As consummate patrons of the arts, Acey and Bill Wolgin did not just live with the art that they collected—they lived alongside the artists who made it. Through their generous support of both individual artists as well as institutions they cherished, the Wolgins became widely celebrated collectors known for their friendships with artists—including Andy Warhol, Jasper Johns, Claes Oldenburg, Roy Lichtenstein, Arman, and Robert Rauschenberg—that were sustained, not least, by legendary parties thrown at their Philadelphia apartment.
Bill Wolgin, who practiced as a urologist, met Acey through her brother with whom he attended medical school. The pair married and made strong roots in Philadelphia—indeed, the Wolgins may be credited for having a significant role in elevating the City of Brotherly Love to the cultural destination that it is today. In the 1960s, Acey was a founding member of the Arts Council at the Young Women’s Hebrew Association, which helped spark the city’s contemporary art scene. In 1974, Acey became one of the first women elected to the board of the Philadelphia Art Museum, where she served as a trustee and trustee emeritus for the rest of her life. When Robert Indiana’s LOVE stamp was released at that museum, Acey’s birthday party doubled as the event after-party. Among the attendees was the artist Arman, who absconded with a piece of the LOVE stamp-themed cake in order to seal it in resin.
The Wolgins would later relocate to Boca Raton, where they became actively involved in the Boca Raton Museum of Art and eventually funded the Wolgin Education Center. After returning to Philadelphia, Bill Wolgin would become involved in the Woodmere Art Museum as a trustee, helping to guide the institution’s expansion. Works from the Wolgin Collection are now held in all three of the institutions where they became involved, including Yves Klein’s Portrait Relief I: Arman at the Philadelphia Museum of Art, Fletcher Benton’s Donut with Balls and Half Moon at the Boca Raton Museum of Art, and a group of large-scale sculptures by Sam Maitin at the Woodmere Art Museum.
Surrounded by his parents’ collection from a young age, Richard Wolgin recalls meeting many of the artists whose works he knew intimately—especially memorable was the flaming red hair of Jeanne-Claude when she and Christo dropped in one weekend. (When they weren’t celebrating together, the Wolgins kept correspondences with many of their artist-friends, who sent postcards and, sometimes, drawings.) As kids, Richard and his sister would, naturally, delight in playing with one of Harry Bertoia’s sound sculptures. When Richard was twelve years old, Acey gave him his first work: Roy Lichtenstein’s CRAK!, which he affixed to his bedroom wall with thumb tacks—inadvertently bringing the work back into the realm of mass media and pop cultural detritus that so inspired Lichtenstein.
The works featured in The Acey and Bill Wolgin Collection represent a life lived through, and for, art—“It’s not just buying something to hang on the wall,” says Richard, “it’s a piece of their lives, that are now part of our lives.”
Beatrice Wood 1893–1998
Born in 1893 to a wealthy and well-educated family and reared in New York, Beatrice Wood was an artistic free spirit from a young age. She spent her adolescence studying art and theater in Paris at the Académie Julian and La Comédie-Française. At the insistence of her family, she returned to New York in 1912, where she joined the French National Repertory Theatre.
Back in New York, Wood met artist Marcel Duchamp who introduced her to his social circle, exposed her to modern art and encouraged her artistic ambition. She became part of the New York Dada Movement along with fellow artists Man Ray, Francis Picabia and Joseph Stella. New York Dada's irreverence was less aggressive and more playful than its European counterparts, but nonetheless influenced by the carnage of WWI. The antics and excesses of the New York Dadaists—a number of whom were European artists escaping the war—was their form of protest.
Wood relocated to southern California in 1928. There, she became acquainted with the Indian sage Krishnamurti of the Theosophical Society and began to follow him on his international lectures. While on one of these trips in Holland, she purchased a set of baroque dessert plates with a striking luster glaze. Unable to find a matching tea pot, she decided to make one herself, and enrolled in a ceramic course at Hollywood High School in 1933. It was here that she first studied glaze chemistry and learned the intricacies of ceramic design. Her studies continued under noted ceramicist and teacher, Glen Lukens, whose tutelage prepared her for her next and most important mentors, ceramicists Gertrud and Otto Natzler. The Natzlers shared their methods and glaze secrets with her. She later said that learning the Natzler’s approach to ceramics was ‘invaluable’ to her development as a ceramic artist.
By 1947, Beatrice Wood’s career had hit its full stride. She had exhibited in both the Metropolitan and Los Angeles County Museums of Art and was accepting orders from important department stores such as Neiman Marcus and Gumps. She settled in Ojai, across the street from Krishnamurti, established her own studio and showroom, and began teaching ceramics at the Happy Valley School (now Besant Hill School). She became friends with the ceramicists Vivika & Otto Heino, whose influence further developed her throwing skills. She perfected her own style of glazing, with metallic irradiance embedded in the glaze itself rather than painted on it. She also began experimenting with satirical figurative sculptures, intentionally naive in execution.
Wood remained in the Ojai Valley until her death in the home and studio she built on the grounds of the Happy Valley Foundation. Upon her death in 1998, she gifted her home, her artwork, her library and her collection of folk art to the Happy Valley Foundation, which maintains her studio as The Beatrice Wood Center for the Arts, open to the public.
In addition to the countless students and artists touched by her work, Ms. Wood is said to have inspired the character “Rose DeWitt” in James Cameron’s Hollywood blockbuster Titanic. Additionally, she is said to have inspired the character of “Catherine” in the book Jules and Jim (1953), written by her old friend and lover Henri-Pierre Roché, and adapted into one of the seminal films of the Nouvelle Vague in 1962 by director Francois Truffaut. Her life spanned an incredible 105 years, of which the final three decades were her most artistically productive.
Works by Beatrice Wood are held in the collections of museums and institutions across the globe including the Museum of Modern Art in New York, The Los Angeles County Museum of Art in California, and the Victoria and Albert Museum in London. The secondary market for works by Beatrice Wood is quite strong, buoyed by a robust market of modern ceramics collectors eager to own designs by this icon of the craft.
Auction Results Beatrice Wood
