, the collection is offered for sale through Ferrin Contemporary by Leslie Ferrin.

Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Pennington Collection represented by Ferrin Contemporary Leslie Ferrin, director of Ferrin Contemporary, has worked with ceramic arts for more than three decades as a gallery owner, curator, author, teacher, and maker. Ferrin has curated countless exhibitions and lectured extensively throughout the United States, Australia, and the United Kingdom. As gallerist, Ferrin became a spokesperson and advocate for the visual arts in the creative economy. She has served as advisor and board member to numerous non-profit organizations and educational institutions including Craft Emergency Relief Fund, Watershed Center for the Ceramic Arts, The Clay Studio, and The Clay Art Center. Ferrin Contemporary’s current projects include managing the artist residency program at Project Art in Cummington, Massachusetts, and curating exhibitions throughout the country, including the Ceramic Top 40 | 2013 at Red Star Studios in Kansas City, MO. As its exclusive representative, Ferrin has cataloged and thoroughly researched the Pennington collection and can provide detailed and authoritative information about the collection and the pieces it comprises. Leslie Ferrin 413-446-0614 LeslieFerrin@gmail.com

Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Pennington Collection the artists Robert Arneson (ceramic)

Flora Mace & Joey Kirkpatric (glass)

Rudy Autio (ceramic and paper)

Louis Marak (ceramic)

Ralph Bacerra (glass)

Graham Marks (ceramic)

Howard Ben Tre (glass)

Nancee Meeker (ceramic)

Curtis Benzle (ceramic)

Benjamin Moore (glass)

Jonathan Bonner (metal)

William Morris (glass)

Jon Brooks (wood)

Ed Moulthrop (wood)

William Carlson (glass)

Joel Philip Myers (glass)

Wendell Castle (wood)

Ron Nagle (ceramic)

Dale Chihuly (glass and paper)

Richard Notkin (ceramic)

Fong Choo (ceramic)

Robert Palusky (glass)

James Richard (Rick) Dillingham (ceramic)

Elsa Rady (ceramic)

Ruth Duckworth (ceramic)

Don Reitz (ceramic)

Jack Earl (ceramic)

Richard Ritter Jr. (glass)

Edward Eberle (ceramic)

Mary Roehm (ceramic)

David Ellsworth (wood)

Jerry Rothman (ceramic)

Viola Frey (ceramic and paper)

Ginny Ruffner (glass)

Joe Glasco (paper)

Adrian Saxe (ceramic)

Susan Taylor Glasgow (glass)

June Schwarcz (metal)

Samuel J. Herman (glass)

Richard Shaw (ceramic)

Carole Hetzel (basket)

Rudolph Staffel (ceramic)

Wayne Higby (ceramic)

Therman Statom (glass)

Stephen Hodder (glass)

Toshiko Takaezu (ceramic)

Margaret Israel (ceramic and paper)

Catherine (Cappy) Thompson (glass)

Jun Kaneko (ceramic)

Mary Van Cline (glass)

K. William LeQuier (glass)

Peter Voulkos (ceramic and paper)

Alan Lerner (ceramic)

Patti Warashina (ceramic)

Mark Lindquist (wood)

Beatrice Wood (ceramic)

Melvin Lindquist (wood)

Elizabeth (Betty) Woodman (ceramic)

Harvey Littleton (glass)

William Wyman (ceramic)

Michael Lucero (ceramic)

Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Pennington Collection represented by Ferrin Contemporary

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Robert Arneson

(American, 1930–1992)

Miss Liberty Coin or A 1942 Dame 1965, handbuilt and thrown, lustre glaze, ceramic, 3.75 x 10." (RArne-33963) PROVENANCE

Franklin Parrasch Gallery, New York, NY, 2002. Collection of Frank Kolodny, 1988. Allan Stone Gallery, New York, NY, 1965. EXHIBITIONS

“Point of View II,” Mint Museum of Craft and Design, Charlotte, NC, 2003. “Robert Arneson: A Retrospective,” Des Moines Art Center, Des Moines, IA, 1985. Allan Stone Gallery, New York, NY, 1965. LITERATURE

Benezra, Neal. Robert Arneson: Retrospective. Des Moines, IA: Des Moines Art Center, 1985.

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Robert Arneson

(American, 1930–1992)

A Question of Measure or Checkered Plate or Vitruvian Man 1978, thrown, incised, modeled ceramic, multi-colored luster glaze, 18.25". (RArne-33962) PROVENANCE

Barbara & Edward Okun, Okun-Thomas Gallery, St. Louis, MO, 1998. Alan Frumkin Gallery, New York, NY.

Margaret Pennington Collection represented by Ferrin Contemporary

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Rudy Autio

(American, 1926–2007)

Smiling Lady 1979, hand-built, incised, glaze, ceramic, 21.5 x 19 x 13". (RAuti-33964) PROVENANCE

Collection of Daniel Jacobs and Derek Mason, New York, NY, 1992. Greenwich House Pottery, New York, NY. EXHIBITIONS

“Point of View II,” Mint Museum of Craft and Design, Charlotte, NC, 2003. “A Passionate Vision: Contemporary Ceramics from the Daniel Jacobs Collection”, deCordova Museum, Lincoln, MA, 1984. “Rudy Autio Ceramic Vessels,” Greenwich House Pottery, New York, NY, 1980. LITERATURE

Rudy Autio Ceramic Vessels. New York, NY: Greenwich House Pottery, 1980. Pages 114–29. Jacobs, Daniel. A Passionate Vision: Contemporary Ceramics from the Daniel Jacobs Collection. Lincoln, MA: deCordova Museum, 1984. Kangas, Matthew, “Rudy Autio: Massive Narrations,” American Craft, October/November 1980. Illustrated page 13 and back cover. Mayer, Barbara. Contemporary American Craft: A Collector’s Guide. Layton, UT: Gibbs Smith,1988. Illustrated page 17.

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Rudy Autio

(American, 1926–2007)

Inside Looking Out 1987–1988,hand-built, incised, glaze, stoneware, 37 x 30 x 26". (RAuti-33965) PROVENANCE

Dorothy Weiss Gallery, San Francisco, CA, 1988. EXHIBITIONS

“New Art Forms,” Chicago, IL, 1988. LITERATURE

Autio, Rudy. Rudy Autio: Work, 1983-1996. Missoula, MT: White Swan Press, 1996. Illustrated page 40.

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Rudy Autio

(American, 1926–2007)

Untitled Drawing 1981, pencil, ink, acrylic paint, paper, archival framing, 57.5 x 49". (RAuti-33967) PROVENANCE

Sotheby’s New York, New York, NY, March 16, 2000, sale 7438, lot 61. Collection of Sharon and Harold J. Joseph, St. Louis, MO.

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Rudy Autio

(American, 1926–2007)

Hippodrome 1994, wheel-thrown, altered, glaze, ceramic, 19 x 16 x 14". (RAuti-33966) PROVENANCE

Maurine Littleton Gallery, Washington, DC, 1997. EXHIBITIONS

Sculpture Objects and Functional Art, Chicago, IL, 1997.

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Ralph Bacerra

(American, 1938–2008)

Large Untitled Vessel 1999, wheel-thrown, hand-built, lustre glaze earthenware, 33 x 14". (9RBace-339680) PROVENANCE

Garth Clark Gallery, New York, NY, by special commission, 1999. LITERATURE

Ralph Bacerra: A Survey. New York: Garth Clark Gallery, 1999. Similar to example illustrated.

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Howard Ben Tre

(American, born 1949)

Column #32 1986, cast glass, patinated copper, 96 x 26.5 x 12". (HTre-34065) PROVENANCE

Habatat Galleries, Boca Raton, FL, 1987. John Berggruen Gallery, San Francisco, CA, 1986. LITERATURE

Danto, Arthur C., Mary Jane Jacob, and Patterson Sims. Howard Ben TrĂŠ. New York: Hudson Hills Press; Scottsdale, AZ: Scottsdale Museum of Contemporary Art,1999. Similar to example illustrated pages 82, 97.

Margaret Pennington Collection represented by Ferrin Contemporary

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Jonathan Bonner

(American, born 1947)

Bird 1981, patinated copper, steel and granite base, 9' x 3.5". (JBonn-33973) PROVENANCE

Sotheby’s New York, New York, NY, June 6, 2003, sale 7910, lot 157. Private collection, New York, NY.

Margaret Pennington Collection represented by Ferrin Contemporary

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Curtis Benzle

(American, born 1949)

Large Patchwork Bowl 1982, colored porcelain, 6 x 11 x 9". (CBenz-33969)

Small Patchwork Bowl 1982, colored porcelain, 5 x 6 x 8.5". (CBenz-33972) PROVENANCE

The Signature Shop, Roswell, GA, 1982.

Margaret Pennington Collection represented by Ferrin Contemporary

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Curtis Benzle

(American, born1949)

Large Envelope Bowl 1985, colored porcelain, 6 x 9 x 3". (CBenz-33970)

Small Envelope Bowl 1985, colored porcelain, 3.5 x 4.75 x 4". (CBenz-33971) PROVENANCE

The Signature Shop, Roswell, GA, 1985.

Margaret Pennington Collection represented by Ferrin Contemporary

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Jon Brooks

(American, born 1944)

Ladderback Chair Series - Kiva Ladder 1986, maple, prismatic color, lacquer, 96 x 16 x 18". (JBroo-33974) PROVENANCE

Image Gallery, Sarasota, FL. From the artist’s collection.

Margaret Pennington Collection represented by Ferrin Contemporary

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William Carlson

(American, born 1950)

Untitled from the Pragnanz Series 1986, cast, laminated, cut, and polished safety glass, vitrolite glass, granite, 19 x 10.5 x 10". (WCarl-33975) PROVENANCE

Habatat Galleries, Bay Isles, FL, 1987. LITERATURE

Smith, Paul J. and Edward L. Smith. Craft Today, Poetry of the Physical. New York: Weidenfield & Nicholson, 1986. Similar to example on page 71.

Margaret Pennington Collection represented by Ferrin Contemporary

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William Carlson

(American, born 1950)

Vetro Muralis 3834 1998, cast, laminated, cut and polished safety glass, vitrolite glass, granite, 25 x 21 x 12". (WCarl-33976) PROVENANCE

Habatat Galleries, Boca Raton, FL, 1999. EXHIBITIONS

16th Annual International Glass Invitational, Boca Raton, FL 1998.

Margaret Pennington Collection represented by Ferrin Contemporary

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Wendell Castle

(American, born 1932)

Sooner or Later 1986, painted poplar and curly maple, two pieces, 63 x 56 x 39". (WCast-33977) PROVENANCE

Alexander F. Milliken Gallery, New York, NY, 1986. EXHIBITIONS

“Wendell Castle: New work/Sculpture,” Alexander F. Milliken Inc, New York, NY, 1986. “Wendell Castle: More Recent Work,” Alexander F. Milliken Inc, New York, NY, 1986.

Margaret Pennington Collection represented by Ferrin Contemporary

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Dale Chihuly

(American, born1941)

Cobalt Macchia Pair 1987, blown glass, 16 x 25 x 21". (DChih-33980) PROVENANCE

Habatat Galleries, Boca Raton, FL, 1988. EXHIBITIONS

“Chihuly, Habatat Galleries, Boca Raton, FL, 1988. LITERATURE

Chihuly. Boca Raton, FL: Habatat Galleries, 1988. Announcement image.

Margaret Pennington Collection represented by Ferrin Contemporary

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Dale Chihuly

(American, born 1941)

Macchia with Red Lip Wrap late 80’s early 90’s, blown glass, 20 x 16 x 18". (DChih-33978) PROVENANCE

Stair Galleries Auction House, Hudson, NY, 2012. Collection of Jan Cowles (mother of Charles Cowles, Charles Cowles Gallery, New York, NY).

Margaret Pennington Collection represented by Ferrin Contemporary

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Dale Chihuly

(American, born 1941)

Untitled Drawing 1992, acrylic paint, paper, archival framing, 41.5 x 29.5". (DChih-33979) PROVENANCE

Harry Dennis, New York, NY, 1996. From the artist’s collection.

Margaret Pennington Collection represented by Ferrin Contemporary

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Fong Choo

(Sinagapore, born 1957)

Yello Mello (left) date, materials, 5.5 x 3.7 x 3.75”. (FChoo-34310)

Wacky Reeds (second from left) 2010, materials, 5.25 x 4.75 x 4.25”. (FChoo-34352)

Bamboozle (second from right) 2011, materials, 4.5 x 5 x 4.25”. (Fchoo-34343)

Aubergine (right) 2010, materials, 6 x 4.7 x 4.75”. (FChoo-34351) PROVENANCE

Winter Park Art Show, Winter Park, Florida, 2011

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James Richard (Rick) Dillingham

(American, 1952–1997)

Globular Patch Pot 1981, hand-built, fired, broken, reassembled, lustre, glaze, earthenware 9 x 9". (JDill-33981) PROVENANCE

Hadler-Rodriguez Gallery, New York, NY, 1981. From the artist’s collection.

Margaret Pennington Collection represented by Ferrin Contemporary

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James Richard (Rick) Dillingham

(American, 1952–1997)

Untitled Vessel 1981, hand-built, fired, broken, glazed and reassembled, earthenware, 9.5 x 7.75". (JDill-33983) PROVENANCE

Sotheby’s New York, New York, NY, June 7, 2002, sale 7808, lot 107. Private collection, New York, NY. EXHIBITIONS

“Point of View II,” Mint Museum of Craft and Design, Charlotte, NC, 2003.

Margaret Pennington Collection represented by Ferrin Contemporary

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James Richard (Rick) Dillingham

(American, 1952–1997)

Large Globular Patch Pot 1991, hand-built, broken, glazed, fired and re-assembled, glaze, earthenware, 13 x 21". (JDill-33982) PROVENANCE

Garth Clark Gallery, New York, NY, 1991.

Margaret Pennington Collection represented by Ferrin Contemporary

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Ruth Duckworth

(German, 1919–2009)

Untitled Wall Piece 1975, hand-built, glaze, porcelain,13.5 x 15 x 3.5". (RDuck-33984) PROVENANCE

Franklin Parrasch Gallery, 2004. Collection of Judith and Martin Schwartz, New York, NY. Christie’s New York, New York, NY, Private Collection 1990. Exhibit A Gallery, Chicago, IL.

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Jack Earl

(American, born 1934)

CEL 001 Ohio Dog 1976, vitreous china, 20 x 26 x 14.5". (JEarl-33985) PROVENANCE

Garth Clark Gallery, New York, NY, 1998. Collection of Susan Rush, New York, NY. Produced in the Arts/Industry Residency at Kohler Company, Kohler, WI, August, 1976. EXHIBITIONS

John Michael Kohler Center for the Arts, Sheboygan, WI, 1976. LITERATURE

American Craft Magazine, May 2009. Craft Horizons Magazine, December 1974.

“This piece is from an edition of nine life-size sculptures of Earl’s dog, Daisy Mae. Each was glazed with a different pattern in a different palette. In 1974, Earl was the first participant in the Kohler Company’s Arts/Industry Residency Program. He returned for a second residency in1976. It was then that he created his dog series. The original mold was made in his Ohio studio but re-made using industrial techniques at Kohler and cast there. Earl was at the forefront of adapting industrial mold building and casting techniques for use in studio ceramics. Each dog was set on a base formed from a factoryproduced toilet tank lid. The joke of the sculpture is that if you are sitting on this toilet, this dog’s head will be resting on your right shoulder.“ – Margaret Pennington

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Jack Earl

(American, born 1934)

Untitled 1978, hand-built, glaze, white earthenware, 11.5 x 7 x 6". (JEarl-33986) PROVENANCE

Artspace Gallery, Atlanta, GA, 1991.

Margaret Pennington Collection represented by Ferrin Contemporary

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Jack Earl

(American, born 1934)

Morning Dog Walk 1979, hand-built, glaze, white earthenware, 11 x 8.5 x 5". (JEarl-33987) PROVENANCE

Perimeter Gallery, Chicago, IL, 1989.

Margaret Pennington Collection represented by Ferrin Contemporary

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Jack Earl

(American, born 1934)

Another Bush, Another Stick of Wood 1983, hand-built, glaze, white earthenware, oil paint, 24.5 x 12 x 14.5". (JEarl-33988) PROVENANCE

Helen Drutt Gallery, Philadelphia, PA, 1991. EXHIBITIONS

“Jack Earl – Solo Exhibit,” Helen Drutt Gallery, Philadelphia, PA, 1991.

Margaret Pennington Collection represented by Ferrin Contemporary

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Jack Earl

(American, born 1934)

In that Day will I raise the Tabernacle of David which is fallen and close up the breaches thereof; and I will raise up his ruins, and I will build it as in the days of old. 1986 (from the Do-Si-Do Series) hand-built, earthenware, oil paints, 35 x 24.5 x 21". (JEarl-33989) PROVENANCE

Perimeter Gallery, Chicago, IL, 1989. EXHIBITIONS

“Jack Earl Show”, Perimeter Gallery, Chicago, IL, 1988. “Lives and Times: Jack Earl Ceramic Sculpture,” Kansas City Art Institute, Kansas City, MO, 1989.

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Jack Earl

(American, born 1934)

There is a stone story from myth to truth that lives in the soul of man. It was spoken again by the King of Salem as He laid His hand on Abraham. 1987, hand-built, earthenware, oil paint, 36 x 16 x 14". (JEarl-33990) PROVENANCE

Artspace Gallery, Atlanta, GA, 1991. EXHIBITIONS

“Point of View II,” Mint Museum of Craft and Design, Charlotte, NC, 2003. LITERATURE

“Jack Earl Interview,” Ceramics Monthly, June/July/August, 1992. Page 52.

Margaret Pennington Collection represented by Ferrin Contemporary

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Edward Eberle

(American, born 1944)

Somewhere 1989, 6.5 x 3 x 3". (EEber-34085) PROVENANCE

Perimeter Gallery, Chicago, IL, 1996.

Margaret Pennington Collection represented by Ferrin Contemporary

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Edward Eberle

(American, born 1944)

The Bath 1994, thrown, brush painted, sgraffito, terra sigillata, porcelain, 6.25". (EEber-34086) PROVENANCE

The Hand & Spirit Gallery, Scottsdale, AZ, 1995.

Margaret Pennington Collection represented by Ferrin Contemporary

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Edward Eberle

(American, born 1944)

The Prince’s Retinue 1996, porcelain, 8.25 x 6". (EEber-34084) PROVENANCE

Ferrin Gallery, Sculpture Objects Functional Art, New York, NY, courtesy Perimeter Gallery, Chicago, IL, 1999. EXHIBITIONS

“Erotica in Ceramics,” Ferrin Gallery at Sculpture Objects Functional Art, New York, NY and Northampton, MA, 1999.

Margaret Pennington Collection represented by Ferrin Contemporary

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Edward Eberle

(American, born 1944)

October’s House 1996, porcelain, terra sigillata, 7.25 x 6.5 x 4.25". (EEber-34083) PROVENANCE

Perimeter Gallery, Chicago, IL , 1999.

Margaret Pennington Collection represented by Ferrin Contemporary

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David Ellsworth

(American, born 1944)

Regaq, from the Solstice Series 1991, turned, cut, burned, burnished, painted white ash, 17 x 24 x 12". (DElls-33991) PROVENANCE

del Mano Gallery and Studio, Los Angeles, CA, 1999. From the artist’s collection. LITERATURE

500 Bowls: Contemporary Explorations of a Timeless Design. Asheville, NC: Lark Books, 2004. Illustrated page 7. Perreault, John, Matthew Kangas and Edward Cooke, Jr. Expressions in Wood: Masterworks from the Wornick Collection. Oakland, CA: Oakland Museum, 1996. Similar example illustrated on cover.

“The Solstice Series was composed of three primary forms of expression: the ‘sphere,’ the ‘intersphere’ and ‘monosphere.’ Regaq is one of only three interspheres completed at this scale. The first was auctioned at the American Craft Museum in 1992; the second was acquired by Ron and Anita Wornick and subsequently appeared on the cover of their book, Expressions in Wood: Masterworks of the Wornick Collection.” – in a letter from the artist, June 23, 1999

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Viola Frey (American, 1933–2004)

Flying Duck 1969, hand-built, glaze, lustre, white earthenware, 29 x 14 x 15". (VFrey-33997) PROVENANCE

Sotheby’s New York, New York, NY, March 16, 2000, sale 7438, lot 157. Bill and Acey Wolgin, Philadelphia, PA. Helen Drutt Gallery, Philadelphia, PA.

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Viola Frey

(American, 1933–2004)

Lap Full of Figurines (Self Portrait) 1981, oil and acrylic paint, paper, incised lines, archival framing, 60 x 40", framed. (VFrey-33994) PROVENANCE

Barbara and Edward Okun, Santa Fe, NM, 1985. Okun-Thomas Gallery, St. Louis, MO. Rena Bransten Gallery, San Francisco, CA. EXHIBITIONS

Sarasotans Collection, Ringling College of Art + Design, Sarasota, FL, 2001.

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Viola Frey

(American, 1933–2004)

Plate Full of Figurines (From the Bricolage Series) 1982, hand-thrown, hand-built, glazed ceramic, 25 x 4". (VFrey-33992) PROVENANCE

Barbara and Edward Okun, St. Louis, MO, 1998. Collection of Sheldon Shapiro. Lynn Plotkin Brentwood Gallery, St. Louis, MO. Rena Braunsten Gallery, San Francisco, CA.

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Viola Frey

(American, 1933–2004)

Untitled Platter 1982, hand-built, colored slip, glaze, earthenware, 25". (VFrey-33993) PROVENANCE

Sotheby’s, New York, New York, NY, March 16, 2000, sale 7438, lot 92. Collection of Sharon and Harold Joseph, St. Louis, MO. Braunstein/Quay Gallery, San Francisco, CA.

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Viola Frey

(American, 1933–2004)

Flower-Eater 1983, hand-built, glaze, ceramic, two pieces, overall dimensions: 64 x 17 x 15", sculpture: 31 x 17 x 14", sculpted base: 33 x 15". (VFrey-33996) PROVENANCE

Donna Schneier Fine Arts, New York, NY, 1996.

Margaret Pennington Collection represented by Ferrin Contemporary

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Viola Frey

(American, 1933–2004)

Plate 1988, glaze, ceramic, 32 x 4". (VFrey-33998) PROVENANCE

Donna Schneier Fine Arts, New York, NY, 2006.

Margaret Pennington Collection represented by Ferrin Contemporary

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Viola Frey

(American, 1933–2004)

Thinking Man 1993, hand-built majolica glazed earthenware, 14 elements, 69 x 73 x 73". (VFrey-33995) PROVENANCE

Nancy Hoffman Gallery, New York, NY, 1997. EXHIBITIONS

Nancy Hoffman Gallery, New York, NY, 1993. Tampa Museum of Art, Tampa, FL, 1995–1996. Real(ist) Women, Selby Gallery, Ringling College of Art and Design, Sarasota, FL, 1997. LITERATURE

Viola Frey. New York: Nancy Hoffman Gallery,1993. Announcement cover. Real(ist) Women. Sarasota, FL: Ringling School of Art and Design, 1997. Illustrated on cover.

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Joe Glasco

(American, 1921–1996)

Large Reclining Figure on Heavily Worked Ground 1969, india ink on white foam core-type board, 87.5 x 57.5". (JGlas-33999) EXHIBITIONS

Artist exhibited at Florence May’s home, Atlanta, GA on his way back home to Texas after his dealer C. Viviano closed her Gallery in New York, NY, 1970.

“In 1969, the Contemporary Arts Museum in Houston, Texas, mounted a major retrospective of Glasco’s work with essays by Marti Mayo, Mike Berryhill, and Julian Schnabel. On page 46 of the show catalogue, a nearly identical piece created one year earlier is shown. This show was held in conjunction with the artist’s dealer, Gimpel/Weitzenhoffer Gallery, New York.” – Margaret Pennington

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Susan Taylor Glasgow

(American, born 1958)

Beautifully Finished 2003, glass, mixed media. 14 x 16 x 16". (SGlas-34063) PROVENANCE

Heller Gallery, New York, NY, 2005. Palm Beach 3, Palm Beach, FL.

Margaret Pennington Collection represented by Ferrin Contemporary

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Susan Taylor Glasgow

(American, born 1958)

Just Right Coffee Pot 2005, glass, mixed media, 14 x 11x 7". (SGlas-34062) PROVENANCE

Heller Gallery, New York, NY, 2005. EXHIBITION

Domesticity Gone Awry, Heller Gallery, 2005. LITERATURE

Domesticity Gone Awry. New York: Heller Gallery, 2005. Front of invitation.

Margaret Pennington Collection represented by Ferrin Contemporary

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Samuel J. Herman

(American, born 1936)

Untitled blown hot glass, 6.5 x 5.5". (SHerm-34000) PROVENANCE

Image Gallery, Sarasota, FL, 1985.

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Carole Hetzel

(American, born 1942)

Brendan, Basket #230 2005, woven reed, stainless steel cable, 15 x 25". (CHetz-34001) PROVENANCE

Blue Spiral 1, Asheville, NC, 2005.

Margaret Pennington Collection represented by Ferrin Contemporary

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Wayne Higby

(American, born 1945)

Josiah’s Canyon, Winter 1979, hand-thrown, raku-fired, glaze, earthenware, 11.25 x 20.5 x 16". (WHigb-34003) PROVENANCE

Christie’s New York, New York, NY, 1990. Private collection. Helen Drutt Gallery, Philadelphia, PA. EXHIBITIONS

“Contemporary Ceramics: a response to Wedgwood,” Museum of the Philadelphia Civic Center, Philadelphia, PA. Sponsored by the Wedgwood Museum, Merion, PA and organizer, Helen Drutt Gallery, Philadelphia, PA. LITERATURE

Diamonstein, Barbaralee. Handmade in America: Converations with Fourteen Craftmasters. New York: Harry N. Abrams, 1983. Illustrated page 116.

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Wayne Higby

(American, born 1945)

Firewall Gap 1985, hand-built, raku-fired earthenware, five elements with lids, 12.25 x 32 x 6". (WHigb-34002) PROVENANCE

Helen Drutt Gallery, Philadelphia, PA, 1987. From the artist’s collection, Alfred, NY. EXHIBITIONS

“Craft Today: Poetry of the Physical,” American Craft Museum, Inaugural Exhibition, New York, NY, 1986. Helen Drutt Gallery, Philadelphia, PA. LITERATURE

Smith, Paul J. and Edward L. Smith. Craft Today, Poetry of the Physical. New York: Weidenfield & Nicholson, 1986. Illustrated page 231, item 226.

Margaret Pennington Collection represented by Ferrin Contemporary

FerrinContemporary.com


Stephen Hodder

(American, 1951)

Spiral Vision 1991, blown, fused, etched, sand-blasted glass, 23 x 33 x 5". (SHodd-34004) PROVENANCE

Habatat Galleries, Boca Raton, FL, 1991.

Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Israel

(Cuban, 1929–1987)

Rooster 1965, tempera paint, paper, 7 x 12". (MIsra-34006) PROVENANCE

Charles A. Wustum Museum of Fine Art, Racine, WI, 1997. Estate of Margaret Israel. EXHIBITIONS

“Margaret Ponce Israel: A Domestic Bestiary,” Wustum Museum of Fine Arts, Racine, WI, 1997.

Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Israel

(Cuban, 1929–1987)

Cow Plaque 1982, acrylic paint, bisqued clay, 7.75 x 10.25". (MIsra-34005) PROVENANCE

Charles A. Wustum Museum of Fine Art, Racine, WI, 1997. Estate of Margaret Israel. EXHIBITIONS

“Margaret Ponce Israel: A Domestic Bestiary,” Wustum Museum of Fine Arts, Racine, WI, 1997.

Margaret Pennington Collection represented by Ferrin Contemporary

FerrinContemporary.com


Jun Kaneko

(Japanese, born 1942)

Untitled Platter 1982, hand-built, glaze, stoneware, 25 x 20.5". (JKane-34011) PROVENANCE

Sotheby’s New York, New York, NY, March 16, 2000, sale 7438, lot 21. Sharon and Harold J. Joseph, St. Louis, MO. The Greenberg Gallery, St. Louis, MO.

Margaret Pennington Collection represented by Ferrin Contemporary

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Jun Kaneko

(Japanese, born 1942)

Black and White Construction 1991, hand-built, glaze, ceramic, 13.5 x 32 x 8". (JKane-34010) PROVENANCE

Dorothy Weiss Gallery, San Francisco, CA, 1996. LITERATURE

Kaneko, Jun. Dutch Series—Between Light and Shadow. Netherlands: European Ceramic Work Centre,1996. Similar to example illustrated.

Margaret Pennington Collection represented by Ferrin Contemporary

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Jun Kaneko

(Japanese, born 1942)

Untitled Drawing Hawaiian Series 1995, oil stick, paper, archival framing, 64 x 44". (JKane-34012) PROVENANCE

Dorothy Weiss Gallery, San Francisco, CA, 1996. LITERATURE

Perreault, John,”Drawings of Jun Kaneko,” American Ceramics, December 1996. Full-page Illustrated, page 39.

Margaret Pennington Collection represented by Ferrin Contemporary

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Jun Kaneko

(Japanese, born 1942)

Untitled Dango 2000, hand-built, glazed stoneware, steel base, 85 x 30 x 20". (JKane-34013) PROVENANCE

Millenia Gallery, Palm Beach 3, Palm Beach, FL, 2005. EXHIBITIONS

“Jun Kaneko”, solo exhibition, Bentley Gallery, Scottsdale, AZ, 2001. Group Show, Millenia Gallery, Orlando, FL, 2004. LITERATURE

Southeast Gallery Guide, Millennia Gallery, Orlando FL, 2005. Illustrated page 37.

Margaret Pennington Collection represented by Ferrin Contemporary

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K. William LeQuier

(American, born 1953)

Sentinel 1986, blown, carved, constructed, sand-blasted glass, 16 x 24". (WLeQu-34014) PROVENANCE

Habatat Galleries, Boca Raton, FL, 1987. EXHIBITIONS

Similar to Sentinell III, exhibited at Contemporary American and European Glass from the Saxe Collection, Oackland Museum, Oakland, CA, 1986 and American Craft Museum, New York, NY, 1987. LITERATURE

Trapp, Kenneth R., and William Warmus. Contemporary American and European Glass from the Saxe Collection. Oakland, CA: Oakland Museum, 1986. Similar to example illustrated page 47.

Margaret Pennington Collection represented by Ferrin Contemporary

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Alan Lerner (American, born 1952)

Birds 1995, glaze, ceramic, pair of birds, green: 21 x 26 x 16", yellow: 22 x 30 x 16". (ALern-34015) PROVENANCE

Lill Street Studios, Chicago, IL, Sculpture Objects Functional Art, Miami, FL, 1996.

Margaret Pennington Collection represented by Ferrin Contemporary

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Mark Lindquist

(American, born 1949)

Untitled Irregular Bowl 1981, turned, burled birch, 5 x 7.75". (MLind-34016) PROVENANCE

Image Gallery, Sarasota, FL, 1981.

Margaret Pennington Collection represented by Ferrin Contemporary

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Mark Lindquist

(American, born 1949)

Resolving Bowl #2 1983–84, turned, pecan wood, 19.75 x 11". (MLind-34017) PROVENANCE

Image Gallery, Sarasota, FL, 1985.

Margaret Pennington Collection represented by Ferrin Contemporary

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Mark Lindquist

(American, born 1949)

Silent Witness #1 (Oppenheimer) 1983, turned woods: pecan, Georgia pecan, great American elm, black walnut, 85 x 22". (MLind-34021) PROVENANCE

Image Gallery, Sarasota, FL, 1986. From the artist’s collection. EXHIBITIONS

“Mark Lindquist”, solo exhibition of Totemic Series sculptures, The Quadrangle, Human Arts Gallery, Dallas, TX, 1984. “Woodturning Vision and Concept,” National Woodturning Conference and Exhibition at the Arrowmont School of Arts and Crafts, Gatlinburg, TN, 1985. “Craft Today: Poetry of the Physical,” American Craft Museum, Inaugural Exhibition, New York, NY, 1986. “Mark Lindquist: Revolutions in Wood”, a twenty-five year retrospective, The Hand Workshop, Virginia Center for the Crafts, 1995; Renwick Gallery of the Smithsonian American Art Museum, Washington, DC, 1996; Florida Gulf Coast Arts Complex , Florida Gulf Coast University, Fort Myers, FL, 1997, image on announcement cover. “Wood Turning in North America since 1930” organized by Wood Turning Center and Yale University Art Gallery, exhibited at Minneapolis Institute of Arts, Minneapolis, MN, 2001; Renwick Gallery of the Smithsonian American Art Museum, Washington, DC, 2002; Yale University Art Gallery, New Haven, CT, 2002

Margaret Pennington Collection represented by Ferrin Contemporary

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LITERATURE

Smith, Paul J., and Edward L. Smith. Craft Today, Poetry of the Physical. New York: Weidenfield & Nicholson, 1986. Illustrated, full page 71, item 31. Taragin, Davira, and Edward S. Cooke Jr. Contemporary Crafts and the Saxe Collection. Easthampton, MA: Hudson Hills Press, 1993. Illustrated page 154. American Way Magazine, 1996. Illustrated page 71. Kipling, Ray. “At Home With Art,” Sarasota Magazine, November 2000. Illustrated pages 95–101. Kipling, Ray. “Hot Art: A Florida Classic, Rekindled Passion,” American Style Magazine, Winter 2000–2001. Illustrated page 65–73. “One Good Turn,” The Yale Magazine, 2002. Illustrated page 49. Adamson, Glen, “Ciruclar Logic: Wood Turning 1976 to the Present,” Wood Turning in North America since 1930, publication of the Wood Turning Center and Yale University Art Gallery, 2003. Illustrated page 65 with statement. Adamson, Glenn. Thinking Through Craft. Berg, Oxford, UK, 2007. Illustrated page 17. Koplos, Janet, and Bruce Metcalf. Makers: A History of American Studio Craft. Chapel Hill, NC: University of North Carolina Press, 2010. Discussion of Silent Witness #1 Oppenheimer. Illustrated pages 391–392. Lauria, Jo, and Steve Fenton. Craft in America: Celebrating Two Centuries of Artists and Objects. New York: Clarkson Potter and Random House, 2007. Illustrated page 237.

excerpt from: “Silent Witness #1, Oppenheimer” artist essay by Mark Lindquist In 1979, ... I began researching Oppenheimer and the Manhattan Project. Quickly I became overwhelmed by the physics and enormity of it all, and began to formulate an idea about a sculpture in my Totemic Series that would address the issues of power and stature, the outcome of immense projects which affect humankind, for which a single individual was seemingly responsible. I had been studying the work of Louis Kahn, the great architect whose famous quote also inspired me: “Consider the momentous event in architecture when the wall parted and the column became.” The Totems were integral to my sculpture because they allowed a verticality, a columnar presence, a massive force, rising. ... In the sculpture Oppenheimer ... the man, symbolizes Oppenheimer the Bomb, taking into consideration his quote: “I have become death”, when he realized the enormity of the consequences of what he was responsible for, in overseeing the making of the first atom bomb. Making the piece on the lathe in my small studio in New Hampshire was fraught with problems. ... My problem was overcoming inertia on the lathe, so that the column would not spin out of control, ironically, like the atom bomb had for Oppenheimer. The base was made of contrasting woods, walnut and elm ... American Black Walnut and Great American Elm, two distinctly metaphorical materials in my mind, particularly as they were soon to be in such short supply, the colors of which connoted opposites, opposing forces—contrasting concomitantly, literal and theoretical meanings... ... When I had the horizontal piece joined (which was made of pecan from Georgia), it was as though the spreading of the blast created its linearity, in opposition to the main upward thrust of the sculpture. Holding the piece aloft in the studio, it took on the essence of a large gong in a temple, and it swung of its own accord, dangling from an overhead chain off the hoist. The final vessel form, made of walnut, was turned quickly, leaving the interior full, symbolically “being full, containing itself,” and somehow resembling the tall form of J. Robert Oppenheimer himself ... So the column ascends, reaches a plateau, changes course from horizontal to vertical and rewinds itself to thrust upwards in an unfinished, or unending form, roughly broken at the very top ... Over the years, Oppenhemer, the sculpture, has been a Silent Witness, having been in many exhibits, traveling across America, and has been shown in many publications, watching how craft in America has evolved from a traditional heritage, celebrating utility, to becoming expressive through the language of the medium and technology. Often it is viewed, even today, as a marvel in proportion, a tour de force from an earlier evolving period, but rarely is it seen in its totality, for the portrait of American history that I made it to be ...

Margaret Pennington Collection represented by Ferrin Contemporary

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Melvin Lindquist

(American, 1911–2000)

Untitled 1980, turned, manzinita burled wood, 7 x 5.5". (MLind-34019) PROVENANCE

Image Gallery, Sarasota, FL, 1986. From the artist’s collection.

Margaret Pennington Collection represented by Ferrin Contemporary

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Melvin Lindquist

(American, 1911–2000)

Untitled 1983, turned, spalted sugar maple burl. 13 x 16". (MLind-34020) PROVENANCE

Image Gallery, Sarasota, FL, 1985.

Margaret Pennington Collection represented by Ferrin Contemporary

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Harvey Littleton

(American, born 1922)

Orange Triple Movement 1983, blown barium potash glass, multiple cased overlays of Kugler colors, left 11 x 7 x 10", middle 15 x 8 x 13", right 13 x 10 x 12", overall 15 x 29 x 16”. (HLitt-34022) PROVENANCE

Maurine Littleton Gallery, Washington, DC, 1989. From the artist’s collection. EXHIBITIONS

“Harvey K. Littleton: A Retrospective Exhibition”, The Renwick Gallery, Washington, DC, 1984. American Craft Museum, New York, NY, 1985. Brunnier Gallery & Museum, Iowa State University, Ames, IA,1985. High Museum of Art, Atlanta, GA, 1985. Milwawkee Museum of Art, Milwaukee, WI, 1986. Portland Museum of Art, Portland, OR, 1986. LITERATURE

Byrd, Joan F. Harvey K. Littleton, A Retrospective Exhibition. Atlanta, GA: High Museum, 1984. Illustrated page 98.

“This piece was purchased from the artist during a studio visit facilitated by Littleton’s daughter Maureen. I had come to meet with him for the purpose of buying one of his Crown Series that I had seen at the Renwick Museum in Washington, DC. But he convinced me that this piece, Orange Triple Movement, was the one I should have. He had kept it in his private collection since making it because of his enjoyment of looking at it and remembering the difficulty of controlling the colors. I left my visit with a greater appreciation of him, of his work, and of the importance of this dynamic new field of studio glass. The generosity with which he shared his time with me, a new collector, was mirrored over and over again in the time and patience he spent teaching other collectors, artists, and gallerists about this art form which he loved so very much.” – Margaret Pennington

Margaret Pennington Collection represented by Ferrin Contemporary

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Michael Lucero

(American, born 1953)

Untitled Head 1983, paint, glaze, terra cotta, inscribed “for Charlie, Happy Birthday,” 19 x 7". (MLuce-34025) PROVENANCE

Stair Galleries Auction House, Hudson, NY. Collection of Jan Cowles (mother of Charles Cowles, Charles Cowles Gallery, New York, NY).

Margaret Pennington Collection represented by Ferrin Contemporary

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Michael Lucero

(American, born 1953)

North American Dreamer 1984, hand-built, slip-glazed, earthenware, 21x 25 x 24". (MLuce-34023) PROVENANCE

Dorothy Weiss Gallery, San Francisco, CA, 1998. Private collection, San Francisco, CA, 1985. Fuller Goldeen Gallery, San Francisco, CA, 1984. EXHIBITIONS

“Point of View II,” Mint Museum of Craft and Design, Charlotte, NC, 2003.

Margaret Pennington Collection represented by Ferrin Contemporary

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Michael Lucero

(American, born 1953)

Pre-Columbian Man with George Ohr Pot 1991, hand-built, glaze, ceramic, 17 x 11". (MLuce-34024) PROVENANCE

Donna Schneier, New York, NY, 1996.

Margaret Pennington Collection represented by Ferrin Contemporary

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Michael Lucero

(American, born 1953)

Anthropomorphic Baby Form in Stroller (New World Series) 1995 1995, hand-built, glaze, ceramic, carriage, 27 x 12 x 11". (MLuce-34026) PROVENANCE

Donna Schneier Fine Arts, Palm Beach, FL, 2008. From the artist’s collection.

Margaret Pennington Collection represented by Ferrin Contemporary

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Michael Lucero

(American, born 1953)

Teapot #2 2009, glaze, ceramic, 7x 12.25" (MLuce-34027) PROVENANCE

Donna Schneier Fine Arts, Palm Beach, FL, 2010.

Margaret Pennington Collection represented by Ferrin Contemporary

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Flora Mace and Joey Kirkpatrick (American, Mace born 1949, Kirkpatrick born 1952)

Sheep Bowl 1982, blown glass, wire, glass pick-up drawing, 6 x 8.5". (FKirk-34007) PROVENANCE

Christie’s New York, New York, NY, 1991. Kurland Summers Gallery, Los Angeles, CA.

Margaret Pennington Collection represented by Ferrin Contemporary

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Flora Mace and Joey Kirkpatrick (American, Mace born 1949, Kirkpatrick born 1952)

Doll Drawing with Rebecca 1983, blown glass, wire, glass pick-up drawing, 13 x 6.5". (FKirk-34008) PROVENANCE

Great American Gallery, Atlanta, GA, 1989. From the artist’s collection. EXHIBITIONS

Riley Hawk Gallery, Cleveland, OH. LITERATURE

Session 2 Catalog. Stanwood, WA: Pilchuck Glass School, 1987. Portrait of artists creating this piece.

Margaret Pennington Collection represented by Ferrin Contemporary

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Flora Mace and Joey Kirkpatrick (American, Mace born 1949, Kirkpatrick born 1952)

Glass Vessel with Fruit Drawing 1988, blown glass, 15.5 x 11.5". (FKirk-34009) PROVENANCE

Donna Schneier Fine Arts, Palm Beach, FL, 2008. Charles Bronfman Collection. Pilchuck, Seattle, WA, 1988.

Margaret Pennington Collection represented by Ferrin Contemporary

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Louis Marak

(American, born 1942)

Over the Rainbow 2000, glaze, low-fired ceramic, 18 x 22 x 10". (LMara-4557) PROVENANCE

Ferrin Gallery, Sculpture Objects Functional Art, Chicago, IL, 2000.

Margaret Pennington Collection represented by Ferrin Contemporary

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Graham Marks

(American, born 1951)

Untitled 1988, hand-built, coiled, earthenware, 25 x 33". (GMark-34028) PROVENANCE

Helen Drutt Gallery, New York, NY, 1989. From the artist’s studio, Michigan.

“There was a monumental mistake during the firing of this piece. Marks commented, “It was almost as if a bolt of lightning had struck in the midst of the firing”. He embraced the results and sought to replicate this occurrence in the kiln during future firings, producing the other pieces in the series.” – Margaret Pennington

EXHIBITIONS

Solo exhibition, Helen Drutt Gallery, New York, NY 1988–89. LITERATURE

Perreault, John, “Pods from Inner Space,” Village Voice, January 10, 1989.

Margaret Pennington Collection represented by Ferrin Contemporary

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Nancee Meeker

(American, born 1951)

Untitled 1984, thrown , kiln- and pit-fired, no glaze, stone burnished whige or yellow terra sigilata, Geologic Series, Ledge Vase, 7.5". (NMeek-34029) PROVENANCE

Susan McLeod Gallery, Sarasota, FL, 1984.

Margaret Pennington Collection represented by Ferrin Contemporary

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Nancee Meeker

(American, born 1951)

Untitled 1984, thrown, carved, stone burnished, smoked in sawdust, earthenware, Maine red terra sigillata, 12". (NMeek-34030) PROVENANCE

Susan McLeod Gallery, Sarasota, FL, 1984.

Margaret Pennington Collection represented by Ferrin Contemporary

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Nancee Meeker

(American, born 1951)

Untitled 1984, thrown, carved, stone burnished, smoked in hardwood sawdust, Maine red terra sigillata, earthenware, 10.5" (NMeek-34031) PROVENANCE

Susan McLeod Gallery, Sarasota, FL, 1984.

Margaret Pennington Collection represented by Ferrin Contemporary

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Benjamin Moore

(American, born 1952)

Interior Fold Series in Amethyst with Black Spiral Wrap 1987, blown glass, 27". (BMoor-34032) PROVENANCE

Great American Gallery, Atlanta, GA, 1987.

Margaret Pennington Collection represented by Ferrin Contemporary

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William Morris

(American, born 1957)

Untitled Vessel from the Petroglyph Series 1988, blown, cased glass, 19 x 19 x 4". (WMorr-34033 ) PROVENANCE

Holsten Galleries, Stockbridge, MA, 1988. LITERATURE

Geldzahler, Henry, and Narcissus Quagliata. William Morris: Glass—Artifact and Art. Seattle, WA: University of Washington Press, 1989. Illustrated page 34.

Margaret Pennington Collection represented by Ferrin Contemporary

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Edward Moulthrop

(American, 1916–2003)

Untitled Large Vessel 1977, turned, tulipwood, 12 x 20". (EMoul-34037) PROVENANCE

Adley Gallery, Sarasota, FL, 1977.

Margaret Pennington Collection represented by Ferrin Contemporary

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Edward Moulthrop

(American, 1916–2003)

Untitled Sugar Berry 1982, turned, rare sugar berry wood, 7 x 9". (EMoul-34034) PROVENANCE

The Signature Shop, Roswell, GA, 1982.

Margaret Pennington Collection represented by Ferrin Contemporary

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Edward Moulthrop

(American, 1916–2003)

Large Doughnut 1982, turned, figured sweet gum wood, 9". (EMoul-34035) PROVENANCE

The Signature Shop, Roswell, GA, 1982.

Margaret Pennington Collection represented by Ferrin Contemporary

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Edward Moulthrop

(American, 1916–2003)

Small Doughnut 1982, turned, orange wood, 6.5". (EMoul-34036) PROVENANCE

The Signature Shop, Roswell, GA, 1982.

Margaret Pennington Collection represented by Ferrin Contemporary

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Joel Philip Myers

(American, born 1934)

Black Ten 1980, blown glass, applied shards, acid-etched, from the Continguous Fragment Series, 9.25 x 7". (JMyer-34039) PROVENANCE

Ruth T. Summers, CA, 1996. From the artist’s collection. EXHIBITIONS

New Art Forms, Chicago, Navy Pier, Chicago, IL, 1993. SOFA Miami, 1995 Miami, FL.

Margaret Pennington Collection represented by Ferrin Contemporary

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Joel Philip Myers

(American, born 1934)

CFTBLUEHGC 19879 1987, blown, glass, applied blown-glass shards, polished, 13 x 17.25 x 4". (JMyer-34038) PROVENANCE

Habatat Galleries, Boca Raton, FL, 1987.

Margaret Pennington Collection represented by Ferrin Contemporary

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Ron Nagle

(American, born 1939)

Untitled Plate 1961, hand-thrown, stoneware, high- and low-fire glazes, 14.5". (RNagl-34042) PROVENANCE

Collection of Daniel Jacobs and Derek Mason, New York, NY, 1992. Private dealer, CA. EXHIBITIONS

“Ron Nagle: A Survey Exhibition 1960-1993,” presented at Mills College Art Gallery, The Carnegie Museum of Art, Pittsburg, PA, and The Everson Museum of Art, Syracuse, NY, 1993. LITERATURE

McTwiggan, Michael. Ron Nagle: A Survey Exhibition 1960-1993. Oakland, CA: Mills College Art Gallery. Illustrated item 3.

Margaret Pennington Collection represented by Ferrin Contemporary

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Ron Nagle

(American, born 1939)

S.D.I. Eleventh Hour 1989, hand-built, earthenware, multi-fired China paints, 3.5 x 4.75 x 3.25". (RNagl-34041) PROVENANCE

Charles Cowles Gallery, New York, NY, 1989. EXHIBITIONS

“Ron Nagle: A Survey 1960 –1993”, presented at Mills College Art Gallery, The Carnegie Museum of Art, Pittsburg, PA, and The Everson Museum of Art, Syracuse, NY, 1993. “Ron Nagle” solo exhibit, Charles Cowles Gallery, New York, NY, 1989. LITERATURE

McTwiggan, Michael. Ron Nagle. New York: Charles Cowles Gallery, 1989. Illustrated item 41.

Margaret Pennington Collection represented by Ferrin Contemporary

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Ron Nagle

(American, born 1939)

Incense Burner 1990–1991, hand-built, glaze, ceramic, 2.75 x 5.25 x 2.5". (RNagl-34040) PROVENANCE

Charles Cowles Gallery, New York, NY, 1991. EXHIBITIONS

Chicago Art Expo, Charles Cowles Gallery, 1991.

Margaret Pennington Collection represented by Ferrin Contemporary

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Richard Notkin

(American, born 1948)

Wall #2 1976–1978, hand-built, carved, glaze, ceramic, 20 x 24". (RNotk-34043) PROVENANCE

John Natsoulas Gallery, Davis, CA, 1999.

Margaret Pennington Collection represented by Ferrin Contemporary

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Richard Notkin

(American, born 1948)

Cooling TowersTeapot #3B 1983, slip-cast, yixing-style stoneware, unglazed, 6 x 9 x 3.75". (RNotk-34044) PROVENANCE

Collection of Daniel Jacobs and Derek Mason, New York, NY, 1992. Garth Clark Gallery, New York, NY. EXHIBITIONS

“Ceramic Echoes,” 1983, The Contemporary Art Society, The Nelson Atkins Museum of Art, Kansas City, MO. “Design in the Service of Tea,” Cooper-Hewitt Museum, New York, NY, 1984. “Art That Works: The Decorative Arts of the 80’s: Crafted In America”, Lloyd Herman, University of Washington Press, 1993, exhibit toured 14 American Museum. “Point of View II,” Mint Museum of Craft and Design, Charlotte, NC, 2003.

Margaret Pennington Collection represented by Ferrin Contemporary

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LITERATURE

Dunas, Michael, et al., “The Precarious Scale of Justice, Richard Notkin’s Precious Protest,” American Ceramics, 5/3. Illustrated page 17. Clark, Garth, ed. Ceramic Echoes: Historical References in Ceramic Art. Kansas City, MO: The Contemporary Art Society, 1983. Illustrated page 70, item 47. Clark, Garth. American Ceramics 1876 to the Present. New York: Abbeville Press, 1987. Illustrated page 220. Herman, Lloyd. Art That Works: The Decorative Arts of the 80’s: Crafted In America. Seattle, WA: University of Washington Press, 1990. Illustrated item 114. Clark, Garth and Oliver Watson. American Potters Today: An Exhibition of American Studio Pottery. London: Victoria Albert Museum, 1986. Similar to example illustrated page 40, plate 25.

Margaret Pennington Collection represented by Ferrin Contemporary

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Robert Palusky

(American, born 1942)

Whispering Softly I Love You 1991, cast, laminated, polished, painted glass, marble base, 32 x 13.5 x 12.5" (RPalu-34045) PROVENANCE

“The Collector’s Eye”, American Craft Museum Auction, New York, NY, 1991.

Margaret Pennington Collection represented by Ferrin Contemporary

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Elsa Rady (American, 1943–2011) 1986, wheel thrown, porcelain, blue glaze, red auto body paint, 9 x 10.25". (ERady-34046) PROVENANCE

Holly Solomon Gallery, New York, NY, 1986.

Margaret Pennington Collection represented by Ferrin Contemporary

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Don Reitz

(American, born 1929)

Do You Think I Would Forget? 1987, hand-built, black earthenware, colored engobes, glaze, 23 x 23". (DReit-34047) PROVENANCE

Great American Gallery, Atlanta, GA, 1987. LITERATURE

Reitz, Don, “The Gift,” Studio Potter Journal, vol. 15, #2, 1987. Illustrated pages 1–16. Pages 14–15 reprinted as ”Reitz.“

Margaret Pennington Collection represented by Ferrin Contemporary

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“Do You Think I Would Forget? was created during a critically important period of the artist’s work. Reitz had suffered a serious automobile accident and was struggling to recover when his niece, Sara, developed cancer. The work from this time period was produced during a journey to reconnect with his art, his life, and his beloved Sara.” – Margaret Pennington, 2013

excerpt from: “The Gift” by Don Reitz Now Sara is 100 percent cured, and I am 100 percent cured. We fought for our lives, so to speak... She got me through by sending me letters and pictures... she was telling me, “Get off it, Don, you’ve got your own stuff to do.” Sara was the teacher, and I the student. She taught me to accept the most diverse things in life – the terrible in the midst of the happy. But the greatest thing she gave me was the courage to be true to myself no matter what anybody thought.” – Reitz, Don, “The Gift,” Studio Potter Journal, volume 15, number 2, June 1987.

Margaret Pennington Collection represented by Ferrin Contemporary

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Richard Ritter Jr.

(American, born 1940)

Large Paperweight YC 3687 1987, blown, cased, glass, rods of internal murrine, 8.75 x 7x 7". (RRitt-34048) PROVENANCE

Habatat Galleries, Boca Raton, FL, 1987. LITERATURE

Byrd, Joan F., “Richard Ritter: Thinking in the Language of Glass,” American Craft Magazine, August, 1996. Illustrated page 48.

Margaret Pennington Collection represented by Ferrin Contemporary

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Mary Roehm

(American, born 1951)

Teapot with Two Cups 1986, porcelain, thrown, constructed, wood fired, reed handle, cups with interior glaze, teapot: 11 x 11 x 13.25", cups: 3.25". (MRoeh-34049) PROVENANCE

Image Gallery, Sarasota, FL, 1986. LITERATURE

Smith, Paul J. and Edward L. Smith. Craft Today, Poetry of the Physical. New York: Weidenfield & Nicholson, 1986. Similar to example illustrated page 195, item 173.

Margaret Pennington Collection represented by Ferrin Contemporary

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Jerry Rothman

(American, born 1933)

Ritual Tureen from the Bauhaus Baroque Series 1981, thrown and hand-built glazed stoneware, 19 x 17 x 13". (JRoth-34050) PROVENANCE

Barbara and Edward Okun, 1998. Okun-Thomas Gallery, St. Louis, MO. Garth Clark Gallery, New York, NY. Campbell’s Soup Tureen Show.

Margaret Pennington Collection represented by Ferrin Contemporary

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Ginny Ruffner

(American, born 1952)

I Wish I Was in Grease 1985, lamp-worked, colored glass, glass paint, sandblasted, 19 x 6 x 12". (GRuff-34051) PROVENANCE

The Great American Gallery, Atlanta, GA, 1989. From the artist’s collection. EXHIBITIONS

“Southern Arts Federation/ NEA Regional Fellowships for Emerging Visual Artists”, 1985. “New American Glass: Focus West Virginia”, Huntington, WV, 1988.

Margaret Pennington Collection represented by Ferrin Contemporary

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Adrian Saxe

(American, born 1943)

Untitled Antelope Jar 1979, hand-thrown, hand-built, carved, glaze, porcelain,14.75 x 9". (ASaxe-34052) PROVENANCE

Sotheby’s New York, New York, NY, March 16, 2000, sale 7438, lot 115. LITERATURE

Clark, Garth. American Ceramics 1876 to the Present. New York: Abbeville Press, 1987. Illustrated page 172.

Margaret Pennington Collection represented by Ferrin Contemporary

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June Schwarcz

(American, born 1918)

Untitled #929 1985, folded copper, enamel interior, stitched, 2.75 x 5". (JSchw-34055) PROVENANCE

Joan Hodgell Gallery, Sarasota, FL, 1987.

Margaret Pennington Collection represented by Ferrin Contemporary

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June Schwarcz (American, born 1918)

Untitled #934 1986, electroplated copper, translucent purple and pale green enamel, 9.75 x 6.5 x 6.5". (JSchw-34054) PROVENANCE

Joan Hodgell Gallery, Sarasota, FL, 1987.

Margaret Pennington Collection represented by Ferrin Contemporary

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June Schwarcz

(American, born 1918)

Untitled #944 1986, electroplated copper, translucent enamels, stitched, 10.5 x 5.5". (JSchw-34056) PROVENANCE

Joan Hodgell Gallery, Sarasota, FL, 1987.

Margaret Pennington Collection represented by Ferrin Contemporary

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Richard Shaw

(American, born 1941)

Five Poets and Ben’s Music 1984, porcelain, overglaze, decal, china paint, 6.5 x 18 x 10.75". (RShaw-34057)

PROVENANCE

Braunstein/Quay Gallery, San Francisco, CA, 1989. EXHIBITIONS

“Richard Shaw: Illusionism in Clay: 1971–1985,” traveling exhibition multiple venues, 1985. Braunstein/Quay Gallery, San Francisco, CA Art Museum of South Texas, Corpus Christi, TX Huntsville Museum of Art, Huntsville, AL Tuscon Museum of Art, Tuscon, AR Everson Museum of Art, Syracuse, NY Palm Springs Desert Museum, Palm Springs, CA Contemporary Art Center, Honolulu, HI Metropolitan Museum and Art Center, Inc., Coral Gables, FL Bergstrom-Mahler Museum, Neenah, WI

“The poems on the house are poems by my cousin Warren Woessner, William Corbet, Steven Ratcliff, and others. The music carved on the apple refers to Ben Watkins, a photographer, Corbet’s best friend and neighbor in Boston.” – in a note from Richard Shaw.

LITERATURE

Richard Shaw: Illusionism in Clay: 1971–1985. San Francisco: Braunstein/ Quay Gallery, 1985. Illustrated page 36.

Margaret Pennington Collection represented by Ferrin Contemporary

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Rudolph Staffel

(American, 1911–2002)

Untitled Vessel 1975, translucent porcelain, wheel thrown, altered, 7.25 x 6.25". (RStaf-34059) PROVENANCE

Collection of Daniel Jacobs and Derek Mason, New York, NY, 1992. Hadler-Rodriquez Gallery, New York, NY. EXHIBITIONS

“A Passionate Vision: Contemporary Ceramics from the Daniel Jacobs Collection”, deCordova Museum, Lincoln, MA, 1984. “Clay”, The Dayton Art Institute, Dayton, OH, 1985. LITERATURE

Clark, Garth, Robert A. Ellison, and Eugene Hecht. The Mad Potter of Biloxi: The Art & Life of George Ohr. New York: Abbeville Press, 1989. Illustrated page 142. Clark, Garth. American Ceramics 1876 to the Present. New York: Abbeville Press, 1987. Illustrated page 163.

Margaret Pennington Collection represented by Ferrin Contemporary

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Therman Statom

(American, born 1953)

Four Fall Portraits 1996, glass, oil paint, found items, 42.5 x 36 x 4". (TStat-34060) PROVENANCE

Gail Severn Gallery, Ketchum, ID, 1997. EXHIBITIONS

“Recent Glass: A Union of Ideas”, Milwaukee Museum of Art, Milwaukee, WI, 1997.

Margaret Pennington Collection represented by Ferrin Contemporary

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Toshiko Takaezu

(American, 1922–2011)

Untitled Form #53m 1990, hand-thrown, glaze, porcelain, 8.5 x 5". (TTaka-34061) PROVENANCE

Perimeter Gallery, Chicago, IL, 1990. EXHIBITIONS

“Toshiko Takaezu Show”, Perimeter Gallery, Chicago, IL, 1990. LITERATURE

American Ceramics, issue 8/4. Illustrated page 25.

Margaret Pennington Collection represented by Ferrin Contemporary

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Catherine (Cappy) Thompson (American, born 1952)

Blackberries 1992, opalescent blown glass, fired enamels, 24 x 13". (CThom-34064) PROVENANCE

Betsy Rosenfeld Gallery, Chicago, IL, 1992. EXHIBITIONS

“New Art Forms,” Betsy Rosenfeld Gallery, Chicago, IL, 1992.

Margaret Pennington Collection represented by Ferrin Contemporary

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Mary Van Cline (American, born 1954)

Greek Vase Series 1988, photo-sensitive cast and polished glass, copper-leafed wood, 13.75 x 10 x 3.25". (MVan-34066) PROVENANCE

Habatat Galleries, Boca Raton, FL, 1991. EXHIBITIONS

“World Glass Now,” Hokkaido Museum of Modern Art, Sapporo, Japan, 1988. LITERATURE

World Glass Now, Sapporo, Japan: Hokkaido Museum of Modern Art, 1988.

Margaret Pennington Collection represented by Ferrin Contemporary

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Mary Van Cline

(American, born 1954)

Linear Barriers 1995, drawing, paint, photographic transfer, paper, 34 x 22". (MVan-34067) PROVENANCE

Maureen Littleton Gallery, Washington, DC, 1997. EXHIBITIONS

“Recent Glass: A Union of Ideas,” Milwaukee Museum of Art, Milwaukee, WI, 1997.

Margaret Pennington Collection represented by Ferrin Contemporary

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Mary Van Cline

(American, born 1954)

The Passage of Time/Healing Point In Time 1997, photo-sensitive cast glass, copper leaf patina, 24 x 14 x 20". (MVan -34068) PROVENANCE

Maureen Littleton Gallery, Washington, DC, 1997. EXHIBITIONS

“Recent Glass: A Union of Ideas,” Milwaukee Museum of Art, Milwaukee, WI, 1997.

Margaret Pennington Collection represented by Ferrin Contemporary

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Peter Voulkos

(American, 1924–2002)

Bottle with Face 1954, hand-thrown, glaze, stoneware, 12 x 8 x 5". (PVoul-34069) PROVENANCE

Garth Clark Gallery, New York, NY, 1991. Private collection. EXHIBITIONS

“Voulkos Before Otis: 1949-1954,” Garth Clark Gallery, New York, NY, 1991. “Point of View II,” Mint Museum of Craft and Design, Charlotte, NC, 2003.

Margaret Pennington Collection represented by Ferrin Contemporary

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Peter Voulkos

(American, 1924–2002)

Monoprint 271-PR 1992, abstract monoprint on handmade paper with additions of blue and black paint, archival framed, 52 x 42". (PVoul-34070) PROVENANCE

Braunstein/Quay Gallery, San Francisco, CA, 1996.

Margaret Pennington Collection represented by Ferrin Contemporary

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Peter Voulkos

(American, 1924–2002)

Untitled etching 8/45 1994, etching on Arches paper, archival framed, 27 x 22". (PVoul-34071) PROVENANCE

Harry Dennis, New York, NY, 1996. Everson Museum of Art, Syracuse, NY.

Margaret Pennington Collection represented by Ferrin Contemporary

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Patti Warashina

(American, born 1940)

Beating the Housewife Blues 1977, alter piece, hand-built, slip-cast, white earthenware, low-fired glazes, 24 x 16 x 13.75". (PWara-34072) PROVENANCE

Collection of Daniel Jacobs and Derek Mason, New York, NY, 1992. From the artist’s collection. EXHIBITIONS

“Clay from Molds: Multiples, Altered Castings, Combinations,” John Michael Kohler Arts Center, Sheboygan, WI, 1978. “A Passionate Vision: Contemporary Ceramics from the Daniel Jacobs Collection”, deCordova Museum, Lincoln, MA, 1984.

This piece is from the artist’s Alter Series, 1976– 1977. The series consisted of 13 dramatic works that combined two- and three-dimensional elements satirizing the mystique of the American woman. Each has a meticulously painted flat back drop depicting the head and shoulders of a female figure. The three-dimensional arms extend forward surrounding or holding a sculptural offering. – Margaret Pennington

Margaret Pennington Collection represented by Ferrin Contemporary

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Beatrice Wood

(American, 1893–1998)

Blue Chalice 1985–88, hand-thrown, hand-built, lustre glaze, earthenware, 11.5 x 10 x 6", (BWood-34073) PROVENANCE

Running Ridge Gallery, Santa Fe, NM, 1988.

Margaret Pennington Collection represented by Ferrin Contemporary

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Beatrice Wood

(American, 1893–1998)

Untitled Lustered Vessel 1985–88, hand-thrown, lustre-glazed vessel with molded figural additions, 6.5 x 5.5". (BWood-34074) PROVENANCE

Running Ridge Gallery, Santa Fe, NM, 1988.

Margaret Pennington Collection represented by Ferrin Contemporary

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Elizabeth (Betty) Woodman

(American, born 1930)

Silk Pillow Pitcher, BW 86.010 1985, hand-thrown, assembled, white earthenware, majolica glazes, 24 x 22 x 17". (EWood-34075) PROVENANCE

Max Protech Gallery, New York, NY, 1986.

Margaret Pennington Collection represented by Ferrin Contemporary

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William Wyman

(American, 1922–1980)

Before you know there is Love 1962, hand-built, stoneware, incised and impressed lettering, oxides, 23.75 x 17 x 3.5". (WWyma-34076) PROVENANCE

Lee Nordess Collection, Belfair, WA, 1989. EXHIBITIONS

“The Eloquent Object,” The Philbrook Museum of Art, Tulsa, OK, 1987-89, and tour of six venues including The National Museum of Art, Kyoto, Japan, and National Museum of Art, Tokyo, Japan, 1989–1990. “Point of View II,” Mint Museum of Craft and Design, Charlotte, NC, 2003.

LITERATURE

Manhart, Marsha. The Eloquent Object: The Evolution of American Art in Craft Media Since 1945. Seattle, WA: University of Washington Press, 1988. Illustrated page 54. Featured on front-to-back cover of the Japanese edition.

Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Pennington Collection collector As the daughter of a beloved Mother who was an inveterate collector even into her 90s, I never had a choice about embracing the passion of collecting. As my life was enriched during my formative years through her tutorials on her beloved objects, so mine has been enriched through the decades of my object choices. Collecting has fueled my journey through place and time, emotional and intellectual awakenings, and deep and abiding relationships. It has generously taught its lessons, and rewarded me with a life in which each day is surrounded by beauty. For this, I am immensely grateful. I arrived at contemporary American studio craft after many years of collecting in the field of midcentury American and European fine art. I was especially committed to the paintings and drawings of the Abstract Expressionists, the entire work of Alberto Giacometti and Jean Dubuffet, and the very fine tribal sculpture of the West African Nigerian people of the Yoruba Kingdom. It was from all of them that my eye was developed. And from them, I became discerning in my selections. And because of them, I developed expectations about what art needs to be before it can be allowed into that rarefied realm of the extraordinary. And so when I arrived in Oakland, California, at the American Craft Council’s symposium titled “Art/Culture/Future: American Craft ‘86,” at the Oakland Museum, I was waiting to be impressed by what I saw and heard. Not an untutored adventurer, but a seasoned and somewhat jaded art collector. What I saw and heard truly surprised me. I knew immediately that I was in the presence of a new and entirely under-reported area of the American art field. Even though it meant going home and selling my lovely decorative Asian art collection, much to my husband’s distress, before leaving Oakland I decided to place all of my collecting knowledge into creating a Masterworks Collection of American Craft. I believe, I hope, that I have achieved that goal.

Margaret Pennington Collection represented by Ferrin Contemporary

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Immediately following Oakland, I attended the opening evening of the American Craft Museum on 57th Street, where I met artists Beatrice Wood and dealers Garth Clark and Mark del Vecchio. From that inaugural show, “Poetry of the Physical” I bought Elsa Rady’s “Four Zig Wings” and Mark Lindquist’s “Silent Witness #1 (Oppenheimer).” The next day I went to Max Protect gallery and bought a Betty Woodman “Silk Pillow Pitcher.” I visited Alexander Milliken Gallery and bought “Sooner or Later” by Wendell Castle. And I began the shopping list from which I always bought at art fairs such as New Art Forms which later became the SOFA: Sculpture, Objects, Functional Art and others in New York and Florida. In addition, purchases were made at auctions specializing in studio glass and ceramics and from numerous gallery and museum shows across the country. I always believed firmly in the traditional dealer/artist relationship, knowing how much galleries add to the field they represent. Thus, I never bought directly from the artist but rather chose to support the gallery which represented them. There have been so many galleries, dealers, collectors, and artists who have generously provided guidance and given inspiration to these three decades of buying in this amazing field. The memories are many. A visit in 1992, with Daniel Jacobs and Derek Mason in their home in New York when he began selling his collection, was arranged by Leslie Ferrin. I ended up with seven important and treasured pieces. A visit in 1995, with Allan Stone at his home in Purchase, New York, also with Leslie Ferrin, where I tried to acquire Jack Earl “Penguins,” and Richard Shaw “Coke Bottles” ended in failure even though I persistently contacted him year after year with the same request! There have been many buying adventures, always with the thrill of the hunt, the gut reaction if the object met all expectations, and the final satisfaction of its installation at home where its conversation could begin among the other pieces in the collection and me. That is where the knowledge begins, and where the relationship and the love develops. Now it is time for my pieces to live in another’s setting. I always knew this moment would come, the moment for them to live in a larger world. My sincere hope is that they will be greeted with enthusiasm by those who view them, and that they will be treated with the same respect and appreciation in their new home that they have always received in mine. I know that they will give boundless joy! Margaret Pennington, 2013

Margaret Pennington Collection represented by Ferrin Contemporary

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Margaret Pennington Collection represented by Ferrin Contemporary

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The Margaret Pennington Collection is represented by Ferrin Contemporary. contact: Leslie Ferrin

LeslieFerrin@gmail.com

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Margaret Pennington Collection represented by Ferrin Contemporary

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Ferrin Contemporary presents Margaret Pennington Collection