ART AUCTIONEERS & VALUERS
Design Furniture & Irish Art Auction Tuesday 28th April at 6pm Viewing at 35 Kildare Street, Dublin 2
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ART AUCTIONEERS & VALUERS
Auction:
Tuesday 28th April, at 6pm
On View: de Veres 35 Kildare Street Dublin 2 Friday, 24th April: Saturday, 25th: Sunday, 26th: Monday, 27th: Tuesday, 28th: Contact:
9.30am - 6pm 11am - 5pm 12pm - 5pm 9.30am - 7pm 9.30am - 6pm
01 6768300
COLLECTION: Wednesday, 29th and Thursday 30th April FEES:
19½% plus VAT (23.985%) Auction Venue
deVeres
de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at:
the-saleroom.com www.facebook.com/deveresArtAuctions
ART AUCTIONEERS & VALUERS
This will be the first Design Auction to be staged at 35 Kildare Street. Our new gallery space enables us to show the furniture to best effect and also allows us a longer viewing time. The online catalogue that you see here contains more detailed descriptions and biographical notes. There will be a printed version of the catalogue available to collect from our office and at the viewing. The auction contains an eclectic mix of 20th Century Design furniture, including a number of Danish pieces from the 1950s/60s, where the beginnings of a ‘Design’ ideal first emerged. In particular, the pair of ‘Poet’ Sofas designed by Finn Juhl are very rare. They were purchased in Denmark in 1950 by the current owner’s parents and shipped back to Ireland, no easy feat. Also included are approximately 40 lots of Contemporary Irish Art. These include several larger canvases, particularly Brian Bourke’s ‘East Manhattan’ diptych (lot 36), John Shinnors ‘Black Skirt Still Life’ (lot 33) and Felim Egans ‘Meridional’ (lot 31). We are delighted to have Interior Designer Peter Johnson available on Sunday 26th April. He will give an informal talk before the viewing, highlighting some of the pieces in the sale and offering his informed opinion on the interiors that inspire and interest him. It will start at 11am and places for this are limited, so if you would like to reserve a seat please contact our office.
John de Vere White Managing Director john@deveres.ie
Rory Guthrie Director roryguthrie@deveres.ie
Aisling Tóth Associate Director info@deveres.ie
Auctioneers: John de Vere White Rory Guthrie 4
1 A CHROME LOW TABLE, with circular glass top, on a triform angular base, 80cm diameter x 39cm high.
â‚Ź200 - 300
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2 A 1960s CHROME AND WOOD ‘SWIVEL’ EXECUTIVES LAMP, 60cm wide x 40cm high.
€300 - 500
3 A PAIR OF LOW TUB CHAIRS, 1970s, on tapering legs.
€200 - 400
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4 A DESK LAMP BY LOUIS KALFF FOR PHILIPS, EINDHOVEN, c.1950, raised on gilded metal feet, 34cm high.
€250 - 350
5 A BURR MAPLE RECTANGULAR COFFEE TABLE, 1970s, on a plinth base, 130cm (w) x 72cm (d) x 30cm (h).
€400 - 600
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6 A DANISH ROSEWOOD BUREAU, 1960s, the top with open shelf superstructure with two drawers, above a base with three drawers on tapering legs, 86cm wide x 118cm high x 45.5cm deep.
â‚Ź1000 - 1500
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7 A DANISH ROSEWOOD DRINKS CABINET, 1960s, the let down front revealing a cocktail bar, beside a further cupboard door, above drawers, raised on a chrome mounted square metal base. 130cm wide x 105cm high x 36cm deep.
â‚Ź1000 - 1500
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8 A SET OF SIX ROSEWOOD DINING CHAIRS, DANISH, 1960s, ATTRIBUTED TO ILLUM WIKKELSO, the tall tablet backs, on tapering supports, on tapering legs (6).
€800 - 1200
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9 A DANISH ROSEWOOD EXTENDING DINING TABLE, 1960s, the rounded ends on tapering legs, 120cm diameter (222cm extended).
â‚Ź800 - 1200
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10 A FINE DANISH ROSEWOOD SIDEBOARD, c.1965, by BERNHARD PEDERSON & SONS, COPENHAGEN, of rectangular form, with a pair of tambour fronted doors revealing a mahogany fitted interior, on tapering legs (bearing makers label), 211cm wide x 78.5 high x 51cm deep.
â‚Ź2000 - 3000
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11 THE EVA CHAIR, A SET OF EIGHT, BY NIELS KOEFOED FOR KOEFOEDS HORNSLET, DANISH, c.1965, comprising a pair of armchairs and six single chairs, with tall railed backs on tapering legs, each stamped by the maker. (8).
â‚Ź800 - 1200
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12 THE POET SOFA, BY FINN JUHL (1911-1989), DANISH, c.1950, the shaped body retaining its original upholstery, on tapering splayed legs, 135cm (w) x 87cm (h) x 80cm (d).
Provenance: Acquired by the present owners parents when visiting Denmark in 1950.
â‚Ź3000 - 5000
hile working as an architect Finn Juhl began to design furniture which was first shown W at the 1937 Copenhagen Cabinetmakers Guild exhibition. The furniture, produced in collaboration with Niels Vodder, was significantly different from his contemporaries of the Kaare Klint school, the pieces were more sculptural, organic forms, such as the Pelican Chair.
In 1945 Juhl moved to set up his own practice and the furniture it yielded garnered great acclaim. He was awarded six medals at Milan Triennale exhibitions and fourteen prizes by the Copenhagen Cabinetmakers Guild.
I n the 1950s Juhl began to export his furniture, particularly to the USA. This was really the first time that Danish design was seen internationally and so it is Finn Juhl’s designs that people most associate with the Danish aesthetic. From 1945 Juhl was the senior instructor at the School of Interior Design in Copenhagen and in this capacity greatly influenced the course of Danish Design.
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13 THE POET SOFA, BY FINN JUHL (1911-1989), DANISH, c.1950, the shaped body retaining its original upholstery, on tapering splayed legs, 135cm (w) x 87cm (h) x 80cm (d).
Provenance: Acquired by the present owners parents when visiting Denmark in 1950.
â‚Ź3000 - 5000
He designed the Poet Sofa for his own house at Charlottenlund, north of Copenhagen, in 1941. The Juhl House marked the very beginning of open plan living, with garden views from every room. The organic furniture was designed to be comfortable, using the best materials and is a triumph in early Danish Design. The Poet Sofa appears on the cover of FINN JUHL AND HIS HOUSE, by Per Hansen. These two rare sofas come from a Private Irish collection. They were acquired in Denmark in 1950 by the present owner’s parents, who visited Denmark and Sweden with Ivan and Myrtle Allen prior to the opening of Ballymaloe House. It is rare to see a pair, in original upholstery.
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14 A SUPERB ROSEWOOD THREE PIECE SUITE BY GRETE JALK, FOR FRANCE & SON, DANISH, 1960s, the open shaped backs with curved armrests, on tapering supports, each piece with applied stamp of ‘France & Son’ and also stamped with France & Son monogram and ‘Made in Denmark’, comprising: A three seat settee, 192cm wide x 70cm high x 70cm deep; A pair of easy chairs, 79cm wide x 70cm high x 70cm deep. (3) Grete Jalk was formally trained at the School of Arts and Crafts, going on to study with Danish master Kaare Klint at the Royal Academy of Arts in Copenhagen. Though she took part in exhibitions such as the Milan Triennial outside of Denmark, she made a name for herself with the work she did from her own design office for Fritz Hansen and Poul Jeppesen and for her annual appearance at the Cabinetmakers’ shows.
F ounded in 1950 by a British businessman Charles France and his Danish partner Inger Daverkosen. France and Son was the first Danish design company to have its own factory. They made furniture of the highest calibre and Charles France, the company’s founder, refused to join the association for quality in Denmark after its creation, saying that their standards would never match those of his factory. The company came to epitomise the Danish modern aesthetic, working with the major designers of the day including Arne Vodder, Grete Jalk, Peter Hvidt and Finn Juhl.
T he sleek and modern look is a testament to Denmark’s designers of the 1960s, who defined modern furniture and created a new wave of decoration with simple lines and quality manufacture.
€3000 - 5000
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15 A FINE DANISH ROSEWOOD EXECUTIVE DESK, 1960s, BY ARNE VODDER, the lipped rectangular top on a pair of pedestal bases, each with three drawers to one side, cupboard doors to the other, on circular tapering legs, 178cm (w) x 80cm (d) x 74cm (h).
â‚Ź2000 - 3000
Danish architect and designer Arne Vodder studied under Finn Juhl and is among the most influential Scandinavian mid-century designers. He designed furniture for Fritz Hansen and also France & Son. Simple clean lines, using only natural materials are what epitomised his designs and from the 1950’s Vodder designed for the furniture manufacturer Sibast, where he enjoyed international success. He designed a range of office furniture that was produced and shipped overseas, particularly to the U.S. market, including to President Jimmy Carter in the White House.
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16 A PAIR OF METAL ADJUSTABLE DESK LAMPS, in the manner of Eileen Gray, 48cm high.
€300 - 500
17 A DANISH ROSEWOOD DESK, 1960s, the plain rectangular top supported by a pair of pedestal drawers, on tapering legs, 144cm (w) x 74cm (d) x 76cm (h).
€1000 - 1500
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18 A DANISH CHEST, 1960s, of rectangular form, comprising two sections of four drawers, with turned handles and raised on tapering legs 159cm wide x 85cm high x 42cm deep.
â‚Ź800 - 1200
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19 A 1960s DANISH SIDEBOARD, of rectangular form, with cupboard doors and drawers, revealing a maplewood fitted interior (including cutlery drawers), on tapering supports, 183cm wide x 74cm high x 46cm deep.
â‚Ź600 - 900
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20 THE SIESTA ICON CHAIR AND STOOL, BY INGMAR RELLING FOR WESTNOFA, NORWAY, with cantilevered bentwood frames, canvas seats and leather seat cushions, bearing labels (2).
The ‘Siesta Chair’ was Ingmar Rellings masterpiece and won him first prize at the Norwegian Furniture Council Competition in 1965. It represented a new thinking in terms of construction and form. Clean lines, flexible seating comfort and exceptional strength make it a triumph in modern design and very much in the classic 1960s Scandinavian tradition of design and function.
A chair designed for comfort and relaxation, it was also very important to the designer that the chair was ‘environmentally correct’. Optimum use of materials was considered at every stage and threatened species of tree have never been used in the chairs production.
€500 - 700
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21 A PAIR OF BENTWOOD EASY CHAIRS, 1970s, on cantilvered supports, with leather seats.
â‚Ź800 - 1200
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22 A SET OF FOUR DANISH ROSEWOOD DINING CHAIRS, 1960s, in the manner of Niels Moller, each with railed backs on tapering legs. (4)
€400 - 600
23 A PAIR OF 1960s DANISH EASY CHAIRS, with railed backs on tapering legs.
€600 - 900
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24 A BENTWOOD AND LEATHER UPHOLSTERED LIBRARY CHAIR, DANISH, 1970s, on splayed cantilevered legs.
25 A TEAK AND LEATHER UPHOLSTERED ARMCHAIR, DANISH, 1970s.
€300 - 500
€300 - 500
26 A TEAK COFFEE TABLE, DANISH, 1960s, on tapering legs, joined by a stretcher, 111cm (w) x 48cm (d).
€100 - 200
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27 A DANISH POLISHED STEEL ‘WITCHES HAT’ CEILING LIGHT, c.1960s, by Fog & Morup (bearing label). 70cm (diameter).
€200 - 400
28 A DANISH ROSEWOOD DINING TABLE, BY NIELS MOLLER FOR GUDME MOBELFABRIK, c.1970, the extending top with one extra leaf, on an angular base and bearing the makers label. 105cm diameter (153cm long extended).
€400 - 600
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29 THE ARBETSSTOL (EVA) CHAIR, BY BRUNO MATHSSON (1907-1988), SWEDEN, laminated beech and original canvas webbed, c.1950, bearing label ‘designed by Bruno Mathsson’. Missing the front stretcher and in need of repair. Provenance: This chair comes from a Private Irish collection and from the same provenance as lots 12 and 13. Acquired in 1950 by the present owner’s parents, who visited Denmark and Sweden with Ivan and Myrtle Allen prior to the opening of Ballymaloe House. Bruno Mathsson was one of the great pioneers of Swedish Design. He promoted a new approach to the design of seat furniture that involved the use of soft undulating organic forms, which were better suited to the shape of the user. An early ergonomist, the contours of the chair echo the form of the human body. Developed between 1933 and 1936 the first chair designed on these principals was his ‘Arbetsstol’ (Working) Chair. This became known as the Eva Chair in 1978 when DUX Industrier took over the production of Mathesson’s furniture.
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€200 - 400
30 Robert Ballagh, b.1943 CAMPBELLS SOUP Limited Edition screenprint, 59” x 29⅓” (150 x 100cm), signed, ed.28/35.
€1500 - 2500
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31 Felim Egan, b. 1952 MERIDIONAL Acrylic and mixed media on canvas, 63” x 55” (160cm x 140cm), signed and dated 1997 verso; artists label verso.
€6000 - 9000
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32 Hughie O’Donoghue b.1953 ON THE RAPIDO Mixed media on paper, 22” x 30” (56 x 76cm), signed and dated 1998.
Provenance: Purdy Hicks Gallery, London (label verso).
€3000 - 5000
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33 John Shinnors, b.1950 BLACK SKIRT STILL LIFE Oil on canvas laid on board, 48” x 60¼” (122 x 153cm), signed; signed and inscribed verso.
€15000 - 20000
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34 Neil Shawcross RHA RUA b.1940 PIER 42 Oil on canvas, 78” x 36” (198 x 91.5cm); signed and dated 2007.
€4000 - 6000 32
35 Rosaleen Davey THE HEART OF LIGHT Acrylic on board, 31” x 27½” (78.5 x 70cm), signed and dated 1993.
€700 - 1000
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36 Brian Bourke HRHA b.1936 EAST MANHATTAN Dyptich, Oil on canvas, Each Panel 72” x 42” (183 x 107cm) signed on each panel verso, inscribed and dated 2000 verso.
A view from the Irish Ambassadors Residence, New York.
€7000 - 10000
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37 Arthur Maderson b. 1942 TOWARDS EVENING, STROUD POOL (NEAR LISMORE, CO WATERFORD) Oil on board, 38” x 38” (96.5 x 96.5cm), signed; signed and inscribed verso.
€2500 - 3500
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38 Stephen McKenna ARHA b.1939 THE END OF ACT ONE Oil on canvas, 40” x 47 ½” (102 x 120cm) signed, inscribed and dated 1967/1968 verso.
€3000 - 5000
cKenna is regarded as one of Ireland’s finest post- modern figurative painters. Born in M London, he has made Ireland his permanent home since 1998. He was short listed for the Turner Prize in 1986.
cKenna has a very distinctive palette and he says this early work was done at a time M when theatre was a subject very close to his heart. He is represented in Ireland by the Kerlin Gallery and is a past president of the R.H.A.
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39 Gerard Davis 1935-2005 HY-BRASIL Oil on canvas, 20” x 24” (51 x 61cm), signed and dated 1982.
€300 - 500
Hy-Brasil is a phantom island said to lie in the Atlantic Ocean, west of Ireland. Irish myths described it as cloaked in mist except for one day every seven years, when it became visible but still could not be reached.
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40 John Doherty b.1949 GANNET (1997) Acrylic on paper, 18” x 9” (46 x 23cm), signed, inscribed and dated 1997.
Provenance: Taylor Galleries, Dublin (label verso). Born in Kilkenny in 1949, Doherty initially studied architecture at Bolton Street in Dublin. He then left Ireland and spent five years in Sydney before deciding to follow a full time career as an artist. He still spends several months a year in Sydney. escribed once in a conversation by Art Critic Brian Fallon, as the finest photo realist artist in Ireland and England. His D work is immediately appealing for its benign normality with which he captures his subject matter, abandoned corner shops, rusting petrol pumps, landmark shop fronts and various subject matters linked to the sea.
Berthed at The Carlisle Pier in Dun Laoghaire and a feature of the harbour for many years was the Lightvessel Gannet, the last Irish lightship. €4000 - 6000 39
41 Markey Robinson 1918-1999 LOOKING OUT TO SEA Gouache, 12½” x 20” (32 x 51cm), signed. €800 - 1200
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41A Elizabeth Brophy, Contemporary THE LAST OF SUMMER Oil on board, 12” x 16” (30 x 40cm), signed, inscribed verso. €600 - 900
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42 Viral Pandya, Contemporary GREEN TO RED ZONE 2 Mixed media on board, 26½” x 31½” (67 x 80cm), signed and inscribed verso.
€800 - 1200
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43 Elke Thonnes, Contemporary ABSTRACT Mixed media, 90 x 70cm, signed and dated 9/98 verso.
â‚Ź400 - 600
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44 Ciaran Lennon b.1947 COLOUR COLLECTION (3) Acrylic on steel, each 20” x 12”(51 x 30.5cm), signed and inscribed labels verso.
€2000 - 3000
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45 John Cronin, Contemporary VAULT Oil and tempera on paper, 25” x 38” (64 x 97cm), signed
Provenance: Oliver Dowling Gallery – One Man Exhibition, Oct-Nov 1992, Cat No.7 (label verso).
€600 - 1000
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46 Patrick Redmond, Contemporary FRIES Oil on canvas, 16” x 20” (41 x 51cm), signed, inscribed and dated 2007 verso.
€200 - 400
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47 Sean McSweeney HRHA b.1935 BLUE POOL Watercolour, (57 x 75cm), signed and dated 2003; signed and inscribed verso.
â‚Ź1400 - 1800
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48 Robert Ballagh, b.1943 LIBERTY ON THE BARACADES Screenprint, 20” x 24” (51 x 61cm), signed and dated 1971, ed. 64/100. Provenance: David Hendriks Gallery, Dublin, October 1979 (label verso).
€600 - 900
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49 Robert Ballagh, b.1943 THE RAPE OF THE SABINES Screenprint, 20” x 24” (51 x 61cm), signed and dated 1973, ed. 33/75. Provenance: David Hendriks Gallery, Dublin, October 1979 (label verso).
€600 - 900
50 Robert Ballagh, b.1943 3rd OF MAY - GOYA
Screenprint, 20” x 24” (51 x 61cm), signed and dated 1973, ed. 33/100.
Provenance: David Hendriks Gallery, Dublin, October 1979 (label verso).
€600 - 900 49
51 A CHROME AND GILT UPRIGHT TWO DOOR CABINET, ITALIAN, 1970s, with smoked glass doors and glass shelving, 140cm high x 76cm wide x 37cm deep.
€300 - 500
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52 A CHROME AND GILT UPRIGHT OPEN SHELF UNIT, ITALIAN, 1970s, 200cm high x 76cm wide x 36cm deep.
53 A CHROME AND GILT UPRIGHT OPEN SHELF UNIT EN SUITE, ITALIAN, 1970s, 200cm high x 76cm wide x 36cm deep.
€300 - 500
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€300 - 500
54 A CHROME FRAMED WALL MIRROR, 1970s, 111cm x 90cm.
€300 - 500
55 A CHROME TWO TIER COFFEE TABLE, c.1970, IN WILLY RIZZO STYLE, with rounded ends and smoked glass shelves, 132cm wide x 48cm deep x 41cm high.
€400 - 600
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56 A ‘FIVE BOTTLES’ VEUVE CLICQUOT BRUSHED STAINLESS STEEL PRESTIGE ICE BUCKET BY PABLO REINOSO (2007), the shaped body with bottle compartments (engraved), 44cm wide x 25cm high.
€200 - 300
57 A CHROME AND GILT TWO TIER COFFEE TABLE, ITALIAN, 1970s, 126cm long x 71cm wide x 38cm high.
€400 - 600
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58 THE NOMOS TABLE, BY SIR NORMAN FOSTER (b.1935), FOR TECNO, ITALY, the plate glass top on a chromium plated base, stamped.220cm (w) x 100cm (d).
€1500 - 2000
“Nomos” is a multipurpose table designed for ultimate flexibility, intended for use in both office and domestic locations. Like Foster’s building designs, the aesthetic effect of “Nomos” relies upon its technical structure, in this case its angular metal frame, because of which the table has often been compared to a lunar landing unit. However, Foster has also likened it to the slender body and long, slim legs of the grasshopper. This anatomical analogy is carried into the table’s “vertebrae,” a spinal column-like conduit that runs throughout the table, easily accommodating cables and electric cords so pervasive in the modern office and home. Whether you use the Nomos table as a desk or a table for work or dining, it remains one of the most elegant surface solutions for the home or office. In continuous production for almost 30 years, Nomos is now included in the permanent collections of several museums worldwide including New York’s Metropolitan Museum as well as MOMA.
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59 A SET OF EIGHT CHROME FRAMED UPHOLSTERED DINING CHAIRS, 1970s, with rectangular backs, on square supports.
€600 - 900
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60 A FINE PAIR OF TALL BACK UPHOLSTERED ‘PROGETTI’ OPEN ARMCHAIRS, ITALIAN, BY GIORGETTI, with rounded arms, on tapering outsplayed legs (2).
€1400 - 1800
iorgetti was established in 1898 in the heart of Brianza, just outside Milan. G With its extremely elegant line, The Progetti collection is a series of armchairs and sofas born from the idea of Carlo Giorgetti, who took the cue from an elegant handle of an antique walking stick, to give life to the particular armrest that distinguishes it. The arm of the chair is the precious Brazilian wood, Pau Ferro, with its characteristic reddish colour, a non-deforming wood that is rare.
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61 DONNA - UP5 & UP6, BY GAETANO PESCE FOR B + B ITALIA, stretch fabric-covered polyurethane foam, stamped with the makers label.
€2000 - 3000
riginally conceived in 1969, “Donna” is completely in tune O with the spirit of Pop Art and the Gaetano Pesce fondness for anthropomorphic shapes. The chairs were made of moulded foam then covered over with colourful stretch fabric. Compressed and vacuum-packed into PVC wrappers, the furniture literally bounced into life when unwrapped.
The chair was actually designed to resemble a prehistoric, female fertility figure, with a ball attached to symbolize captivity.
Pesce’s work is featured in over 30 permanent collections of the most important museums in the world, such as MoMa of New York and San Francisco, Metropolitan Museum in New York, Vitra Museum in Germany, Victoria and Albert Museum in London, Pompidou Center and Musee des Arts Décoratifs of Louvre in Paris.
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62 A BURR WALNUT AND GILT BRASS SQUARE COFFEE TABLE, BY WILLY RIZZO, c.1970, with brass central tray and faceted corners, on a plinth base, 120cm x 120cm x 33.5cm.
â‚Ź800 - 1200
Willy Rizzo started his career in Paris as a photographer. His original venture into furniture design began in Rome and took place during a visit to a Roman hair salon on Piazza di Spagna in 1966. He ended up signing a six month lease on an abandoned commercial apartment, barely habitable and without running water. Rizzo quickly set about turning the empty office into a living space, complete with brown and gold walls and custom designed sofas, coffee tables, consoles and hi-fi storage units. Using a small group of local artisans he completed the customised apartment, which acted as a template of sorts for the majority of his commissions to come.
izzo was married to actress Elsa Martinelli. His clients and contacts, many forming the R upper crust of the fashion and film industries, included Sofia Loren, Marilyn Monroe and Fred Astaire. They fell in love with his ultra-modern style which incorporated the sophistication of Mies van der Rohe and Le Corbusier, combining clean simple lines with bold geometric forms, but also maintaining functionality. His furniture was made to be used.
S alvador Dali commissioned a number of pieces as did Brigitte Bardot for the interior of La Madrague in St. Tropez. A playboy of the era, Rizzo’s client list is testament to how close his furniture was to the mark.
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63 AN ELLIPTICAL COFFEE TABLE, 1970s, IN THE MANNER OF CINI BOERI, on a cylindrical marble base, with chrome fittings, 128cm x 45cm.
€600 - 900
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64 A SET OF SIX PLYWOOD DINING CHAIRS, ITALIAN, 1960s, with shaped backs with a pierced handle, on tapering legs.
â‚Ź700 - 1000
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65 THE RED/BLUE CHAIR, BY GERRIT THOMAS RIETVELD, FOR CASSINA, lounge chair with frame in black stained beech, the seat (blue) and back (red) in lacquered multiplywood. with makers stamp and numbered 1080.
riginally designed in 1917-1918, Rietveld, influenced by the Dutch O De Stijl (The Style) movement, painted this revolutionary chair in 1921. The primary colours of the design is in tribute to Mondrian’s painting, with its red, blue, yellow and then black for the frame, mark out all the different parts, each one with specific functions.
T he Red/Blue chair sits in the permanent collection of the Museum of Modern Art (MOMA) and is produced under license in Italy by Cassina. This model dates from c.2000.
â‚Ź1000 - 1500
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66 ‘EMENTHAL’ COFFEE TABLE, BY PATRICK O’REILLY (b.1957), moulded polycarbonate, signed and dated 2015, unique piece. 120cm (w) x 150cm (d) x 35cm (h).
€1000 - 1500
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67 A GILT BRASS AND SMOKED GLASS COCKTAIL TABLE, 1970s, IN WILLY RIZZO STYLE, the sliding extendable top revealing a fitted bar interior, 122cm (w) x 70cm (d) x 38cm (h) (closed).
€400 - 600
68 A SMOKED GLASS NEST OF TABLES, 1960s, with canted gilt chrome mounts, 48cm (w) x 40cm (d) x 40cm (h).
69 A SMOKED GLASS CORNER NEST OF TABLES, 1960s, with gilt chrome mounts, 78 cm (w) x 40cm (h) x 36.5cm (d).
€300 - 500 64
€400 - 600
70 A SET OF SIX PANTON CHAIRS BY VERNOR PANTON, FOR VITRA, thermoplastic construction, signed. (6).
€1500 - 2000
Verner Panton opened his own studio in 1955, conceiving pieces that would combine hi-tech materials, futuristic shapes and bright tones. He experimented with new forms and materials and an original way of apprehending the spatial environment. In 1960, he designed the Panton Chair. This was the first stackable, single-form injection-moulded chair, made of a unique bloc of moulded plastic that has since become a legendary piece. Highly committed to the importance of colours within his work, he declared, ‘choosing colours should not be a gamble. It should be a conscious decision. Colours have a meaning and a function.’
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71 A PAIR OF AMBOYNA WOOD SQUARE TABLE LAMPS, 1970s, on stepped bases, 54cm high (including shade).
€400 - 600
72 A PAIR OF KAISER IDELL 6781 SIDE LAMPS, designed by Christian Dell, c.1950, and manufactured by Kaiser Leuchten, Germany each 25cm high.
€500 - 700
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73 A GILT METAL CONSOLE TABLE, FRENCH, 1970s, the rectangular top inset with mirrored and smoked glass, raised on square supports, 112cm wide x 88cm high x 31cm deep.
€600 - 900
74 AN OPEN BACKED SHAPED SETTEE, ITALIAN, 1960s, on tapering legs, 129cm wide.
€600 - 900 67
75 A COPPERED METAL CENTRE LIGHT, 1970s, with five branch glass globular shades, 60cm (h).
€200 - 300
76 A PAIR OF BRASS TWO BRANCH WALL SCONCES SIMILAR, 34cm (h) x 29cm (w).
€100 - 200
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77 A CHROME AND GILT STANDARD LAMP, IN ART DECO STYLE, on an angular support and square base, 160cm high (excluding shade).
78 A GILT METAL STANDARD LAMP, ITALIAN, 1970s, with moulded glass shade, on a circular base, 160cm high.
€200 - 400 69
€300 - 500
79 Jean Lurcat, French School 1892-1966 LE COQ (1949) Aubusson Tapestry, 71” x 56” (180.5 x 142.2cm), signed.
€10000 - 15000
One only of two made of this design.
Certificate: Documentation from the Conseil General de la Creuse (Lurcat Museum).
J ean Lurcat, one of France’s finest exponents of tapestry design and was a major influence on Louis le Brocquy’s introduction to this medium. Le Brocquy, writing for Ark Magazine Royal College of Art, London 1956 stated:
“ Lurcat’s method of designing, already widely practised in France, has given new life to French tapestry, now more joyous and frank, more durable and economic than at any time since the end of the 16th century, when resistance to Renaissance idiom finally collapsed. His reconstituted technique imposes no particular style on the designer, as may be seen by comparing the quantiy of stylistically varied work recently produced at Aubusson. It is essentially a return to medieval ways.
In one form or another it represents the only practical and economic way of producing ‘a very large work of woven and coloured wools’: a tapestry. For any designer who has made a cartoon by this direct method of Lurcat and by the indirect, copy-a-painting method of, shall we say, Boucher, there can be no remaining doubt in eye or in mind as to the superiority of the former when comparing the two resultant tapestries. Only those can remain obdurate who insist on the virtue of cleverly and laboriously translating paint scumbles into weft”.
Louis le Brocquy, Ark Magazine, Royal College of Art, London 1956
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80 Charles Tyrell, b.1950 C6 O4 Oil on panel, diptych, 70” x 35” overall (178 x 89cm), signed, inscribed and dated 2004 verso.
€5000 - 7000
For many, Tyrell is one of the finest contemporary painters working in Ireland. Born in Trim, Co. Meath, Tyrell graduated from the National College of Art and Design in 1974. He held his first exhibition that year in the Projects Art Centre in Dublin. He has gone on to win numerous awards and he has held acclaimed exhibitions in various European and American locations. He is a member of Aosdana and is represented in Ireland by Taylor Galleries, Dublin.
Aidan Dunne, reviewing a Tyrell exhibition in Taylors in 2009 wrote: “Tyrell is an exemplar of what Gerard Richter termed “the daily practice of painting”, one senses that life revolves around the frontline of the studio, each piece he produces has the feeling of having been subjected to exacting scrutiny, of having been looked at and reworked until any doubts or obviousness have been left behind”.
72
73
81 Patrick O’Reilly, b.1957 DEW DROP Bronze with lacquer finish, 19¾” x 19¾” (50 x 50cm), signed and dated 2007, ed. 1/1
€1000 - 2000
74
82 Sean Scully (b.1945) BLOCK Woodblock, 37” x 43¼” (94cm x 110cm) signed, inscribed and dated 1986, ed. 5/30.
€2000 - 3000
75
83 Hughie O’Donoghue b.1953 WHERE IS YOUR GARDEN? Carborundum print, 19½” x 25” (49.5 x 63.5cm), signed and dated 2005. Provenance: Graphic Studio Gallery (label verso).
€400 - 600
84 Hughie O’Donoghue b.1953 DELUGE Carborundum print, 19½” x 25” (49.5 x 63.5cm), signed, inscribed and dated 2002. edition 3/39.
76
€400 - 600
86 Felim Egan b. 1952 UNTITLED Acrylic and mixed media on canvas, 29½” x 29¾” (75 x 75.5cm), signed and dated 2009 verso.
85 Makiko Nakamura, Contemporary SILVER OIL Oil on canvas laid on board, 23½” x 13¾” (60 x 30cm), signed, inscribed and dated January 2001 verso.
€500 - 700
77
€700 - 1000
87 A CONTEMPORARY CUT GLASS COFFEE TABLE, the oval top on a spiral twist column support, on a circular base, 139cm x 44cm x 65cm.
€200 - 400
88 A GLASS AND GILT MAGAZINE RACK, c.1970s, 43cm (w) x 40cm (d).
€200 - 400
78
89 A MOULDED GLASS VASE, FRENCH, BY DAUM, of flared design, signed, 34cm (h) x 28cm (w).
€300 - 500
90 A MURANO BUD VASE, signed, 20cm high.
€50 - 100
79
91 A PAIR OF ITALIAN BLUE AND BLACK UPHOLSTERED ARMCHAIRS, with dished seats, on tapering metal legs.
€300 - 500
92 A TWO SEATER ITALIAN SOFA SIMILAR, WITH LEATHER SEAT, on tapering metal legs.
€300 - 500
80
92A A BIBENDUM STYLE CHAIR, AFTER A DESIGN BY EILEEN GRAY, in red, on a chrome shaped base. €300 - 500
81
92B A BIBENDUM STYLE CHAIR, AFTER A DESIGN BY EILEEN GRAY, in black, on a chrome shaped base. €300 - 500
82
93 A TILED TOP COFFEE TABLE, 1970s, on a chrome angular base, 107cm (w) x 45cm (d).
€200 - 300
94 A BRUSHED ALUMINIUM COFFEE TABLE, FRENCH, 1970s, with central ice compartment, on plinth base, 91cm (w) x 61cm (d) x 37cm (h).
€200 - 400
83
96 A CHROME TWO TIER ART DECO DRINKS TROLLEY, with shaped supports, on castors, 96cm wide x 67cm high.
95 A SWIVEL DESK LAMP, BY FASE, bearing makers stamp, 42cm high.
€200 - 400
84
€150 - 250
97 A PROPELLER TABLE, 1960’s by Knut Hesterberg for Ronald Schmitt, with circular glass top on a polished steel propeller base, 82cm diameter x 31cm high.
€400 - 600
98 A CHROME D SHAPED CONSUL TABLE, 1970s, with smoked glass top, 99cm wide x 72cm high x 49cm deep.
€200 - 400
85
99 A CHROME EIGHT BRANCH CENTRE LIGHT, ITALIAN, 1960s, with fluted column.
€500 - 700
86
100 Tim Goulding, b.1945 CAKE EXPERIENCE Acrylic on canvas, 57¾” x 57¾” (147 x 147cm), signed, inscribed and dated 1969 verso. €700 - 1000
87
101 Brian Ballard RUA, b.1943 DAFFODILS AGAINST BLUE Oil on canvas, 24” x 18” (61cm x 46cm); signed, inscribed and dated '91 verso.
102 Petr Holecek, Contemporary PEGASUS Bronze €800 - 1200
€1000 - 2000
88
103 Father Jack Hanlon, 1913-1968 CONTINENTAL CHATEAU Watercolour, 10¼” x 11” (26 x 28cm). Provenance: Taylor Galleries, Dublin (label verso). €400 - 600
89
104 Jane O’Malley BLACK BOWL OF CHERRIES Oil on board, 12” x 12” (30.4 x 30.4cm), signed and dated 1999. €600 - 900
90
105 Simon Macleod, Contemporary EVENING, MALINMORE, CO DONEGAL Oil on canvas, 24” x 30” (61 x 76cm), signed, inscribed verso. €300 - 500
106 Mike Fitzharris, Contemporary CAUSEWAY Oil on board, 11” x 17” (28 x 43cm), signed. €300 - 500
91
107 Angela Fennel, Contemporary ABSTRACT Oil on canvas, 51” x 34” (130 x 76cm), signed and dated 1998 verso. €200 - 400
108 John Morris, Contemporary EVENING LIGHT, SEAPOINT Oil on board, 30” x 30” (76 x 76cm), signed, inscribed verso. €800 - 1200
92
109 Ita Kelly, Contemporary LET THE WIND BLOW THROUGH ME Acrylic on canvas, 48” x 36” (122 x 92cm), signed, inscribed and dated 1998 verso. €300 - 500
110 Aidan Bradley, Contemporary SUMMER HILL LANE Oil on board, 19¾” x 19¾” (50 x 50cm), signed, inscribed verso. €600 - 900
93
111 Anita Groener, Contemporary IN THE FEWEST POSSIBLE WORDS IX – DETERMINATION OF TIME Mixed media, 27 ½” x 39⅓” (70 x 100cm), signed. Provenance: Rubicon Gallery, Dublin (label verso). €400 - 600
112 Alice Maher, Contemporary COMA BERENICES I & COMA BERENICES II Etching, each 16½” x 19” (42 x 49.5cm), signed, inscribed, edition 27/30 & 25/30. €400 - 600 94
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ART AUCTIONEERS & VALUERS
Irish Art Auction Tuesday, 16th June Now Accepting Entries Colin Middleton, ALDERS: RABBIT ISLAND, oil on board
Next
Design Auction
September 2015
ART AUCTIONEERS & VALUERS
Now Accepting Entries
96
A SET OF SIX DINING CHAIRS BY ROCHE BOBOIS
Ballagh, R Ballard, D Boeri, C Bourke, B Bradley, A Brophy, E
30,48,49,50 101 63 36 110 41A
Hanlon, J Hesterberg, K Holecek, P Idell, K
72 14 12,13
Cronin, J
45
Jalk, G Juhl, F
Davey, R Davis, G Doherty, J
35 39 40
Kalff, L Kelly, I Koefoed, N
Egan, F
31,86
Fennel, A Fitzharris, M
107 106
Foster, N Sir
58
Giorgetti Goulding, T Groener, A
60 100 111
103 97 102
4 109 11
Lennon,C 44 Lurcat, J 79 Macleod, S Maderson, A Maher, A Mathsson, B McKenna, S McSweeney, S Morris, J
105 37 112 29 38 47 108
Nakamura, M
85
O’Donoghue, H O’Malley, J O’Reilly, P
32,83,84 104 66,81
Illustrations: Front Cover: 61 DONNA - UP5 & UP6, BY GAETANO PESCE FOR B + B ITALIA Back Cover: 12 & 13 THE POET SOFA, BY FINN JUHL (1911-1989) Inside Front Cover: 36 Brian Bourke HRHA b.1936, EAST MANHATTAN Inside Back Cover: 60 PAIR OF TALL BACK UPHOLSTERED ‘PROGETTI’ OPEN ARMCHAIRS 97
Pandya, V Pederson, B Pesce, G
42 10 61
Redmond, P 46 Reinoso, P 56 Relling, I20 Rietveld, G.T 65 Rizzo, W 55,62,67 Robinson, M 41 Scully, S Shawcross, N Shinnors, J
82 34 33
Thonnes, E Tyrell, C
43 80
Vodder, A
15
Wikkelso, I
8
ART AUCTIONEERS & VALUERS
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