1 8 D AV I E S G A L L E R Y of Art Design S E L E C T I OSelection N O F and A R T
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D E S I G N
18 Davies Gallery
1 8 DAV I ES GAL L ERY SELECTION
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+44 7921835699 tatiana@18daviestreet.com 18daviestreet.com @18davies_gallery
ARMAND-ALBERT RATEAU 1882 - 1938 Jeanne Lanvin’s personal desk, c.1920 - 1925 Carved oak, stained leather, Gabon ebony veneered, patinated bronze, Makassar ebony Stamped twice A.A. RATEAU. Monogram MJL for ‘Jeanne-Marie Lanvin’ on each handle. Stamped key. H 79 x D 77.8 x W 151 / L 241 cm (open) H 31 x D 31 x W 59 / L 95 in.
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ARMAND-ALBERT RATEAU 1882 - 1938 Jeanne Lanvin’s personal desk, c.1920 - 1925 Carved oak, stained leather, Gabon ebony veneered, patinated bronze, Makassar ebony Stamped twice A.A. RATEAU. Monogram MJL for ‘JeanneMarie Lanvin’ on each handle. Stamped key. H 79 x D 77.8 x W 151 / L 241 cm (open) H 31 x D 31 x W 59 / L 95 in.
Armand-Albert Rateau was a French furniture maker and interior designer. He became one of the most important designers of the Art Deco furniture and decor movement in France with an emphasis on Antiquity that also included a focus on Egyptian based design. The exquisite desk is made of carved oak with stained leather, finished with gilded bronze handles featuring Lanvin’s personal monogram ‘JML’ which stands for ‘Jeanne-Marie Lanvin’. The surface of the 1.5 metre desk can be increased up to 2.4 metres which is accommodating when a larger space is required. This desk contains all the original features including the leather surface which is beautifully patinated. The desk was located in the library of Jeanne Lanvin, where it was used daily. Equally wonderful is the accompanying carved oak chair, which prominently shows Rateau’s fascination with antiquity and Egyptianbased design with its use of geometric patterns and legs which are reminiscent of Ionic columns. Another remarkable feature of the desk is the key which is shaped like an Egyptian cat, which pays homage to Rateau and Lanvin’s fascination with Egypt. The key is engraved with ‘Rateau’ on the base. Both the desk and the chair are circa 1920 - 25. These two pieces are among Rateau’s notable achievements, created during his partnership with Lanvin to redecorate her apartment, homes, and businesses.
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ARMAND-ALBERT RATEAU 1882 - 1938 Below: Original key stamped ‘Rateau’ Left: Deskchair, Both c. 1920 - 1925 Carved oak, re-upholstered H 76.5 x W 66 x D 61.5 cm H 30.2 x W 26 x D 24.2 in.
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ARMAND-ALBERT RATEAU 1882 - 1938 Jeanne Lanvin’s personal desk, c.1920 - 1925 Carved oak, stained leather, Gabon ebony veneered, patinated bronze, Makassar ebony Stamped twice A.A. RATEAU. Monogram MJL for ‘JeanneMarie Lanvin’ on each handle. Stamped key. H 79 x D 77.8 x W 151 / L 241 cm (open) H 31 x D 31 x W 59 / L 95 in.
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PHILIPPE ANTHONIOZ 1953 Lantern, 2017 Plaster H 170 X D 105 cm H 67 x D 41 in.
Philippe Anthonoiz is a self-taught French sculptor and furniture designer. He was interested in sculpture from a young age and pursued it academically, where he began to appreciate the relationship between handmade creations and the environment in which they are displayed. Early in his career during 1980, he was asked by the 78-year-old Diego Giacometti to help with a large furniture commission for the Musée Picasso in Paris; he would end up working for him for three years. This sparked his love of bronze casting and Giacometti’s influence became very prevalent in Anthonioz’s work. His approach to design blurs the line between furniture and sculpture. He models his designs in plaster to begin with, enabling his creativity to flow without restraint. A maquette then begins to take shape in the form of a grand chair or table. His pieces are intimate and faithful to the sculptor’s creative process, revealing a purity of ideas and form that allows it to stand apart from more conventional design.
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PHILIPPE ANTHONIOZ 1953 M068 Chair Bronze, leather H 72 x W 53 x D 64.5 cm H 28.5 x W 20.9 x D 25.4 in.
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RON ARAD 1951 This Mortal Coil, 1993 Freestanding spiral bookshelf in tempered steel Made by One Off Ltd, London H 228.5 x W 212 x D 33 cm H 90 x W 83.5 x D 13 in.
Ron Arad’s artistic palette is very wide, ranging from buildings to furniture, jewellery to sculpture. Thus, it reveals a real curiosity in the artist’s mind which leads him to play with materials such as steel, aluminium or polyamide in an unexpected way. This bookcase is constructed from a single strip of mildsteel, coiled to form a spiral and clearly expressing its structural joints. The ‘rings’ of the coil are space with mild steel dividers, hinged at both ends to allow the bookcase to move slightly. The mild steel used for the bookcase was immersed in oil during production to allow it to cool at a determined rate, which ensures it has spring. The process also produces the unique surface finish.
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HANS WEGNER 1914 – 2007 Crocodile cabinet, c. 1949 Carved oak Michael Laursen edition H 132.5 x L 123 x W 44 cm H 52 x L 48 x W 17.2 in.
Icon of Scandinavian design, Hans Wegner was born in 1914 and created his first cabinet at the age of 17 years old. His tradition of craftmanship was inheritated from his father, who was a shoemaker. Authenticity and honesty are the key words for Wegner, who paid great attention in his use of materials. Functional and modern designs create harmonious ensembles in much of Wegner’s ouvre. From 1940, due to his extraordinary creativity, he collaborated with Arne Jacobsen and Carl Hansen among many others. His work is considered timeless and is very sought after. Hans Wegner worked together with master-carver Mikael Larsen, to create a limited number of this extraordinary piece of furniture. An important detail on this particular piece is the unique crocodile carving in relief.
Detail from Crocodile cabinet, c. 1949
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EUGENE PRINTZ 1889 - 1948 Set of four walnut armchairs Walnut H 85 x W 56 x D 56 cm H 33.5 x W 22 x D 22 in.
Eugene Printz's style shows great energy and innovation. A charming interplay of arches and perpendicular angles juxtaposes the crispness of design accentuated by the contrasting dark woods and lighter materials. For Printz furniture required the finest materials and the most skillful refinement. He used some of the rarest exotic woods, including palm wood, set off with gilded bronze and finished with precious enamels. The use of palm wood required both master skill and an appetite for challenge; it involved cutting into a trunk composed of thin wafers with tiny rebel fibres of fine reddish-blonde stripes. Printz would make the use of this wood his signature mark.
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EUGENE PRINTZ 1889 - 1948 Sideboard, c. 1933 Sycamore, blonde copper, blonde brass, patinated bronze H 199 x 216 x 41 cm H 47.2 x 85 x 15.7 in.
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MARCEL COARD 1889 - 1975 Python desk, c. 1925 - 1930 Macassar ebony, bronze, python skin Stamped ‘MC Coard’ with parrot pattern H 75 cm x W 145 x D 80 cm H 29.6 x W 57 x D 31.5 in.
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MARCEL COARD 1889 - 1975 Python desk, c. 1925 - 1930 Macassar ebony, bronze, python skin Stamped ‘MC Coard’ with parrot pattern H 75 cm x W 145 x D 80 cm H 29.6 x W 57 x D 31.5 in.
This exceptional desk by Marcel Coard is made of Macassar ebony veneer and also presents bronze ornamentation. The top and corners of the desk are covered with python skin while the whole composition rests on four tapering feet with bronze hoofs. Moreover, there are two front and two lateral drawers. This desk is known for having been used by the designer himself. From 1925 onwards, Coard’s style tended to become lighter, more feminine compared to his earlier work. This one appears to be showing references to Cubism and Africanism. Coard achieved beauty through no other rules than those of common sense and good taste. His good taste, though modern, was never cold or impoverished. From his background in architecture, Coard preserved a constructive instinct and a technical skill to be distinguished from the intelligence involved with interior decoration. Among modern designers, Coard undoubtedly appears as one of the boldest and most sophisticated artists of his time. He left an imprint of his personality on even the slightest object that left his studio and found all standardized work distasteful.
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TONY CRAGG 1949 McCormack, 2017 Bronze, edition of 5 H 117 x W 130 x D 75 cm H 46.1 x W 51.2 x D 29.6 in.
Tony Cragg is one of today’s most prominent British sculptors. He began making sculptures at a time when the influence of British Land Art, Performance and Minimalism was expanding rapidly. His interest in science and natural history gave birth to an artistic practice that constantly questions the boundaries of materials and forms thus expanding the visual language of contemporary sculpture. Colour has always been an essential element in Cragg’s practice, beginning with his earlier compositions made from found objects through until his more recent bronze forms, utilizing a paint technology borrowed from the car industry to avoid damage to the surface, while keeping a vivid colour range to his manipulated forms. Throughout his career, Cragg has exhibited extensively and has shown at the Tate, London (1988), Scottish National Gallery, Edinburgh (2011), Museo Nacional Centro de Arte, Reina Sofia, Madrid (1995), CAFA Museum, Beijing (2012) and Tate, Liverpool (2000) amongst many others. He represented Britain at the 53rd Venice Biennale in 1988 and was also awarded the Turner Prize from the Tate during the same year. 25
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TONY CRAGG 1949 Declination, 2003 Bronze H 80 x W 120 x D 77cm H 31.5 x W 47.3 x D 30.4 in.
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TONY CRAGG 1949 Red square, 2007 Bronze H 76 x L 80 x P 66 cm H 30 x L 31.5 x P 26 in.
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GIO PONTI 1891 - 1979 Unique sofa, c. 1941 Designed for Casa Ferruccio Asta, Milan With certificate of authenticity from the Gio Ponti archives Stained walnut, fabric H 83 x W 237 x D 87 cm H 32 x W 93 x D 34 in.
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BRUNO MOINARD 1956 Coffee table, 2013 Walnut, varnished veneers of Macassar ebony, brass base H 34 x L 315 x D 121 cm H 13.4 x L 124 x D 47.7 in.
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JULES WABBES 1919 - 1974 Round dining table, c. 1970 Parquetry wenge, cast bronze 'tulip' base H 77 x D 177 cm H 30.2 x D 69.7 in.
Jules Wabbes was a leading Belgian furniture designer and interior architect born in 1919. He was recognised for his desks, tables and cabinets crafted from the finest and most precious woods. His designs married simple forms with an effortless elegance. He had a strong dedication to using the best materials, never shying away from revealing the construction of his pieces.
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JULES WABBES 1919 - 1974 Pair of display cabinets, c. 1965 Rosewood, glass, patinated iron H180 x W 64 x D 33 cm H 71 x W 25 x D 13 in.
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JULES WABBES 1919 - 1974 Square sidetable, c. 1960 Parquetry wenge, brass feet H 32 x 62 x 62 cm H 12½ x 24½ x 24½ in.
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JULES WABBES 1919 - 1974 Pair of bronze sconces, c. 1960 H 21 x 25 x 21 cm H 8.3 x 9.8 x 8.3 in.
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MARLÉNE HUISSOUD 1990 Cocoon wardrobe, 2017 Silkworm cocoons, honeybee bio resin, oak base H 180 x 100 x 65 cm H 71 x 39 x 26 in.
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TAKIS 1925 Sculpture, 1989 Steel, found objects H 87 cm H 34.3 in
Playing with what he calls the ‘fourth dimension’, Takis does his utmost to marry art and science. Born in Athens in 1925, Panagiotis Takis Vassilakis integrates metallic elements in his sculptures and makes them interact with light, music and the whole magnetic force that surrounds them. Magnetism is a way to experience the relation of his work with space, to question its place in its environment. His sculptures seem to be suspended in the air, floating, as if they were part of this fourth dimension. Self-taught, the artist works and lives in Paris, and has had the opportunity to be included in many public collections, such as Centre Pompidou, Paris, Tate Modern, London and Palais de Tokyo, Paris.
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ERIC SCHMITT 1955 -
Eric Schmitt was born in 1955 in Toulouse.
Double leaf console, 2015
His pieces, which reflect his unique take on the French Art Deco tradition, are often made to measure or limited editions.
Lacquered aluminium, patinated bronze Edition of 12 H 80 x L 220 x D 45 cm H 31.5 x L 86.5 x D 17.5 in.
Schmitt is one of the most creative artists continuing the Art Deco tradition. He is at the cutting edge of sculpture, architecture and design. His work features contemporary, fluid forms that have been melted, carved or blown using solid materials such as bronze, alabaster, marble and Bohemian glass. After focusing on lines and right angles, Schmitt has turned his attention to curves. His pieces respect geometrical rules while symbolically evoking natural forms. He creates, designs and shapes pieces in his workshop before entrusting them to the best craftsmen in France.
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ERIC SCHMITT 1955 Fuji side table and Stromboli side table Patinated bronze, blown Bohemian glass Edition of 24 H 53 x D 55 cm H 21 x D 21.7 in. H 72 x D 55 cm H 28.3 x D 21.7 in.
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ERIC SCHMITT 1955 Ossicles low chair, 2015 Patinated black bronze with leather cushion H 88 x L 46 x 42.5 cm H 35 x L 18 x 17 in.
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ERIC SCHMITT 1955 Ossicles low chair, 2015 Patinated gold bronze with leather cushion H 88 x L 46 x 42.5 cm H 35 x L 18 x 17 in.
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ERIC SCHMITT 1955 Tumba dining table, 2015 Belgian blue granite, patinated bronze Edition of 12 H 75 x L 200 x W 140 cm H 30 x L 79 x W 55 in.
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ERIC SCHMITT 1955 Leaf console, 2013 Patinated, polished bronze Edition of 12 H 80 x L 120 x D 49 cm H 31.5 x L 47.2 x D 19.3 in.
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ERIC SCHMITT 1955 Scale dresser, 2008 Marble scales, lacquered wood Edition of 8 H 176 x L100 x P 41 cm H 69 x 39 x 16 in.
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GEORGE NAKASHIMA 1905 - 1990 Table lamp, 1960 Walnut, parchment, holly Made by special order H 74 x W 34 x D 34 cm H 29 x W 13.4 x D 13.4 in.
George Nakashima was born in Spokane, Washington in 1905. His relation to the material at hand is essential, and he remained a great advocate of craftmanship in his different projects, related to architecture or design throughout his lifetime. From his Asian heritage and culture, he retained the importance of simplicity and pureness. His objects made as a woodworker gave birth to pieces of furniture which highlight the natural beauty of the materials themselves. What prevails in his creations are the experience people have with the pieces. The interaction between people and his objects is very intimate.
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GEORGE NAKASHIMA 1905 - 1990 Minguren II coffee table, 1973 Walnut Made by special order of Myrin family H 53.5 x W 96 x D 61 cm H 21 x W 37.8 x D 24 in.
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GEORGE NAKASHIMA 1905 - 1990 Sofa, 1965 Cherry tree H 79 x W 229 x D 79 cm H 31.2 x W 91 x D 31.2 in.
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GEORGE NAKASHIMA 1905 - 1990 R bench, 1978 Walnut Made by special order of Myrin family Signed and dated H 33 x W 200 x D 50 cm H 13 x W 78.8 x D 19.7 in.
INGO MAURER 1932 Magnoon ceiling light, 1995 Aluminium blade structure, halogen lighting Unique piece made for Ron Arad Studio: Milan Triennale, 1995 H 300 x W 70 cm H 118 x W 28 in.
Ingo Maurer’s work oscillates between industrial design and art. The lights created by his firm, set in 1966, stand on their own as sculptural works. They play on materials and forms alongside light and shadow, creating a real interaction with the viewer. Born in 1932 in Germany, Maurer followed graphic design studies before working in the United States where he opened a showroom in 1999. The artist’s workshop is now established in Munich in a space that also offers a showroom. Ingo Maurer created various different installations worldwide, including custom works for the Cartier Foundation and Centre Pompidou, Paris. His designs are also in various museums’ permanent collections including MoMA in New York. The works are considered as icons of design, and have a vast range of characteristics which play on the notions between art and design.
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INGO MAURER 1932 Queen Trude floor lamp, 2012 Metal, aluminum honeycomb, plastic H 168 x W 36 x D 25 cm H 66 x W 14 x D 10 in.
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POUL HENNINGSEN 1894 - 1967 Brass, bronze copper suspension, 1927 H 42 x D 31 cm H 16.5 x D 12.2 in.
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JANETTE LAVERRIERE 1909 - 2011 Clam floor lamp, c. 1959 Patinated brass, lacquered metal H 164 x D 45.5 cm H 65 x D 18 in.
Swiss born Janette Laverriere was an architect, decorator and designer during the 20th Century. In her works one finds simplicity and a poetry of which her lighting is a powerful illustration of. Between 1945 - 1959 she worked with the round iron bar. She made chairs, tables, standing lamps and light fittings in black enameled iron. Laverriere wished to design for all and wanted her designs to be mass produced, yet she was regularly refused by conventionally minded manufacturers and therefore produced only one or two of a kind pieces. Because of its limited production, over the decades her work has become eminently collectable and difficult to find.
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MĂ„RTA BLOMSTEDT 1899 - 1982 Pair of armchairs, 1940 Oak, wool H 85 x W 89 x D 90 cm H 33 x 35 x 35 in.
An icon of Finnish functionalism, Blomstedt devoted her life to architecture and design. Noted for her total commitment to her work, she would design all aspects of her furniture and buildings. These two armchairs display the functional yet sophisticated nature of her designs.
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MARIA PERGAY 1930 Two-seat tambour table, 1968 Stainless steel coffee table with two slot-in stools H 47 x D 100 cm H 18.5 x D 39.5 in.
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ARNE JACOBSEN 1902 - 1971 Egg chair with ottoman, 1958 Dark brown leather, steel First edition with provenance from SAS Royal Hotel, Copenhagen H 45 x W 54 x D 40 cm H 17.8 x W 21.3 x D 15.8 in.
Arne Jacobsen was born in Copenhagen in 1920 and is today considered as one of the greatest figures of Scandinavian architecture and design. This iconic design was conceived by Jacobsen in 1958, and first produced for the SAS Royal Hotel in Copenhagen, Denmark. His design for the Egg was very much ahead of his contemporaries, and still manages to look as modern today as it did in the 1950s. This particular example is from the very first production and has provenance from the SAS Royal Hotel, along with the original matching ottoman. It is considered to be one of the most progressive chair designs in 20th Century design, made from state of the art materials. Jacobsen pioneered a new technique in making the Egg by creating a strong foam inner shell beneath the upholstery. He experimented with sculpting forms from clay until he found the perfect shape.
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TERENCE HAROLD ROBSJOHN-GIBBINGS 1905 - 1976 Pair of sofas, 1955 Walnut, fabric Widdicomb edition H 77 x L 126 x D 78 cm H 30 x L 50 x D 31 in.
Terence Harold Robsjohn-Gibbings embraced the clean and elegant lines of the Art Deco, and he also loved expensive woods which were characteristic of that time period, which he mixed with his beloved Ancient Greek influence. This pair of sofas was created for the furniture company Widdicomb, where he worked as a designer from 1943 to 1956. There, he created his most famous pieces which perfectly combined elegance, raw materials and classical form.
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TERENCE HAROLD ROBSJOHN-GIBBINGS 1905 - 1976 Klini chair, c. 1960 Walnut, leather (with mattress) Manufactured by Saridis, Athens H 84 x W 139 x D 63.5 cm H 33 x W 55 x D 25 in.
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BRUNO ROMEDA 1933 - 2017 H 275 X D 15 cm (base 32 cm) H 108 X D 6 in. (base 13 in.)
Bruno Romeda was born in 1933 in Brescia, Italy. His artistic career began in 1962, with an exhibition in Brussels. He was an immersive artist and his work always began by joining twigs, rods and sticks in order to keep tension and balance. Inspired by primitive geometric forms, the circle, square and triangle, Romeda’s work played with projected shadows. As handed-track lines, his sculptures were cast in bronze in his Italian workshop in Brescia. Romeda’s art achieved perfect shape from a kind of fossilized nature. Technical perfection, harmony of proportions and bronze work summarize Bruno Romeda’s legacy. Romeda’s work is at once sensual and geometric, modern and archaic, but these are qualities that must be perceived in the presence of the work. Sensual in their surfaces, in the way they frame and reinterpret their environments. Bruno Romeda passed away in 2017. His works are represented in permanent collections across the world, including the MoMA, New York and the Kasama Nichido Museum, Japan.
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BRUNO ROMEDA 1933 - 2017 Bronze triangle, 2006 H 235 x 200 cm H 92.5 x 78.7 in.
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BRUNO ROMEDA 1933 - 2017 BRM02 stool Tinted oak, bronze H 60 x D 35 x W 45.5 cm H 23 x D 14 x W 18 in.
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BRUNO ROMEDA 1933 - 2017 BRM04 bench Oak, bronze H 44 x L 151 x W 43 cm H 17 x L 59 x W 17 in.
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BRUNO ROMEDA 1933 - 2017 BRM21 round table Bronze, glass H 75 x D 160 cm H 30 x D 63 in.
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BRUNO ROMEDA 1933 - 2017 BRM28 & BRM29 storm lamp Bronze, glass H 30 cm H 12 in. H 40 cm H 15.8 in.
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BRUNO ROMEDA 1933 - 2017 BRM01 stools Bronze, oak H 36 x L 58.5 x W 39.5 cm H 14,2 x L 23 x W 15,6 in.
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BRUNO ROMEDA 1933 - 2017 BRM32 cube table Bronze, slate H 75 x W 75 x D 75 cm H 29.5 x W 29.5 x D 29.5 in.
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BRUNO ROMEDA 1933 - 2017 BRM20 table Bronze, glass H 75 x D 160 cm H 29,5 x D 63 in.
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BRUNO ROMEDA 1933 - 2017 BRM08 bronze console Bronze H 120 x W 30 x D 30 cm H 47.2 x W 12 x D 12 in.
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BRUNO ROMEDA 1933 - 2017 BRM26 coffee table Bronze, slate H 41 x L 200 x W 101 cm H 16.1 x L 78.7 x W 39.8 in.
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BRUNO ROMEDA 1933 - 2017 BRM36 stools Bronze, aluminium H 45 x 56 x 38 cm H 18 x 22.7 x 15.2 in.
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BRUNO ROMEDA 1933 - 2017 Console Bronze, slate H 76 x 41 x 153 cm H 30 x 16 x 60 in.
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PAUL EVANS 1931 - 1987 ‘Crown of Thorns’ dining table, 1967 Welded, patinated steel, slate H 79 x D 117 cm H 31 x D 46 in.
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ETIENNE BEOTHY 1897 - 1961 Drapery, Opus 120, 1951 Amaranth H 96 cm H 38 in.
Etienne (Istvan) Béothy’s work is very sensual, despite its abstraction. Béothy sought to make sculpture simpler by using wood, which allowed him to create smooth, almost unrecognisable forms with evocative silhouettes. Béothy’s sculptures suggest bodies in movement. These bodies are simplified, a starting point in a quest for verticality. Wherever the viewer stands, he or she sees the same shape. The continuity between flat and rounded surfaces creates a third dimension that reveals the curve’ s artistic potential. In1953 his work went on display in Brussels. In 1954, he began working with architects in order to combine different disciplines and produce forms which utilised functional design. He died in Montrouge (where he had lived since 1927) in November 1961 at the age of 64. He left behind an original body of work, including 151 numbered sculptures, as well as a large number of drawings, paintings and watercolours.
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BBPR STUDIO 1932 Modular bookcase, c. 1960 Walnut, walnut-veneered wood, leather-bound wood, brass H 298 x W 457 x D 45.3 cm H 117 x W 179 x D 17 in.
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ROBERT COURTRIGHT 1926 - 2011 Bronze mask Signed, numbered on rear H 53.5 x D 66.5 cm H 21 x D 26 in.
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RICHARD RHODES 1961 Sentinel, 2016 Bronze H 66 x W 25 x D 20 cm H 26 x W 10 x D 8 in.
A Seattle, Washington-based sculptor, stonemason, entrepreneur, and scholar of stonework worldwide, Richard Rhodes apprenticed as a stonemason in Siena, Italy after graduate studies at the London Academy of Music and Dramatic Art. As the first non-Italian admitted into Siena’s ancient masonic guild in 726 years (operative branch of the Freemason’s, heirs to the cathedral builders of Europe), he is known throughout the sculpture and stone community as the “last apprentice.” It was during his guild training that he first encountered the Sacred Geometries and the Sacred Rules of Bondwork, foundational knowledge from the 4,000 year tradition of stone expression. Though now branching into other media such as cast bronze, Rhodes credits his guild training as the major influence in his sculptural practice. A nationally acclaimed lecturer and educator, Richard has twice addressed the national conventions of the American Institute of Architects (AIA) and the Association of Professional Landscape Designers. He has also delivered a five-lecture educational series to the Institute of Classical Architecture in both New York and San Francisco, and lectured to the Building Stone Institute and many public and private universities.
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HANS WEGNER 1914 - 2007 Early adjustable lounge chair, model JH524 c.1959 Oak, chromium-plated metal, painted steel, halyard, fabric, sheep fur H 91 x D 63 x L 170 cm H 36 x D 25 x L 67 in.
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HANS WEGNER 1914- 2007 Pair of Flag Halyard amchairs, 1950 Metal, rope, leather, wood feet H 79 x W 105 x D 118 cm H 31 x W 41 x D 46 in.
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TOBJORN AFDAL 1917 - 1999 Pair of benches, 1950 Palissander, metal hinges W 150.5 x D 37 x H 34 cm W 59 x D 14 x 13 in.
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PAUL FRANKL 1886 - 1958 Desk, c. 1945 Cork, mahogany, brass Johnson Furniture edition H 71 x W 142 x D 68 cm H 28 x W 56 x D 27 in.
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ERIK JOHANSSON Circular low table, c. 1930 Birch burl, black lacquered wood Mobelfabrik Mjolby edition H 50 x D 99 cm H 20 x D 39 in.
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BELA SILVA 1966 Gueridon, 2015 Glazed ceramic
Bela Silva was born in Lisbon, Portugal, and studied at both the Porto and the Lisbon Fine Arts Schools in Portugal; Ar, Co, Lisbon; Norwich Fine Arts in the UK; School of The Art Institute of Chicago in the USA. She currently lives between Lisbon and Brussels, Belgium. Among her shows: Chicago’s Ann Nathan Gallery and Rhona Hoffman Gallery; Lisbon’s Museu do Azulejo (Tile Museum), Museu Anastácio Gonçalves in Lisbon, Palácio da Ajuda, and Fundação Ricardo Espírito Santo; and also shows in China and in Japan. She has participated in group shows of tile art in Brazil, Spain, France; ran ceramics workshops in Japan and Morocco; and been awarded residencies at Kohler, Wisconsin, USA, and at Fabrica Bordalo Pinheiro, Caldas da Rainha, Portugal. She has created several public art pieces, namely tile panels for the Alvalade subway station in Lisbon; panels for the Sakai Cultural Center’s gardens, in Japan; and panels for the João de Deus School in the Azores Islands.
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PHILIP BALDWIN, 1947 MONICA GUGGISBERG 1955 Birdfeeder, 2016 Blown and carved glass, metal, assembled H 125 x W 180 / 220 cm H 49.2 x W 70.9 / 86.6 in.
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OSANNA VISCONTI Wave applique, 2014 Bronze H 32.2 x W 16 cm H 13 x W 6 in.
Osanna Visconti di Modrone (born Osanna Maria Rebecchini) grew up in Rome with her late sister, Turchese. They used to browse their mother’s jewellery drawers for hours, which contained pieces made especially for her by artists like Lucio Fontana, Umberto Mastroianni, Mario Ceroli, and Arnaldo Pomodoro. This inspired them to create alphabetic gold cuffs and Osanna soon decided to pursue this as a career. She left Italy for New York where she joined Christie’s Jewellery Department while studying for a degree at the NY branch of the Gemological Institute of America. Osanna’s bronze jewellery and objects (including tables, cabinets seats, lamps, etc.) can best be described as a marriage of the jewellery tradition with centuries-old Italian craftsmanship. She uses a technique called ‘lost wax casting’, whereby an initial wax sculpture is made to produce a plaster mould. The mould is then placed inside an oven at temperatures up to 650°, melting the wax and leaving behind a negative form. Molten metal is then poured into this empty mould to produce the final work. This technique was highly popular during the Italian Renaissance in the works of Donatello, Benvenuto Cellini, Giambologna, and Antonio Susini. Firmly devoted to her national roots and cultural heritage, she exclusively works with Italian craftsmen for her production, so as to maintain the ‘Italian-ness’ of her creations. The results are carefully modelled objects that are not only aesthetically pleasing but also embody the soul of the creator.
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OSANNA VISCONTI Large wave applique, 2014 Bronze W 82 x H 40 cm W 32 x H 16 in.
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OSANNA VISCONTI Thorn lamp H 82 cm H 32.3 in.
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OSANNA VISCONTI Nastro console, 2015 Bronze w/ black patina H 72.5 x D 28 x W 105 cm H 28 x D 11 x W 41 in.
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TAKESADA MATSUTANI 1932 In Between, 2013 Polyvinyl acetate adhesive, graphite pencil, Japanese paper on canvas H 195 x W 130 cm H 78 x W 51 in.
Painter, engraver and creator of installations, Takesada Matsutani has always sought to evolve his art. Trained in Nihonga painting, traditionally made of Japanese materials, whether by technique or supports, Matsutani moves away from it as his work becomes more abstract. He began to experiment with matter in the early 1960s. Vinyl glue became his preferred material, spread on cotton cloth (chosen because of its low cost), and possibly mixed with an oil used in building work. Matsutani covers his canvases with circular shapes, glue bubbles (some of which burst), which he creates by blowing air into the material with a straw and then drying. He patiently covers his surfaces with minute graphic pencil strokes, oblique or intertwined, the artist questions space and time, immobility and movement, without turning away from more formal concerns. A great sensuality, a latent eroticism is also expressed in these works. Takesada Matsutani was born in Osaka in 1937. In the early 1960s, Matsutani was one of the members of the second generation of the Gutai Art Association from 1954 to 1972.
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TAKESADA MATSUTANI 1932 Two Circles, 2010 Polyvinyl acetate adhesive, graphite pencil, Japanese paper on canvas H 120 x W 96 cm H 47.2 x W 37.8 in.
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TAKESADA MATSUTANI 1932 In Between No.2, 2013 Polyvinyl acetate adhesive, graphite pencil, Japanese paper on canvas H 195 x W 130 cm H 78.7 x X 51 in.
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JEAN-PIERRE PINCEMIN 1944 - 2005 Untitled, 1983 Mixed media, canvas H 250 x W 198 cm H 98.5 x W 78 in.
Jean-Pierre Pincemin, one of the leading French painters of his generation, was born in Paris on April 7, 1944 and died at the age of 61 on May 16, 2005 at his Arcueil studio. A greatly-admired and larger than life figure in the French art world, he emerged in the late 1960s. A young artist with a new vision, Pincemin aimed to reinvigorate French art, and bring it once again to an international audience. Pincemin’s early pieces, particularly those produced during the time of his involvement with Supports / Surfaces were largely concerned with the materiality of the works themselves. Employing cut canvas, and pasting sections of it together into huge patchworks of abstract colour. During the mid 70s he was producing the first of his Palissades (a French word which means simply 'fence'), utilising large strips of canvas which had been dipped in colour and laid geometrically to form compositions almost architectural in their size and rigidity. The outcome was unpredictable, the dipping of the strips allowing an element of chance to determine their final tones. The time involved in the creation of these works is clear from the many layers and any sense of automatism is rejected in favour of a clean, meticulous application of paint. The margin takes on a new importance, holding the composition together, fencing in the three central blocks like a palissade itself, and the resulting sense of depth and of intensity is remarkable.
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JEAN-PIERRE PINCEMIN 1944 – 2005 Untitled, 1983 Mixed media, canvas H 210 x W 151 cm H 82.7 x W 59.5 in.
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JEAN-PIERRE PINCEMIN 1944 - 2005 Untitled, 1981 Mixed media, canvas H 193 x W 170 cm H 76 x W 67 in.
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GEORGES KOSKAS 1926 - 2013 Points, 1951 Oil on canvas H 132 x W 102 cm H 60 x W 40 in.
Georges Koskas was one of the most original representatives of geometric abstraction in France in the 1940s and 1950s. Koskas appeared pioneering and radical because he pursued an extremely free and poetic inspiration. It infused his paintings with an airy finesse not seen elsewhere. In the 1950s, he experimented with dots and the resulting paintings rapidly brought him fame. They still remain one of the purest expressions of the Parisian avant-garde of that time. However, by 1955, his repertoire had evolved more towards informal art, and then in the late fifties, quite unexpectedly, Koskas made a bold return to figurative art. Driven by his absolute need for freedom, Koskas saw no contradiction between his abstract paintings and his later works, shimmering with light, in which animated shorelines and elegant figures blossomlike flowers, recalling the memories of Matisse and Pascin with no other dogma than the pure freedom of the poet.
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MARTIN BERGER 1964 Into the Blue, 2017 Mixed media H 285 x W 201 cm H 112.2 x 79.1 in.
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LUIS TOMASELLO 1915 - 2014 Atmosphère Chromoplastique, 1975 Acrylic on wood H 90 x W 90 cm H 35.5 x 35.5 in.
Luis Tomasello has developed a visual language that expresses movement through visual effects. By attaching angled cubes or pegs to create a repetitive pattern on a flat wood panel, the artist explored nonpictorial ways of imbuing an object with active surface play. Tomasello explored the optical effects that shapes and colors produce on the viewer. After traveling to Europe in the early fifties, Tomasello settled in Paris in 1957, joining a large and dynamic expatriate community of Latin American artists. Having already grown familiar with Constructivism and the Bauhaus during his student days, Luis Tomasello discovered the work of Piet Mondrian while in Paris. After initially integrating typical elements of the Dutch artist's work into his own, such as the orthogonal grid, the square and a reduced palette, he was soon to move on from these forms of representation. In Paris, Tomasello exhibited with a group of artists whose research took them from constructivist abstraction to Kinetic Art, an art form founded on the optical illusion of movement and its effect on the viewer. He was represented by the famous avant-garde Galerie Denise René and showed at numerous national and international exhibitions of Op-Art, including the landmark show ‘La Lumière et le Mouvement’ (1967). Tomasello was particularly known for his ‘Atmosphères Chromoplastiques’ in which he placed white cubes on a white background, creating an engaging optical effect of play of light and shadows. As well as exhibiting extensively internationally, Tomasello completed numerous large-scale public art commissions in Argentina, France, Mexico, and the United States.
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LUIS TOMASELLO 1915 - 2014 Objet Plastique No. 550, 1983 Acrylic on wood Stamped on rear (Museo Espanol de Arte Contemporaneo) H 131 x W 131 cm H 51.5 x W 51.5 in.
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SHOKO KOIKE 1943 White Shell III, 2016 Ceramic H 16 x W 21 x D 21 cm H 6.5 x W 8.2 x D 8.2 in.
Koike draws inspiration from the sea, creating shell-inspired sculptural forms in shigaraki stoneware with irregular, undulating, pinched, ruffled edges that protrude from her hand-built and wheel-thrown bodies. A creamy white, opaque glaze covers her forms and the edges are further accentuated with brown iron glaze and sometimes supplemented with metallic, iridescent or turquoise glazes. As one of the first female graduates from the prestigious ceramics department of the Tokyo National University of Fine Arts and Music, Koike Shoko is among the very few women ceramists of her generation to support herself as a studio-artist. In so doing, she has become one of the most recognized contemporary female ceramists in Japan with works in museum collections throughout the world. Shoko Koike was born in Beijing (China) in 1943. She Completed Tokyo University of the Arts Graduate School Ceramic Course in 1969 and founded her Ceramic Studio in Tama city, Tokyo.
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SHOKO KOIKE 1943 Water form no. 4, 2016 Ceramic H 11 x W 44 x D 44 cm H 4.2 x W 17.2 x D17.2 in.
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SHOKO KOIKE 1943 White form II no. 6, 2016 Ceramic H 30 x W 47 x D 40 cm H 12 x W 18.5 x D 16 in.
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SHOKO KOIKE 1943 White form no. 8, 2012 Ceramic H 13 x W 17 x D 17 cm H 5.1 x W 6.7 x D 6.7 in.
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SHOKO KOIKE 1943 Shell form no. 16, 2016 Ceramic H 20 x W 28 x D 27 cm H 8 x W 11 x D 10.5 in.
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MADOURA ATELIER c. 1930s Blue ceramic vase, c. 1950 H 74 cm H 29 in.
Set up by renowned potters Suzanne and Georges RamiĂŠ, studio Madoura was formed in Vallauris during the late 1930s. 10 years on and they had opened their doors to Picasso, who went on to spend 25 years producing more than 3,500 original ceramics at the Madoura Atelier. A sculptural perception of ceramics resulted from their research in drawing and painting, breaking traditional boundaries of form and technique that existed in Vallauris at the time. Pure lines and colourful glazed enamel is distinctive of studio Madoura
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BRUNO GAMBONE 1936 Pair of natural bottles, 1990 H 35 x W 37 x D 10 cm H 14 x W 15 x D 4 in. H 44 x W 24 x D 7 cm H17 x W 9 x D 3 in.
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BRUNO GAMBONE 1936 Pair of Green and black tall bottles, 1990 H 90 x W 20 x D 7.5 cm H 35 x W 8 x D 3 in.
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OSANNA VISCONTI Deco bowl Black patinated bronze D 25 cm D 10 in.
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OSANNA VISCONTI Set of candle holders, 2017 Patinated bronze Varying dimensions
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OSANNA VISCONTI Candle sticks, 2017 Bronze 57 cm 22.4 in.
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INDEX
AFDAL, T
PERGAY, M
ALBERT-RATEAU, A
PINCEMIN, J
ANTHONIOZ, P
PONTI, G
ARAD, R
PRINTZ, E
ATELIER MADOURA RHODES, R BBPR STUDIO
ROBSJOHN-GIBBINGS, T
BEOTHY, E
ROMEDA, B
BLOMSTEDT, M SCHMITT, E COARD, M
SHOKO, K
COURTRIGHT, R
SILVA, B
EVANS, P
TAKIS TOMASELLO, L
FRANKL, P VISCONTI, O
Cover image: George Nakashima - Minguren II coffee table, 1973 Catalogue design: Joseph Grahame
GAMBONE, B WABBES, J HENNINGSEN, P HUISSOUD, M JACOBSEN, A JOHANSSON REINERS, E KOSKAS, G LAVERRIERE, J MATSUTANI, T MAURER, I MOINARD, B NAKASHIMA, G
WEGNER, H
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