DESIGN [catalogue]

Page 1

Design New York / 7 June 2022





Design New York / 7 June 2022

Auction Tuesday, 7 June at 2pm 432 Park Avenue, New York, NY 10022 Please register to bid online, absentee or by phone. Viewing 432 Park Avenue, New York, NY 10022 2–7 June 2022 Monday–Saturday 10am–6pm Sunday 12pm–6pm

Design Department Head of Design, West Coast, Senior International Specialist Meaghan Roddy mroddy@phillips.com Senior International Specialist Beth Vilinsky bvilinsky@phillips.com Head of Department, New York

Sale Designation

Cordelia Lembo clembo@phillips.com

When sending in written bids or making enquiries please refer to this sale as NY050222 or Design.

Specialist

Absentee and Telephone Bids Tel +1 212 940 1228 Fax +1 212 940 1749 bidsnewyork@phillips.com

Kimberly Sørensen ksorensen@phillips.com Associate Specialist, Associate Head of Sale Benjamin Green bgreen@phillips.com Administrator Cecilia Moure cmoure@phillips.com



Our Team Design New York

Los Angeles

Cordelia Lembo

Beth Vilinsky

Kimberly Sørensen

Benjamin Green

Meaghan Roddy

Head of Department

Senior International Specialist, Americas

Specialist

Associate Specialist, Associate Head of Sale

Head of Design, West Coast, Senior International Specialist, Americas

+1 212 940 1265 clembo@phillips.com

+1 347 302 5255 bvilinsky@phillips.com

+1 212 940 1259 ksorensen@phillips.com

+1 212 940 1267 bgreen@phillips.com

London

Domenico Raimondo

Antonia King

Sofia Sayn-Wittgenstein

Head of Department, Europe & Senior International Specialist

Head of Sale

Senior Specialist

+44 20 7901 7944 antonia.king@phillips.com

+44 20 7318 4023 ssayn-wittgenstein@phillips.com

+44 20 7318 4016 draimondo@phillips.com

Paris

Madalena Horta e Costa

Margherita Manca

Carlotta Pintucci

Elie Massaoutis

Specialist

Cataloguer

+44 20 7318 4019 mhortaecosta@phillips.com

+44 20 7901 7926 mmanca@phillips.com

Assistant to Head of Design, Europe, Research Coordinator

Head of Design, France, Senior International Specialist

+44 20 7318 4096 cpintucci@phillips.com

+33 7 86 34 53 15 emassaoutis@phillips.com

+1 267 221 9152 mroddy@phillips.com


Senior Executives Edward Dolman

Cheyenne Westphal

Stephen Brooks

Executive Chairman

Global Chairwoman

Chief Executive Officer

+1 212 940 1241 edolman@phillips.com

+44 20 7318 4044 cwestphal@phillips.com

+44 0 20 7318 4046 sbrooks@phillips.com

David Norman

Jonathan Crockett

Jean-Paul Engelen

Chairman, Americas

Chairman, Asia, Head of 20th Century & Contemporary Art, Asia

President, Americas, Worldwide Co-Head of 20th Century & Contemporary Art

© Brigitte Lacombe

Executives

+1 212 940 1280 dnorman@phillips.com

+852 2318 2023 jcrockett@phillips.com

+1 212 940 1390 jpengelen@phillips.com

Hugues Joffre

Arnold Lehman

Jamie Niven

Senior Advisor to the CEO

Senior Advisor to the CEO

Senior Advisor to the CEO

+44 207 901 7923 hjoffre@phillips.com

+1 212 940 1385 alehman@phillips.com

+1 917 880 2532 jniven@phillips.com

Derek Collins Senior Consultant to Chairman’s Office, Asia +852 2318 2000 derekcollins@phillips.com


Deputy Chairmen & Chairwomen

Svetlana Marich

Robert Manley

Peter Sumner

Miety Heiden

Vanessa Hallett

Vivian Pfeiffer

Worldwide Deputy Chairman

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art

Deputy Chairwoman, Head of Private Sales

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

+1 212 940 1358 rmanley@phillips.com

+44 20 7318 4063 psumner@phillips.com

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeiffer@phillips.com

Marianne Hoet

Elizabeth Goldberg

Jeremiah Evarts

Cary Leibowitz

Kelly Troester

Deputy Chairwoman, Europe, Senior Specialist, 20th Century & Contemporary Art

Deputy Chairwoman, Americas, Senior International Specialist, American Art

Deputy Chairman, Americas, Worldwide Co-Head of Editions

Deputy Chairwoman, Americas, Worldwide Co-Head of Editions

+32 3257 3026 mhoet@phillips.com

+1 212 940 1239 egoldberg@phillips.com

Deputy Chairman, Americas, Senior International Specialist, 20th Century & Contemporary Art

+1 212 940 1222 cleibowitz@phillips.com

+1 212 940 1221 ktroester@phillips.com

+44 20 7318 4010 smarich@phillips.com

+1 917 304 4329 jevarts@phillips.com

+44 20 7901 7943 mheiden@phillips.com


Business Development

Americas Vivian Pfeiffer Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeiffer@phillips.com

Client Advisory

Americas

Europe

Philae Knight

Giulia Campaner Mendes

Client Advisory Director +1 212 940 1313 pknight@phillips.com

Client Advisor +44 20 7318 4058 gcampaner@phillips.com

Asia

Middle East & South Asia

Laurent Taevernier

Iori Endo

Yassaman Ali

Client Liaison Coordinator

Senior Client Advisor

Client Advisory Director

+32 32 573026 ltaevernier@phillips.com

+44 20 7318 4039 iendo@phillips.com

+44 20 7318 4056 yali@phillips.com

Trusts, Estates & Valuations

Museum & Corporate Collections

Americas

Americas

Jennifer Jones

Laura Wenger

Diana Willkie

Lauren Peterson

Director of Trusts, Estates & Valuations

Senior Account Manager

Account Manager & Business Development Associate

Director of Museum & Corporate Collections

+1 212 940 1276 dwillkie@phillips.com

+1 310 922 2841 lauren.peterson@phillips.com

+1 212 940 1272 jjones@phillips.com

+1 212 940 1302 lwenger@phillips.com

Our team is comprised of experts from auction houses, museums, galleries and other leading arts institutions. In addition to auctions in our New York, London, Hong Kong and Geneva salerooms, Phillips holds private sales and curated selling exhibitions across all of our categories around the world. Our range of services includes appraisals for private clients, advisors, attorneys and other key fiduciaries, and our dedicated Trusts, Estates & Valuations team provides complimentary reviews of collections.


International Specialists & Regional Directors

Americas Cândida Sodré

Carol Ehlers

Blake Koh

Cecilia Laffan

Vivian Pfeiffer

Maura Smith

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Director, Los Angeles

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

+55 21 999 817 442 csodre@phillips.com

+1 773 230 9192 cehlers@phillips.com

Deputy Chairman, Americas, Head of Business Development, Americas, Miami

Silvia Coxe Waltner

Sophia Kinell

Regional Director, Seattle

Regional Representative, San Francisco

+1 206 604 6695 scwaltner@phillips.com

+1 650 799 7931 sophia.kinell@phillips.com

+1 323 383 3266 bkoh@phillips.com

+52 1 55 5413 9468 claffan@phillips.com

+1 212 940 1392 vpfeiffer@phillips.com

+1 508 642 2579 maurasmith@phillips.com

Europe Nathalie Zaquin-Boulakia

Laurence Calmels

Clara Rivollet

Laurence Barret-Cavy

Elie Massaoutis

Thibault Stockmann

Regional Director, France, Senior International Specialist, 20th Century & Contemporary Art

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

Head of Design, France, Senior International Specialist

+33 153 71 77 89 lbarret-cavy@phillips.com

+33 7 86 34 53 15 emassaoutis@phillips.com

International Specialist, 20th Century & Contemporary Art, France

+33 1 53 71 77 87 lcalmels@phillips.com

+44 7342 884 127 nzaquin-boulakia@phillips.com

+33 6 42 09 97 39 crivollet@phillips.com

+33 601 888 749 tstockmann@phillips.com

Dr. Alice Trier

Tobias Sirtl

Carolina Lanfranchi

Margherita Solaini

Maura Marvão

Regional Director, Geneva

Specialist, 20th Century & Contemporary Art, Germany

Specialist, 20th Century & Contemporary Art, Germany

Associate Specialist, 20th Century & Contemporary Art, Italy

+41 22 317 81 83 nmonbaron@phillips.com

+49 173 25 111 69 atrier@phillips.com

+49 151 4192 6447 tsirtl@phillips.com

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain

Jeannette van Campenhout

Kalista Fenina

Kirsten MacDonald

Lori Spector

Senior International Consultant, Latin American Art

Specialist, 20th Century & Contemporary Art, Moscow

Regional Director, Scandinavia

+34 646 01 07 68 jvancampenhout@phillips.com

+7 905 741 15 15 kfenina@phillips.com

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Zurich

Dr. Nathalie Monbaron

+45 2010 2111 kmacdonald@phillips.com

+39 338 924 1720 clanfranchi@phillips.com

+39 340 369 5226 msolaini@phillips.com

+351 917 564 427 mmarvao@phillips.com

+41 76 259 30 39 lspector@phillips.com

Asia Kyoko Hattori

Yeonah Lim

Wenjia Zhang

Alicia Zhang

Yolanda Zeng

Cindy Yen

Regional Director, Japan

Associate Regional Representative, Korea

Regional Director, China

Associate Regional Representative, Shanghai

Associate Regional Representative, Shanghai

General Manager, Taiwan

+86 139 1828 6589 aliciazhang@phillips.com

+86 156 1886 4331 yolandazeng@phillips.com

+81 90 2245 6678 khattori@phillips.com

+82 2 797 8001 ylim@phillips.com

+86 13911651725 wenjiazhang@phillips.com

+886 2 2758 5505 cyen@phillips.com

Meiling Lee

Joyce Lin

Christine Fernando

Sandy Ma

Vivi Yip

Rika Dila

Senior International Specialist, Taiwan

Associate Representative, Taiwan

Regional Representative, Singapore

Senior Consultant, Indonesia

Senior Consultant, Thailand

+886 919 036 730 joycelin@phillips.com

+65 9128 6277 christinefernando@phillips.com

International Specialist, South East Asia

+62 8111 220 824 viviyip@phillips.com

+66 81 818 6878 rdila@phillips.com

+886 908 876 669 mlee@phillips.com

+852 2318 2025 sma@phillips.com


Property from a Private Collection, London

1. Georges Jouve

1910-1964

Large “Cylindre” vase circa 1955 Glazed stoneware. 10 1/8 in. (25.7 cm) high, 11 3/4 in. (29.8 cm) diameter Underside incised with artist’s cipher and JOUVE. Estimate $25,000-35,000

Provenance Jousse Entreprise, Paris Acquired from the above by the present owner, 2019 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 6, 19, 65, 102-03, 106, 315 for similar examples


Property from a Private Collection, Florida

2. Pierre Chapo

1927-1986

Table, model no. T21 D, and four benches, model no. S38 circa 1973 Ash. Table: 28 in. (71.1 cm) high, 54 1/2 in. (138.4 cm) diameter Each bench: 17 x 57 x 19 in. (43.2 x 144.8 x 48.3 cm) Estimate $7,000-9,000 Provenance Acquired by the present owner circa 2000


Property from a New York Collection

3. Josef Frank

1885-1967

“Flora” cabinet, model no. 852 designed 1937, executed 1940s Honduran mahogany-veneered wood, Honduran mahogany, printed paper. 55 3/4 x 44 3/8 x 16 3/4 in. (141.6 x 112.7 x 42.5 cm) Manufactured by Svenskt Tenn, Stockholm, Sweden. Exterior covered with paper illustrations from Nordens Flora by C. A. Lindman. Estimate $50,000-70,000 Provenance Jackson Design AB, Stockholm Acquired from the above by the present owner, 2017

Literature Form, nos. 1-10, 1938, n.p. Josef Frank: 1885–1967 – Minnesutställning, exh., cat, National Museum of Stockholm, 1968, p. 33 1885-1985: Josef Frank, 100 ar Jubileumsutställning hösten 1985, exh. cat., Svenskt Tenn, Stockholm, 1985, p. 23 Nina Stritzler-Levine, ed., Josef Frank, Architect and Designer: An Alternate Vision of the Modern Home, New Haven, 1996, p. 71 Christopher Long, Josef Frank: Life and Work, Chicago, 2002, p. 235 Christoph Thun-Hohenstein, Herman Czech and Sebastian Hackenschmidt, Josef Frank: Against Design, The Architect’s Anti-Formalist Oeuvre, exh. cat., Museum für Angewandte Kunst, Vienna, 2015, p. 310

Josef Frank, who arrived in Sweden from Austria in 1933, played a major role shaping the burgeoning idea of “Swedish Modern” in his role as a designer for the Stockholm interior design company Svenskt Tenn. Frank favored a softer form of modernism characterized by eclectic, individualistic decors as opposed to the hard-lined, rational modernism advocated by Le Corbusier and others. He also diverged from the Swedish modern movement, which had a nationalistic agenda and upheld Swedish folk traditions and rustic materials. Instead, he often employed imported veneers and drew inspiration from international historical precedents, as evidenced by the present Flora cabinet, which he based on the seventeenth-century cabineton-stand form and constructed from mahogany. The printed botanical illustrations that clad the cabinet’s exterior are from the book Bilder ur Nordens Flora by the Swedish botanist Carl Axel Magnus Lindman. Frank believed patterned surfaces were more calming than monochromatic surfaces and employed the Flora pattern, in particular, in several designs. Svenskt Tenn presented the same cabinet model in a 1951 exhibition at Kaufman’s Department Store in Pittsburgh—a fitting choice for introducing Swedish design to America.

Phillips would like to thank Per Ahldén of Svenskt Tenn for his assistance cataloguing the present lot.



Property of a Private Collector

4. Jean Prouvé

1901-1984

Set of six “Semi-metal” chairs, model no. 305 designed 1950, produced 1950-1969 Beech-veneered plywood, painted steel, rubber. Each: 32 x 16 3/8 x 18 3/4 in. (81.3 x 41.6 x 47.6 cm) Produced by Les Ateliers Jean Prouvé, France and issued by Galerie Steph Simon, Paris, France. Estimate $40,000-60,000

Literature Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 208-12, 232, 268 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 88-93, 99, 409, 410 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 25, 60-61, 6667, 79, 80, 84-85



Property from a Private Collection, London

5. Georges Jouve

1910-1964

Pair of planters circa 1956 Glazed stoneware. Each: 7 3/8 x 8 5/8 x 8 3/4 in. (18.7 x 21.9 x 22.2 cm) Underside of each incised with artist’s cipher and JOUVE, one partially obscured. Estimate $5,000-7,000

Provenance One planter: Galerie Alexandre Guillemain, Paris Acquired from the above by the present owner Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 149 for similar examples


Property from a Private Collection, London

6. Georges Jouve

1910-1964

“Cylindre” vase circa 1955 Glazed stoneware. 5 1/8 in. (13 cm) high, 6 1/8 in. (15.6 cm) diameter Underside painted with artist’s cipher and JOUVE. Estimate $4,000-6,000

EXTEND BACKGROUND

Provenance Galerie Alexandre Guillemain, Paris Acquired from the above by the present owner, circa 2015 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 62-65, 150 for similar examples


Property of a Private Collector, Belgium

7. Georges Jouve

1910-1964

“Boule” vase and two bottles 1950s Glazed stoneware. Vase: 6 in. (15.2 cm) high Taller bottle: 15 1/4 in. (38.7 cm) high Underside of each incised with artist’s cipher and JOUVE. Estimate $18,000-24,000

Provenance Private collection, Knokke-le-Zoute, Belgium Acquired from the above by the present owner Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, throughout for similar bottles and “Boule” vases



Property of a Private Collector, New York

8. Georges Jouve

1910-1964

Pair of wall lights 1950s Glazed stoneware, painted metal, brass, paper shades. Each: 17 x 15 x 8 in. (43.2 x 38.1 x 20.3 cm) Estimate $8,000-12,000 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 214-15 for similar examples


Property from a Private Collection, London

9. Georges Jouve

1910-1964

“Boule” vase circa 1957 Glazed stoneware. 6 1/4 in. (15.9 cm) high Underside incised with artist’s cipher and JOUVE. Estimate $10,000-15,000 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, throughout


Property from a Robert Couturier Interior

10. André Borderie

1923-1998

Panel 1950s Painted panel. Sight: 29 1/2 x 9 1/8 x 3/4 in. (74.9 x 23.2 x 1.9 cm) Lower right corner painted borderie. Estimate $7,000-10,000


Property from an East Coast Private Collection

11. Jean Prouvé

1901-1984

“Antony” chair, model no. 356 circa 1954 Beech-veneered plywood, painted steel, aluminum. 33 3/4 x 19 5/8 x 27 7/8 in. (85.7 x 49.8 x 70.8 cm) Produced by Les Ateliers Jean Prouvé, France and issued by Galerie Steph Simon, Paris, France. Estimate $15,000-20,000 Provenance DeLorenzo 1950, New York Acquired from the above by the present owner, circa 1991

Literature Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 272 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 130-35, 137, 309, 355, 407 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 23, 63, 136-37, 145, 168, 170, 192, 238, 241, 245

The Antony chair persists as one of Jean Prouvé’s most celebrated designs. Prouvé devised the model in 1954 for a dormitory hall at the Cité Universitaire d’Antony, having won a design competition put forth by the institution. Here Prouvé testifies to the elasticity of plywood, which in the present model arcs subtly to form the curvilinear silhouette of the chair’s seat, itself cradled by a sheet metal skeleton standing on tubular metal legs. The chair was quickly placed in several other interiors, its light and pleasing form ideal for such varied settings as waiting rooms, offices, and the domicile. Its environmental versatility and agreeable form earned the work alternate nomenclature as the “Light easy” chair. Many institutions retain an Antony model in their permanent collections, including the Museum of Modern Art, New York and The Metropolitan Museum of Art, New York.


Property from the Collection of David Netto

12. Alexandre Noll

1890-1970

Table lamp 1950s Ebonized wood, paper shade. 21 in. (53.3 cm) high, including shade Base incised A Noll. Estimate $8,000-12,000 Provenance Galerie du Passage, Paris Liz O’Brien, New York, acquired from the above, circa 2000 Acquired from the above by the present owner, 2001


Property from a Private Collection, London

13. Georges Jouve

Property from a Private Collection, London

14. Georges Jouve

1910-1964

1910-1964

Property from a Private Collection, London

15. Georges Jouve

1910-1964

“Cylindre” vase

“Cylindre” vase

“Cylindre” vase

circa 1955 Glazed stoneware. 9 5/8 in. (24.4 cm) high, 4 1/8 in. (10.5 cm) diameter Underside incised with artist’s cipher and JOUVE.

circa 1955 Glazed stoneware. 14 3/8 in. (36.5 cm) high, 6 3/8 in. (16.2 cm) diameter Underside incised with artist’s cipher and JOUVE.

circa 1955 Glazed stoneware. 9 1/2 in. (24.1 cm) high, 4 in. (10.2 cm) diameter Underside incised with artist’s cipher and JOUVE.

Estimate $4,000-6,000

Estimate $10,000-15,000

Estimate $4,000-6,000

All three lots: Provenance Galerie Alexandre Guillemain, Paris Acquired from the above by the present owner, 2015-2019 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 62–65, 150 for similar examples

14. 13.

15.


Property from a Private Collection, Westchester

16. Jean Prouvé

1901-1984

Set of four “Tout bois” chairs circa 1942 Oak-veneered plywood, oak. Each: 32 1/2 x 16 x 19 1/2 in. (82.6 x 40.6 x 49.5 cm) Manufactured by Les Établissements Vauconsant, Saint-Nicolas-dePort, France for Les Ateliers Jean Prouvé, France. Estimate $15,000-20,000

Provenance DeLorenzo 1950, New York Acquired from the above by the present owner, circa 1995 Literature Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 2: 1934-1944, Basel, 2000, pp. 33, 294-95 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 66-69, 98, 397




Property from a Manhattan Private Collection

17. Jean Prouvé

1901-1984

Sun shutter, designed for schools in Cameroon circa 1960 Aluminum, painted wood. 106 3/4 x 69 7/8 x 4 1/8 in. (271.1 x 177.5 x 10.5 cm) Manufactured by Velam, Suresnes, France. Estimate $10,000-15,000

Provenance Artcurial, Paris, “Design,” November 20, 2012, lots 29-33 (partial) Acquired from the above by the present owner Literature Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 4: 1954-1984, Basel, 2005, pp. 180-81 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 226-29


Property from a Private Collection, London

18. Georges Jouve

1910-1964

Chalice circa 1955 Glazed stoneware. 6 1/8 in. (15.6 cm) high Underside incised with artist’s cipher and JOUVE. Estimate $6,000-8,000

Provenance Galerie Alexandre Guillemain, Paris Acquired from the above by the present owner, circa 2015 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 53, 100-01, 157, 288, 292 for similar examples


Property from a Manhattan Private Collection

19. Jean Prouvé

1901-1984

Sun shutter, designed for schools in Cameroon circa 1960 Aluminum, painted wood. 106 3/4 x 69 7/8 x 4 1/8 in. (271.1 x 177.5 x 10.5 cm) Manufactured by Velam, Suresnes, France. Estimate $10,000-15,000 Provenance Artcurial, Paris, “Design,” November 20, 2012, lots 29-33 (partial) Acquired from the above by the present owner Literature Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 4: 1954-1984, Basel, 2005, pp. 180-81 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 226-29


Property of a Private Collector

20. Jean Prouvé

1901-1984

Set of six “Semi-metal” chairs, model no. 305 designed 1950, produced 1950-1969 Beech-veneered plywood, painted steel, rubber. Each: 32 x 16 3/8 x 18 3/4 in. (81.3 x 41.6 x 47.6 cm) Produced by Les Ateliers Jean Prouvé, France and issued by Galerie Steph Simon, Paris, France. Estimate $40,000-60,000

Literature Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 208-12, 232, 268 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 88-93, 99, 409, 410 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 25, 60-61, 66-67, 79, 80, 84-85


Property from a Private East Coast Collection

21. Jean Prouvé

1901-1984

Cabinet, model no. 152 circa 1951 Painted steel, painted aluminum, oak. 39 3/8 x 62 7/8 x 17 3/4 in. (100 x 159.7 x 45.1 cm) Produced by Les Ateliers Jean Prouvé, France. Estimate $30,000-50,000

Provenance DeLorenzo 1950, New York Acquired from the above by the present owner, circa 1991 Literature Peter Sulzer, Jean Prouvé: Œuvre Complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 171, 173 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, p. 460


Property from a Private Collection, London

22. Georges Jouve

1910-1964

Property from a Private Collection, London

23. Georges Jouve

1910-1964

“Boule” vase

“Boule” vase

circa 1957 Glazed stoneware. 5 in. (12.7 cm) high Underside incised with artist’s cipher and JOUVE.

circa 1957 Glazed stoneware. 10 3/4 in. (27.3 cm) high Underside incised with artist’s cipher and JOUVE.

Estimate $4,000-6,000

Estimate $18,000-24,000

Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, throughout

Provenance Thomas Fritsch – Artrium, Paris Acquired from the above by the present owner, 2019 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, throughout


Property from a Private Collection, London

24. Jean Prouvé

1901-1984

Pair of “Semi-metal” chairs, model no. 305 designed 1950, produced 1950-1969 Painted steel, beech-veneered plywood. Each: 32 x 16 1/4 x 18 1/2 in. (81.3 x 41.3 x 47 cm) Produced by Les Ateliers Jean Prouvé, France and issued by Galerie Steph Simon, Paris, France. Estimate $25,000-35,000

Provenance Galerie Alexandre Guillemain, Paris Acquired from the above by the present owner Literature Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 208-12, 232, 268 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 88-93, 99, 409, 410 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 25, 60-61, 66-67, 79, 80, 84-85


25. Jacques Adnet and

Jacques Lenoble 1901-1984 and 1902-1967 Coffee table circa 1945 Oak, glazed ceramic tiles. 17 5/8 x 35 x 32 3/4 in. (44.8 x 88.9 x 83.2 cm) Produced by La Compagnie des Arts Français, Paris, France. Estimate $8,000-12,000 Provenance Galerie Eric Philippe, Paris Acquired from the above by the present owner Literature “La céramique,” Mobilier et Décoration, December 1960, p. 31 for the tile design

Phillips would like to thank Alain-René Hardy for his assistance cataloguing the present lot.

A master of modern design, Jacques Adnet remains acclaimed for his deft handling of materials, building an oeuvre characterized by elegant invention over the course of his six-decade career. Born at the turn of the century, Adnet attended the École des Arts Décoratifs in Paris, where he studied under architect Charles Louis Genuys. He quickly gained recognition for his seamless merging of medium and form, employing such materials as glass, parchment covered wood, and various metals. Adnet created lighting and furniture born distinctly of the Art Deco spirit, though timeless in their refined configuration. La Compagnie des Arts Français, an interior design firm founded in 1919, named Adnet director in 1927. During this period, he collaborated with several noted designers, including Charlotte Perriand, René Herbst and Jacques Lenoble. A noted French ceramicist, Lenoble introduced fine mosaic tiling to Adnet’s furniture; the present lot comes from this fruitful collaboration. Lenoble applied ivory and rose-colored tiles to the oak table in a triangular composition, elevating the furnishing into a sumptuous ceramic composition.


26. Jean Besnard

1889-1958

Low bowl circa 1930 Glazed stoneware. 1 7/8 in. (4.8 cm) high, 5 3/4 in. (14.6 cm) diameter Underside incised Jean/Besnard. Estimate $1,000-1,500 Provenance Private collection, Paris Acquired from the above by the present owner, 2013


27. Alberto Giacometti

1901-1966

Pair of rare “Le Poing” wall lights circa 1931 Painted plaster, painted metal. Left fist: 8 x 5 7/8 x 11 1/2 in. (20.3 x 14.9 x 29.2 cm) Right fist: 8 1/2 x 6 x 11 in. (21.6 x 15.2 x 27.9 cm) Reverse of metal wall mounts impressed MADE IN FRANCE. Together with a certificate of authenticity from the Comité Giacometti. Estimate $200,000-300,000

Provenance Acquired by the present owner in 2019 Literature Charles Juliet, Giacometti, New York, 1986, p. 33 for a similar example Léopold Diego Sanchez, Jean-Michel Frank, Adolphe Chanaux, Paris, 1997, p. 248 Véronique Wiesinger, Giacometti: La figure au défi, Paris, 2007, p. 43 for a similar example Pierre-Emmanuel Martin-Vivier, JeanMichel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period, New York, 2012, pp. 233, 367

The present lot is registered by the Fondation Alberto and Annette Giacometti in the online Alberto Giacometti Database (AGD) under the numbers AGD 4369 and AGD 4370.




Alberto Giacometti persists as one of the great contributors to the development of modern sculpture. He is best remembered for his elongated bronze figures, which continue to spark dialogues on portraiture and spatiality. Before dedicating himself to full renderings of the human figure though, Giacometti enjoyed a productive tenure as a designer, creating expressive objects of utilitarian use. He designed the present lot, along with several other domestic accessories and furnishings, in partnership with acclaimed French interior designer Jean-Michel Frank. A fixture amongst the Surrealists, Giacometti drew upon the leitmotifs of the movement, employing fragmentation and iconography in his work. The present lot renders the eponymous fist holding a sconce in the precarious grasp of its finger tips. Fragmented hands were indeed a beloved and enduring emblem of the Surrealists and their successors, appearing in Jean Cocteau’s Beauty and the Beast and Maya Deren’s Meshes of the Afternoon. The present Le Poing model wall lights were designed in 1931 and Giacometti would return to them in the following years, eventually developing a less stylized version of the template. Pairs of Le Poing wall lights were employed to furnish important interiors of the age, most notably including Nelson Rockefeller’s apartment at 810 Fifth Avenue, New York. A mutually beneficial collaboration, Frank aspired to create volumes that embodied the “luxury of nothing.” Characteristically Frank interiors were marked by their decorous tranquility, furnished with only the most necessary works of design.



28. Jean Besnard

1889-1958

Table lamp circa 1930 Glazed stoneware. 12 3/8 in. (31.4 cm) high Underside painted with the artist’s mark. Estimate $6,000-8,000 Provenance Private collection, Paris Acquired from the above by the present owner, 2013


Property from an Important Midwest Collection

29. Raymond Delamarre 1890-1986 “La Tentation” circa 1928 Patinated plaster. 35 x 44 5/8 x 8 7/8 in. (88.9 x 113.3 x 22.5 cm) Base inscribed Raymond Delamarre. Estimate $15,000-20,000 Literature René Chavance, “Le XXI Salon des Artistes Décorateurs,” Mobilier et Décoration, June 1931, p. 289



French sculptor Raymond Delamarre achieved initial acclaim in 1919 after winning the prestigious Prix de Rome, which allowed him to travel and study in Italy for four years. Following his tenure in Rome, Delamarre moved back to Paris where he exhibited at various international art and design salons during the 1920s and 1930s. Throughout his career, the subjects of his work varied greatly. Though agnostic himself, Delamarre created a number of works, such as the present lot, that are ecclesiastical in theme. But he also gained recognition for his commemorative works such as the Monument à la Défense du Canal de Suez as well as his monumental bronze bas relief panels in the first-class dining room of the SS Normandie. The artist designed the present sculpture, titled La Tentation or Adam et Eve, in 1928 and created it in bronze as an edition of 10 as well as in plaster in an unknown edition size. Here, he has depicted part of the Judeo-Christian creation story in which Adam and Eve are tempted by a serpent to eat fruit from the forbidden tree, thus banishing them from the Garden of Eden. Delamarre depicts these characters in a mannerist style and flanks them with an antelope and lion on each side. Though this Genesis story was not a particularly popular theme for many artists working in the Art Deco style, the way that Delamarre figured these lithe bodies not only reflects his sculptural prowess but also the streamlined forms of the time. Along with a number of his other works, the present design was included in the original interior of the Hotel George V in Paris.



30. Jean Besnard

1889-1958

Vase circa 1930 Glazed stoneware. 7 1/2 in. (19.1 cm) high Underside incised Jean/Besnard/ FRANCE. Estimate $3,000-5,000 Provenance Private collection, Paris Acquired from the above by the present owner, 2013


Property from the Collection of David Netto

31. Maison Jansen Side table circa 1938 Lacquered wood. 15 1/2 x 27 3/8 x 15 1/4 in. (39.4 x 69.5 x 38.7 cm) Estimate $4,000-6,000

Alexandre Serebriakov, illustration of the banquette room at 24 Boulevard Suchet, Paris, 1946.

Provenance The Duke and Duchess of Windsor, Paris Mohamed Al-Fayed, Paris, acquired from the above, 1986 Sotheby’s, New York, “Property from the Collection of the Duke & Duchess of Windsor: The Public Collections,” February 19, 1998, lot 1157 R. Louis Bofferding, New York, acquired from the above Acquired from the above by the present owner, 2001 Literature James Archer Abbott, Jansen, New York, 2006, illustrated p. 112

In 1938, the Duke and Duchess of Windsor commissioned the design firm Maison Jansen to furnish and decorate their four-story apartment in the sixteenth arrondissement of Paris. For this project, the company— under the direction of Stephane Boudin— employed their typical eclectic and opulent style throughout the home. The present side table sat in the banquette room on the first floor, which also included a large green velvet upholstered sofa, silk drapes, an oil portrait of the Duchess, faux-bamboo chairs, and lacquered tables similar to the present example which were styled after Chinese antiques. Though the Duke and Duchess left Paris at the precipice of World War II, they returned in 1945 with the interiors still largely intact. The Duke and Duchess decided to relocate, however, in 1946, but before doing so, they commissioned Russian-born artist Alexandre Serebriakov to illustrate the interiors in watercolor. In one of these works, pictured here, the present lot is depicted in the far back right corner.


32. Attributed to Joseph Urban 1872-1933 Pair of monumental candle holders, from the Mary and Joseph Urban residence, Yonkers circa 1920 Silver-plated metal. Each: 47 in. (119.4 cm) high

Provenance Mary and Joseph Urban, Yonkers, New York Literature Randolph Carter and Robert Reed Cole, Joseph Urban: Architecture, Theatre, Opera, Film, New York, 1992, illustrated p. 110

Estimate $8,000-12,000

The living room of Mary and Joseph Urban, including the present lot, circa 1920. Image courtesy the Joseph Urban Archive, Rare Book & Manuscript Library, Columbia University.

The present monumental candle holders once flanked a fireplace in the New York residence of acclaimed architect and designer Joseph Urban. Emigrating from the Austro-Hungarian Empire to the United States in 1912, Urban is celebrated as a master of American Art Deco interiors, designing such fabled venues as the Rathauskeller, Vienna, the Central Park Casino, New York, fifty-one productions at the Metropolitan Opera, New York and all of Florenz Ziegfeld’s stage sets at the Ziegfeld Theatre, New York. Urban’s prolific output also included furniture for the home. The present lot likely originated from one of Urban’s New York productions, possibly designed for a Ziegfeld folly or for an opera at the Met. Silver-plated, the holders extend far beyond the dimensions of candle sticks, standing on the floor, rather than on a table. It is easy to envision the present lot on a vast stage, glistening within an Urban set confection. Urban designed other monumental candelabras for Met operas in the 1920s, including Don Giovanni and Hansel and Gretel. A 1920 photograph, courtesy of the Rare Book & Manuscript Library at Columbia University, New York reveals the present holders placed prominently in Joseph and Mary Urban’s home in Yonkers, New York.



Property from a Private Collection, East Hampton, New York Σ

33. Émile-Jacques Ruhlmann 1879-1933 Bed, model no. 894b NR 1932 Kingwood-veneered oak, bronze. 39 x 85 x 81 in. (99.1 x 215.9 x 205.7 cm) Interior of foot board branded Ruhlmann, 1932 and with Atelier A medallion mark. Estimate $25,000-35,000

Provenance Roberto Polo, Paris Ader Tajan, Paris, “Collection Roberto Polo,” November 7, 1991, lot 104 Private collection, Colorado, acquired from the above Phillips, New York, “Design Day Sale,” December 13, 2018, lot 195 Acquired from the above by the present owner Literature Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984, p. 91 for a similar example Florence Camard, Jacques-Émile Ruhlmann, New York, 2011, p. 180 for a similar example

The drawing for the present model bed is recorded in the reference album “Sièges, lits, guéridons, tables” (inventory number 2002.18.12) held by the Ruhlmann Archives at the Musée des Années Trente, Boulogne Billancourt, Paris.



34. Gustav Gurschner

1873–1970

Two vases circa 1900 Gilt and patinated bronze. Taller: 11 1/8 in. (28.3 cm) high Cast by K.K. Kunsterzgiesserei, Vienna. Taller vase impressed GURSCHNER on one side and further impressed K.K./KunstErzgiesserei/Wien/1488 on the underside. Shorter vase impressed GURSCHNER at base and further impressed KKKE Wien 1408 on the underside. Estimate $8,000-12,000 Literature Le Arti a Vienna: dalla secessione alla caduta dell’Impero Asburgico, exh. cat., Biennale di Venezia, Palazzo Grassi, Venice, 1984, p. 278 for the smaller vase



Property of a Gentleman

35. François-Xavier Lalanne 1927-2008 “Mouton de Pierre” designed 1979, executed 1988 Epoxy stone, patinated bronze. 34 x 36 x 15 in. (86.4 x 91.4 x 38.1 cm) Number 79 from the edition of 250. Underside of muzzle impressed fxl/ LALANNE/79 / 250 and underside of body incised 1988 LALANNE. Estimate $300,000-500,000

Provenance Private collection, United States Acquired from the above Literature Les Lalannes: Claude and François-Xavier Lalanne, New York, 1988, cover Daniel Marchesseau, Les Lalanne, Paris, 1998, p. 146 Daniel Abadie, Lalanne(s), Paris, 2008, pp. 186-87 Paul Kasmin, Claude & François-Xavier Lalanne, New York, 2012, n.p. Adrian Dannatt, Les Lalanne, Fifty Years of Work, New York, 2015, pp. 106, 108



The present lot, François-Xavier Lalanne’s Mouton de Pierre, represents a significant work in the artist’s oeuvre, a fantastic menagerie of creatures. Lalanne was born in southwestern France in 1908 and attended the Academie Julien in Paris, where he studied under acclaimed painter Jules Cavaillès. In Paris, he was introduced to such artists and Max Ernst and Man Ray, whose surrealist influences manifest in Lalanne’s constellation of recurring motifs of animals. As a young artist, Lalanne was a security guard at the Louvre, Paris; assigned to the Egyptian and Assyrian galleries, he encountered ancient sculptures of various fauna, all marked by a profound stillness and natural self-containment. Lalanne first debuted his Moutons in 1966, under the moniker Pour Polytheme (For Polythemus). The title was a reference to Homer’s Odyssey; the cyclops Polythemus imprisons Odysseus and his compatriots, who escape their captivity by clinging onto the bellies of the monster’s giant sheep. This vignette in the epic poem was a favorite subject amongst Baroque painters, who were likely drawn to the scene for its variegated textures and unusual contortions of the body. While most art historians and critics often cite surrealism as Lalanne’s primary creative influence, the Moutons showcase the inventive effect of ancient mythology, while also recalling Lalanne’s tenure at the Louvre. Lalanne initially made his sheep from bronze and wool, creating a flocculent first generation of ovine. In 1979, Lalanne created a herd for the Agen-Foulayronnes vocational school, employing epoxy stone to allow for the sheep to be displayed outside. Lalanne continued to make closed editions of epoxy sheep to be exhibited outdoors, perhaps in recognition of their pastoral origins. The Mouton de Pierre reiterates Lalanne’s wit, the title translating to “Sheep of Stone” in English, an eponym dedicated to the medium.



36. François Louis Schmied

and Gustave Miklos 1873–1941 and 1888-1967 “La Rivière Enchantée,” unique paneled wall composition

Provenance Laurent Monnier, Paris, commissioned by the artists Christie’s, Paris, “Arts Décoratifs du XXè Siècle,” May 17, 2006, lot 16 Acquired from the above by the present owner

circa 1934 Enameled and gilt cast iron. Overall: 112 x 128 x 1/2 in. (284.5 x 325.1 x 1.3 cm) Comprising forty panels.

Literature Victor Bérard, L’Odyssée, Paris, 1930, n.p. for an illustration with a similar design Danuta Cichocka, Gustave Miklos: Le Moderniste Byzantin, Catalogues Raisonnés, Sculptures, Arts Décoratifs, Peintures, Volume 2, Paris, 2014, illustrated p. 152

Estimate $250,000-350,000

Under the Signature of Schmied, the Talent of Miklos by Alexandra Jaffré, art historian, Art Deco expert and secretary of the Gustave Miklos Committee For several years, Art Deco collectors have corroborated the talent of the Hungarian-born sculptor Gustave Miklos with their high bidding. But what do we know about Miklos’ paintings and drawings? There exists a lacuna of painted figurative works signed by his hand between 1922 and 1941. Why did Miklos stop painting for nearly twenty years? And how is this mystery connected to the present lot, the enamel panel signed ‘Schmied’? An investigation into the matter expounds the plenitude of the artistry of Gustave Miklos. Miklos abruptly stopped painting in 1922. Encouraged by steady sales from patrons, which included the renowned couturier and collector Jacques Doucet, he concentrated solely on the production of decorative art objects, for which he made many preparatory drawings. Simultaneously, he executed a series of bas-reliefs in embossed metal, which he exhibited in a 1923 exhibit at the avant-garde gallery L’Effort Moderne, owned by Cubist champion Léonce Rosenberg. Miklos was also engaged in patinated bronze, creating sculptures from the material. Was Miklos only a sculptor then?

From Fascination to Possession What happened behind Gustave Miklos’ studio door at 158 rue SaintJacques in Paris? Bent over his drawing board, he tirelessly sketched illustrations, initials, ornamentations, binding cover projects and book models in ink and gouache. He also worked on lacquered panels and screens, paintings and models of enameled cast iron decorations. Swiss-born engraver François-Louis Schmied first visited Miklos’s studio discreetly, disguised elegantly behind round tortoiseshell glasses and a felt hat. He feverishly grasped the present works and told Miklos about his next edition of books and the stakes of his major commissions. Pressed for time, Schmied slipped sketches by the Hungarian artist into a large notebook. Schmied was an outstanding technician who had mastered the art of wood graving at his Ecole des Arts Industriels, Geneva apprenticeship. He met Miklos in the workshops of Jean Dunand, rue Hallé, a Parisian base for brassware (dinanderie) and lacquering. From the beginning of their relationship, Schmied understood the creative capability of



the young Miklos. Only Miklos could give shape to these fictitious women, some goddesses, some lascivious lovers, whom he enveloped in drapes with geometric embroidery born of the Art Deco spirit. Schmied knew that by leaving the studio with these artistic treasures under his arm, he became part of the historical lineage of publishers on the famous rue Saint-Jacques, the nerve center of the world of prints in the 17th century. He locked himself up on the fourth floor of his workshops at 74 bis rue Hallé, where nobody ever set foot, and for good reason. . . Confidential Agreement and Consequences In 1922 Schmied and Miklos entered into a confidential arrangement that bound them together for the remainder of their lives. The secret was so well kept that many Art Deco enthusiasts still ignore that behind Schmied’s signature hides the hand of Miklos. Why would Miklos agree to give up the most productive years of his career to Schmied, according to the chosen terms of his widow? The arrangement benefited both men, though we may assume that such a decision was very difficult for Miklos to make. He resigned himself to financial security, as opposed to pursuing the uncertain path of singular artistic success, a road often marked by selfishness. As a son and brother, Miklos undertook important family responsibilities; he

needed to provide for his loved ones, whose marked destitution in Hungary upset him endlessly. Miklos sacrificed potential fame for the basic needs of his family. With the promise of a comfortable income, Miklos not only gave up all of his graphic production to Schmied, but he also agreed to Schmied’s signature on his works. Miklos knew that he alone could not contact bibliophiles, nor could he convince them to financially support his work. With this contract, Miklos agreed to be the ghost designer of a man who would crown himself in the laurels of fame with unconcealed pride. Miklos thus joined a cohort of fellow writers whose literary sphere was particularly rich. For his part, François-Louis Schmied drew his glory from the imagination of an inspired artist, thus overcoming the graces he had not received at birth. The engraver had grasped the omnipotence of the signature, that which leaves an indelible mark on history. While some creators do not sign their works, because it is obvious that the pieces are the fruit of their hand, Schmied never forgot to affix his name under “his” drawn production, in a symbolic gesture signifying full and complete appropriation. He could then boast of being the complete man of the book, from its conception to its manufacture: the invenit and the delineavit but also the sculpsit and the excudit. Schmied thus remains, in the eyes of bibliophiles, a genius of the twentieth century: an artist, engraver and printer. Schmied Commission, Miklos Authorship Two notable elements of the present lot La Rivière Enchantée (Enchanted River) attribute authorship to Miklos. First, a notebook entitled “Works carried out for François since the year 1922” attests to Miklos’ graphic work made exclusively for his patron. On the first page, we learn that he received 8,000 Francs that year. He lists deposits and monthly payments through 1941, providing brief detail of the work performed for each financial recording. However, notes from 1932 onward do not allow for precise investigations into the commissions from this period, whether they were for books or works of decorative arts. His notebook reveals, amongst several other works, bindings for Daphne, for Création, watercolors for Sucre, for Vérité, for Ulysse. The notes from 1932 onward are more vague; however, in March of that year, there is reference to both the mention Arbre de la Connaissance (Tree of Knowledge) and the Arbre de Vie (Tree of Life), two projects of impressive enameled panels executed by the Baudin foundry and signed Schmied. We therefore know that Schmied commissioned Miklos to create sketches for all the enamel works he produced.

Illustration for L’Odyssée with annotations by Gustave Miklos. Image © Archives Gustave Miklos.


Schmied was undoubtedly inspired by Jean Dunand’s grandiose lacquer decorations for the Normandie liner, a symbol of French industrial triumph, made during the same period as La Rivière Enchantée. However, unlike Dunand, Schmied selected the enameled cast iron technique to execute the work. Likely impressed by Les Arbres, Laurent Monnier, director of the foundry, commissioned La Rivière Enchantée to adorn a reception room of his Paris apartment. An artistic and technical triumph, La Rivière was exhibited at the Galerie Georges Petit in 1932 and at the Pavillon de Marsan in 1934, alongside Arbre de la Connaissance and Arbre de Vie. Miklos had a long history of working in enamel. In the 1920s he made delicate enameled works to the delight of the refined Doucet. The second piece of evidence that attributes the present lot to Miklos rests within the repository of archival documents, bequeathed by Miklos’ widow, including preparatory drawings of the works published under Schmied’s name, annotated models, and tracings which unequivocally return authorship to Miklos. Among these, a document in Schmied’s workshop confirms that Miklos drew the enameled cast iron panel presented here. The illustration renders Homer’s Odyssey as imagined by Miklos in early 1930 and includes his handwritten instructions for the printer. The background of the colored print shows the wall decoration of the palace that inspired La Rivière Enchantée, its stylized design evoking the torments of a mountain storm, rather than a peaceful river flowing through the hollow of a valley. Laurent Monnier deeply admired Miklos, from whom he acquired a handful of sculptures, including Tête de Reine and L’Homme et son Destin; however, Monnier was unaware that his Rivière was in fact the creation of Miklos. An Exceptional Artistic Partnership Today, Art Deco collectors are expressly informed of Miklos’ authorship in works attributed to Schmied. Phillips is the first auction house to restore authorship to Miklos, making a pioneering gesture in the art market. Miklos and Schmied leave behind a legacy of beauty and elegance. The partnership between these two artists greatly enriched the French decorative arts during the interwar period.


37. Jean Besnard

1889-1958

Vase 1932 Glazed stoneware. 7 7/8 in. (20 cm) high Underside incised Jean/Besnard/1932. Estimate $4,000-6,000

Provenance Private collection, Paris Acquired from the above by the present owner, 2013 Literature Gaston Varenne, “Le XXIIe Salon des Artistes Décorateurs,” Art et Décoration, July 1932, p. 197 for a similar example “Jean Besnard,” Art et Industrie, January 1936, p. 25 for a similar example


38. Jean Besnard

1889-1958

Vase and footed bowl circa 1930 Glazed stoneware. Vase: 9 3/4 in. (24.8 cm) high Bowl: 1 1/2 in. (3.8 cm) high, 5 1/4 in. (13.3 cm) diameter Underside of each incised Jean/ Besnard/FRANCE. Estimate $5,000-7,000 Provenance Private collection, Paris Acquired from the above by the present owner, 2013



39. Jean Besnard

1889-1958

Large bowl circa 1930 Glazed stoneware. 3 3/4 in. (9.5 cm) high, 15 in. (38.1 cm) diameter Underside incised Jean/Besnard. Estimate $4,000-6,000

Provenance Private collection, Paris Acquired from the above by the present owner, 2013 Literature Fabien Sollar, “La Céramique et la verrerie d’art,” Les Échos d’Art, July 1929, p. 11 for a similar example


Property from a Private Collection, Miami

40. Ron Arad

b. 1951

“2 R Not” chair 1992 Patinated and mirror-polished bronze. 23 7/8 x 30 x 24 in. (60.6 x 76.2 x 61 cm) Artist’s proof number 4 from the edition of 20 plus 5 artist’s proofs. Base incised Ron Arad A.P. 4 / 5. Estimate $20,000-30,000

Provenance The Gallery Mourmans, Maastricht Acquired from the above by the present owner, 2010 Literature Deyan Sudjic, Ron Arad, London, 2001, p. 65 Barry Friedman, Ltd., Ron Arad: A Retrospective Exhibition, 1981-2001, New York, 2005, pp. 52-53, 101 Paola Antonelli, et al., Ron Arad: No Discipline, exh. cat., The Museum of Modern Art, New York, 2009, p. 35



Property from a Robert Couturier Interior

41. Hervé van der Straeten

b. 1965

“Volubile” ceiling light, model no. 306 2006 Patinated bronze. 38 in. (96.5 cm) drop From the edition of 50 plus 1 artist’s proof.

Provenance Acquired directly from the artist by the present owner Literature La Galerie Flore, Hervé van der Straeten: Profusion, Brussels, 2016, p. 75 for a similar example

Estimate $25,000-35,000

Hervé Van der Straeten brings a contemporary spirit to his interiors and furnishings, establishing himself amongst the finest French designers working in the twenty-first century. Van der Straeten trained at the École des Beaux-Arts in Paris and began his career by making jewelry, which was critically recognized for its sculptural refinement. He soon began to design furniture, approaching wood and bronze with the same architectonic precision and mobile sensibility as his jewels. The present lots indeed recall Van der Straeten’s tenure in jewelry-making while also displaying his mastery of patinated bronze. The interlocking bronze rings of the Volubile light descend from the ceiling in a fantastic expression of mobility, while the Anneau (“Ring”) console renders the eponymous circular base balancing a slab of ebonized pearwood, creating a tactile and visual delight. An acclaimed furnituremaker, Van der Straeten’s works are installed at the Elysée Palace, Paris, and are in the permanent collection of the Musée des Arts Décoratifs, Paris.




Property from a Robert Couturier Interior

42. Hervé van der Straeten

b. 1965

“Anneau” console 2008 Ebonized pearwood, patinated bronze. 30 7/8 x 49 5/8 x 11 7/8 in. (78.4 x 126 x 30.2 cm) Number 50 from the edition of 56 plus 1 artist’s proof. Underside with the artist’s metal plaque impressed 50 / 56. Estimate $25,000-35,000

Provenance Acquired directly from the artist by the present owner Literature La Galerie Flore, Hervé van der Straeten: Profusion, Brussels, 2016, pp. 58-59


Property from a Private Collection, New York

43. Ron Arad

b. 1951

Monumental and unique “Blown Out Of Proportion (B.O.O.P.)” vase 1998 Superplastic aluminum. 92 x 57 x 12 in. (233.7 x 144.8 x 30.5 cm) Produced by The Gallery Mourmans, Maastricht, the Netherlands.

Provenance The Gallery Mourmans, Maastricht Private collection, New York, acquired from the above Thence by descent to the present owner Exhibited “Ron Arad: No Discipline,” The Museum of Modern Art, New York, August 2October 19, 2009

Estimate $30,000-50,000

A celebrated innovator in postmodern design, Ron Arad is often credited with ensconcing the field firmly within the twenty-first century. Arad attended the Bezalel Academy of Art in Jerusalem during the early 1970s, soon moving to London, where he established his studio One Off, with collaborator Caroline Thorman in 1981. Even at the inception of his career, Arad employed cutting-edge technologies and novel materials to experiment in furniture-making. The result was a playful resurrection of Expressionism, with unexpected lines and volumes rendered in such materials as polyurethane, carbon, and patinated and sprung steel. The B.O.O.P. (Blown Out of Proportion) vase fully embodies this innovative spirit. Produced in 1998 in conjunction with the Blown Out of Proportion (B.O.O.P.) collection, Arad utilized superplastic aluminum, a novel medium at the time, which allowed for extreme contortions and hollowing, due to its finegrained nature. To create the vase, Arad heated the aluminum and inflated it through a stencil, forming the ballooning hollows that are characteristic of the series. The present model was exhibited at the critically acclaimed exhibition, Ron Arad: No Discipline, at the Museum of Modern Art in 2009.

Literature Deyan Sudjic, Ron Arad, London, 2001, illustrated p. 203 Barry Friedman, Ltd., Ron Arad: A Retrospective Exhibition, 1981-2001, New York, 2005, illustrated pp. 19, 99 Paola Antonelli, et al., Ron Arad: No Discipline, exh. cat., The Museum of Modern Art, New York, 2009, illustrated p. 121




“ Miss Blanche” Chair by Nick Haramis

In his New Yorker review of the original 1947 Broadway staging of A Streetcar Named Desire, Wolcott Gibbs wrote about a “disturbing play, almost faultless in the physical details of its production.” He was describing, of course, the now-canonical unraveling of Blanche DuBois, by birth a Southern Belle, now a wilting flower of a woman, who arrives on her sister’s doorstep in a rough section of New Orleans clutching pearls she can no longer afford. But Gibbs could just as accurately have been referring to Shiro Kuramata’s Miss Blanche chair, which the Japanese designer was inspired to make in 1988 after watching Elia Kazan’s 1951 film adaptation of the Southern Gothic by Tennessee Williams. Like the playwright’s antiheroine, Kuramata’s Miss Blanche is an uneasy study in the performance of perfection. Supported by four tubular anodized aluminum legs rendered in purple, the seat comprises thick, knife-sharp transparent acrylic slabs containing floating paper roses (not unlike the ones that decorate Blanche’s dress), which were painstakingly positioned using tweezers into four molds as the liquid acrylic cured. Blanche, wrote Gibbs, “has manufactured a gaudy. . .substitute past for herself.” In fact, at one point in the film, even she says about a prospective suitor, “He thinks I’m prim and proper. I want to deceive him enough to make him want me.” Hers is a projection of purity that seems to have resonated with Kuramata, who quit experimenting with natural roses when the hot liquid acrylic, itself a glass substitute, burnt one too many real petals. Kuramata’s assistant at the time, Hisae Igarashi, recalls him saying, “It has to be fake, because Blanche Dubois herself is a fake.” Kuramata’s reverence for artifice, however, is genuine; in the chair’s elegant construction, he has made an expressive object that belies its own materiality: its function as a place to sit is beside the point. Like the story that led to its creation—a tale, according to Gibbs, of “dragging something out into the light”—the chair communicates the beauty of seeing something for what it really is, even when it’s not flattering.

In each of his trope-skewering objects, from his white acrylic Ghost lamps to the expanded steel mesh of his How High the Moon armchair, which had neither an interior frame nor support, Kuramata, too, was dragging something out into the light: us. As we interact with his work, we are confronted by the seductive presence of his anti-gravitational nothingness, or, to paraphrase Milan Kundera, the unbearable, euphoric lightness of being. Kuramata debuted Miss Blanche at a KAGU exhibition during Tokyo Designers’ Week in 1988, and again the following year in a solo show of his work at Galerie Yves Gastou in Paris. While his peers, particularly the Italian designer Ettore Sottsass—a friend and collaborator who invited him to join the Memphis collective at its founding in 1981—were displaying objects whose volume was largely expressed by surface area, he introduced the world to Miss Blanche, a deceptively airy chair that disappears almost entirely so that just a bed of roses seems capable of holding the weight of a human body. It is not just a miracle of technique, although it is that; it is also a celebration of belief. It is a perfectly suspended dream that we can experience with eyes wide open. Miss Blanche was produced as an edition of 56, one for each year of Kuramata’s life. When he died in 1991, at the height of his career, Miss Blanche, his final piece, took on an elegiac aura. Whereas those flowers once captured the tragic beauty of Blanche DuBois, they have since become symbols of their creator. Someone once said that designing death is the greatest proof of life. It’s hard to think about that without remembering Blanche’s final scene in the film. In a rare moment of resignation amid her crescendo of hysteria, she manages to convince a doctor not to confine her to a straitjacket. Just then, an actual smile—maybe the first we’ve seen from her—stretches across her otherwise woebegone face. It’s as if she’s finally been set free by her own disintegration. And in a way, she has.


Property from an Important American Collection

44. Shiro Kuramata

1934-1991

“Miss Blanche” chair designed 1988, executed before 1991 Acrylic resin, synthetic roses, anodized aluminum. 34 3/8 x 24 3/8 x 23 in. (87.3 x 61.9 x 58.4 cm) Manufactured by Ishimaru Co., Tokyo, Japan. From the edition of 56. Estimate $250,000-350,000 Provenance Acquired directly from the artist as a gift

Literature Matthias Dietz and Michael Mönninger, Japanese Design, Cologne, 1994, front cover, pp. 74-75 Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, pp. 26-27, 39-40, 187, 192 Ettore Sottsass, “An Exhibition Dedicated to Shiro Kuramata,” Domus, no. 788, December 1996, p. 56 George H. Marcus, Masters of Modern Design: A Critical Assessment, New York, 2005, p. 155 Jean-Louis Gaillemin, ed., Design Contre Design: Deux siècles de créations, exh. cat., Galerie Nationale du Grand Palais, Paris, 2007, p. 41 Glenn Adamson and Jane Pavitt, eds., Postmodernism: Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 153 Deyan Sudjic, Shiro Kuramata: Catalogue of Works, London, 2013, p. 362



A Rare Bone Chair by Joris Laarman by Luke T. Baker

Dutch designer Joris Laarman was only three years out of Design Academy Eindhoven when his 2006 Bone chair became an instantaneous icon portending the formal and technical possibilities of the then-nascent field of digital design. Laarman designed the chair using data driven modeling software that simulates the natural growth patterns of bones and trees—highly efficient structures that redistribute their mass at specific points in response to physical stress—creating an ultra-strong chair with a minimum of material. With its low, mirror-polished aluminum seat supported on a skeletal structure of attenuated members that seem to organically emerge from the floor, the Bone chair’s curiously original form captures tensions between the artificial and the natural, the industrial and the handmade. Laarman’s application of synthetic biology to this piece of domestic furniture established him as an experimental pioneer at the vanguard of emergent digital design practices. The Bone chair quickly caught the attention of the international design community, with 6 examples from the edition of 12 (of which the present chair is number two) being acquired by major international institutions, among them the Museum of Modern Art in New York, the Vitra Design Museum in Germany, as well as the Rijksmuseum and Centraal Museum in the Netherlands.

The Bone chair marries digital technology and nature in a seamless union that dispels the false dichotomy between them. From his earliest works, Laarman has derived aesthetic inspiration from the natural world (his insistently decorative Heatwave radiator from 2003 resembles an unruly, Neoclassical-inspired acanthus leaf pattern). The Bone chair marked the designer’s first foray into using natural science to dictate not just the formal appearance of an object, but the structural logic that underpins its engineering and construction. Laarman became fascinated by the efficiency and material economy of human bones after discovering the work of German biomechanical scientists Claus Mattheck and Lothar Hartzheim. Their research revealed that our bones are continuously shaped by the body as it removes bone tissue from areas requiring less strength, reducing skeletal weight while reinforcing structural soundness.




To apply these biological principles to the design of a chair, Laarman partnered with European automotive manufacturer Opel, which had adapted Mattheck and Hartzheim’s research on these naturally occurring “smart” systems into modeling software that could develop more efficient industrial components. The program’s algorithms mimic the body’s own reductive process, removing excess material from a rudimentary mass (akin to the way a sculptor frees a figure from a block of stone), to arrive at an essential shape that’s structurally optimized for its a principal purpose—to carry weight. “If Mother Nature wanted to create a chair, it would probably look something like the results we would get,” Laarman noted of the modeling process. 1 Though it originates from a mathematical formula processed by a computer, the Bone chair takes the human body as a direct point of reference. Its structural members are almost identical in scale to our own bones, and they share the same organic aesthetic with their gentle curves and asymmetrical proportions. In a sense, the Bone chair acts as a prosthesis for the body it serves, a synthetic skeleton designed in the exact same manner as the biological one it supports. For Laarman, the Bone chair project cemented a commitment to digital technologies as principal elements of his creative practice, tools that function not as replacements for, but as extensions of traditional craftsmanship and hand making. To Laarman, “Rather than something nostalgic, craftsmanship ought to be seen as always evolving, and that, with the help of high-tech tools, should be central to society.”2 Producing the chair necessitated mastery of two distinctly different technologies still in their relative infancy at the time: computer-aided modeling software to pare away excess matter from the design on screen, and 3D-printing capabilities to build ceramic molds from the digital file—reductive technology driving additive technology.


Laarman chose to fabricate the edition in aluminum for its high strength-to-weight ratio akin to bone tissue. To cast the object as a single piece from the complex, multi-part mold demanded the skill of a seasoned craftsperson experienced in working with these new 3Dprinted forms. Once cast, months of meticulous hand polishing were required to take the hollow aluminum piece to its finished state. The Bone chair’s ultimate reliance on human artistry underscores that no machine—regardless of how sophisticated and precise—can best the embodied knowledge, tactile sensitivity, and aesthetic judgment of the person who sanded down the chair’s surface, felt its texture beneath their fingertips, and adjusted the gesture of their hand tool to resolve any imperfections. The Bone chair lay the groundwork for Laarman’s continued explorations into the role of digital technology in design, and he would go on to adapt these hybrid design techniques with other objects that would become the “Bone Furniture” series. “Modernist pioneers were all about assembly and standardized parts in a geometric form language dictated by the limitations of industrial machines,” Laarman once observed. “In our digital era, however, we are no longer bound by these limitations. With digital design and fabrication tools we can create smarter, customized forms that are much more complex.”3 Sculpted into its striking form through biomechanical data, the Bone chair became a bellwether for the optimized objects of the future, engineered in with collaboration with nature, made manifest through technology, and refined by human hands.

1. Joris Laarman, “Bone Furniture” in ed. Anita Star, Joris Laarman Lab (New York: August Editions, 2017), p. 66 2. Joris Laarman, “An introduction to our experimental playground…” www.jorislaarman.com/about 3. Joris Laarman, “Bone Furniture” in ed. Anita Star, Joris Laarman Lab (New York: August Editions, 2017), p. 63


3-D renderings used to design the Bone chair. Image courtesy of Joris Laarman Lab.


Property from an Important European Collection

45. Joris Laarman

b. 1979

“Bone” chair 2006 Aluminum. 30 x 17 1/2 x 30 3/8 in. (76.2 x 44.5 x 77.2 cm) Produced by Joris Laarman Lab, Amsterdam, the Netherlands. Number 2 from the edition of 12 plus 3 artist’s proofs and 1 prototype. Underside incised with the artist’s facsimile signature and 2 / 12. Estimate $500,000-700,000 Provenance Friedman Benda, New York Acquired from the above by the present owner, 2007

Literature Louise Schouwenberg, “Digital Déco,” Domus, no. 900, February 2007, pp. 20, 22 Paola Antonelli, ed., Design and the Elastic Mind, exh. cat., Museum of Modern Art, New York, 2008, p. 71 Conny Freyer, Eva Rucki, and Sebastien Noel, Digital by Design, Crafting Technology for Products and Environments, London, 2008, pp. 24-25 Anita Star, ed., Joris Laarman Lab, exh. cat., Cooper Hewitt, Smithsonian Design Museum, New York, 2017, pp. 6-7, 65, 70-73, 313



Property of an Important New York Collector

46. Jun Kaneko

b. 1942

“Untitled” Dango form 2015 Glazed stoneware. 24 1/4 in. (61.6 cm) high Estimate $10,000-15,000 Provenance LongHouse Reserve Benefit Auction, East Hampton, New York, 2015 Acquired from the above by the present owner

Japanese-American ceramist Jun Kaneko created an extensive body of work within the confines of a relatively small number of forms. One of the primary forms that he explored was what he called a “Dango”— Japanese for “dumpling”—a form that resembles a large vase without an opening. Despite his limited formal palette, he endlessly explored scale and surface decoration. Kaneko created dozens of Dangos that range is size, some over six feet tall. He hand-built these sculptures and then, due to their size and thickness, let them dry for an extended period before firing them in industrial-sized kilns and then decorating them in colorful abstract patterns.


Property from an Important French Collection

47. Giovanni Ferrabini

1909-1969

Rare console table circa 1957 Painted iron, brass, glass. 37 1/4 x 73 5/8 x 22 1/2 in. (94.6 x 187 x 57.2 cm) Edge of glass acid-etched TEMPERATO. Estimate $15,000-20,000

Provenance Phillips, New York, “Design,” June 11, 2014, lot 84 Acquired from the above by the present owner Literature “Il ‘Securit’ nell’architettura,” Domus, no. 333, August 1957, p. 57 Andrea Branzi and Michele De Lucchi, eds., Il Design Italiano Degli Anni ’50, Milan, 1985, p. 58


Property from an Esteemed New York Collection

48. Betty Woodman

1930-2018

“Twisted Handle Vase with Shadow” 1986 Glazed earthenware. Vase: 24 x 23 x 10 1/4 in. (61 x 58.4 x 26 cm) Shadow: 25 1/2 x 23 x 3 in. (64.8 x 58.4 x 7.6 cm) The base of each impressed WOODMAN.

Provenance Max Protetch, New York Acquired from the above, 1986 Literature Janet Koplos, Betty Woodman, New York, 2006, pp. 42, 84-86 for similar examples

Estimate $15,000-20,000

For the first thirty years of her career, Betty Woodman focused her practice on domestic objects made in the studio behind her home. “I really was interested in making functional objects,” the artist recalled, also saying, “I wanted to be a part of and make useful functional objects that would change society, because if you have beautiful things to use, it changes the kind of person you are.” It was not until halfway through her career that Woodman’s work drastically shifted from creating beautiful functional objects to creating conceptual and figurative works with no true progenitors. In 1948, at the age of eighteen, Woodman enrolled at the School for American Craftsmen at Alfred University. Students chose to focus on clay, fiber, wood, or metal, and were taught by craftsmen working in the field. “The practical parts of it were interesting, because we were taught things like you don’t have your studio in your house…You should have a separation between your studio work and your life.” Woodman explained: “that has never been true for me, so I didn’t follow what I was taught. . . I think it is hard to do. Well, particularly for a woman.” Betty Woodman’s first studio was “an extension of the domestic sphere,” which allowed her years of raising a family and remaining a working artist. From the 1970s and into the 1980s, many changes began to take place for the Woodmans. After moving to New York to facilitate her husband’s art career, Betty Woodman found a new context and audience for her work. Through collaborations with the artists at the forefront of the Pattern and Decoration movement––Cynthia Carlson and then Joyce Kozloff––Woodman began to extrude clay not just for useful vessels but also for conceptual play. Woodman’s work began to slowly erode the barrier between craft and fine art, pushing her practice, which had been so long in the domestic sphere, into the fine art space.

While the form of the vase and the concept of vesselhood never left her work, Woodman disavows ceramics which invite touch, use, or perfected forms. Instead, Woodman’s vessels function at a distance. They are meant to be studied like a painting where the distinctions between ceramic, glaze, and negative space begin to play tricks on the eye. The present work exemplifies Woodman’s play with visual perception. The iconic vase stands at the forefront, almost naively splashed with an array of colors that evokes influences as disparate as the Fauves and majolica. Behind this eye-grabbing display is the “shadow” of the vase, a flattened copy of the vessel glazed in a murky turquoise. Woodman takes as her subject the very materiality of her work. The vase is an easy-to-identify form, but the physical manifestation of the vase’s shadow complicates the viewer’s perception. The false “shadow” is a painterly gesture that, in relation with its subject, the vase, draws in the negative space around the two pieces. The enduring intrigue of the work lies in the charged space between the vase and its shadow. How can an artist so clearly embedded in the modernist tradition, whose work shows such conceptual clarity, also be so completely original? As the art critic Peter Schjeldahl argued, Woodman is “beyond original, all the way to sui generis.” Woodman’s later success is, in many ways, the product of her obstacles. Years of being steeped in the craft tradition and the practical choice or obligation to work in a domestic sphere allowed an artist to form a practice that was unprecedented in the art world and, ultimately, cemented her as one of the most influential ceramic artists of the 20th century.



49. Ruth Duckworth

1919-2009

“Untitled” circa 1970 Glazed porcelain. 4 x 5 1/4 x 1 1/2 in. (10.2 x 13.3 x 3.8 cm) Underside incised R 13. Estimate $2,000-3,000 Provenance Private collection, Massachusetts, acquired directly from the artist Acquired from the above by the present owner


50. Ruth Duckworth

1919-2009

“Untitled” circa 1970 Glazed porcelain. 2 3/4 in. (7 cm) high, 3 3/4 in. (9.5 cm) diameter Underside incised R. Estimate $4,000-6,000 Provenance Private collection, Massachusetts, acquired directly from the artist Acquired from the above by the present owner


Property from a Private Collection, Florida

51. Gio Ponti

1891-1979

Wall-mounted chest of drawers, designed for the Hotel Royal, Naples circa 1953 African mahogany, African mahoganyveneered wood, brass. 31 1/2 x 39 3/8 x 18 1/2 in. (80 x 100 x 47 cm) Manufactured by Dassi, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate $30,000-50,000

Provenance Private collection, France Thence by descent to the present owner, circa 2000 Literature Gio Ponti, oggetti di design 1925-1970, exh. cat., Galleria Babuino Novecento, Rome, 2007, pp. 33, 78 Fabrizio Mautone, Gio Ponti e la committenza Fernandes, Naples, 2009, p. 38


52. Gio Ponti

1891-1979

“Diamond” flatware service for 24 circa 1958 Sterling silver, stainless steel. Largest utensil: 10 3/4 in. (27.3 cm) long Manufactured by Reed & Barton, Newport and distributed by Arthur Krupp, Milan. Each fork and spoon impressed Reed & Barton/STERLING, each hollow handle piece impressed REED & BARTON/ MIRRORSTELE/STERLING HANDLE. Comprising 24 dinner forks, 24 salad forks, 24 cocktail forks, 24 dinner knives, 24 butter knives, 24 soup spoons, 24 teaspoons, 1 serving spoon, 1 slotted serving spoon, 1 cold meat fork, 1 ladle, 1 butter server knife, 1 sugar spoon, 1 pie server, 1 cheese knife, 1 jelly server, and 1 olive fork (178). Estimate $18,000-24,000 Literature “Nice Weather for Parties,” Vogue, April 15, 1958, pp. 118-19 Jewel Stern, Modernism in American Silver: 20th Century Design, exh. cat., Dallas Museum of Art, Dallas, 2005, p. 245 for a drawing and an advertisement William p. Hood and Jewel Stern, “The Diamond Pattern by Reed & Barton,” Silver Magazine, May/June 2007, pp. 1418, 20-22



Property of a Private Collector, Monte Carlo

53. Gio Ponti

1891-1979

Side table with extendable leaves, from the “Domus Nova” series circa 1928 Burl walnut-veneered wood with burl olive wood marquetry. Closed: 23 5/8 x 24 5/8 x 24 5/8 in. (60 x 62.5 x 62.5 cm) Fully extended: 23 5/8 x 40 5/8 x 40 5/8 in. (60 x 103.2 x 103.2 cm) Together with a certificate of expertise from the Gio Ponti Archives. Estimate $4,000-6,000

Provenance Wannenes, Genoa, “Design,” December 10, 2020, lot 328 Acquired from the above by the present owner Literature “Domus Nova,” Domus, no. 11, November 1928, p. 52 for a similar example Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 66 for a similar example


Property from a Private Collection, East Hampton, New York

54. Jean Puiforcat

1887-1945

Rare table clock circa 1930 Nickel-plated metal, marble. 4 7/8 x 6 1/4 x 2 1/4 in. (12.4 x 15.9 x 5.7 cm) Reverse impressed JEAN E. PUIFORCAT. Interior impressed 957. Estimate $12,000-18,000

Provenance Galerie AM, Paris Private collection, France Acquired from the above Phillips, New York, “Design Day Sale,” December 13, 2018, lot 196 Acquired from the above by the present owner Literature Françoise de Bonneville, Jean E. Puiforcat, Paris, 1986, p. 311 for similar examples



55. Gabriella Crespi

1922-2017

“2000” extendable coffee table, from the “Plurimi” series designed 1970, executed 1970-1982 Brass-covered wood. As shown: 15 x 82 x 35 1/4 in. (38.1 x 208.3 x 89.5 cm) Fully extended: 15 x 117 x 35 1/4 in. (38.1 x 297.2 x 89.5 cm) Closed: 15 x 47 x 35 1/4 in. (38.1 x 119.4 x 89.5 cm) Produced by Gabriella Crespi, Milan, Italy. One side with plaque impressed with artist’s facsimile signature and BREV ®. The other side further impressed with artist’s facsimile signature. Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Literature Patrick Favardin and Guy BlochChampfort, Les Décorateurs des Années 60-70, Paris, 2007, p. 140 Gabriella Crespi: The Sign and the Spirit, Multiple Furniture, Sculptures and Jewelry, exh. cat., Palazzo Reale di Milano, Milan, 2011, pp. 30, 63-65

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200436000.

Estimate $30,000-40,000

A quiet pioneer in postwar furnishings, Italian designer Gabriella Crespi united earnest functionalism with pure opulence. Crespi studied architecture in the 1940s at the Politecnico di Milano (the Polytechnic University of Milan), where she was one of few women in the department. A multidisciplinary designer, Crespi started her career creating sculptures, later collaborating with Maison Dior to produce table accessories and home furnishings. The present lot was designed as part of the Plurimi series, a group of furnishings developed between 1970 and 1982, inspired by the Italian paintersculptor Emilio Vedova. A significant series in Vedova’s oeuvre was the Plurimi/Binari (Multiple/Binary) series, multi-media works that defied simple categorization.

In a similar vein, Crespi embraced a plurality of purpose, engineering each piece of her Plurimi series to serve uses beyond their appearance. In the present lot, two leaves extend from the body of the brass-covered-wood coffee table, offering a greater surface area for entertaining, exhibiting wares, or more simply for the enjoyment of the table’s sumptuous nature. Although Crespi enjoyed a long life, her tenure in design lasted only three decades; her works were produced in Milan in small editions, furthering the individuality of her oeuvre.



56. Corrado Corradi Dell’Acqua 1905-1982 Pair of “Montecarlo” side tables, model no. T 12 circa 1959 Brass, glass. Each: 28 x 16 1/2 x 16 1/2 in. (71.1 x 41.9 x 41.9 cm) Manufactured by Azucena, Milan, Italy. Estimate $2,000-3,000

Provenance Private collection, Florence Literature Azucena, sales catalogue, Milan, 1950s, n.p.


Property from a Private Collection, Florida

57. Gio Ponti

1891-1979

Dressing table, designed for the Hotel Royal, Naples circa 1956 Oak, oak-veneered wood, brass, mirrored glass. 48 x 37 1/4 x 18 1/4 in. (121.9 x 94.6 x 46.4 cm) Manufactured by Dassi, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate $5,000-7,000 Provenance Private collection, France Thence by descent to the present owner, circa 2000

Literature “Dassi,” Domus, no. 317, April 1956, n.p. Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 1992, p. 151 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 367, 373


58. Gio Ponti

1891-1979

Pair of wall-mounted shelves circa 1951 Oak-veneered wood, painted wood. Each: 33 5/8 x 41 1/2 x 13 1/4 in. (85.4 x 105.4 x 33.7 cm) Executed by Giordano Chiesa, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate $15,000-20,000

Provenance Casa Lucano, San Remo Finarte, Milan, “Arti Decorative del Novecento,” May 29, 1989, lot 241 Acquired from the above by the present owner


Property from a Private Collection, New Jersey

59. Ico Parisi

1916-1996

Console table, model no. 1109 circa 1951 Walnut, walnut-veneered wood, thuya-veneered wood, brass. 30 5/8 x 71 1/8 x 19 5/8 in. (77.8 x 180.7 x 49.8 cm) Manufactured by Singer & Sons, New York. Underside with manufacturer’s paper label printed M/Singer/& Sons/ New York - Chicago. Estimate $15,000-20,000

Provenance Barbara Stein, Ridgewood, New Jersey, acquired directly from Singer & Sons, New York, 1950s Thence by descent to the present owner Literature “Across the seas collaboration for the new Singer collection,” Interiors, December 1951, p. 121 Bertha Schaefer, “The Modern House Comes Alive,” Craft Horizons, SeptemberOctober 1953, p. 31 Roberta Lietti, Ico Parisi: Design catalogo ragionato, 1936-1960, Milan, 2017, pp. 140-41

Phillips would like to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.




Property from a Private Collection, Los Angeles

60. Doyle Lane

1923-2002

Weed pot 1970s Glazed earthenware. 2 in. (5.1 cm) high Underside incised LANE. Estimate $5,000-7,000

Provenance Private collection, acquired directly from the artist, 1970s Acquired from the above by the present owner Literature Ricky Swallow and Gerard O’Brian, Doyle Lane, Los Angeles, 2014, pp. 6-7 for similar examples


Property from a Private Collection, Los Angeles

61. Doyle Lane

1923-2002

Weed pot 1970s Glazed earthenware. 2 1/8 in. (5.4 cm) high Underside incised LANE. Estimate $4,000-6,000

Provenance Private collection, acquired directly from the artist, 1970s Acquired from the above by the present owner Literature Ricky Swallow and Gerard O’Brian, Doyle Lane, Los Angeles, 2014, pp. 6-7 for similar examples


Property from a Private Collection, Los Angeles

62. Doyle Lane

1923-2002

Weed pot 1970s Glazed earthenware. 1 7/8 in. (4.8 cm) high Underside incised LANE. Estimate $5,000-7,000

Provenance Private collection, acquired directly from the artist, 1970s Acquired from the above by the present owner Literature Ricky Swallow and Gerard O’Brian, Doyle Lane, Los Angeles, 2014, pp. 6-7 for similar examples


Property from a Private Collection, Los Angeles

63. Doyle Lane

1923-2002

Weed pot 1970s Glazed earthenware. 3 in. (7.6 cm) high Underside incised LANE. Estimate $4,000-6,000 Provenance Private collection, acquired directly from the artist, 1970s Acquired from the above by the present owner



Property from a Private Collection, Massachusetts

64. George Nakashima

1905-1990

Pair of “Conoid” lounge chairs 1985-1988 American black walnut, hickory. Taller: 34 x 22 x 25 1/2 in. (86.4 x 55.9 x 64.8 cm) Shorter: 33 x 21 7/8 x 24 1/2 in. (83.8 x 55.6 x 62.2 cm) Underside of one chair inscribed in marker FULL Ø and signed and dated, partially obscured, and the other inscribed in marker Ambrosio/George Nakashima/ Oct. 12 1988. Together with a copy of the original order card.

Estimate $10,000-15,000 Provenance One chair: Full Circle Gallery, Alexandria, Virginia Acquired from the above by the present owner Other chair: Acquired directly from the artist’s studio, 1988

Literature George Nakashima, The Soul of a Tree: A Woodworker’s Reflections, Tokyo, 1981, pp. 108, 143, 149, 153, 167 Derek E. Ostergard, George Nakashima: Full Circle, exh. cat., American Craft Museum, New York, 1989, pp. 155, 159, 163 Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 108, 147, 173-175, 195, 215-16, 248


Property from a Private Collection, Massachusetts

65. George Nakashima

1905-1990

“Greenrock” console table 1985 American black walnut. 25 1/4 x 61 x 23 1/2 in. (64.1 x 154.9 x 59.7 cm) Underside inscribed in marker FULL Ø and further signed and dated, partially obscured. Together with a copy of the original order card. Estimate $20,000-30,000 Provenance Full Circle Gallery, Alexandria, Virginia Acquired from the above by the present owner, 1986



Property from a Private Collection

66. George Nakashima

1905-1990

“Conoid” platform bed and “Conoid” headboard with storage 1967 American black walnut. Platform bed: 10 1/4 x 75 1/2 x 60 in. (26 x 191.8 x 152.4 cm) Headboard: 24 x 108 x 18 1/2 in. (61 x 274.3 x 47 cm) Interior of headboard inscribed with client name in ink. Together with a copy of the original drawing and order card. Estimate $18,000-24,000 Provenance Acquired directly from the artist by the present owner



Property from the Collection of David Moss

67. Harry Bertoia

1915-1978

“Sonambient” sounding sculpture 1970s Beryllium copper, bronze. 9 x 8 1/8 x 8 1/8 in. (22.9 x 20.6 x 20.6 cm) Together with a certificate of authenticity from the Harry Bertoia Foundation and with a crate made by the owner.

Provenance Acquired directly from the artist, 1973-1977 Literature Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, 2003, p. 3 for a similar example

Estimate $20,000-30,000

The present Sonambient sounding sculpture is a rare and early example, offering multiple pitches, notes, and tones in a microchromatic range from C# to E. It can be played across the top with one finger, while the wooden box, made by musician David Moss, acts as a resonator when the sculpture is placed on top. This is the first Sonambient that Bertoia gifted to Moss. Constructed of hundreds of rods ranging from five to eight inches high, each surmounted with a unique droplet of metal, it may be the only Sonambient to feature such a wide range of pitches.



Property from the Collection of David Moss

68. Harry Bertoia

1915-1978

Suspended gong 1970s Silicon bronze. 23 3/4 x 41 x 1/4 in. (60.3 x 104.1 x .6 cm) Together with a certificate of authenticity from the Harry Bertoia Foundation. Estimate $25,000-35,000

Provenance Acquired directly from the artist, 1973-1977 Literature Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, 2003, pp. 23033 for similar examples Celia Bertoia, The Life and Work of Harry Bertoia: The Man, the Artist, the Visionary, Atglen, 2015, pp. 134-35, 143 for similar examples Beverly H. Twitchell, Bertoia: The Metalworker, London, 2019, pp. 245, 248 for similar examples



Property from the Collection of David Moss

69. Harry Bertoia

1915-1978

“Sonambient” sounding sculpture 1970s Beryllium copper, bronze. 17 x 10 x 10 in. (43.2 x 25.4 x 25.4 cm) Together with a certificate of authenticity from the Harry Bertoia Foundation and with a crate made by the owner. Estimate $15,000-20,000 Provenance Acquired directly from the artist, 1973-1977 Literature Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, 2003, pp. 3, 180 for similar examples Celia Bertoia, The Life and Work of Harry Bertoia: The Man, the Artist, the Visionary, Atglen, 2015, p. 137 for a similar example

The present lot is the second Sonambient that Harry Bertoia gifted to musician David Moss. With a particularly bright and intense sound, it features a single tone with a large range of harmonics. While Moss toured and performed with his collection of Sonambients, he also developed a percussion program for public schools. At school assemblies he would invite students to place their heads inside the wooden resonator box he built for this work so they could “really hear these new sounds.”


Property from the Collection of David Moss

70. Harry Bertoia

1915-1978

Suspended gong 1970s Silicon bronze. 16 x 23 1/2 x 8 3/8 in. (40.6 x 59.7 x 21.3 cm) Together with a certificate of authenticity from the Harry Bertoia Foundation. Estimate $20,000-30,000 Provenance Acquired directly from the artist, 1973-1977


Property from the Collection of David Moss

71. Harry Bertoia

1915-1978

“Sonambient” sounding sculpture 1970s Beryllium copper, bronze. 20 x 6 x 6 in. (50.8 x 15.2 x 15.2 cm) Together with a certificate of authenticity from the Harry Bertoia Foundation and with a crate made by the artist. Estimate $20,000-30,000

Provenance Acquired directly from the artist, 1973-1977 Literature Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, 2003, pp. 180, 190-94 for similar examples Beverly H. Twitchell, Bertoia: The Metalworker, London, 2019, pp. 241, 245 for similar examples

Beginning in the early 1970s, Harry Bertoia gifted a number of Sonambient sculptures to the young experimental musician David Moss. When Moss showed his father, Roy Moss, a lifelong woodcarver, he was so touched by Bertoia’s generosity that he carved two pieces of sonorous rosewood into his own interpretation of Bertoia’s Swinging Bars and sent them to Bertoia in gratitude. Bertoia, in turn, sent Roy Moss the present Sonambient, which has a beautiful light, sparkling tone. Roy Moss subsequently gifted this work to son David.




Property from the Collection of David Moss

72. Harry Bertoia

1915-1978

Property from the Collection of David Moss

73. Harry Bertoia

1915-1978

Suspended gong

“Sonambient” sounding sculpture

1970s Silicon bronze. 18 x 33 1/2 x 3/4 in. (45.7 x 85.1 x 1.9 cm) Together with a certificate of authenticity from the Harry Bertoia Foundation and a mallet made by the artist.

1970s Beryllium copper, bronze. 15 x 12 x 12 in. (38.1 x 30.5 x 30.5 cm) Together with a certificate of authenticity from the Harry Bertoia Foundation and a mallet made by the artist.

Estimate $25,000-35,000

Estimate $12,000-18,000

Provenance Acquired directly from the artist, 1973-1977

Provenance Acquired directly from the artist, 1973-1977

Literature Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, 2003, pp. 23033 for similar examples Celia Bertoia, The Life and Work of Harry Bertoia: The Man, the Artist, the Visionary, Atglen, 2015, pp. 134-35, 143 for similar examples Beverly H. Twitchell, Bertoia: The Metalworker, London, 2019, pp. 245, 248 for similar examples

Harry Bertoia gifted the present gong to David Moss on his third trip to the studio in the 1970s. As a touring musician, he had to select examples that he could easily lift and transport. Bertoia showed him how to draw out otherworldly tones with leather-wrapped metal “activators.” Moss also learned that the gongs could be made rotate while being played, creating radiating waves of sound.

Harry Bertoia gifted the present Sonambient sculpture on one of David Moss’s last visits to the studio in the late 1970s. Featuring rows of thicker rods in ascending heights, it has a more unusual “spooky” tone with micro-tonal pitches creating a dissonant effect.


Property from the Collection of David Moss

74. Harry Bertoia

1915-1978

“Swinging bars” 1970s Beryllium copper rods. Longer: 8 5/8 in. (21.9 cm) long, 1/2 in. (1.3 cm) diameter Together with a certificate of authenticity from the Harry Bertoia Foundation and seven Bertoia “Sonambient” LP records. Estimate $4,000-6,000

Provenance Acquired directly from the artist, 1973-1977 Literature Celia Bertoia, The Life and Work of Harry Bertoia: The Man, the Artist, the Visionary, Atglen, 2015, pp. 41, 143 for similar examples Beverly H. Twitchell, Bertoia: The Metalworker, London, 2019, p. 245 for a similar example



Sale Information Auction

Auction License

Tuesday, 7 June at 2pm 432 Park Avenue, New York, NY 10022

2013224

Please register to bid online, absentee or by phone. Viewing 432 Park Avenue, New York, NY 10022 2–7 June 2022 Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY050222 or Design. Absentee and Telephone Bids Tel +1 212 940 1228 Fax +1 212 940 1749 bidsnewyork@phillips.com

Auctioneers

Design Department Head of Design, West Coast, Senior International Specialist

Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Jonathan Crockett - 2056239 Rebecca Tooby-Desmond - 2058901 Aurel Bacs – 2047217 Blake Koh – 2066237 Susanna Brockman – 2058779 Rebekah Bowling - 2078967 Cathy Elkies – 2088939

Meaghan Roddy mroddy@phillips.com

Catalogues

Specialist

catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery

Kimberly Sørensen ksorensen@phillips.com

Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 432 Park Avenue +1 212 940 1200 Shipping Steve Orridge +1 212 940 1370 Anaar Desai +1 212 940 1320 Photography Kent Pell

Senior International Specialist Beth Vilinsky bvilinsky@phillips.com Head of Department, New York Cordelia Lembo clembo@phillips.com

Associate Specialist, Associate Head of Sale Benjamin Green bgreen@phillips.com Administrator Cecilia Moure cmoure@phillips.com


Index Adnet, J. 25

Laarman, J. 45

Arad, R. 40, 43

Lalanne, F.-X. 35 Lane, D. 60, 61, 62, 63

Bertoia, H. 67, 68, 69, 70, 71,

Lenoble, J. 25

72, 73, 74 Besnard, J. 26, 28, 30, 37, 38, 39

Maison Jansen 31

Borderie, A. 10

Miklos, G. 36

Chapo, P. 24

Nakashima, G. 64, 65, 66

Corradi Dell’Acqua, C. 56

Noll, A. 12

Crespi, G. 55 Parisi, I. 59 Delamarre, R. 29

Ponti, G. 51, 52, 53, 57, 58

Duckworth, R. 49, 50

Prouvé, J. 4, 11, 16, 17, 19, 20, 21, 24 Puiforcat, J. 54

Ferrabini, G. 47 Frank, J. 3

Ruhlmann, E.-J. 33

Giacometti, A. 27

Schmied, F. L. 36

Gurschner, G. 34 Urban, J. 32 Jouve, G. 1, 5, 6, 7, 8, 9, 13, 14, 15, 18, 22, 23

van der Straeten, H. 41, 42

Kaneko, J. 46

Woodman, B. 48

Kuramata, S. 44


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