Wright Auction
The industry's leading auction house specializing in 20th century design. Explore our network of independent auction houses. linktr.ee/ragowright
09/24/2026
๐๐จ๐๐ง๐๐ข๐ก ๐ง๐ข๐ ๐ข๐ฅ๐ฅ๐ข๐ช โข 300+ lots of distinct design. Join us tomorrow, September 24, for an Essential Design auction presented by Wright and LAMA, featuring influential works from the past century.
Featuring works by Fernando and Humberto Campana, Charles and Ray Eames, Arne Vodder, Max Ingrand, Angelo Lelii, Zaha Hadid, Sergio Rodrigues, Karl Gustav Hansen, Giovanni Ferrabini, and many others.
๐ Bid now โ www.wright20.com/auctions/2026/09/essential-design
๐๐๐๐ฒ๐ป๐๐ถ๐ฎ๐น ๐๐ฒ๐๐ถ๐ด๐ป โข ๐ฆ๐ฒ๐ฝ๐๐ฒ๐บ๐ฏ๐ฒ๐ฟ ๐ฎ๐ฐ
09/24/2026
๐ก๐ข๐ช ๐ข๐ก๐๐๐ก๐ โข Rago, Wright, and LAMA are proud to present ๐ง๐ต๐ฒ ๐ฃ๐ฟ๐ถ๐๐ฎ๐๐ฒ ๐๐ผ๐น๐น๐ฒ๐ฐ๐๐ถ๐ผ๐ป ๐ผ๐ณ ๐๐ฒ๐ฟ๐๐ฟ๐๐ฑ & ๐ข๐๐๐ผ ๐ก๐ฎ๐๐๐น๐ฒ๐ฟ, an intimate selection of works the artists retained for their own personal collection. This presentation brings together more than 50 ceramics chosen by the Natzlers as particularly meaningful examples of their shared practice, offering a rare perspective on the work they themselves valued most.
United in life and artistry, Gertrud and Otto transformed twentieth-century ceramics through an extraordinary creative partnership: Gertrud as a master of form, throwing distinctly modern vessels of remarkable refinement, and Otto as an alchemist of glaze, whose tireless experimentation produced surfaces of exceptional depth, color, and complexity. With most of these works appearing on the open market for the first time, the collection offers a uniquely personal window into the vision, experimentation, and enduring legacy of two of modern ceramicsโ most influential artists.
This auction will be followed by ๐ฃ๐ผ๐๐ ๐ช๐ฎ๐ฟ & ๐๐ผ๐ป๐๐ฒ๐บ๐ฝ๐ผ๐ฟ๐ฎ๐ฟ๐ ๐๐ฒ๐ฟ๐ฎ๐บ๐ถ๐ฐ๐.
๐ Explore the collection โ www.wright20.com/auctions/2026/10/the-private-collection-of-gertrud-otto-natzler
๐ง๐ต๐ฒ ๐ฃ๐ฟ๐ถ๐๐ฎ๐๐ฒ ๐๐ผ๐น๐น๐ฒ๐ฐ๐๐ถ๐ผ๐ป ๐ผ๐ณ ๐๐ฒ๐ฟ๐๐ฟ๐๐ฑ & ๐ข๐๐๐ผ ๐ก๐ฎ๐๐๐น๐ฒ๐ฟ โข ๐ข๐ฐ๐๐ผ๐ฏ๐ฒ๐ฟ ๐ณ
09/22/2026
09/22/2026
๐๐๐ข๐ฆ๐๐ก๐ ๐ฆ๐ข๐ข๐ก โข Thereโs still time to experience the Fixlersโ remarkable collectionโbut not for long. Donโt miss the final days to view selections from ๐ฃ๐๐๐ต๐ถ๐ป๐ด ๐๐ผ๐๐ป๐ฑ๐ฎ๐ฟ๐ถ๐ฒ๐: ๐ง๐ต๐ฒ ๐๐ผ๐๐ฒ๐น๐น ๐ฎ๐ป๐ฑ ๐๐ถ๐ฎ๐ป๐ฒ ๐๐ถ๐
๐น๐ฒ๐ฟ ๐๐ผ๐น๐น๐ฒ๐ฐ๐๐ถ๐ผ๐ป at ๐ฅ๐ฎ๐ด๐ผ/๐ช๐ฟ๐ถ๐ด๐ต๐ ๐ก๐ฌ๐.
Spanning decades, this deeply personal body of work brings together an incredible dialogue between scale, material, figuration, and abstraction, featuring works by Olga de Amaral, Jun Kaneko, Isamu Noguchi, Ruth Duckworth, Marino Marini, Lynda Benglis, and more.
๐๐น๐ผ๐๐ถ๐ป๐ด ๐ฆ๐ฒ๐ฝ๐๐ฒ๐บ๐ฏ๐ฒ๐ฟ ๐ญ๐ฑ. Make a final visit ahead of Tuesdayโs auction.
๐๏ธ Through September 15๏ฟฝ
๐ 11 amโ5 pm, MondayโFriday๏ฟฝ
๐ Rago/Wright, 501 West 20th Street
Margo Hoffโs ๐๐ถ๐ณ๐ฑ๐ณ๐ช๐ด๐ฆ ๐๐ข๐ณ๐ต๐บ (1953) is a piece of Chicago mid-century modernism that is especially interesting when you look beyond the subject matter and consider how Hoff constructs the scene visually and psychologically.
The vertical format is immediately important. At 40 inches high but only 20 inches wide, the painting creates a compressed, upright space rather than the broad, horizontal space we might expect for a group celebration. This tight vertical composition can contribute to a feeling of psychological tension, almost as though the space itself is closing in around the lone figure. A โsurprise partyโ normally suggests abundance: people, noise, decorations, and social interaction. Hoff gives us almost the oppositeโan enormous amount of empty space and quietness. The vacant chairs in the composition lead the eye toward the upper right corner, where we see one lone figure looking out the window, seemingly wondering, โ๐ธ๐ฉ๐ฆ๐ฏ ๐ธ๐ช๐ญ๐ญ ๐ต๐ฉ๐ฆ ๐จ๐ถ๐ฆ๐ด๐ต๐ด ๐ข๐ณ๐ณ๐ช๐ท๐ฆ?โ
The contrast between the expectation of a lively event and the reality of an empty room creates a sense of anticipation and uncertainty. The figure appears to be caught in the uncomfortable period before the event has actually begun: waiting, wondering, and perhaps even questioning whether anyone will arrive at all. The narrow composition reinforces this feeling of suspense, while the emptiness surrounding the figure could also suggest a more personal anxiety about isolation and loneliness.
Margo Hoffโs ๐๐ถ๐ณ๐ฑ๐ณ๐ช๐ด๐ฆ ๐๐ข๐ณ๐ต๐บ is open for bidding in ๐ฃ๐ผ๐๐ ๐ช๐ฎ๐ฟ & ๐๐ผ๐ป๐๐ฒ๐บ๐ฝ๐ผ๐ฟ๐ฎ๐ฟ๐ ๐๐ฟ๐ presented by ๐๐ข๐จ๐ฐ/๐๐ณ๐ช๐จ๐ฉ๐ต on September 23rd.
๐ Register to bid โ https://www.wright20.com/auctions/2026/09/post-war-contemporary-art/139
09/10/2026
โ๐๐ฉ๐ฆ๐ฏ ๐ ๐ค๐ข๐ฏ ๐ฉ๐ฆ๐ข๐ณ ๐ธ๐ฉ๐ข๐ต ๐ข ๐ง๐ฐ๐ณ๐ฎ ๐ฉ๐ข๐ด ๐ต๐ฐ ๐ด๐ข๐บ, ๐ ๐ด๐ต๐ข๐ณ๐ต ๐ด๐ฆ๐ฆ๐ช๐ฏ๐จ ๐ฎ๐ข๐ณ๐ฌ๐ด ๐ข๐ฏ๐ฅ ๐ค๐ฐ๐ญ๐ฐ๐ณ๐ด ๐ฐ๐ฏ ๐ต๐ฉ๐ฆ ๐ด๐ถ๐ณ๐ง๐ข๐ค๐ฆ.โ - ๐๐ถ๐ฏ ๐๐ข๐ฏ๐ฆ๐ฌ๐ฐ
Discover the beautiful glazed stoneware of Jun Kaneko. The forms are simple but their scale and surface give them a real presence in a room. Kaneko leaves room for the clay itself to speak, using subtle shifts in color, pattern, and texture rather than relying on ornament. Together, his Dangos and wall slabs show what the artist does so well: taking the familiar language of ceramics and pushing the boundaries to something much bigger, more architectural, and completely his own.
๐ Bid now at wright20.com
๐ฃ๐๐๐ต๐ถ๐ป๐ด ๐๐ผ๐๐ป๐ฑ๐ฎ๐ฟ๐ถ๐ฒ๐: ๐ง๐ต๐ฒ ๐๐ผ๐๐ฒ๐น๐น ๐ฎ๐ป๐ฑ ๐๐ถ๐ฎ๐ป๐ฒ ๐๐ถ๐
๐น๐ฒ๐ฟ ๐๐ผ๐น๐น๐ฒ๐ฐ๐๐ถ๐ผ๐ป โข ๐ฆ๐ฒ๐ฝ๐๐ฒ๐บ๐ฏ๐ฒ๐ฟ ๐ญ๐ฑ
09/10/2026
๐ก๐ข๐ช ๐ข๐ก๐๐๐ก๐ โข On September 23rd, ๐ฃ๐ผ๐๐ ๐ช๐ฎ๐ฟ & ๐๐ผ๐ป๐๐ฒ๐บ๐ฝ๐ผ๐ฟ๐ฎ๐ฟ๐ ๐๐ฟ๐ offers an impressive range of works from leading artists of the past century. Among the highlights are ๐๐ฒ๐ณ๐ณ ๐๐ผ๐ผ๐ป๐โs monumental ๐๐ถ๐ฑ๐ฑ๐บ painting and ๐๐ผ๐ฎ๐ป ๐ ๐ถ๐ฟรณโs bronze ๐รช๐ต๐ฆ, accompanied by significant works from ๐๐ฎ๐ป๐ธ๐๐, ๐๐ผ๐๐ถ๐๐ฒ ๐ก๐ฒ๐๐ฒ๐น๐๐ผ๐ป, ๐ฆ๐ฎ๐บ ๐๐ฟ๐ฎ๐ป๐ฐ๐ถ๐, ๐๐บ๐ผ๐ฎ๐ธ๐ผ ๐๐ผ๐ฎ๐ณ๐ผ, ๐ง๐ฎ๐ธ๐ฎ๐๐ต๐ถ ๐ ๐๐ฟ๐ฎ๐ธ๐ฎ๐บ๐ถ, ๐๐ฎ๐ถ๐๐ต ๐ฅ๐ถ๐ป๐ด๐ด๐ผ๐น๐ฑ, ๐ ๐ฎ๐ฟ๐ด๐ผ ๐๐ผ๐ณ๐ณ, ๐๐ฑ๐ฎ๐บ ๐ฃ๐ฒ๐ป๐ฑ๐น๐ฒ๐๐ผ๐ป, ๐ฃ๐ฒ๐๐ฒ๐ฟ ๐๐ฎ๐น๐น๐ฒ๐, and many more.
๐ฆ๐ฒ๐น๐ฒ๐ฐ๐ ๐ฃ๐ฟ๐ฒ๐๐ถ๐ฒ๐ / ๐ก๐ฒ๐ ๐ฌ๐ผ๐ฟ๐ธ๏ฟฝ
18 โ 23 September 2026๏ฟฝ
11 am โ 5 pm, Mon โ Fri๏ฟฝ
501 West 20th Street
๐ฆ๐ฒ๐น๐ฒ๐ฐ๐ ๐ฃ๐ฟ๐ฒ๐๐ถ๐ฒ๐ / ๐๐ฎ๐บ๐ฏ๐ฒ๐ฟ๐๐๐ถ๐น๐น๐ฒ๏ฟฝ
16 โ 23 September 2026๏ฟฝ
11 am โ 4 pm, Mon โ Fri
Now open for bidding โ www.wright20.com/auctions/2026/09/post-war-contemporary-art
๐ฃ๐ผ๐๐ ๐ช๐ฎ๐ฟ & ๐๐ผ๐ป๐๐ฒ๐บ๐ฝ๐ผ๐ฟ๐ฎ๐ฟ๐ ๐๐ฟ๐ โข ๐ฆ๐ฒ๐ฝ๐๐ฒ๐บ๐ฏ๐ฒ๐ฟ ๐ฎ๐ฏ
๐ข๐ฃ๐๐ก๐๐ก๐ ๐ง๐ข๐๐๐ฌ โข ๐๐ฐ๐ฉ๐ฏ ๐๐ฆ๐ฅ๐ฆ๐ณ๐ฒ๐ถ๐ช๐ด๐ต: ๐๐ฉ๐ฆ๐ฏ & ๐๐ฐ๐ธ presents a survey of the singular Southern Californian artistโs works in wood, tracing his recurring visual and material vocabularies. With a far-reaching range of influences, from Japanese Ukiyo-e woodblock printing to Popeye the Sailor Man, Cederquist creates intricate illusions and playfully subverts distinctions between art and craft.
๐๐ผ๐ถ๐ป ๐๐ ๐ฎ๐ ๐๐ต๐ฒ ๐๐๐ ๐ ๐ด๐ฎ๐น๐น๐ฒ๐ฟ๐ ๐ณ๐ผ๐ฟ ๐๐ต๐ฒ ๐๐ฒ๐น๐น๐ถ๐ป๐ด ๐ฒ๐
๐ต๐ถ๐ฏ๐ถ๐๐ถ๐ผ๐ป, ๐ป๐ผ๐ ๐ผ๐ป ๐๐ถ๐ฒ๐ ๐ถ๐ป ๐๐.
๐๏ธ 10 September โ 5 October 2026
๐ 11 am โ 4 pm, Monday โ Friday
๐ 6666 Lexington Avenue, Los Angeles
09/04/2026
๐ก๐ข๐ช ๐ข๐ก๐๐๐ก๐ โข On September 18th, Rago/Wright is proud to present ๐๐ฒ๐ณ๐ถ๐ป๐ถ๐ป๐ด ๐ ๐ผ๐ฑ๐ฒ๐ฟ๐ป: ๐ง๐ต๐ฒ ๐๐ผ๐น๐น๐ฒ๐ฐ๐๐ถ๐ผ๐ป ๐ผ๐ณ ๐ ๐ฎ๐ฟ๐ธ ๐ ๐ฐ๐๐ผ๐ป๐ฎ๐น๐ฑ. For more than forty years, McDonald has helped shape the field of mid-century design with his galleries Fifty/50, Gansevoort, and 330 while becoming a key resource for artists, designers, collectors, dealers, and museums. McDonaldโs discerning eye also found expression in his Miami home in Helen Mar, a restored Art Deco building. The present offering is led by examples from ๐๐ฟ๐ฎ๐ป๐ธ ๐๐น๐ผ๐๐ฑ ๐ช๐ฟ๐ถ๐ด๐ต๐, ๐๐ฒ๐บ ๐ช๐ฒ๐ฏ๐ฒ๐ฟ, ๐๐ต๐ฎ๐ฟ๐น๐ฒ๐ ๐ฎ๐ป๐ฑ ๐ฅ๐ฎ๐ ๐๐ฎ๐บ๐ฒ๐, ๐๐น๐ฎ๐ถ๐ฟ๐ฒ ๐๐ฎ๐น๐ธ๐ฒ๐ป๐๐๐ฒ๐ถ๐ป, ๐๐ฒ๐๐ฎ ๐ ๐ฐ๐ฉ๐ฒ๐, ๐ฃ๐ถ๐ฒ๐ฟ๐ผ ๐๐ผ๐ฟ๐ป๐ฎ๐๐ฒ๐๐๐ถ, ๐๐ฒ๐ป๐ฒ ๐๐ฎ๐๐ถ๐, ๐ฉ๐ถ๐ท๐ฎ ๐๐ฒ๐น๐บ๐ถ๐ป๐, and many others.
๐ Browse and bid at wright20.com
๐๐ฒ๐ณ๐ถ๐ป๐ถ๐ป๐ด ๐ ๐ผ๐ฑ๐ฒ๐ฟ๐ป: ๐ง๐ต๐ฒ ๐๐ผ๐น๐น๐ฒ๐ฐ๐๐ถ๐ผ๐ป ๐ผ๐ณ ๐ ๐ฎ๐ฟ๐ธ ๐ ๐ฐ๐๐ผ๐ป๐ฎ๐น๐ฑ โข ๐ฆ๐ฒ๐ฝ๐๐ฒ๐บ๐ฏ๐ฒ๐ฟ ๐ญ๐ด
09/03/2026
Tony Marshโs ๐๐ฆ๐ณ๐ง๐ฐ๐ณ๐ข๐ต๐ฆ๐ฅ ๐๐ฆ๐ด๐ด๐ฆ๐ญ ๐๐ต๐ช๐ญ๐ญ ๐๐ช๐ง๐ฆ (1996) takes one of the oldest forms in ceramics, the vessel, and turns the idea completely inside out. Each of the individual elements in the still life contain hundreds of tiny perforations, transforming solid clay into something that feels nearly weightless. The vessel is still recognizable, but it can no longer really contain anything. Light passes through, shadows become part of the form, and the objects inside begin to feel less like traditional still-life objects and more like fragments of coral or shells collected along a shore.
His process was incredibly labor-intensive: he drilled the openings by hand, slowly removing material until the clay began to look skeletal. Marsh has described this approach as โaddition by subtraction.โ The more clay he removes, the more the work seems to become about light, air, and negative space. His years studying ceramics in Japan, combined with the influence of Los Angelesโ Light and Space movement, helped shape this fascination with making clay feel intangible. Created in 1996, this work comes from an important early period in Marshโs exploration of this signature language, when he was pushing the boundaries of ceramics beyond the traditional idea of the pot and firmly into the realm of sculpture.
Bid on Marshโs ๐๐ฆ๐ณ๐ง๐ฐ๐ณ๐ข๐ต๐ฆ๐ฅ ๐๐ฆ๐ด๐ด๐ฆ๐ญ ๐๐ต๐ช๐ญ๐ญ ๐๐ช๐ง๐ฆ in ๐ฃ๐๐๐ต๐ถ๐ป๐ด ๐๐ผ๐๐ป๐ฑ๐ฎ๐ฟ๐ถ๐ฒ๐: ๐ง๐ต๐ฒ ๐๐ผ๐๐ฒ๐น๐น ๐ฎ๐ป๐ฑ ๐๐ถ๐ฎ๐ป๐ฒ ๐๐ถ๐
๐น๐ฒ๐ฟ ๐๐ผ๐น๐น๐ฒ๐ฐ๐๐ถ๐ผ๐ป presented by Rago/Wright on ๐ฆ๐ฒ๐ฝ๐๐ฒ๐บ๐ฏ๐ฒ๐ฟ ๐ญ๐ฑ.
๐ Learn more at wright20.com
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