Wednesday, November 9, 2016
NEW YORK
DOYLE+DESIGN
Spanning the past 125 years, this sale takes
AUCTION
a look at design that has transformed the
Wednesday, November 9, 2016 at 10am (Eastern)
way we use living spaces while questioning where we draw the line between fine art
EXHIBITION Saturday, November 5, 10am – 5pm Sunday, November 6, 12pm – 5pm Monday, November 7, 10am – 6pm
and furniture and decorative objects. From Tiffany glass to Chihuly glass, Joseph Hoffmann furniture to George Nakashima
LOCATION
furniture, the objects in this sale show how
Doyle 175 East 87th Street New York, NY 10128
each generation broke the mold of design
CONTACTS
from those that came before.
Specialists: Design–Todd Sell, 212-427-4141, ext 269, DoyleDesign@Doyle.com. Art– Angelo Madrigale and Harold Porcher, 212-427-4141, ext 249, Paintings. Client Services, Bidding & General Information: 212-427-4141, ext 242 or 207, Bids@Doyle.com,
The following pages illustrate many of the highlights of the over 400 lots in
Client.Services@Doyle.com
our November 9 Doyle+Design sale.
CATALOGUE
Please visit DOYLE.com to view the
View the fully illustrated catalogue and bid online at DOYLE.com
fully illustrated catalog.
i t t e m o c a i G o g Die
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Lot 335, Diego Giacometti (Swiss, 1902-1985), Table-Berceau (Cradle Table), premiere version, Bronze with green/brown patina, Signed Diego, Height 15 1/2 inches, width 54 inches, depth 17 inches. Provenance: Private Collection, 1999 to present; Collection of DeLorenzo Gallery, New York, 1998; Collection of Adele Siegel, purchased directly from the artist in 1970s. Estimate: $100,000–150,000
In the collaborative hands of Jacques Grüber, Louis Majorelle and Daum Frères, an otherwise ordinary chandelier has seemingly without effort been transformed into a naturalistic organic flower, forever captured at the pinnacle of its beauty. This exceedingly rare and spectacular bronze and leaded glass chandelier with its three colorful and vibrant pendant blossoms evocative of butterfly wings, was installed in about 1903 in the residence or hôtel particulier of Paul Luc, located
Bold & Fanciful at 25, Rue de Malzéville, in Nancy, France. Luc's home was certainly magnificent. It was built between 1901 and 1902 on a large parcel of land that he shared with his younger brother Victor, who also built a residence next door at 27, rue de Malzéville. The impressive chandelier reputedly adorned the interior entrance of this building. The home was also decorated with a beautiful stained glass landscape window by Grüber called "Paysage des Vosges," and included original woodwork designs by Majorelle. The house still stands today. The chandelier is formed by three vertical leaf-tipped bronze stem-like branches that terminate in three magnificent blossoms that surround a central horizontal disk. From below, the view is of a beautiful tranquil pond scene, executed in etched and enameled glass, depicting white water lilies with yellow centers, sumptuous dark green and lime green veined lily pads that overlap and other pink and yellow textured blossoms and arrowhead leaves, all against an aqua blue ground. Chandeliers such as this unique example are exceedingly rare. A related model decorated with hydrangeas, circa 1905, was gifted by Walter P. Chrysler, Jr., to the Chrysler Museum of Art in Norfolk, Virginia, in 1972. Majorelle's own residence, Villa Majorelle, also in Nancy, had a chandelier by Grüber and Majorelle, circa 1901, that illuminated the grand stairwell and Lot 233
was based on the theme of "Monnaie du pape." The theme of
Jacques Grüber, Louis Majorelle
the silver dollar plant was further developed in Majorelle's
and Verrerie de Nancy (Daum)
stairway by two large windows made by Grüber having the
French, 1870-1936 and 1859-1926
same decoration. A chandelier described as "Un lustre
Art Nouveau Chandelier, circa 1903
électrique en bronze, au Gui l'an neuf," based on the theme
Acid-etched, enameled and leaded
of mistletoe, was exhibited at the Exposition de l'Alliance
glass and bronze, Height overall 59 inches, overall diameter 36 inches. Property of an English Lady. Estimate: $75,000–100,000
Provinciale des Industries d'Art École de Nancy, in March 1903, and is illustrated in the official catalogue. A chandelier decorated with a seaweed design is in a private collection.
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Trained as an architect, George Nakashima (Japanese/American, 1905-1990) began
designing furniture while working abroad
in India and Japan. When he returned to the United States in 1940, he settled in Seattle,
Washington and began practicing woodworking
and making furniture. During the Second World War was he was interned at Camp Minidoka in Hunt, Idaho where he met a man named
Gentaro Hikogawa who was trained in traditional Japanese carpentry. It was under his teaching
that Nakashima developed his own appreciation
for woodworking. Nakashima believed that one had
to respect the craftsmanship as much as the materials.
“
The tree’s fate rests with the woodworker. In
hundreds of years its lively juices have nurtured
its unique substance. A graining, a subtle coloring, an aura, a presence will exist this once, never to
THE FINE LINES OF
reappear. It is to catch this moment, to identify with this presence, to find this fleeting relationship, to
capture its spirit, which challenges the woodworker. – Soul of a Tree, George Nakashima Nakashima found a way to make furniture utilitarian
and functional while also revealing the natural
elements the wood possesses. The intense organic nature of Nakashima's wood contrasts well with
other modern design materials such a bold
lacquers and polished chrome and the scale of his
oversize pieces mixes well with contemporary art.
NAKASHIMA
”
GEORGE NAKASHIMA (Japanese/American, 1905-1990) PROPERTY OF THE JOSEPH ST. CYR TRUST, SANIBEL, FL
Lot 293 Long Chair, 1959 Walnut and cotton webbing Length 61 inches. Estimate: $10,000–15,000
Lot 298 Pair of Cushion Lounge Armchairs, 1960 Walnut, hickory and upholstery Height 30 inches, width 30 1/2 inches, depth 30 inches. Estimate: $10,000–15,000
Lot 299 Pair of Cushion Lounge Chairs, 1960 Walnut, hickory and upholstery Height 31 inches, width 23 inches, depth 31 inches Estimate: $10,000–15,000
Lot 295 Bench with back, 1959 Walnut and hickory Signed with client's name St. Cyr. Height 34 inches, width 65 inches, depth 19 inches Estimate: $5,000–7,000
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GEORGE NAKASHIMA (Japanese/American, 1905-1990) PROVENANCE: ACQUIRED BY THE CURRENT OWNER DIRECTLY FROM GEORGE NAKASHIMA
Lot 404 SanSo Dining Table, 1987 Black walnut and rosewood Signed George Nakashima, December 11, 1987, with the original signed drawings. Height 28 1/2 inches, width 68 inches, depth 69 inches Estimate: $60,000–80,000 Lot 405 Set of Four Conoid Chairs, 1988 Black walnut and hickory Signed George Nakashima, May 27, 1988, and the client's name, with a copy of the original signed drawings. Height 35 1/2 inches, width 20 inches, depth 20 inches Estimate: $7,000–10,000 Lot 406 Set of Six Mira Dining Chairs (two shown), 1988 Solid walnut Signed George Nakashima, May 27, 1988, and the client's name, with a copy of the original signed drawings. Height 28 1/2 inches, width 68 inches, depth 69 inches Estimate: $6,000–8,000
GEORGE NAKASHIMA (Japanese/American, 1905-1990) PROPERTY OF THE JOSEPH ST. CYR TRUST, SANIBEL, FL
Lot 303 Low Table, 1968 Burl-walnut, rosewood and walnut Signed with the client's name, St. Cyr Height 14 inches, width 71 inches, depth 43 inches Estimate: $15,000–30,000
Lot 294 Long Bench, 1958 Walnut Height 11 inches, width 77 inches, depth 20 inches Estimate: $8,000–12,000
Lot 300 Low Table, 1960 Walnut and rosewood Height 11 inches, 30 inches square Estimate: $5,000–7,000
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WALL CANDY
Lot 24 Lot 166 Lot 87
Lot 92
Lot 158 Lot 21 Lot 21 Power Boothe (American, b. 1945), Untitled, 1976, Signed and dated, Oil on canvas, 48 x 48 inches, Unframed. Estimate: $3,000–5,000. Lot 24 Power Boothe (American, b. 1945), Untitled, 1977, Signed and dated, Oil on canvas, 24 x 24 inches. Estimate: $1,000–1,500. Lot 52 Striking out on his own after a long period as Warhol's assistant, Ronnie Cutrone (American, 1948-2013) developed a style he called "Post-Pop." This untitled work is reminiscent of Warhol's 1976 "Skull," as indeed the source photo of Warhol's famed work was taken by Ronnie himself. By layering it on top of found cereal boxes, Cutrone references the repetitive products in Warhol's work, but with a more raw, confrontational handling. Untitled (Skull), Acrylic on found cereal boxes mounted to panel, 24 x 24 1/4 inches. From The Estate of Ronnie Cutrone. Estimate: $4,000–6,000. Lot 66 John Millard Ferren, Untitled, 1960, Oil on canvas, 18 1/2 x 14 5/8 inches. Estimate: $800–1,200. Lot 87 Joseph Hirsch (American, 1910-1981), Man in a Golden Helmet, circa 1973 , Signed, Polymer on canvas, 17 x 14 inches. Provenance: Forum Gallery, New York; Estate of the artist. Exhibited: 1973 Midyear Show, The Butler Institue of American Art, Youngstown, OH. Estimate: $1,500–2,500. Lot 92 One of Malaysia's great Modernists, Ibrahim Hussein (Malaysian, 1936-2009) is represented in this sale with three works on found magazine pages. Looking to Western Abstract Expressionism, Hussein's bold colors and busy compositions play with the glimpses of the exposed magazine image beneath. Window Cleaner, 1964, Signed and dated, Gouache on magazine page laid to card, 10 1/4 x 10 inches. Estimate:$3,000-5,000
Lot 66
Lot 145
Lot 97
Lot 52 Lot 97 Known for his large-scale portraiture with a flatness and hard-edge born of Pop, this Untitled watercolor on paper by Alex Katz (American, b. 1927) uniquely different in that it is both miniature and eschews the intentional flatness typically seen in his work. By employing watercolor, the piece has a looseness which feels all the more personal considering its diminutive size (7 x 9 1/8 inches). Lot 158 Gertrude Shibley (American, 1916-2006), Jump for Joy, 1987, Signed, Acrylic on canvas, 36 x 48 inches. Estimate: $3,000–5,000. Lot 166 Joe Stefanelli (American, b. 1921), Camaraderie, 1988, Signed and dated, Acrylic on canvas, 24 x 28 inches. Estimate: $1,500–2,500. Lot 145 Washington, DC based artist Paul Allen Reed (1919-2015) was influenced by his friendship with Color Field artist Gene Davis. Reed initially worked in oil in the Action Painting style, before moving to acrylic-based paints used to stain the canvas with layered translucent washes, eventually arriving at a hard-edged abstract style. In 1964 the artist created his first iconic disc format works. #1C, Acrylic on canvas, 45 x 34 inches, was painted one year later. From the Estate of Antonio C. Ramos. Estimate: $5,000–7,000.
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Louis Cane (French, b. 1943) has had a prolific career as an artist. He began as a painter and member of the French Supports/Surfaces group. With influences ranging from Raphael to Velasquez to Pollock, his work has taken him from canvas to sculpture to furniture. Using a diverse group of materials, Louis Cane began creating furniture in the late 1970s but really began to dedicate his time to the craft in the late 1980s and early 1990s. Beginning with bronze that he was accustomed to using from sculpture and later employing woodworking craftsman to create beautiful inlays, Cane produced a wide range of seat furniture, tables, cabinets and decorative objects.
The Fanciful World of
Louis Cane Artist, Sculptor
& Designer
Clockwise from top: Lots 359, 360 & 361, Las Meninas, 1990s, Bronze, Each signed and numbered, Height 14 1/2 inches. Estimate: $1,500 – 2,500 each. Lot 396, Tree, 1990s, Bronze with green patina, Signed Cane and numbered 1/7, Height 22 inches. Estimate: $2,000 – 3,000. Lot 363, Girl in a Swing, 1990s, Bronze and wire, Signed Cane and numbered 5/8, Height 16 1/4 inches, width 7 1/4 inches, depth 6 inches. Estimate: $1,000 – 1,500.
Lot 354, Library Table, 2004, Pear wood and bronze, Signed Cane, 1/1, Atelier XIV Paris, Height 20 inches, width 11 feet, depth 32 inches. Estimate: $5,000–7,000
Lot 393, Custom Dining Table, 2000, Fruitwood inlaid with radish motif, Stamped ILEX with oak leaf on the underside, Height 30 inches, width 11 feet 10 inches, depth 45 inches. Estimate: $10,000–20,000
Lot 362, Fauteuil Caillebotis, 1990, Oak, bronze and upholstery
Lot 364, Tabouret, 1990s,
Signed Cane, numbered 2/8 and dated 1990, Height 30 1/2 inches,
Bronze and teak, Signed Cane
width 31 inches, depth 31 inches. Estimate: $800–1,200
and numbered 3/8, Height 19 1/2 inches, 15 1/2 inches, square. Estimate: $600–800
Left: Lot 355, Floor Lamp, 1990s, Bronze, Signed and numbered 1/8, Height 6 feet 2 inches. Estimate: $2,000–3,000
Lot 356, Banquette, 1990s , Bronze and teak, Signed Cane and numbered EA 1/4, Height 18 inches, width 46 inches, depth 16 inches. Estimate: $1,000–1,500 View the free fully illustrated catalogue and bid online at DOYLE.com
New Neutrals
Made famous by his design for the Mushroom Chair in 1960, PIERRE PAULIN (French, 1927-2009) joined Dutch based firm Artfort in late 1950s where he designed many unusual Lot 78
Lounge Chair, 1960s, for Artifort Leather,
(American, 1904-1991)
chromed and enameled steel, Height 38 inches,
Mother and Child (Chrissy)
width 32 inches, depth 31 inches. Provenance:
1971, Signed and stamped
Purportedly owned by David Bowie from his
Bronze, Height 6 1/2 inches
home at 43 Gilston Road, London, England.
Estimate: $1,000–1,500
Estimate: $2,000–3,000
A student of traditional Japanese pottery making and Zen Buddhism,
TOSHIKO TAKAEZU (American, 1922-2011) created her pieces to be one with nature. Many of her signature Closed Form and Moon vessels contain a small shard of ceramic inside, so when moved, one doesn’t forget the empty space inside. Left to right: Lot 401, Moon Vessel, height 6 inches. Estimate: $800–1,200. Lot 402, Closed Form Vessel, height 5 3/4 inches. Estimate: $1,000–2,000. Lot 403, Moon Vessel, height 8 inches. Estimate: $1,000–2,000
Lot 333, PHILIP & KELVIN LAVERNE (American, 1908-1988 and b. 1936) Tao Table, 1960, Etched, patinated and polychromed bronze and pewter, Signed, Height 17 1/4 inches, diameter 47 1/2 inches. Estimate: $4,000–6,000
and distinctive chair forms. Lot 305, No. 444,
CHAIM GROSS
Lot 13
MERSAD BERBER (Bosnian, b. 1940) White Horse III Signed and inscribed
Oil and paper collage on canvas
28 1/2 x 55 1/2 inches
Estimate: $3,000–5,000
Lot 323
CHARLES AND RAY EAMES (American, 1907-1978 and 1912-1988), Three Time-Life Stools, 1960s, for Herman Miller, Walnut, Height 15 inches, diameter 13 inches. Estate of Nan Rosenthal and Henry B. Cortesi. Estimate: $1,000–1,500
Lot 330, CHARLES POLLOCK (American, 1902-1988) Pair of Sling Chairs, 1960s Chromed steel, plastic and leather, With Knoll Associates label. Height 29 inches, width 25 inches, depth 27 inches. From the Estate of Nan Rosenthal and Henry B. Cortesi. Estimate: $800–1,200
Lot 283, HANS WEGNER (Danish, 1914-2007), Pair of Peacock Chairs, model no. JH 550, designed 1947, for Johannes Hansen, recent manufacture, Ash and teak, Height 42 1/2 inches, width 30 inches, depth 20 inches. Estimate: $3,000–5,000
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Unlike many of his contemporaries, SERGE ROCHE (French, 1898-1988) was inspired by the Baroque and the play of light and shadow. In stark contrast to the streamlined furniture of his time, he employed matte
Black&W hite is always Right!
and reflective materials in single pieces of furniture to create a silhouette of modern sophistication. Lot 279, Pair of Consoles, circa 1935, Painted and gessoed wood and marble, Height 35 inches, width 46 inches, depth 18 inches. Provenance: Alan Moss, New York, 2002. Estimate: $10,000–15,000
Lot 241, CHARLES RENNIE MACKINTOSH (English, 1868-1928), Willow Chair, designed 1928, later issue by Cassina, Lacquered wood, Height 47 inches, width 36 1/2 inches, depth 16 inches. From The Estate of Nan Rosenthal and Henry B. Cortesi. Estimate: $1,000–1,500
Lot 193, KEITH HARING, Untitled (Poster for Nuclear Disarmament), Offset litho-
graph, 1982, signed & dated, Back view
Sheet 24 x 18 inches. Estimate: $600–800
Lot 277, CHARLES & RAY EAMES (American, 1907-1978 and 1912-1988), Set of Three DCW Chairs, designed 1946, manufactured 2002, Black stained ash over plywood, With Herman Miller label, Height 28 3/4 inches, width 19 1/2 inches, depth 21 3/4 inches. Estimate: $600–800
Husband and wife team GERTRUDE & OTTO NATZLER (Austrian, 1908-1971 & 1908-2007) produced many exceptional vessels over their forty-year career. With her at the wheel and him at the kiln, they harmoniously created delicate pieces which are highly sought after today. Lot 286, Ceramic Vase, Signed Natzler, with paper label N725. Diameter 7 inches.
Lot 214, STERN, BERT (1929-2013), Elizabeth Taylor as Cleopatra,
Large format digital print, the image approximately 30 x 28 1/2 inches,
Estimate: $5,000–7,000
signed and with Stern's stamp on verso; framed. Estimate: $1,000–1,500
In the 1960s and 1970s, JOHN VESEY (American, 1924-1992) designed furniture based on the lines of antique forms, ranging from ancient Rome to the Napoleonic era. Using mostly polished metals and leather, his pieces feel very contemporary in the 21st century. Lot 281, Pair of Campaign Chairs, 1958, Chromed steel and leather, Height 39 1/2 inches, width 22 inches, depth 38 inches. Estimate: $10,000–15,000
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ADOLF LOOS (Austrian/Czechoslovakian, 1870-1933) believed, unlike many of his Vienna Secession contemporaries, that interior and exterior architecture should be free from ornament. Loos believed that the blending of the modern and the
Lot 252, GEORG JENSEN (Danish, 1866-1935), Pair of Candelabra, Pattern no. 244, designed 1918, circa 1918-30, Sterling silver, Each with hallmark, Height 8 1/4 inches, width 9 inches, total approximately 86 ounces. Estimate: $7,000–10,000
Lot 232, LOUIS MAJORELLE (French, 1859-1926), Salon Cabinet, circa 1901, Mahogany, courbaril, gilt-bronze and glass, Height 8 feet, with 7 feet 6 inches, depth 21 1/2 inches. Property of an English Lady. Estimate: $20,000–30,000
Design Principle:
Balancing Line & Curve Lot 100, ANTONIO GREDIAGA
KIEFF (Spanish/Canadian, b. 1936), Guitarra y Cabeza, 1970, Signed, dated and numbered 1/5, Bronze on marble base, Height 7 1/2 inches. Estimate: $1,000–1,500
antique created a unified space, a tradition that still continues today. Lot 250, Elephant Trunk Table, circa 1900, Mahogany, brass and marble, Height 26 inches, diameter 37 1/2 inches. Property of an English Lady. Estimate: $7,000–10,000
Lot 266, AFTER EDGAR BRANDT , Art Deco Style L'Oasis Six-Panel Screen, recent manufacture, Lacquered wood, Height 7 feet, width of each panel 24 inches. Estimate: $3,000–5,000
TOMMI PARZINGER ’s (American, 1903-1984) high-style modernism is as desirable today as it was when it was collected by Marilyn Monroe and renowned decorator Billy Baldwin. Parzinger’s affinity for clean lines and slick materials still resonate with today’s tastes. Lot 288, Cabinet, 1950s, for Parzinger Originals, Lacquered wood and brass on laminate base, Height 34 inches, width 8 feet, depth 20 inches. Estimate: $12,000–18,000
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Lo uis
s san
O
rti
iffany & H T t r fo is A m o C
bjects designed in the medium of Favrile
twenty-nine Monet paintings and eleven
glass mosaic such as murals for domestic
Renoir paintings, which they later donated to
D
interiors, lamp bases and desk accessories,
the Art Institute of Chicago, forming the core
against a blue-green ground, this exquisite
including the gilt-bronze and rainbow-hued
of the institution’s collection of impressionist
and jewel-like covered box is an exceedingly
ecorated in the Art Nouveau style with
its impressionistic red and golden-hued poppies
Favrile glass mosaic inkstand illustrated here,
art. Palmer II was director of the First National
rare example of enamel ware made by Tiffany
are an enduring legacy of the artistic and creative
Bank of Chicago and President of the Art
Studios. These wares were introduced to the
genius of Louis Comfort Tiffany and his artisans.
Institute of Chicago.
public by the firm in 1900 at the Exposition
The inkstand and paper knife desk set offered
Potter and Bertha Palmer and their family
acclaim. A novel quality was the addition of a
here was made between 1920 and 1924. It was
resided in a grand mansion on Chicago’s North
layer of gold or silver foil to the copper body
owned by Potter Palmer II (1875-1943), son
Lake Shore Drive, known as Potter Palmer
and undercoat of thin enamel that resulted in
of Potter Palmer (1826-1902), the Chicago
Castle. After living in the old family mansion for
greater luminescence, metallic brilliance and depth of beauty. Vases, bowls and covered
Universelle in Paris, where they received great
business magnate, business partner of Marshall
about ten years after his mother’s death, Palmer
Field and builder of downtown Chicago’s
II sold the family residence in 1930 and moved
boxes, mostly small in scale, were decorated
luxurious Palmer House, and Bertha Matilde
his family into a nearby modern sixteen-story
with colorful iridescent enameled surfaces.
Honoré (1849-1918), a wealthy socialite,
cooperative apartment building, located at
Some examples have smooth surfaces while
philanthropist and art collector, who befriended
1301 N. Astor Street, occupying three floors
others display naturalistic or shaped bodies
Claude Monet in France and who amassed a
as well as the ground floor lobby.
created to heighten the artistic effect.
large collection of impressionist art. In fact,
By the time production was ceased in 1907
Potter and Bertha Palmer eventually owned
it seems the enameling department had produced no more than 750 pieces.
Lot 227, LOUIS COMFORT TIFFANY FURNACES, INC. (American, 1920-1928), Inkstand
Lot 226, TIFFANY STUDIOS (American,
and Paper Knife, circa 1920-1924, Gilt-bronze and Favrile glass mosaic tiles, Stamped LOUIS
1902-1932), Miniature Box, circa 1905,
C. TIFFANY FURNACES, INC. and S 208, inscribed Property of Potter Palmer, 1301 N. Astor
Enameled metal, Stamped SG 279 and
Street, Chicago, Ill., Height of inkstand 4 3/4 inches, width 12 3/4 inches, depth 7 1/4 inches,
signed L.C.T., Height 1 3/4 inches, diameter
length of knife 10 1/4 inches. Estimate: $6,000–8,000
2 1/2 inches. Estimate: $7,000–10,000
Artistry in Glass
The French glass artist GABRIEL ARGY-ROUSSEAU (French 1885-1953) created a wide range of beautiful objects in the pâte de verre technique, including vases and bowls, lamps and night-lights, brûle-parfums, pendants and powder boxes. Produced during the Art Deco era and highly-sought after by collectors today, each object is a unique and colorful creation and work of art. Argy-Rousseau found his inspiration in Greek mythology, the Ancient classical world and in nature. Lot 267, Box, Bloch-Dermant no. 23.24, circa 1923, Pâte de Verre, Signed in the mold G. ARGY-ROUSSEAU, Height 2 3/4 inches, diameter 5 inches. Estimate: $4,000–6,000
FREDERICK CARDER (American, 1863-1963) was a remarkable and talented man. Unlike his contemporary and rival Louis Comfort Tiffany (1848-1933) Carder, because of his longevity, lived to see the initial popularity and favor of his art glass products in the 1900s through and including the 1920s, witnessed its decline when interest in Art Nouveau waned and the Great Depression all but ended demand for luxury glass, and then enjoyed renewed popularity in the following decades as new collectors discovered the special charm and allure of Steuben glass. An artist at heart, Carder had a lengthy and prolific career. His studio period began in the 1930s when he continued experimenting with various glassmaking techniques and culminated in his rare, one-of-a-kind cire-perdue (lost wax) pieces that were made in the late 1930s until the
Lot 235, DAUM FRÈRES (French 20th/
1950s, such as Head of Ophelia.
21st century), Art Nouveau Currants and Snail
Lot 228, Head of Ophelia, 1950s, designed
Vase, circa 1910, Acid Etched, enameled and
and made by Carder for the Steuben Division
applied glass, Signed Daum Nancy with the
of the Corning Glass Works, Cire perdue,
Cross of Lorraine and numbered 2098,
Signed F. Carder, Height 4 inches.
Height 24 1/4 inches.
Estimate: $15,000–20,000
Estimate: $5,000–7,000
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The late East Hampton sculptor Norman Mercer (American, 1916-2007) rediscovered his passion to create art later in life, following his retirement from a prolific international business career. Working with cast acrylic from his ultra-modern home designed by famed architect Robert A. M. Stern, Mercer created legions of supple yet geometrically precise sculptures. With ultra-smooth surfaces and high-intensity primary colors, Mercer’s translucent works play with light, acting as prisms and bending beams of purples, reds and blues from their bases. While Mercer used new materials to refract and reflect light similarly to West Coast “Light and Space” artists such as DeWain Valentine, Larry Bell and Craig Kaufman, his technique of manipulating an industrial material is unique to him alone. Mercer’s sculptures, sometimes table-top sized, sometimes massive pillars, have a space-age coolness about them, seemingly equally appropriate in a sci-fi movie or a major museum. Above, left to right: Lot 117, Incised Flight, Cast acrylic, Height 19 1/2 inches. Estimate: $3,000–5,000. Lot 118, Painting in Third Dimension IV, Initialed NJM, dated Dec - '97, and numbered 164, Cast acrylic, Height 32 1/2 inches. Estimate: $2,500–3,500. Lot 119, Rhomboid I, 1989, Initialed NJM, and dated Mar '89, Cast acrylic, Height 32 inches. Estimate: $2,000–4,000. Lot 120, Incised Pyramid, 1998, Stamped NJM, inscribed 82, and dated Oct. '98 on base, Cast acrylic, 14 1/2 x 19 1/2 x 19 1/2 inches. Estimate: $1,500–2,500. Opposite: Lot 115, Pyramidial Quadrillion II, 2003, Initialed NJM, dated Mar. - '03 and numbered 249, Cast acrylic, Height with base 75 inches. Estimate: $4,000–6,000. Lot 116, Polychromatic Column VI, 2001, Initialed NJM, dated May- '01 and numbered 230, Cast acrylic, Height 69 inches. Estimate: $4,000–6,000.
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Gerhard Henning began his career at Copenhagen’s Royal Porcelain Factory in 1909. He was employed WR PDNH ŵJXULQHV RIWHQ HURWLF PRVW RI ZKLFK ZHUH LQVSLUHG E\ WK FHQWXU\ )UDQFH 7KH 3ULQFHVV DQG WKH 3HD IURP +DQV &KULVWLDQ $QGHUVHQőV WDOH LV RQH RI +HQQLQJőV PRVW ŵQHO\ H[HFXWHG DQG GHWDLOHG ZRUNV LOTS 247, 248 & 249: Gerhard Henning, Swedish, 1880-1967, Princess and the Pea Bonbonnière, 1911, for Royal Copenhagen Porcelain Factory, based on the fairy tale by Hans Christian Andersen, Porcelain, Height 16 3/4 inches, Estate of Charlotte Chandler Estimate: $3,000 – 5,000 each
WENDY and
DAVID
LOT 375 • Orbit Necklace, circa 1989, Nickel, enamel and resin, Unsigned, Diameter 10 inches, length 18 3/4 inches, Estimate: $2,500 — 3,500 LOT 376 • Orbit Necklace, circa 1988, Nickel, enamel and resin Unsigned, Diameter 10 inches, adjustable. Estimate: $2,500 — 3,500
LOT 377 • David Watkins, English, b. 1940, Two Gryo Bangles, circa 1976-77 Aluminum and steel. Diameter 4 ¾ inches. Estimate: $5,000 — 7000
Wendy Ramshaw and David Watkins met in college and married in 1962. Both sculptors and jewelry artists, their careers have been independently and collaboratively successful. Both artists have worked in many mediums throughout their 50 year careers, however, they are probably most famous for their ideas and designs for wearable art. Wendy has drawn
LOT 374 • Pendant Earrings on Stand,1988, Nickel, sterling silver, enamel and resin, Unsigned, Length of earrings 4 3/8 inches, height of stand 6 3/8 inches, Estimate: $5,000 — 7,000
inspiration from feminist expressions and modern architecture with sharp lines and towers. David’s work began with minimalist geometric patterns and ideas of outer space and later jazz music heavily influenced his work. Both Wendy and David have worked with materials not typical of jewelry design which is what sets their pieces apart from others and allows these pieces to be called wearable art.
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Born in 1936, Mexican artist Pedro Friedeberg is the last living Surrealist, recognized by André Breton as part of the original movement. His fantastical furniture is covered in surreal ornamentation, pulling from world religions including Hinduism, Catholicism, and even Occultist elements. Going against the prevailing Friedeberg created purposefully eclectic and bizarre works with a whimsical yet cynical spirit. With the “Butterfly Chair,” Freideberg employs disembodied gold feet and hands, a standard practice throughout his work. The butterfly pattern shows elements of both Op-Art and Art Nouveau,
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trends of social and political art in Mexico,
as it repeats across the seat and back. Even the silhouette of the chair seemingly defies logical furniture design with its curvilinear, undulating form. Friedeberg remains in Mexico today, still producing work, exhibiting globally and carrying on as the last of bastion of the Surrealists. Lot 68, Pedro Friedeberg (Mexican, b. 1937), Butterfly Chair, Signed, Painted wood, Height 36 inches. Property of a Private Beverly Hills Collector. Estimate: $4,000–6,000
NOVEMBER 9, 2016
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