IMPORTANT DESIGN [Catalogue] by PHILLIPS

Important Design London, 21 March 2019

4. Napoleone Martinuzzi

14. Lucio Fontana and Osvaldo Borsani

Executives. Ed Dolman

Cheyenne Westphal

Chief Executive Ofcer

Chairman

+1 212 940 1241 edolman@phillips.com

+44 20 7318 4044 cwestphal@phillips.com

ÂŠ Brigitte Lacombe

Senior Advisors. Hugues Jofre

Arnold Lehman

Ken Yeh

Senior Advisor to the CEO

+44 207 901 7923 hjofre@phillips.com

+1 212 940 1385 alehman@phillips.com

Senior International Specialist +1 212 940 1257 kyeh@phillips.com

Design.

Alexander Payne

Domenico Raimondo

Worldwide Head of Design & Deputy Chairman, Europe

Head of Department, Europe & Senior International Specialist

+44 20 7318 4052 apayne@phillips.com

draimondo@phillips.com +44 20 7318 4016

Madalena Horta e Costa Head of Sale mhortaecosta@phillips.com +44 20 7318 4019

Marcus McDonald

Sofa Sayn-Wittgenstein

Nicola Krohman

Caroline Pedote

International Specialist

Senior Specialist

Senior Cataloguer

Cataloguer

mmcdonald@phillips.com +44 20 7318 4095

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

nkrohman@phillips.com +44 20 7901 7926

cpedote@phillips.com +44 20 7901 4096

Deputy Chairmen.

Svetlana Marich

Jean-Paul Engelen

Robert Manley

Jonathan Crockett

Peter Sumner

Worldwide Deputy Chairman

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

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

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

+1 212 940 1390 jpengelen@phillips.com

+1 212 940 1358 rmanley@phillips.com

+44 20 7318 4010 smarich@phillips.com

+852 2318 2023 jcrockett@phillips.com

Miety Heiden

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Deputy Chairman, Head of Private Sales

Deputy Chairman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

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

+44 20 7901 7943 mheiden@phillips.com

+32 3257 3026 mhoet@phillips.com

+44 20 7318 4063 psumner@phillips.com

Important Design London, 21 March 2019

Auction & Viewing Location

Design Department

30 Berkeley Square, London W1J 6EX

Auction 21 March 2019, 2pm (lots 1–146)

Viewing 16–21 March Monday – Saturday, 10am – 6pm Sunday, 12pm – 6pm

Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050119 or Important Design.

Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Worldwide Head Alexander Payne apayne@phillips.com Head of Europe Domenico Raimondo draimondo@phillips.com Head of Sale Madalena Horta e Costa mhortaecosta@phillips.com International Specialist Marcus McDonald mmcdonald@phillips.com Senior Specialist Sofa Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Senior Cataloguer Nicola Krohman nkrohman@phillips.com Cataloguer Caroline Pedote cpedote@phillips.com Administrator Antonia King antonia.king@phillips.com

Design New York.

Los Angeles.

Cordelia Lembo

Kimberly SĂ¸rensen

Emily FitzGerald

Meaghan Roddy

Head of Department

Specialist

Cataloguer

clembo@phillips.com +1 212 940 1265

ksorensen@phillips.com +1 212 940 1259

eftzgerald@phillips.com +1 212 940 1267

Senior International Specialist, Americas mroddy@phillips.com +1 267 221 9152

Business Development. Europe.

Americas.

Guy Vesey

Vivian Pfeifer

Head of Business Development & Marketing, Europe

Deputy Chairman, Americas, Head of Business Development, Americas

+44 20 7901 7934 gvesey@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

Client Advisory. Europe. Yassaman Ali

Vera Antoshenkova

Client Advisory Director

Client Advisory Manager

+44 20 7318 4056 yali@phillips.com

+44 20 7901 7992 vantoshenkova@ phillips.com

Giulia Campaner Mendes Associate Client Advisory Manager +44 20 7318 4058 gcampaner@phillips.com

New York. Philae Knight

Jennifer Jones

Liz Grimm

Client Advisory Director

Director of Trusts, Estates & Valuations

Business Development Associate

+1 212 940 1272 jjones@phillips.com

+1 212 940 1342 egrimm@phillips.com

+1 212 940 1313 pknight@phillips.com

Asia. Jasmine Yan

Iori Endo

Client Advisory Director

Client Advisory Manager

+852 2318 2015 jasmineyan@phillips.com

+44 20 7318 4039 iendo@phillips.com

Margherita Solaini Business Development Associate +39 02 83642 453 msolaini@phillips.com

International Specialists & Regional Directors. Europe. Laurence Calmels

Clara Rivollet

Maria Cifuentes

Laurence Barret-Cavy

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

+33 142 78 67 77 mcifuentes@phillips.com

+33 633 12 32 04 lbarret-cavy@phillips.com

+41 22 317 81 83 nmonbaron@phillips.com

+33 686 408 515 lcalmels@phillips.com

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

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

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

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

Specialist, 20th Century & Contemporary Art, Moscow

+39 338 924 1720 clanfranchi@phillips.com

+351 917 564 427 mmarvao@phillips.com

Dr. Nathalie Monbaron Regional Director, Geneva

Dr. Alice Trier Specialist, 20th Century & Contemporary Art, Germany +49 173 25 111 69 atrier@phillips.com

+7 905 741 15 15 kfenina@phillips.com

Americas. CĂ˘ndida SodrĂŠ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

Senior Specialist, 20th Century & Contemporary Art, Denver

Regional Director, Los Angeles

Specialist, Miami

+55 21 999 817 442 csodre@phillips.com

+1 773 230 9192 cehlers@phillips.com

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

Regional Director, Seattle

+52 1 55 5413 9468 crayclafan@phillips.com

+1 508 642 2579 maurasmith@phillips.com

+1 206 604 6695 scwaltner@phillips.com

Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

Cindy Yen

Regional Director, Japan

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea

Associate Regional Representative, Korea

Regional Director, Shanghai

Associate Regional Representative, Shanghai

+82 10 7305 0797 sshin@phillips.com

+86 13911651725 wenjiazhang@phillips.com

+86 139 1828 6589 aliciazhang@phillips.com

Senior Specialist, Watches & Jewellery, Taiwan

+1 917 657 7193 mdekoning@phillips.com

+1 323 383 3266 bkoh@phillips.com

+1 917 583 4983 vgarcia@phillips.com

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

Asia.

+81 90 2245 6678 khattori@phillips.com

+82 10 7389 7714 jyy@phillips.com

Meiling Lee

Christine Fernando

Sandy Ma

International Specialist, Taiwan

Associate Regional Representative, Singapore

International Specialist, South East Asia

+886 908 876 669 mlee@phillips.com

+65 9128 6277 christinefernando @phillips.com

+852 2318 2025 sma@phillips.com

+886 2 2758 5505 cyen@phillips.com

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

1. Max Ingrand

1908-1969

Rare ceiling light, model no. 2379/1, circa 1964 Chiselled glass, niello treated copper, painted steel, painted aluminium. 30 cm (11 3/4 in.) drop, 93 cm (36 5/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate ÂŁ18,000-24,000 $23,200-31,000 â&#x201A;Ź20,500-27,400 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Quaderni Fontana Arte 7, Milan, 1964, n.p. Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 131

2. Renzo Zavanella

1900-1988

Rare sofa, circa 1950 Fabric, brass. 92 x 169 x 62.5 cm (36 1/4 x 66 1/2 x 24 5/8 in.) Together with a certifcate of expertise from the Renzo Zavanella Archive. Estimate £18,000-24,000 $23,200-31,000 €20,500-27,400 plus Buyers Premium and VAT*

Provenance Private collection, Milan, commissioned directly from the designer, circa 1950 Thence by descent Literature ‘Plastica o mobili’, Domus, no. 249, January 1950, pp. 65-66 for a similar example Roberto Aloi, Esempi Di Arredamento Moderno Di Tutto Il Mondo, sale da pranzo, Milan, 1953, fgs. 105-06 for a similar example

3. Gio Ponti

1891-1979

Dressing table and stool, 1940s Marble, walnut, mirrored glass, brass, fabric. Dressing table: 118.5 x 170.3 x 67 cm (46 5/8 x 67 x 26 3/8 in.) Stool: 45.5 cm (17 7/8 in.) high, 50 cm (19 5/8 in.) diameter Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Roberto Aloi, L’ Arredamento Moderno, terza serie, Milan, 1955, fg. 272 for a similar example

4. Napoleone Martinuzzi

1892-1977

Pair of rare ceiling lights, circa 1929 Pulegoso glass, painted metal. Each: 92 cm (36 1/4 in.) drop, 63.5 cm (25 in.) diameter Produced by Venini & C., Murano, Italy. Estimate £25,000-35,000 $32,300-45,200 €28,500-40,000 plus Buyers Premium and VAT*

Provenance Da Giannino restaurant, Milan Literature Carlo A. Felice, Arte Decorativa all’Esposizione di Monza, Milan, 1930, pl. 2 Tentoonstelling van glas aardewerk en kant, van moderne Italiaansche kunstnijverheid, exh. cat., Stedelijk Museum, Amsterdam, March 1931, p. 13 Fondazione Giorgio Cini, Gli Artisti Di Venini: Per Una Storia Del Vetro D’arte Veneziano, exh. cat., Istituto di Storia dell’Arte, Venice, 1996, p. 76 Marino Barovier, Napoleone Martinuzzi Venini 1925-1931, exh. cat., Fondazione Giorgio Cini, Venice, 2013, pp. 27, 42, 309, 403-05

The present model was exhibited at the Barcelona International Exhibition, 1929; the IV Monza Triennale, 1930; and the Tentoonstelling van glas, aardewerk en kant, van moderne Italiaansche kunstnijverheid, 1931. Executed in Venini’s Murano studios, the present model was designed by Martinuzzi shortly before his departure from the company in 1932. Made in Martinuzzi’s distinctive pulegoso glass, the opaque efect was created by adding a substance, usually bicarbonate of soda, to the molten glass paste. The resulting reaction produces irregular air bubbles which lend the glass its spongy appearance and enables unusual chromatic efects. The present pair of ceiling lights are a rare example of Martinuzzi’s use of this technique for a light fxture. The present model illustrated at the IV Monza Triennale, 1930.

∑

5. Gio Ponti

1891-1979

Rare bookcase with integrated drinks cabinet, designed for the ‘Prima mostra dell’arredamento’, Como, circa 1945 East Indian rosewood-veneered wood, painted wood, mirrored glass, brass. 178.5 x 200 x 35 cm (70 1/4 x 78 3/4 x 13 3/4 in.) Executed by Ariberto Colombo, Cantù, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Provenance Private collection, Milan Literature Irene de Guttry and Maria Paola Maino, Il mobile italiano degli anni ‘40 et ‘50, Bari, 1992, p. 18 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2010, p. 240

Estimate £25,000-35,000 $32,300-45,200 €28,500-40,000 plus Buyers Premium and VAT*

6. Venini Set of four ‘Balloton’ wall lights, circa 1957 Balloton glass, painted steel, painted aluminium, brass. Each: 53 x 29.5 x 25 cm (20 7/8 x 11 5/8 x 9 7/8 in.) Produced by Venini & C., Murano, Italy. Estimate £6,000-8,000 $7,700-10,300 €6,800-9,100 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Carlo Bestetti, Forme Nuove In Italia, Rome, 1957, p. 204 for a similar example

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7. Gio Ponti

1891-1979

Cofee table, circa 1937 East Indian rosewood-veneered wood, glass. 35.3 cm (13 7/8 in.) high, 79.8 cm (31 3/8 in.) diameter Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £15,000-20,000 $19,400-25,800 €17,100-22,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Una villa a tre appartamenti in Milano’, Domus, no. 111, March 1937, front cover, p. 7 for a similar example ‘Un appartamento risistemato a Milano, Domus, no. 131, November 1938, p. 15 for a similar example Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 58 for a similar example

8. Gino Sarfatti

1912-1985

Rare adjustable standard lamp, model no. 1033A, circa 1950 Painted aluminium, brass, marble. 178 cm (70 1/8 in.) high as shown Manufactured by Arteluce, Milan, Italy. Interior of shade with manufacturer’s paper label AL/MILANO/ARTELUCE. Estimate £20,000-30,000 $25,800-38,700 €22,800-34,200 plus Buyers Premium and VAT*

Provenance Private collection, Schio Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, p. 446 Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 40

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9. Pietro Chiesa

1892-1948

Tobacco box and cigarette box, model no. 1137, circa 1938 Walnut, Brazilian rosewood, glass. Tallest: 15 x 13.6 x 11.5 cm (5 7/8 x 5 3/8 x 4 1/2 in.) Manufactured by Fontana Arte, Milan, Italy. Underside of one box incised with manufacturer’s mark FX and the other impressed thrice FONTANA/ITALY. Estimate £2,000-3,000 $2,600-3,900 €2,300-3,400 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Ogni giorno pensate alla casa: Domus vi ofre sempre nuovi suggerimenti’, Domus, no. 163, July 1941, p. 48 Guglielmo Ulrich, Arredatori Contemporanei, Milan, 1949, n.p. Quaderni Fontana Arte 3, Milan, 1960s, p. 38 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fgs. 256, 259

10. Pietro Chiesa

1892-1948

Lidded box and cigarette box, circa 1938 Walnut, glass. Lidded box: 7 x 21.5 x 8.5 cm (2 3/4 x 8 1/2 x 3 3/8 in.) Cigarette box: 4.8 x 22.6 x 10 cm (1 7/8 x 8 7/8 x 3 7/8 in.) Manufactured by Fontana Arte, Milan, Italy. Underside of each incised with manufacturer’s mark FX. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Provenance Private collection, Italy Literature Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 1 for the cigarette box

11. Luigi Vietti

1903-1998

Pair of armchairs, circa 1930 Oak, fabric. Each: 71 x 91 x 87 cm (27 7/8 x 35 7/8 x 34 1/4 in.) Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300 plus Buyers Premium and VAT*

Provenance Private collection, Voghera Literature Roberto Aloi, L’Arredamento Moderno, quarta serie, Milan, 1949, fg. 355 Franco Magnani, I Camini Di Vietti, Milan, 1990, p. 15

12. Carlo Mollino

1905-1973

Unique pair of lounge chairs, designed for the living room of the Ada and Cesare Minola House, Turin, 1944-1946 Gilt wood, fabric, brass nailheads. Each: 91.5 x 62 x 89 cm (36 x 24 3/8 x 35 in.) Executed by Cellerino, Turin, Italy. Estimate £100,000-150,000 $129,000-194,000 €114,000-171,000 plus Buyers Premium and VAT*

Provenance Ada and Cesare Minola, Turin, 1944-1946 Thence by descent to the present owners Exhibited ‘Carlo Mollino: Arabesques’, Galleria Civica d’Arte Moderna e Contemporanea, Turin, 20 September 2006-7 January 2007 Literature ‘Esperienze formali nell’arredamento’, Domus, no. 227, August 1948, illustrated pp. 12-13 Fulvio Ferrari, Carlo Mollino: Cronaca, exh. cat., Galleria Fulvio Ferrari, Turin, 1985, illustrated pp. 88, 93 Giovanni Brino, Carlo Mollino: Architettura come autobiografa, Milan, 1987, illustrated p. 97 François Burkhardt and Claude Eveno, eds., L’étrange univers de l’architecte Carlo Mollino, exh. cat., Centre Georges Pompidou, Paris, 1989, illustrated p. 111 Roberto Gabetti and Fulvio Irace, Carlo Mollino 1905-1973, Turin, 1989, illustrated pp. 186-87 Rossella Colombari, Carlo Mollino: Catalogo dei mobili–Furniture Catalogue, Milan, 2005, illustrated p. 32 Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino, New York, 2006, illustrated pp. 120, 222 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino: Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, illustrated p. 70 The present chairs are registered in the library of the Museo Casa Mollino, Turin, as numbers CM173-1 and CM173-2.

Carlo Mollino’s Pair of Lounge Chairs for the Ada and Cesare Minola House The present pair of lounge chairs formed part of an intricate interior composition comprised of expressive furniture designed by the Italian architect Carlo Mollino for Ada and Cesare Minola’s residence in Turin between 1944 and 1946. Inherent in the chairs themselves is the architect’s predilection for synthesis; Mollino combined varied cultural sources to create his iconic and highly individualised designs. Informed by Surrealism, he sought to escape from the ‘cul de sac of rationalism’ prominent in Italian design of the period, creating furniture motivated by his own creative impulses. Celebrated as one of Mollino’s most important projects, the Minola house featured experimental, custom designs that reflect the architect’s development of organic forms, transforming the space and afectionately combining a sense of history and modernity. The lounge chairs’ curvilinear form echoes the Surrealist incorporation of naturalistic objects into their work. Surrealist landscapes often featured organic shapes in dream-like surroundings reflecting the interior world of the artist’s psyche. Mollino designed the pair of lounge chairs for the living room of the Minola house. The room’s furnishings were set against a dynamic etched mural depicting a waterfall surrounded by forest, which visually extended out towards the space’s inhabitants; refected in a large horizontal mirror hung across the wall of the adjoining dining room, the space recalls the dreamscapes of Salvador Dalí. The biomorphic, draping forms frequently featured in these compositions are evoked by Mollino’s lounge chairs and, as in Dalí’s paintings, Mollino’s interior combines disparate parts, exploring the parallel between the world of reality and imagination. Mollino shared with Dalí an interest in Art Nouveau, whose sensuous, organic curves are expressed in the profle of the present lounge chair design. Many buildings in Turin had been built in the stile Liberty – a movement which also infuenced the jewellery designs of Ada Minola for whom the interior was designed. The exaggerated form of the lounge chairs also references the visual vocabulary of the Baroque, which sought to combine the physical and the spiritual and appeal directly to the viewer’s emotions. The lounge chairs’ curvilinear,

reclining forms gesture to their use, giving the objects a sense of performance, reinforced by the room’s floor-to-ceiling velvet purple curtains, creating an intimate space that could be enclosed from reality. Mollino’s use of gilding for the legs also references Baroque furniture, whilst the draping form of the seat upholstered in black fabric is evocative of a nun’s habit; such details emphasise the theatrical nature of the lounge chairs, whose design is at once highly imaginative and controlled. Additional stylistic infuences evident in the lounge chairs may be traced further back to antiquity. Mollino was fascinated by Ancient Egyptian culture and his designs demonstrate an archaeological spirit, expressively appropriated in the lounge chairs’ scrolling back and distinctly low seat. In 1948 Gio Ponti featured the Minola house in Domus, in which he celebrated the ‘artistic value’ of the project, describing the designs as originating from ‘the free enthusiasm for the extraordinary ideals of ancient times’. Whilst Mollino’s designs may be considered through varied historical and cultural references passionately explored by the architect throughout his career, the works nevertheless retain a sense of mysterious anonymity. Mollino’s translation of the female form into his designs was cardinal to his inspiration. However, whilst feminine curves are explicit to Mollino’s furniture designs, the specifc source of the forms remain anonymous. Such constructed anonymity is revealed in the collection of over one thousand Polaroid portraits depicting unidentified models staged and photographed by Mollino, which were found in the architect’s personal collection following his death. Mollino’s approach to design was highly intuitive and instinctive, synthesising sources of inspiration to create an entirely new visual language that existed outside the framework of his contemporaries. Consequently Mollino’s furniture reveals a human quality, enhanced by his preoccupation with anthropomorphic and organic forms. Capturing a sense of the feminine and the surreal, the present pair of lounge chairs oscillate between the architectural and the artistic – Mollino being both engineer and artist.

Interior of the Ada and Cesare Minola House, Turin, illustrating the present lot in situ. Courtesy Museo Casa Mollino.

13. Max Ingrand

1908-1969

Set of eight rare wall lights, model no. 2300, circa 1964 Opaque glass, glass, painted metal. Each: 51.6 x 23.2 x 7 cm (20 3/8 x 9 1/8 x 2 3/4 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £30,000-50,000 $38,700-64,500 €34,200-57,100 plus Buyers Premium and VAT*

Provenance Hotel M., Milan Literature Quaderni Fontana Arte 6, Milan, 1964, p. 90

14. Lucio Fontana and Osvaldo Borsani 1899-1968 and 1911-1985 Wardrobe, 1952-1953 Reverse-painted glass, walnut, brass. 184.7 x 254.3 x 63 cm (72 3/4 x 100 1/8 x 24 3/4 in.) Manufactured by Arredamenti Borsani, Varedo, Italy. Glass panels painted by Lucio Fontana, Milan, Italy. Archivio Lucio Fontana number 1438/1. Estimate £140,000-220,000 $181,000-284,000 €160,000-251,000 plus Buyers Premium and VAT*

Provenance Ciprandi family, Milan Literature Enrico Crispolti, Fontana: Catalogo Generale, vol. II, Milan, 1986, illustrated p. 714

Impermanent and Permanent: The Collaboration of Lucio Fontana and Osvaldo Borsani

The present wardrobe designed by the architect Osvaldo Borsani features painted panels by the artist Lucio Fontana, with whom he developed a close collaboration and friendship. It appears simultaneously as being impermanent and permanent, refecting a shared desire to address conventional relationships between the object and its surrounding space. The work belongs to a series of furniture designed by Borsani and embellished by Fontana, always enlivening an exceptionally simple design with a dynamic efect in order to create interiors that were both functional and artistic. Borsani and Fontana shared an enduring interest in the new and a proclivity for experimentation in both their individual and collaborative work. Having embraced new ideological and technological advances, over the course of his career, which spanned most of the twentieth century, Borsani played an instrumental role in the formation of Italian modernist design, whilst remaining dedicated to the countryâ&#x20AC;&#x2122;s tradition of crafsmanship and quality of materials. This enduring commitment paired with his pursuit and understanding of design as addressing more than the functional underscored Borsaniâ&#x20AC;&#x2122;s collaborative approach to his work. Fontanaâ&#x20AC;&#x2122;s own spatial research and exploration of dimensionality provided an intersection for artistic exchange between the architect and artist, which expanded the expressive possibilities of both their practices.

Borsani had first met Fontana whilst studying at the Accademia di Brera in Milan, along with artists such as Arnaldo Pomodoro and Fausto Melotti, the next generation of Italy’s avant-garde, with whom the architect would collaborate with throughout his career. Borsani received his early training under his father Gaetano Borsani, whose workshop in Varedo produced Italian Deco style furniture and was highly regarded for its crafsmanship - an infuence that would remain central to Borsani’s own production. During the 1930s, Gaetano had begun working with contemporary artists to create furniture with unique decoration, ofering his clients additional possibilities for the customisation of their commissions. Sharing his father’s interest in art and recognising the creative and experimental potential of this collaborative approach, Borsani developed close relationships with many contemporary artists, establishing a dialogue within his practice that extended beyond the bounds of architecture and design. This interdisciplinary approach to design flourished in the context of post-war Italy and the resulting economic upturn, which created a momentum and openness for an exchange of ideas and research across cultural fields.

Whilst Borsani and Fontana’s early collaborative work, comprising highly expressive and cohesive interior schemes, illustrates the latter’s interest in the Baroque, their designs later became more abstracted, revealing Fontana’s research into Spatialism. Fontana published his frst manifesto on Spatialism in 1947 - the same year he settled permanently in Milan - in which he called for a synthesis in art of colour, sound, movement and time. In his Technical Manifesto given at the 1st International Congress of Proportion at the IXth Trienniale, Milan, 1947, the artist advocated for the need for a new form of art that moved beyond the representation of known forms and repetitive narratives, in order to refect the ever-changing contemporary conditions of civilisation, namely, scientifc discoveries made possible through technical advances, such as ‘the conquest of matter and space’ and the resulting ‘substantial transformation in the way of thinking’. Following in the text, Fontana explained, ‘a form of art is now demanded which is based on the necessity of this new vision. The baroque has guided us in this direction, in all its as yet unsurpassed grandeur, where the plastic form is inseparable from the notion of time, the images appear to abandon the plane and continue into space the movements they suggest’.

In reference to the origins of the universe, Fontana stated that ‘movement is an essential condition of matter’ and thus ‘existence, nature, matter are one perfect unity and they develop in time and space’. (Lucio Fontana, ‘Technical Manifesto given at the 1st International Congress of Proportion at the IXth Triennale, Milan, 1947’, Translated by Charles Damiano, Ark, Winter 1959, pp. 5-6). With Spatialism, Fontana sought to embrace science and technology through the adoption of new media, including neon lighting and television, and examine the relationship between the art object and the surrounding ‘real’ space. By 1949, Fontana had begun using the term Concetto Spaziale (Spatial Concepts) to describe his work which he considered neither painting or sculpture. Beginning the same year, in a series entitled I Buchi (Holes), Fontana created constellations of holes made in the surface of his canvases that were intended not only as graphic representation but as ‘true openings leading to further space’. In 1952, Fontana introduced fragments of coloured glass to the perforated surface of his oil painted canvases featuring

spiralling compositions of holes, producing the series Le Pietre (Stones), which further suggested a spatial dimension in his work. During this period, Fontana also created ‘spatial environments’, presenting his iconic Spatial Light – Structure in Neon for the 9th Milan Triennial in 1951. Through this work, which comprised a rhythmic and intersecting 100-metrelong loop of neon tubing suspended across the ceiling of the grand staircase Palazzo dell’Arte, Fontana sought a convergence of movement and colour with the surrounding architectural space.

this period. Whilst the solid wood frame grounds the wardrobe within the surrounding space, the surface decoration of the doors, underscored by their inherent function, simultaneously activated the object and dissolved its structural mass. This visual effect is underscored by Borsani’s incorporation of two unexpected coat closets at either side of the wardrobe. Through its design and use, the wardrobe seemed to exist in both illusionary and actual time and space, involving the participation of the viewer, and thus realising the desire to bring art into one’s everyday environment.

The present wardrobe, designed between 1952-53, is an early and fine example of the final method in which Borsani and Fontana collaborated. In these works, comprising designs for storage furniture and a series of sides tables, Fontana experimented with pouring paint onto glass sheets to create indefnite compositions, which were set into external structures designed by Borsani. The decorative surfaces created by Fontana convey a sense of infnity, evoking the cosmos, which recall his spatial concept works and relate to his research during this period in which he created environments with a ‘strong spatial sense’. The atmospheric quality and irregular application of paint across the four door panels of the present wardrobe creates an impression of organic movement, drawing the viewer’s gaze across the opalescent surface, which would have countered the sense of verticalness that ofen characterised Borsani’s interiors. This efect may have been enhanced by the play of light within the original interior scheme as evidenced by the spatial compositions and use of refective surfaces in other projects designed by the architect documented from

Borsani also worked with Fontana using this mode to produce painted panels for furniture models that subsequently become part of Tecno’s production, the design and manufacturing frm the architect founded with his brother Fulgenzio in 1953. Refecting the entrepreneurial spirit and artisanal experience of its founders, and the optimism and collaborative approach of post-war Milan, Tecno combined rigor of form and quality of craftsmanship to embrace new markets, which inspired further innovation and versatility in Borsani’s designs. Thus, the present wardrobe anticipated the unity of artisan knowledge and research-based, technological approach Borsani successfully established through Tecno. In his work the architect achieved a natural beauty through the man-made, exploring the tensions of traditional and technological production methods, and their conceptual and expressive possibilities. Integral to Borsani’s work was his ability to bridge such ideas by establishing connections, evidenced by his dynamic exchange with Fontana, and their exploration of the continuity of material and space in their work.

15. Seguso Three large corner wall lights, circa 1940 Corroso glass with gold leaf inclusions, copper-plated metal. Largest: 47.5 x 30 x 47 cm (18 3/4 x 11 3/4 x 18 1/2 in.) Produced by Seguso, Murano, Italy. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 plus Buyers Premium and VAT*

16. Gio Ponti

1891-1979

Console and side table, designed for the Fondazione Livio e Maria Garzanti, Forlì, 1954-1957 Painted wood, oak-veneered wood, oak. Console: 80.3 x 89.8 x 49.7 cm (31 5/8 x 35 3/8 x 19 5/8 in.) Side table: 45.7 cm (17 7/8 in.) high, 59.8 cm (23 1/2 in.) diameter Manufactured by ISA, Bergamo, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300 plus Buyers Premium and VAT*

Provenance Fondazione Livio e Maria Garzanti, Forlì Literature Franco Bertoni, Gio Ponti: ‘Idee’ d’arte e di architettura a Imola e in Romagna, Imola, Italy, 2012, p. 197

17. Paolo Venini

1895-1959

Vase, model no. 3638A, from the ‘Diamante’ series, 1934-1936 Diamante coloured glass. 19.7 cm (7 3/4 in.) high, 20 cm (7 7/8 in.) diameter Produced by Venini & C., Murano, Italy. Underside acid-etched Venini/Murano. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Literature ‘Una nuova ‘invenzione’ vetraria muranese: il cristallo diamante’, Domus, no. 98, February 1936, p. 22 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 38 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 2, Turin, 2007, fg. 62 Marino Barovier, ed., Paolo Venini e la sua fornace, exh. cat., Fondazione Giorgio Cini, Milan, 2016, p. 107

Provenance Private collection, Milan

18. Gio Ponti

1891-1979

Pair of small ‘Dattilo’ desks, designed for the Vetrocoke ofces, Milan, circa 1939 Glass, walnut, nickel-plated brass, rubber. Each: 71.7 x 69.1 x 71.1 cm (28 1/4 x 27 1/4 x 27 7/8 in.) Each glass panel acid-etched SECURIT. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

Provenance Private collection, Monaco Literature ‘Il cristallo negli ufci’, Domus, no. 135, March 1939, p. 47 for a similar example

19. Gio Ponti

1891-1979

Rare ‘Arcobaleno’ table lamp, model no. 5912, circa 1930 Glazed earthenware, brass, paper shade. 64.2 cm (25 1/4 in.) high including shade Manufactured by Richard-Ginori, San Cristoforo, Italy. Underside marked RICHARD-GINORI/S.CRISTOFORO/ MILANO/MADE IN ITALY and numbered 269. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

Literature Società ceramica Richard-Ginori, Ceramiche Moderne d’Arte, Milan, 1930, p. 104

The present model illustrated in Ceramiche Moderne d’Arte, 1930.

20. Gino Levi Montalcini and Giuseppe Pagano

1902-1974, 1896-1945

Desk, chair and bookcase, designed for the Palazzo Gualino, Turin, circa 1929 Buxus-covered wood, painted wood. Desk: 80 x 140 x 74 cm (311/ 2 x 551/8 x 291/8 in.) Chair: 80.2 x 45 x 46 cm (315/8 x 173/4 x 181/8 in.) Library unit: 217.3 x 140.5 x 49 cm (851/ 2 x 553/8 x 191/4 in.) Manufactured by Cartiere Giacomo Bosso, Turin, Italy. Estimate £6,000-8,000 $7,700-10,300 €6,800-9,100 plus Buyers Premium and VAT*

Provenance Palazzo Gualino, Turin Literature ‘La nuova costruzione moderna per ufci, in Torino, sul Corso Vittorio Emanuele architettata da G. Pagano-Pogatschnig, e G. Levi-Montalcini’, Domus, no. 30, June 1930, pp. 88-89 for similar examples Irene de Guttry and Maria Paola Maino, Il mobile déco italiano 1920-1940, Bari, 1988, p. 189 for similar examples Emilio Garda, ‘I materiali artifciali dell’invenzione’, Domus, no. 839, July/August 2001, p. 12 for the desk and chair

Riccardo Gualino commissioned Giuseppe Pagano and Gino Levi Montalcini to design the Palazzo degli Uffici Gualino in 1928. The strong horizontal emphasis of the reinforced concrete building’s light yellow and green façade is repeated in the design of the present works. The desk, chair and bookcase illustrate three of the sixty-seven diferent furniture models designed for the interior. The unifed furnishings plan made use of modernist materials such as chromium-plated metal, glass, Salpa leather and Buxus – a new cellulose-based product manufactured by the Giacomo Bosso factory where the furniture was also made. The project received immediate critical acclaim as one of Italy’s frst fully realised examples of Rationalist architecture, with Domus devoting an entire issue to the commission in the summer of 1930.

21. Franco Albini

1905-1977

Pair of early ‘Fiorenza’ armchairs, designed for the dining room of Casa F., Milan, circa 1945 Walnut, fabric, brass. Each: 92.5 x 75.5 x 95 cm (36 3/8 x 29 3/4 x 37 3/8 in.) Together with a certifcate of authenticity from the Fondazione Franco Albini. Estimate £10,000-15,000 $12,900-19,400 €11,400-17,100 plus Buyers Premium and VAT*

Provenance Casa F., Milan, circa 1945 Literature ‘La casa di un architetto’, Domus, no. 163, July 1941, front cover, p. 9 for a similar example ‘L’appartamento di un professionista’, Domus, no. 208, April 1946, illustrated pp. 24-25 Roberto Aloi, L’ Arredamento Moderno, terza serie, Milan, 1955, fg. 183 for a similar example Antonio Piva and Vittorio Prina, Franco Albini: 1905-1977, Milan, 1998, p. 141 for a similar example

‘L’appartamento di un professionista’ The present group of works were designed by the architect Franco Albini as part of the furnishings for a Milanese residence. The project was featured in Domus, titled ‘L’appartamento di un professionista’, where the present pair of ‘Fiorenza’ armchairs and set of ‘Luisa’ armchairs were illustrated in situ in the dining room. Albini originally designed the ‘Fiorenza’ armchair for his own residence in 1940 and both this design and that of the ‘Luisa’ armchair demonstrate Albini’s continual experimentation with typologies within his design practice. Albini ofen created multiple versions of his furniture designs to respond to the specifc requirements of a project and, in the case of the present two armchair designs, to eventually develop models for industrial production. An important fgure of Italian Neo-Rationalism, Albini achieved a purity of expression in his work through formal reduction and the use of modular elements, as illustrated in the present bookcase (lot 24). Albini designed the bookcase, desk with a pair of drawers and the cabinet a decade later when he returned to the private commission in Milan to refurbish the study. Both rigorous and elegant in their designs, Albini’s furnishings for the study are illustrative of his investigative approach through which he sought to create ‘essential’ forms that expressed a visual clarity.

22. Franco Albini

1905-1977

Unique cabinet, designed for the study of Casa F., Milan, circa 1956 Walnut-veneered wood, walnut, beech-veneered wood, brass. 113 x 179.5 x 50.5 cm (44 1/2 x 70 5/8 x 19 7/8 in.) Manufactured by Poggi, Pavia, Italy. Together with a certifcate of authenticity from the Fondazione Franco Albini. Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300 plus Buyers Premium and VAT*

Provenance Casa F., Milan, circa 1956

23. Franco Albini

1905-1977

Unique desk and pair of drawer units, designed for the study of Casa F., Milan, circa 1956 Walnut-veneered wood, walnut, brass. Desk: 73.8 x 228 x 97 cm (29 x 89 3/4 x 38 1/4 in.) Each drawer unit: 64.5 x 48 x 50.7 cm (25 3/8 x 18 7/8 x 19 7/8 in.) Together with a certifcate of authenticity from the Fondazione Franco Albini. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 plus Buyers Premium and VAT*

Provenance Casa F., Milan, circa 1956 Literature ‘Franco Albini Arredi mobili, 1938-1959’, Domus, no. 729, July 1991, p. 69 for a similar example Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 1992, p. 229 for a similar example

24. Franco Albini

1905-1977

Unique bookcase, designed for the study of Casa F., Milan, circa 1956 Walnut-veneered wood, walnut, brass. 270 x 266 x 41 cm (106 1/4 x 104 3/4 x 16 1/8 in.) Manufactured by Poggi, Pavia, Italy. Together with a certifcate of authenticity from the Fondazione Franco Albini. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700

25. Franco Albini

1905-1977

Set of six early ‘Luisa’ armchairs, designed for the dining room of Casa F., Milan, circa 1945 Walnut, fabric, leather, nickel-plated metal, brass. Each: 77 x 50.3 x 61.5 cm (30 3/8 x 19 3/4 x 24 1/4 in.) Together with a certifcate of authenticity from the Fondazione Franco Albini. Incised II, III, IIII, VI, VII, VIII, respectively. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

plus Buyers Premium and VAT*

Provenance Casa F., Milan, circa 1956 Literature Domus, no. 334, September 1957, n.p. for a similar example Giuliana Gramigna and Paola Biondi, Il design in Italia: Dell’arredamento domestico, Turin, 1999, p. 18 for a similar example Giampiero Bosoni and Federico Bucci, Il design e gli interni di Franco Albini, Milan, 2016, p. 101 for a similar example A variant of the present bookcase was later put into production by Poggi, Pavia, Italy, as model no. LB7.

Provenance Casa F., Milan, circa 1945 Literature ‘L’appartamento di un professionista’, Domus, no. 208, April 1946, illustrated pp. 24-25 Guglielmo Ulrich, Arredatori Contemporanei, Milan, 1949, n.p. Franco Albini, 1930-1970, exh. cat., London, 1981, p. 99

26. Gino Sarfatti

1912-1985

Ceiling light, model no. 2068, circa 1952 Painted brass, brass. 37 cm (14 5/8 in.) drop, 110 cm (43 1/4 in.) diameter Manufactured by Arteluce, Milan, Italy. Estimate £18,000-24,000 $23,200-31,000 €20,500-27,400 plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature Roberto Aloi, L’ Arredamento Moderno, sesta serie, Milan, 1955, fg. 209 Roberto Aloi, Esempi Di Decorazione Moderna Di Tutto Il Mondo, Illuminazione d’Oggi, Milan, 1956, p. 186 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 74 Piero Castiglioni, Lux: Italia 1930-1990. L’architettura della luce / The architecture of lighting / L’architecture de la lumière, Milan, 1991, p. 67 Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 19, 66, 99, 231, 468

27. Ignazio Gardella

1905-1999

Pair of rare armchairs, circa 1950 Maple, fabric, leather, painted metal, painted steel. Each: 83 x 69 x 78.5 cm (32 5/8 x 27 1/8 x 30 7/8 in.) Estimate £10,000-15,000 $12,900-19,400 €11,400-17,100 plus Buyers Premium and VAT*

Provenance Private collection, Borgofranco d’Ivrea Literature Ugo Diamare, ‘Biblioteca domestica di Ignazio Gardella’, Spazio, no. 2, July 1950, p. 61 for a similar example Giulio Carlo Argan, Ignazio Gardella, Milan, 1959, pp. 190, 194-95 for similar examples

28. Carlo Mollino

1905-1973

Set of three side chairs, designed for the Casa del Sole, Cervinia, circa 1953 Oak, chestnut, brass. Each: 92.6 x 37.5 x 45.5 cm (36 1/2 x 14 3/4 x 17 7/8 in.) Executed by Ettore Canali, Brescia, Italy. Estimate £60,000-80,000 $77,400-103,000 €68,500-91,300 plus Buyers Premium and VAT*

Provenance Casa del Sole, Cervinia, circa 1953 Literature Fulvio Ferrari, Carlo Mollino Cronaca, Turin, 1985, p. 137 Irene de Guttry and Maria Paola Maino, Il mobile italiano degli anni ‘40 et ‘50, Bari, 1992, p. 215 Luciano Bolzoni, ‘La stazione fantasma’, Domus, no. 889, February 2002, p. 22 Rossella Colombari, Carlo Mollino Catalogo Dei Mobili – Furniture Catalogue, Milan, 2005, p. 54 Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino, New York, 2006, p. 205 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, p. 107 Napoleone Ferrari, Mollino. Casa del Sole, Turin, 2007, pp. 75, 78, 84, 91, 93 The present lot is registered in the library of the Museo Casa Mollino, Turin, as number CM-430-20.

29. Mario Asnago and Claudio Vender

30. Mario Asnago and Claudio Vender

1896-1981, 1904-1986

Unique pair of armchairs, designed for villa M., Cantù, circa 1934 Fabric, beech. Each: 89.3 x 82 x 79 cm (35 1/ 8 x 32 1/4 x 31 1/ 8 in.)

Unique sofa, designed for villa M., Cantù, circa 1934 Fabric, beech. 89.4 x 170 x 79 cm (35 1/4 x 66 7/8 x 31 1/8 in.)

Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300

plus Buyers Premium and VAT*

Provenance Villa M., Cantù, circa 1934

Literature Renato Airoldi, Enrico Mantero, et al., Asnago/Vender Architetti, Como, 1986, n.p. Michele Marelli, ‘I mobili di Asnago e Vender’, Canturium, no. 58, October 2018, illustrated p. 22

Interior of Villa M., Cantù. © Renato Airoldi, Enrico Mantero, et al., Asnago/Vender Architetti, Como, 1986, n.p.

The following works, lots 29, 30 and 31, were designed by the Milanese architects Mario Asnago and Claudio Vender for a villa in Cantù completed in 1934. Having received their qualification at the Accademia di Belle Arti di Bologna in 1922, Asnago and Vender formed one of Milan’s most prolifc architecture practices, working together until Asnago’s retirement in 1971. The simple volumes and structural clarity of the present furniture designs illustrate the architects’ minimalist approach to Italian Rationalism. This clarity is exemplifed by the present table (lot 31) in which the slender metal frame and glass tabletop allow light to flter through the structure and surface. Asnago and Vender continued to develop the design, presenting at the 1936 Milan Triennale a version with two x-supports – an element that would become characteristic of their furniture designs.

31. Mario Asnago and Claudio Vender 1896-1981, 1904-1986 Rare low table, designed for villa M., Cantù, circa 1934 Painted iron, glass. 59.9 x 131 x 61.2 cm (23 5/8 x 51 5/8 x 24 1/8 in.) Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Villa M., Cantù, circa 1934 Literature Michele Marelli, ‘I mobili di Asnago e Vender’, Canturium, no. 58, October 2018, pp. 24, 26 for a similar example

32. Studio BBPR - Gian Luigi Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers Set of four ceiling lights, designed for the Olivetti showroom, New York, circa 1954 Opaque glass with applied coloured glass band, painted metal. Each: 185 cm (72 7/8 in.) drop, 24.3 cm (9 5/8 in.) diameter Produced by Venini & C., Murano, Italy. Estimate £25,000-35,000 $32,300-45,200 €28,500-40,000 plus Buyers Premium and VAT*

Provenance Private collection, Alessandria

Literature ‘Italia a New York’, Domus, no. 298, September 1954, pp. 3-9 ‘Venini vasi, Venini lampade’, Domus, no. 314, January 1956, p. 45 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 1992, p. 95 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, p. 61

33. Carlo Mollino

1905-1973

Rare chair, designed for the conference room, Lattes Publishing House, Turin, 1951 Ash plywood, Resinfex, steel, brass. 97.3 x 39 x 54 cm (38 1/4 x 15 3/8 x 21 1/4 in.) Executed by Apelli & Varesio, Turin, Italy. From the production of 12. Estimate £70,000-90,000 $90,400-116,000 €79,900-103,000 plus Buyers Premium and VAT*

Provenance Mario Lattes, conference room, Lattes Publishing House, Turin, 1951 Gifed to a former employee of Mario Lattes Thence by descent Literature Anne Bony, Les années 50, Paris, 1982, p. 315 Galerie Denys Bosselet, Carlo Mollino 1905/1973, Premier Designer, Dernier Artisan des Années ‘50, Paris, 1984, n.p. Derek E. Ostergard, ed., Mackintosh to Mollino, Fify Years of Design, exh. cat., Barry Friedman Ltd., New York, 1984, no. 60 Fulvio Ferrari, Carlo Mollino, Cronaca, Turin, 1985, p. 121 Giovanni Brino, Carlo Mollino, Munich, 1987, p. 110 Rossella Colombari, Carlo Mollino Catalogo Dei Mobili-Furniture Catalogue, Milan, 2005, p. 80 Giovanni Brino, Carlo Mollino: Architecture as Autobiography, Milan, 2005, fg. 347 Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino, New York, 2006, pp. 172, 228 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, pp. 91-92

34. Jean Després

1889-1980

Pair of important vases, 1930s Silver-plated metal, macassar ebony-veneered wood. Each: 36.4 x 34 x 10 cm (14 3/8 x 13 3/8 x 3 7/8 in.) Underside of each incised J-Després. Estimate £35,000-45,000 $45,200-58,100 €40,000-51,400 plus Buyers Premium and VAT*

Provenance Private collection, Texas Acquired from the above by the present owner Literature Yvonne Brunhammer, Les Styles des Années 30 à 50, Paris, 1987, p. 81 for a similar example Melissa Gabardi, Jean Després: Jeweler, Maker and Designer of the Machine Age, London, 2009, pp. 138-39 for similar examples

35. Carlo Bugatti

1855-1940

Rare games table and set of four chairs, circa 1902 Vellum-covered wood, repoussé brass, brass, pewter, ebonised veneered-wood, walnut-veneered wood. Table: 79 x 76 x 76.4 cm (31 1/8 x 29 7/8 x 30 1/8 in.) Each chair: 87.5 x 40.4 x 48.7 cm (34 1/2 x 15 7/8 x 19 1/8 in.) Side of table and reverse of two chairs signed Bugatti. Estimate £80,000-120,000 $103,000-155,000 €91,300-137,000 plus Buyers Premium and VAT*

Provenance Private collection, Munich Literature Rachele Ferrario, Luigi Settembrini, et al., Camera con vista: arte interni in Italia 1900-2000, exh. cat., Milan, 2007, p. 55

Carlo Bugatti’s Eclectic Impulse Carlo Bugatti’s work has always existed for its own sake. As the nineteenth century closed, his designs celebrated Aestheticism’s swan song to beauty and exoticism. Simultaneously, they were self-aware of their bizarre eclecticism far before postmodern designers began to explore the fantastical possibilities of merging multiple historical sources. The legacies of Bugatti are felt throughout postmodern Milanese design especially – the humorous deconstruction of functionality and visual play seen in Ettore Sottsass and other Memphis designers’ works hinge on Bugatti’s radical œuvre. Throughout his career, Bugatti also experimented with the utilitarian nature of his objects. How an object was used was less important for the artist than aesthetics and rich historical associations – it was sufcient that his objects existed and impeded the world with fantasy, knavishly cognisant of their pastiche, intersectional references. Bugatti was born in Milan in 1856 to chimneypiece designer Giovanni Luigi Bugatti. As a student, Bugatti initially studied architecture in the Egyptian and Islamic revival styles, but he eventually turned to metalwork and furniture design and by the 1880s and 1890s his signature style was solidified. Characteristically, the present lot alludes to Bugatti’s rich reservoir of historical reminiscences and cultural quotations that he developed throughout his career. Painted on the surface of this game table and its set of matching chairs are natural motifs including leafy reeds and silhouettes of flying birds in a brown wash, akin to the stylised subjects one may fnd in East Asian scroll painting. The table and two of the chairs are also signed ‘Bugatti’ in elegant script using the same pigment. Both the painted subjects and delicate scrawl of his signatures are evocative of Arabic and Japanese calligraphy as well as Minoan art’s love of an ephemeral, idealised natural world. Perhaps Bugatti’s ability to merge these historic referents in such a unique way is due to the fact that the designer never travelled far from his native

Milan or his second home, Paris. His ideas came from seeing international expositions and reading natural history books. Consequently, his work boasts a fanciful distance from these sources, creating a stylistic domain acutely his own. The present lot was created circa 1902 in Bugatti’s Milanese studio at the height of his fame. During this time, his work boasted elegant sculptural forms and balanced, geometric shapes encased in vellum, causing an impression that each object was comprised of one organic whole. It is not only the multicultural references of the work that make it otherworldly, but its strange materiality and physiognomy as well. While he embraced asymmetry, his work never caved to the streaming tendrils of his Art Nouveau contemporaries. The asymmetry of the present chairs add to their idiosyncratic appearance, yet the pieces are tightly balanced. Like their matching table, they are heavily set on thick feet whose legs taper upward before bulging out around richly ornamented aprons. There, circles or half circles of repoussé brass plaques are surrounded by strips of inlaid pewter and copper designs that form a pattern of stylised insects – complete with brass eyes and wings – that are typical of Bugatti. Additional strips of repoussé brass, hammered to show a variety of geometric shapes in relief, are nailed into the surface edges of the chairs’ seats and table top, respectively. The table top is hinged and opens to reveal an interior compartment, while the chairs’ backrest continues upward and ruptures into a fan of dusky pierced metals and further inlaid ornamentation set into an inverted triangular back support. Sketches inform us that Bugatti’s studio practice relied on intensive variations on key themes. This is part of the reason why every Bugatti piece is distinctly of the artist, and why no two pieces are the same. Dr. Margaret J. Schmitz

36. Gio Ponti

1891-1979

Set of three stools, designed for the Contini Bonacossi residence, Quadreria Moderna, Villa Vittoria, Florence, 1930-1931 Walnut-veneered wood, leather, bronze. Each: 41.6 x 74.5 x 54.3 cm (16 3/8 x 29 3/8 x 21 3/8 in.) Executed by master cabinetmaker Angelo Magnoni for Quarti, Milan, Italy. From the production of fve. Underside of each with metal label with facsimile signature Gio Ponti. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £50,000-70,000 $64,500-90,400 €57,100-79,900 plus Buyers Premium and VAT*

Provenance Contini Bonacossi residence, Quadreria Moderna, Villa Vittoria, Florence, 1930-1931 Literature ‘Alcuni mobili di Tomaso Buzzi e di Gio Ponti nella dimora dei Conti C. in Firenze’, Domus, no. 71, November 1933, pp. 580-81 Irene de Guttry and Maria Paola Maino, Il mobile déco italiano 1920-1940, Bari, 1988, p. 215 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 51 Giunti Editore, La collezione Contini Bonacossi, nelle Gallerie degli Ufzi, Florence, 2018, p. 44

The present model illustrated in the Quadreria Moderna, Villa Vittoria, Florence.

Gio Ponti designed the present three stools as part of the furnishings for the Quadreria moderna (modern picture gallery) at Villa Vittoria, the nineteenth-century villa of Count Alessandro Contini Bonacossi and his wife Vittoria. After spending time in America, where they established important relationships with art collectors and museums, Alessandro and Vittoria returned to Italy and purchased a Neo-Renaissance style building built by Marquess Massimiliano Strozzi in Florence. Ponti with Tomaso Buzzi and Giulio Rosso were responsible for extensively refurbishing the villa, which Alessandro lovingly renamed after his wife, with a brief that prioritised the accommodation of the magnificent art collection the couple had created together, notably through Vittoria’s natural intuition and sophisticated eye. Completed in 1927, Villa Vittoria was frequented by art critics, museum directors, artists, and aristocrats. The ground floor of the residence, which retained its original Neo-Renaissance features, housed Alessandro and Vittoria’s collection of antiques and Old Master paintings, including works by Giovanni Bellini, Titian, Paolo Veronese, Paolo Uccello, Tintoretto, El Greco, Diego Velazquez.

Their collection of modern art, which was Vittoria’s foremost passion and featured works by artists including Giorgio de Chirico, Giorgio Morandi, Marino Marini, and Carlo Carrà, was displayed in a long hallway on the first floor. The form of the present stools references the ancient Roman curule seat – a symbol of power also repeated in the bronze crown motif featured on each stool as well as several other furniture designs by the architect for Villa Vittoria. The stools’ suspended leather seats reference the form’s original use in antiquity to be folded and transported. The gallery also included a pair of low tables with table tops in Verde delle Alpi and Rosso Toscano marble, respectively, and four walnut benches – all elevated on sculptural brass legs. Through his elegant, neoclassical designs, inspired by antiquity and expertly executed by master cabinetmaker Angelo Magnon, Ponti created a setting that honoured the exceptional collection of art acquired by the Bonacossi’s. Villa Vittoria is now Florence’s Congress Palace. As outlined in Alessandro Contini Bonacossi’s will, part of their collection was donated to the State and is displayed at the Uffizi Gallery, Florence.

37. Gino Sarfatti

1912-1985

Wall light, model no. 225, circa 1957 Painted aluminium, painted steel. 25.5 x 36 x 39.4 cm (10 x 14 1/8 x 15 1/2 in.) Manufactured by Arteluce, Milan, Italy. Interior of shade with manufacturer’s printed label AL/MILANO/ARTELUCE. Estimate £2,000-3,000 $2,600-3,900 €2,300-3,400 plus Buyers Premium and VAT*

Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, p. 412

38. Koloman Moser

1868-1918

Armchair, circa 1903 Elm, rush. 124 x 59 x 55.5 cm (48 7/8 x 23 1/4 x 21 7/8 in.) Executed by Prag-Rudniker Korbwarenfabrik, Austria. Estimate £10,000-15,000 $12,900-19,400 €11,400-17,100 plus Buyers Premium and VAT*

Literature Das Interieur, vol. IV, Vienna, 1903, p. 87 Werner Fenz, Koloman Moser, Brussels, 1984, p. 166 Renée Price, ed., New Worlds: German and Austrian Art 1890-1940, New York, 2001, p. 449 Sandra Tretter, ed., Koloman Moser 1868-1918, Vienna, 2007, p. 123 Phillips wishes to thank Dr. Christian Witt-Dörring for his assistance cataloguing the present lot.

39. Ettore Sottsass, Jr.

1917-2007

‘Carlton’ room divider, designed 1981, executed 2011 Plastic-laminated wood. 197 x 190 x 39.9 cm (77 1/2 x 74 3/4 x 15 3/4 in.) Manufactured by Memphis, Milan, Italy. Number 11 from the edition of 30. Base with brass label MEMPHIS MILANO/30˚ANNIVERSARIO 1981-2011/Ettore Sottsass, 1981/Carlton edizione anniversario N˚11/30/Made in Italy. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Literature Barbara Radice, Memphis, Milan, 1984, p. 145 ‘Tot: galleria ludica’, Interni, no. 344, October 1984, p. 23 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 512 Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, p. 199 Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, pp. 99, 216 ‘Progetti’, Domus, no. 781, April 1996, p. 53 Ronald T. Labaco, Ettore Sottsass: Architect and Designer, exh. cat., Los Angeles County Museum of Art, London, 2006, p. 12

40. Karl Friedrich Schinkel When in 1806 Napoleon defeated Prussia, resulting in a seven year-long occupation, it lef Prussia bankrupt and decimated. In a famous speech by Friedrich Wilhelm III of Prussia in 1813, the king made an appeal to his people to trade gold and other precious materials for ornamental cast iron to revive the economy of their country. Cast iron rings, a token for the trade-in, with the inscription ‘I gave gold for iron’ consequently were seen as a sign of patriotism and distinction, giving the material a new status. Karl Friedrich Schinkel, a member of Prussia’s Oberbauamt (superior building authority) since 1810 and its director since 1830, was one of the most prominent Prussian architects of his time. Inspired by neoclassicism, Schinkel travelled to Italy but equally to the industrially advanced countries England and France, as he showed great interest in modern technology and mass production. Afer the fnal victory over Napoleon in 1815, a building boom unfolded in Prussia. Schinkel was in charge of several building projects in Berlin and surroundings, also for the royal family. Many of the royal residence projects were surrounded by large parks and gardens, for which Schinkel designed various outdoor furniture, predominantly made of the now popular material cast iron. His most famous design was the current model garden armchair, which subsequently was produced in all three Royal Prussian foundries in Berlin, Gleiwitz and Sayn. Shaped in the form of the antique x-chair and, in this specifc example, featuring a lyre as the central motif in the backrest, this garden armchair demonstrates the architect’s afnity with and infuence of neoclassicism. Equally, it embraced the industrial advancements of his time, as it could be serially produced. The refined cast iron parts in double-t-form allowed the architect to reduce the armchair’s weight by using less material. By elongating the iron rods that hold the two sides in place the foundries were able to fabricate a bench. Schinkel was the frst architect to design serial produced furniture in cast iron, turning the material into a popular choice for the applied arts industry. As such, Schinkel’s cast iron creations can be seen as a great leap towards unifying art and industry, a goal central to the spirit of the nineteenth century.

1781-1841

Garden armchair, circa 1830 Cast iron. 78.7 x 48.5 x 43 cm (30 7/8 x 19 1/8 x 16 7/8 in.) Possibly manufactured by the Royal Prussian iron foundary Sayner Hütte, Sayn, Germany. Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

41. Otto Wagner

1841-1918

Pair of armchairs, model no. 718/F, circa 1910 Stained beech, leather, brass. Each: 78.8 x 57 x 54 cm (31 x 22 1/2 x 21 1/4 in.) Manufactured by Jacob & Josef Kohn, Austria. Underside of each impressed J.&J.KOHN/Teschen Austria and with partial manufacturer’s paper label. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

Literature Das Interieur, vol. IV, Vienna, 1903, p. 77 for a similar example Jacob & Josef Kohn, Munich, 1916, p. 41 Stefan Asenbaum, et al., Gebogenes Holz Konstruktive Entwürfe, Wien 1840-1910, Michael Thonet, Adolf Loos, Otto Wagner..., exh. cat., Villa Stuck, Munich, 1979, p. 53 for a similar example Paul Asenbaum, et al., Otto Wagner: Möbel und Innenräume, Salzburg, 1984, pp. 85, 106, 202 for similar examples Derek E. Ostergard, ed., Bent Wood and Metal Furniture: 1850-1946, exh. cat., The American Federation of Arts, New York, 1987, pp. 114, 246, 247 for similar examples Renée Price, ed., New Worlds: German and Austrian Art 1890–1940, New York, 2001, p. 411 for a similar example Giovanni Renzi, Il mobile moderno: Gebrüder Thonet Vienna, Jacob & Joseph Kohn, Milan, 2009, pp. 88-89 for similar examples

The present lot is a variant of the armchair Otto Wagner designed in 1902 for the news agency ‘Die Zeit’ in Vienna. In keeping with the predominantly silver, black and dark brown colour scheme of the news agency’s interior, Wagner used aluminium fixtures for the armchairs. The model subsequently went into production with the manufacturer Jacob and Josef Kohn with brass fxtures, which was thought to be more desirable. As published in the 1916 Kohn catalogue, model no. 718/F, the present lot shows a backrest matching the seat upholstery with leather and brass nailheads.

Phillips wishes to thank Dr. Christian Witt-Dörring for his assistance cataloguing the present lot.

42. Hans Przyrembel

1900-1945

Footed dish, circa 1929 Brass. 6.8 cm (2 5/8 in.) high, 40.6 cm (15 7/8 in.) diameter Underside impressed H.PRZYREMBEL/LEIPZIG. Estimate £2,000-3,000 $2,600-3,900 €2,300-3,400 plus Buyers Premium and VAT*

Literature Klaus Weber, Die Metallwerkstatt am Bauhaus, exh. cat., Ausstellung im Bauhaus-Archiv Museum für Gestaltung, Berlin, 1992, p. 247 for a similar example

43. Gino Sarfatti

1912-1985

Rare standard lamp, model no. 1004, circa 1961 Painted aluminium, chromium-plated steel, painted iron. 150.7 cm (59 3/8 in.) high Manufactured by Arteluce, Milan, Italy. Interior of shade with manufacturer’s printed label AL/MILANO/ARTELUCE. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700

Provenance Private collection, Catania Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, pp. 319, 443 Gino Sarfatti: Designing Light, exh. cat., Triennale Design Museum, Milan, 2012, p. 46

plus Buyers Premium and VAT*

44. François-Xavier Lalanne

1927-2008

La carpe d’or, 1987 Gilt resin. 29.4 x 55.7 x 12 cm (11 5/8 x 21 7/8 x 4 3/4 in.) Produced by Artcurial, Paris, France. Number 160 from the edition of 250. Underside embossed ARTCURIAL/ LALANNE/fxl and incised 166 / 250. Estimate £25,000-35,000 $32,300-45,200 €28,500-40,000 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Artcurial, Paris Acquired from the above by the present owner Literature Daniel Abadie, Lalanne(s), Paris, 2008, p. 329

45. Seguso Pair of lanterns, circa 1940 Corroso glass with gold leaf inclusions, Corroso glass, brass. Each: 80.5 cm (31 3/4 in.) drop Produced by Seguso, Murano, Italy. Estimate £20,000-30,000 $25,800-38,700 €22,800-34,200 plus Buyers Premium and VAT*

46. Hans J. Wegner

1914-2007

Dining table, circa 1960 Oak-veneered wood, oak, nickel-plated brass. 73 cm (28 3/4 in.) high, 199.5 cm (78 1/2 in.) diameter Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

Literature Roberto Aloi, Ville D’Oggi, Milan, 1964, p. 191 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4: 1957-1966, Copenhagen, 1987, p. 123 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 16 September–2 October 1960, stand 25.

Provenance Private collection, Denmark Thence by descent

47. Poul Henningsen

1894-1967

Reading lamp, type 3/2 shades, 1931-1951 Painted steel, amber glass, glass, Bakelite. 151.5 cm (59 5/8 in.) high Manufactured by Louis Poulsen, Copenhagen, Denmark. Fixtures embossed P H lamp/Patented and impressed P.H-2/PATENTED. Underside impressed 4332. Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

Provenance Private collection, Copenhagen Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 1: 1927-1936, Copenhagen, 1987, pp. 117, 157, 259 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, pp. 11, 85 Tina Jørstian and Poul Eric Munk Nielsen, eds., Light Years Ahead, The Story of the PH Lamp, Copenhagen, 1994, p. 189 The present model was frst exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Teknologisk Instituts Udstillingslokaler, Copenhagen, 3 October-18 October 1931, stand 2.

48. Max Ingrand

1908-1969

Set of fve wall lights, model no. 2368, circa 1965 Chiselled glass, brass. Each: 33 x 6.8 x 8.7 cm (12 7/8 x 2 5/8 x 3 3/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

Provenance Hotel M., Milan Literature Fontana Arte Bagno, Milan, 1965, n.p.

∑

49. Finn Juhl

1912-1989

Desk, 1950s Brazilian rosewood-veneered wood, Brazilian rosewood, painted steel, brass. 74 x 220.5 x 85 cm (29 1/8 x 86 3/4 x 33 1/2 in.) fully extended Manufactured by Bovirke, Copenhagen, Denmark. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

Provenance Private collection, Copenhagen Literature Bent Salicath, ‘Finn Juhl and Danish Furniture’, Architects’ Year Book 6, London, 1955, pp. 150, 152 for a similar example Dansk Kunsthåndværk, nos. 3-4, 1956, p. 84 for a similar example ‘Mobili di Finn Juhl’, Domus, no. 315, February 1956, p. 44 for a similar example

∑

50. Orla Mølgaard-Nielsen and Peter Hvidt 1907-1993 and 1916-1986 Cabinet, circa 1948 Teak veneered-wood, teak, mahogany, Brazilian rosewood-veneered wood. 150 x 99.3 x 43.3 cm (59 x 39 1/8 x 17 in.) Executed by master cabinetmaker Gustav Bertelsen, Copenhagen, Denmark. Estimate £6,000-8,000 $7,700-10,300 €6,800-9,100 plus Buyers Premium and VAT*

Provenance Private collection, Gentofe Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 45 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 24 September–10 October 1948, stand 13.

51. Paavo Tynell

1890-1973

Rare ‘Domus’ adjustable standard lamp, designed for the Domus Academica student complex, Helsinki, 1947 Brass. 140.8 cm (55 3/8 in.) high Manufactured by Taito Oy, Helsinki, Finland. Estimate £18,000-22,000 $23,200-28,400 €20,500-25,100 plus Buyers Premium and VAT*

Provenance Domus Academica, Helsinki Private collection, Helsinki Literature ‘Domus Academica’, Arkkitehti, no. 11, December 1947, p. 144

52. Hans J. Wegner

1914-2007

Set of twelve ‘The Chair’ armchairs, model no. JH501, designed 1949, executed circa 1956 Teak, leather. Each: 75.4 x 62.5 x 54.5 cm (29 5/8 x 24 5/8 x 21 1/2 in.) Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside of each impressed JOHANNES HANSEN/COPENHAGEN/DENMARK and with manufacturer’s stamp. Estimate £30,000-40,000 $38,700-51,600 €34,200-45,700 plus Buyers Premium and VAT*

Provenance Mayor’s ofce, Karlskoga, 1956 Private collection, Sweden Acquired from the above by the present owner

Literature ‘Danimarca’, Domus, no. 259, June 1951, p. 29 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 99-101 Jens Bernsen, Hans J Wegner: om Design, exh. cat., Dansk Design Center, Copenhagen, 1995, pp. 13, 15, 24-25, 70, 92, 101, 111 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 6, 14, 16, 52, 63, 66, 82, 90, 133-35 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 30 September-16 October 1949, stand 12.

53. Arne Jacobsen

1902-1971

Set of twelve ‘AJ’ door handles, designed for the SAS Royal Hotel, Copenhagen, designed 1956 Brass. Each handle: 2.1 x 10.5 x 7.5 cm (0 7/8 x 4 1/8 x 2 7/8 in.) Manufactured by Carl F. Petersen, Copenhagen, Denmark. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700

54. Max Ingrand

1908-1969

Ceiling light, circa 1953 Coloured glass, glass, brass. 70.5 cm (27 3/4 in.) drop, 114.5 cm (45 1/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 plus Buyers Premium and VAT*

plus Buyers Premium and VAT*

Provenance Private collection, Denmark Literature Carsten Thau and Kjeld Vindum, Arne Jacobsen, Copenhagen, 2001, pp. 145, 438, 475 Michael A. Sheridan, Room 606: The SAS House and the Work of Arne Jacobsen, London, 2003, pp. 97, 178, 242

Provenance Private collection, Como Literature Roberto Aloi, Esempi Di Decorazione Moderna Di Tutto Il Mondo, Illuminazione d’Oggi, Milan, 1956, p. 151 Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 96 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 328

55. Paavo Tynell

1890-1973

∑

56. Carl-Johan Boman

1883-1969

Pair of eight-armed ceiling lights, model no. 9029/8, from the ‘Concerto’ series, 1940s Brass, amber glass. Each: 93.5 cm (36 3/4 in.) drop, 82 cm (32 1/4 in.) diameter Manufactured by Taito Oy, Finland.

Unique drinks cabinet, 1940s Brazilian rosewood-veneered wood, maple-veneered wood, maple, pine, mirrored glass. 132.6 x 96.1 x 47.4 cm (52 1/4 x 37 7/8 x 18 5/8 in.) Manufactured by Oy Boman Ab, Helsinki, Finland.

Estimate £10,000-15,000 $12,900-19,400 €11,400-17,100

Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700

plus Buyers Premium and VAT*

Provenance Public building, Helsinki, 1940s Private collection, Helsinki, acquired from the above, 1980s

Provenance Tauno Erkki Tauriala, Helsinki, Finland, 1940s Thence by descent Acquired from the above by the present owner

Literature Finland House Lighting: harmony in lighting for harmony in living, original designs by Paavo Tynell, New York, 1940s, p. 6 Idman, no. 135, 1953, p. 58 for the four-armed version of the model; no. 136, 1954, p. 49 for the six-armed version of the model

57. Max Ingrand

1908-1969

Pair of wall lights, model no. 1944, circa 1962 Partially chiselled and acid-etched glass, brass, painted brass. Each: 20.5 x 20.3 x 8 cm (8 1/8 x 7 7/8 x 3 1/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Quaderni Fontana Arte 1, Milan, 1962, p. 62 Pierre-Emmanuel Martin-Vivier, Max Ingrand: Du verre à la lumière, Paris, 2009, p. 202

58. Yrjö Rosola

1904-1989

Unique table, 1940s Elm, engraved glass. 61.6 x 63.4 x 48.3 cm (24 1/4 x 24 7/8 x 19 in.) Tabletop engraved YRJÖ ROSOLA. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Provenance Private collection, Helsinki Literature Yrjö Rosola, exh. cat., Finnish Design Museum, Helsinki, 1984, n.p. for similar glass panels

59. Estrid Ericson

1894-1981

‘Laurel’ mirror, model no. 2492, designed 1941, produced 1941-1960s Mirrored glass, painted pewter, painted plywood. 47.5 x 49.5 x 24.4 cm (18 3/4 x 19 1/2 x 9 5/8 in.) Manufactured by Svenskt Tenn, Stockholm, Sweden. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700

Provenance Private collection, Denmark Literature Monica Boman, Monica Eriksson, Hedvig Hedqvist, et al., Estrid Ericson: Founder of Svenskt Tenn, Stockholm, 1989, p. 82 for a similar example

plus Buyers Premium and VAT*

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

60. Flemming Lassen

1902-1984

Sofa, late 1940s Stained ash, sheepskin. 75.5 x 155 x 77 cm (29 3/4 x 61 x 30 3/8 in.) Executed by cabinetmaker Jacob Kjær, Denmark. Estimate £10,000-15,000 $12,900-19,400 €11,400-17,100 plus Buyers Premium and VAT*

Provenance Private collection, Copenhagen Literature Hans Chr. Hansen, ‘Snedkerlaugets 14. Møbeludstilling’, Nyt Tidsskrif For Kunstindustri, no. 11, November 1940, p. 171 for the armchair version of the model Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 116 for the armchair version of the model

61. Yrjö Rosola

1904-1989

Unique cabinet, designed for the Postisäästöpankki (Finnish Post Bank), 1940s Elm-veneered wood, elm, brass, engraved glass, glass, nickel-plated metal. 131.4 x 80.6 x 28.4 cm (51 3/4 x 31 3/4 x 11 1/8 in.) One front of door engraved YRJÖ ROSOLA. Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

Provenance Postisäästöpankki (Finnish Post Bank), Helsinki, 1943

Literature Yrjö Rosola, exh. cat., Finnish Design Museum, Helsinki, 1984, n.p. for similar glass panels The present lot is from the Postisäästöpankki (Finnish Post Bank) designed for the ofce of the CEO, Teuvo Aura, whose initials T. A. adorn the door handles of the cabinet. Aura served twice as the Prime Minister of Finland, during the 1970s, and as Mayor of Helsinki between 1968-1979. For this project, Yrjö Rosola also executed monumental glass screens, which presently remain part of the building’s interior.

62. Fontana Arte Set of fve wall lights, model no. 1636, circa 1962 Acid-etched glass, brass. Each: 41.5 x 14.5 x 10.5 cm (16 3/8 x 5 3/4 x 4 1/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate ÂŁ7,000-9,000 $9,000-11,600 â&#x201A;Ź8,000-10,300 plus Buyers Premium and VAT*

Provenance Private collection, Palermo Literature Quaderni Fontana Arte 1, Milan, 1962, p. 64

63. Maurice Calka

1921-1999

Pair of rare ‘Mandarine’ armchairs and ottoman, 1969-1970 Fabric, fbreglass, steel. Each armchair: 63 x 86 x 86 cm (24 3/4 x 33 7/8 x 33 7/8 in.) Ottoman: 37 cm (14 5/8 in.) high, 80 cm (31 1/2 in.) diameter Produced by Leleu-Deshays, Paris, France. Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300 plus Buyers Premium and VAT*

Provenance Private collection, Paris Klaus Engelhorn collection, Vienna, acquired directly from the above, 1998

64. Stilnovo Standard lamp, circa 1950 Painted aluminium, brass, painted wood, marble. 176 cm (69 1/4 in.) high Manufactured by Stilnovo, Milan, Italy. Interior of shade with manufacturer’s printed label MILANO/STILNOVO/ITALY. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Literature Gerhard Krohn, Fritz Hierl, Formschöne Lampen und Beleuchtungsanlagen, Munich, 1952, p. 164 Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 16

65. Alessandro Mendini

1931-2019

Rare ‘Cetonia’ chest of drawers, 1984 Painted wood, mirrored glass, silver-plated metal. 98.1 x 120 x 55 cm (38 5/8 x 47 1/4 x 21 5/8 in.) Manufactured by Zabro for Nuova Alchimia, Milan, Italy. Underside with manufacturer’s printed label ZABRO/016544/DIVISIONE NUOVA ALCHIMIA 1984. Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300 plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature Kazuko Sato, Alchimia: Contemporary Italian Design, Berlin, 1988, p. 128 Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 151

66. Toyo Ito

b. 1941

‘Matsumoto four’ table, 2015 Acrylic. 30 x 196 x 100 cm (11 3/4 x 77 1/8 x 39 3/8 in.) Editioned by Galleria Scacchi Giovanni, Milan, Italy. Number 5 from the edition of 6 plus 1 artist’s proof. Together with a certifcate of authenticity from Galleria Scacchi Giovanni. Estimate £50,000-70,000 $64,500-90,400 €57,100-79,900 plus Buyers Premium and VAT*

67. Ronan and Erwan Bouroullec

b. 1971, b. 1976

‘Desk Light’, from the Wajima collection, 2011 Lacquered wood, gold inlay, LED. 29 x 37.5 x 25.7 cm (11 3/8 x 14 3/4 x 10 1/8 in.) Produced by Japan Brand for Galerie kreo, France. Artist’s proof number 2 from the edition of 8 plus 2 artist’s proofs and 2 prototypes. Underside marked Desk Light, 2011, E.A.2/R+E BOUROULLEC/Edition Galerie kreo. Together with original cedar wood box. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

Literature Anniina Koivu, Ronan & Erwan Bouroullec: Works, London, 2012, p. 215 Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights II, Paris, 2014, p. 391

Working with Japan Brand to integrate crafsmanship with industry, Ronan and Erwan Bouroullec conceived a series of lacquered objects for everyday use through which to explore new applications for the traditional Japanese technique. Following Ronan Bouroullec’s trip to Wajima, a small city located in Ishikawa Prefecture renowned for its lacquerware workshops, the brothers worked with local craftsmen to produce a small collection, comprising the present desk light, a table lamp, a lunch tray set, and a pocket mirror. These simple objects illustrate the possibilities for the material’s modern day applications. Referencing the traditional shapes found in lacquerware, the present lot’s assembled form hints at these possibilities, whilst the incorporation of the LED light source reveals the depth of the material, highlighting the elegant union of ancient and modern techniques.

68. Shiro Kuramata

1934-1991

‘Glass’ chair, designed 1976, executed 2008 Glass, Photobond 100 adhesive. 89.2 x 89.8 x 60 cm (35 1/8 x 35 3/8 x 23 5/8 in.) Produced by the Mihoya Glass Co. Ltd., Japan. Number 32 from the edition of 40. Together with a certifcate of authenticity from Mieko Kuramata. Estimate £25,000-35,000 $32,300-45,200 €28,500-40,000 ‡ plus Buyers Premium and VAT*

Provenance Friedman Benda, New York Private collection, New York

Literature ‘Il Vetro Incollato’, Domus, no. 572, July 1977, p. 40 Arata Isozaki and Ettore Sottsass, Shiro Kuramata 1967-1987, Tokyo, 1988, p. 57 Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, n.p. Yasuko Seki, ed., Shiro Kuramata and Ettore Sottsass, exh. cat., 21_21 Design Sight, Tokyo, 2001, p. 40 Deyan Sudjic, Shiro Kuramata: Essays & Writings, London, 2013, pp. 75, 86, 93-94, 210 Deyan Sudjic, Shiro Kuramata: Catalogue of Works, London, 2013, p. 297

69. Donald Judd

1928-1994

‘Fourth Floor Table 19’, designed 1981, executed 1986 Cherry wood. 74.3 x 274.3 x 137.2 cm (29 1/4 x 107 7/8 x 54 in.) Executed by Cooper/Kato, New York. Number 1 from the edition of 10. Underside impressed JUDD • 1986/F • 81-16 • CH • 1 / 10/COOPER / KATO/I.K. and signed in marker Don Judd/18 Dec 86. Estimate £40,000-60,000 $51,600-77,400 €45,700-68,500 Ω plus Buyers Premium and VAT*

Literature Donald Judd, Donald Judd Furniture: Retrospective, exh. cat., Museum Boymans-van Beuningen, Rotterdam, 1993, p. 112 for a similar example Donald Judd, Todd Eberle, et al., Art + Design Donald Judd, exh. cat., Museum Wiesbaden, Wiesbaden, 1993, p. 21 for a similar example Nicholas Serota, ed., Donald Judd , exh. cat., London, 2004, p. 118 for a similar example

70. Ado Chale

b. 1928

Early cofee table, 1965-1970 Tiger’s eye, resin, painted steel. 35 cm (13 3/4 in.) high, 120 cm (47 1/4 in.) diameter Together with a certifcate of authenticity from Ado Chale. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500

Executed between 1965 and 1970, the present tabletop is an early example of Ado Chale’s production. During this period Chale did not typically sign his work, unless specifically requested by his clients upon delivery. The base was later commissioned directly from the studio in 2012.

plus Buyers Premium and VAT*

Phillips wishes to thank Ilona Chale from the Ado Chale studio for her assistance cataloguing the present lot.

71. Elizabeth Garouste and Mattia Bonetti b. 1949 and b. 1953 Pair of mask-form wall lights, 1987 Patinated bronze. Each: 31 x 27.5 x 24 cm (12 1/4 x 10 7/8 x 9 1/2 in.) Upper corner of each incised B.G. Estimate £10,000-15,000 $12,900-19,400 €11,400-17,100 plus Buyers Premium and VAT*

Provenance Christian Lacroix Salons de Haute Couture, Paris, 1987 Acquired from the above by the present owner Literature Staphen Calloway, François Baudot and Gerard-Georges Lemaire, Elizabeth Garouste et Mattia Bonetti, Marseilles, 1990, pp. 195-201, 204-07, 209 Marie-France Boyer, ‘Au Revoir, Lacroix’, World of Interiors, June 2010, pp. 109-11 Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights 1950-1990, 35 Years of Collecting, Paris, 2012, p. 347

Property from The Lutyens Trust

72. Sir Edwin Lutyens

1869-1944

Important set of ten ‘Board Room’ chairs, designed for the Midland Bank Limited, New Head Ofces, Poultry, London, 1924-1939 Cuban mahogany, leather, brass, painted wood. Each: 94.5 x 54.5 x 65.5 cm (37 1/4 x 21 1/2 x 25 3/4 in.) Estimate £20,000-30,000 $25,800-38,700 €22,800-34,200 plus Buyers Premium and VAT*

Provenance Midland Bank Limited, New Head Ofces, Poultry, London Literature A. S. G. Butler, The Architecture of Sir Edwin Lutyens, Volume III, London, 1950, illustrated fg. 65 Edwin Green, Buildings for Bankers: Sir Edwin Lutyens and the Midland Bank, 1921-1939, exh. cat., London, 1980, illustrated p. 18

The present set of chairs and pair of tables in situ in the Board Room of Midland Bank Limited, Threadneedle Street, London, circa 1960. © Copyright HSBC Holdings plc (HSBC Archives).

Phillips wishes to thank the Lutyens Trust for their assistance cataloguing the present lot.

Sir Edwin Lutyens, Reginald McKenna and The Midland Bank Afer a distinguished political career during which he served as First Lord of the Admiralty, Home Secretary and Chancellor of the Exchequer, Reginald (‘Reggie’) McKenna joined the Board of Directors of Midland Bank in July 1918.

Three further Midland commissions followed for Lutyens, including the spectacular headquarters (now the prestigious fvestar hotel, The Ned), built on a site close to the Bank of England, between Princes Street and Poultry, in the City of London.

Married to the niece of Sir Edwin Lutyens’s mentor and lifetime friend, Gertrude Jekyll, McKenna was appointed chairman of Midland Bank in 1919 on the death of his predecessor, Sir Edward Holden. Sir Edward had always insisted that a bank needed a worthy building ‘because a good bank with poor premises does not attract deposits in the same way as a bank with good premises’. A.S.G Butler, states a similar sentiment in The Architecture of Sir Edwin Lutyens, Volume III: ‘It is obvious that a bank should look, above all, strong. It should also look, up to a point, rich. The housing of one should, therefore, express, these two fundamental qualities – assuming that the expression of purpose is considered important in architecture. People do, in fact, like it. They are encouraged to deposit valuables in and do business with a bank that looks both strong and rich…’

The present ten chairs comprising lot 74, formed part of a set of furniture designed by Lutyens for the boardroom at the Midland Bank Poultry headquarters. The set also included the elliptical and rectangular tables, also designed by Lutyens and more fully described in lot 75. Lutyens frst experimented with modular furniture in Marsh Court (1901–1905) where his design for the dining room table comprised of two D-ends with free standing inserts. Marsh Court was in fact one of the very frst buildings that Lutyens furnished with his own designs for furniture and lighting. Apart from his own family use, Lutyens appears not to have used his own designs much until his great work in New Delhi (completed 1935), his great office buildings, Britannic House in Finsbury Circus, the Midland Bank buildings, London and the one in Manchester, and smaller office buildings such as 120 Pall Mall.

Lutyens had built a house for the McKennas at 36 Smith Square, Westminster in 1912 and was by now the most celebrated British architect of the day. Given this and their shared connection to Jekyll, it is, therefore, no surprise that one of McKenna’s frst actions as Midland chairman was to commission Lutyens to design the bank’s new branch in Piccadilly – a building worthy of its nearby neighbour, St. James’s church, designed by the architect of St Paul’s cathedral, Sir Christopher Wren.

The boardroom furniture designed for the Poultry Headquarters of the Midland Bank was very important as it represented Lutyens’s total control of a major space within the building. In it he returned to the modular form first seen in Marsh Court with a series of tables that could be arranged in several different formations and chairs that could cope with all iterations of the arrangement. Aside from the modular design,

Property from The Lutyens Trust

73. Sir Edwin Lutyens

1869-1944

Important pair of tables, designed for the Midland Bank Limited, New Head Ofces, Poultry, London, 1924-1939 Cuban mahogany-veneered wood, Cuban mahogany. Each: 76 x 108.6 x 64.2 cm (29 7/ 8 x 42 3/4 x 25 1/4 in.) Estimate £10,000-15,000 $12,900-19,400 €11,400-17,100 plus Buyers Premium and VAT*

the Midland Bank tables encompass classic Lutyens features: exaggerated bun feet beneath Tuscan columns and a strong stretcher arrangement between the two. This stylistic signature was seen frst in the Marsh Court dining table, later in much of his Delhi furniture and in the vitrines, he designed for the Ashmolean Museum in Oxford. The latter most strongly resembles the under structure of the table in question with the moulded edge to the strong linear frame. The boardroom chair that Lutyens designed to match the table was drawn in detail, which can be clearly seen when viewing the original, archived, technical drawings. It is a sturdy, practical chair but there are elements of Lutyens that sing out in the design. The curved return at the end of the arm is an of-repeated feature and, most interestingly, the Delhi Bell detail at the top of the front leg is signifcant. Closely associated with the ‘Delhi Order’, the Delhi Bell was used extensively on the column capitals in New Delhi, and elsewhere, but Lutyens applied it quite extensively to his furniture designs including the present model chairs.

74. Poul Henningsen

1894-1967

‘Spiral’ ceiling light, designed 1942 Painted aluminium. 120 cm (47 1/4 in.) drop, 60 cm (23 5/8 in.) diameter Manufactured by Louis Poulsen, Copenhagen, Denmark. Estimate £25,000-35,000 $32,300-45,200 €28,500-40,000 plus Buyers Premium and VAT*

Provenance Galerie Philippe Denys, Brussels Acquired from the above by the present owner, 2010

Literature Nyt Tidsskrif For Kunstindustri, no. 5, May 1948, front cover Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4: 1957-1966, Copenhagen, 1987, p. 91 Tina Jørstian and Poul Eric Munk Nielsen, eds., Light Years Ahead, The Story of the PH Lamp, Copenhagen, 2000, pp. 266-67 Erik Stefensen, Poul Henningsen, Denmark, 2005, pp. 31, 48, 58

75. Max Ingrand

1908-1969

Ceiling light, circa 1959 Acid-etched glass, nickel-plated brass. 72.5 x 69.5 x 28 cm (28 1/2 x 27 3/8 x 11 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

Provenance Private collection, Catania Literature C. Prague, ‘Verres luisants dans la nuit’, Mobilier et Décoration, June 1959, p. 39 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 245

76. Sir Edwin Lutyens

1869-1944

Table, circa 1909 Oak. 75.3 x 108.5 x 66.3 cm (29 5/8 x 42 3/4 x 26 1/8 in.) Estimate ÂŁ6,000-8,000 $7,700-10,300 â&#x201A;Ź6,800-9,100 plus Buyers Premium and VAT*

Phillips wishes to thank Mrs Candia Lutyens for her assistance cataloguing the present lot.

77. Yoichi Ohira

b. 1946

Unique ‘Anello’ vase, from the ‘Foglie di Ninfee’ series, 2005 Hand-blown glass canes with murrine, avventurina, granular and powder inserts, partial inciso and polished surface. 28.9 cm (11 3/8 in.) high Executed by Andrea Zilio, master glassblower and Giacomo Barbini, master cutter and grinder, Anfora, Murano, Italy. Underside incised Yoichi Ohira/m° A. Zilio/m° G. Barbini/1 / 1 unico/Friday 07-10-2005/murano and with artist’s cipher. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 plus Buyers Premium and VAT*

Provenance Barry Friedman Ltd., New York Acquired from the above by the present owner, 2007

For over 1000 years, the Venetian lagoon has been the home to glassmakers, renowned across the world for their skill. The Japanese born artist Yoichi Ohira was inspired by a documentary to move to Italy in 1973. Captivated by the technical prowess of the maestri, Ohira quickly set aside his previous ambitions to be a glassblower. In Ohira’s words, ‘First of all, at that time in Murano, there was no place for a foreign glassblower from distant Japan. Secondly, in witnessing these master Murano glassblowers’ skill, I said to myself ‘I must give up the desire of becoming a glassblower at once’ (Rosa Barovier Mentasti, William Warmus and Suzanne Frantz, Yoichi Ohira: A Phenomenon in Glass, New York, 2002, p.15). Instead, he dedicated himself to studying the aesthetics of the medium, enrolling at the Accademia di Belle Arti. While writing his dissertation, The Aesthetics of Glass, he studied not only the objects themselves, but learned the history of the Murano community. Characterised by a ‘collective spirit’, the glass-workers and family run furnaces proved to be both close-knit and highly competitive. Though he did not join them as a glassblower, the knowledge he had gained about Murano’s heritage and his own reverence for their traditions endeared him to the glass-making community and led to many successful collaborations. Several of the present lots are the product of the longstanding collaboration between Ohira and the sofatore Livio ‘Maisasio’ Serena. Having met in 1992 at the Anfora furnace, the two

would continue to work side-by-side for over a decade, later joined by a second maestro, the molatore Giacomo Barbini. This group of three, alongside the Anfora glassworks owner Renzo Ferro, was referred to afectionately by Ohira as the ‘Murano Quartet’. This collaboration allowed Ohira to incorporate a plethora of traditional and modern techniques into his designs. Beginning with his own creation of murrine, powdered, and cane glass, Ohira would meticulously lay out the pieces for Serena to incorporate and blow them into a vessel, such as lot 78. Once cool, the piece would be carved by Barbini. Throughout these stages, Ohira oversaw every aspect of the process, continuously comparing the work to his plans. By observing how both the glass and the maestri behaved, Ohira’s designs were informed by a glassblower’s perspective and the skills of his collaborators. As the inscriptions on the present lots acknowledging Serena, Barbini and Andrea Zilio attest to, the works are undoubtedly the product of the entire workshop’s talents. Ohira’s œuvre draws heavily on his own knowledge of Murano’s history, traditional techniques, as well as the living heritage that his collaborators embody. Each of his works, despite their undeniably contemporary appearance, are steeped in tradition and are the culmination of not just one individual’s expertise, but that of an entire community.

78. Yoichi Ohira

b. 1946

Unique ‘Bocciolo’ vase, 2004 Hand-blown glass canes with murrine and powder inserts, partial battuto and inciso surface. 18.7 cm (7 3/8 in.) high Executed by Livio Serena, master glassblower, and Giacomo Barbini, master cutter and grinder, Murano, Italy. Underside incised Yoichi Ohira/m° L. Serena/m° G. Barbini/1 / 1 unico/ Monday 28 - 6/2004 murano and with artist’s cipher. Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300 plus Buyers Premium and VAT*

79. Yoichi Ohira

b. 1946

Unique vase, 2002 Hand-blown glass canes with murrine, granular and powder inserts, partial inciso surface. 27.4 cm (10 3/4 in.) high Executed by Livio Serena, master glassblower, and Giacomo Barbini, master cutter and grinder, Murano, Italy. Underside incised Yoichi Ohira/m° L. Serena/m° G. Barbini/1 / 1 unico/Wednesday 16.10/2002/murano and with artist’s cipher. Estimate £10,000-12,000 $12,900-15,500 €11,400-13,700 plus Buyers Premium and VAT*

80. Yoichi Ohira

b. 1946

Unique vase, 1997 Hand-blown glass canes with murrine, ground surface. 14.8 cm (5 7/8 in.) high Executed by Livio Serena, master glassblower, Murano, Italy. Underside incised Yoichi Ohira - m° L. Serena 1 / 1 unico 1997 murano and with artist’s cipher. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

81. Yoichi Ohira

b. 1946

Unique ‘Vaso rosso con quattro dischi’, 1997 Hand-blown glass canes with polished surface. 17.3 cm (6 3/4 in.) high Executed by Livio Serena, master glassblower, Murano, Italy. Underside incised Y. Ohira - m° L. Serena 1 / 1 unico 1997 murano and with artist’s cipher. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

George Nakashima in Dialogue with Clients and Critics In the summer of 1976 a lively debate took place in the ‘Letters’ column of the journal Craft Horizons regarding George Nakashima’s ‘Conoid’ chair. Responding to a ‘Conoid’ chair that had been depicted in the February 1976 issue as part of an exhibition of contemporary furniture at the Cincinnati Art Museum, Paul Killinger of Boulder, Colorado expressed his ‘profound shock and even despair’ regarding the chair’s cantilevered construction, which he described as ‘structurally terrifying’ (‘Letters’, Craft Horizons, June 1976, p. 13). Mr. Killinger could not conceive how the joint of the seat and vertical back rails, with no front leg support, would hold up under any use. Nakashima published a letter of response in the next issue. He noted that his studio had already been producing this design for fourteen years and to his knowledge, ‘the particular joint that Killinger is so ‘terrified’ about has never failed’ (‘Letters’, Craft Horizons, August 1976, p. 13). Indeed decades later, the ‘Conoid’ chair has endured and gone on to assume its rightful place in the canon of twentieth-century design. Killinger clearly did not understand that George Nakashima was an MIT-trained architect, thoroughly-schooled in engineering and the structural properties of materials. Though Nakashima, as a leader of the American studio furniture movement, is revered for elevating the inherent beauty of natural wood in his furniture, the brilliant engineering that underpinned his highly original designs is ofen overlooked. Nakashima also learned sophisticated joinery techniques through apprenticing with a Japanese carpenter. ‘As an architect,

I appreciate theory’, he wrote, ‘but the empirical test of time is the truest test of a product; this chair has passed this test’ (Ibid). Nakashima folded all of these experiences into the design of the ‘Conoid’ line of furniture, which was inspired by the curved vault of the Conoid studio he had constructed on his compound in New Hope, Pennsylvania. Perhaps Leticia Kent, who commissioned the following six lots and acquired her set of ‘Conoid’ chairs the same year as the letters between Nakashima and Killinger appeared in Craf Horizons, was drawn to the architectural aspect of Nakashima’s furniture. Ms. Kent studied architecture at the Pratt Institute and The Cooper Union in New York and worked for several architects including Giorgio Cavaglieri. However, in the late 1960s she took up a second career as a journalist, contributing to the Village Voice, the New York Times, and Vogue, among other publications. Her subjects ranged from pollution to urban design and show business. An active member of her community, she was also a founding member of the Greenwich Village Society for Historic Preservation. Beyond architecture, Ms. Kent and Nakashima shared an interest in India and Hinduism. In a 1968 letter in which Nakashima responded to clippings from the Village Voice that Kent had sent him, he relayed his experiences in India, where he was a member of Shri Aurobindo Ashram in Pondicherry and even became a Hindu Monk. It is a deeply felt letter and demonstrates the close friendships and bonds that formed between Nakashima and his clients.

Property from a Private Collection, London

82. George Nakashima

1905-1990

‘Minguren I’ cofee table, 1976 American black walnut. 38 x 106.2 x 94 cm (14 7/8 x 41 3/4 x 37 in.) Together with a copy of the original order card, invoice, correspondence, drawing signed by George Nakashima and certifcate of authenticity from Mira Nakashima. Estimate £15,000-20,000 $19,400-25,800 €17,100-22,800 plus Buyers Premium and VAT*

Provenance Leticia Kent, New York, acquired directly from the artist, 1976 Thence by descent to the present owner Literature George Nakashima, The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, pp. 156-57, 173, 182 for similar examples Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 200, 202 for similar examples

Property from a Private Collection, London

83. George Nakashima

1905-1990

Property from a Private Collection, London ∑

84. George Nakashima

1905-1990

Set of four ‘Conoid’ dining chairs, 1976 American black walnut, hickory. Tallest: 90.2 x 50.5 x 56.6 cm (35 1/2 x 19 7/8 x 22 1/4 in.) Together with a copy of the original order cards, invoices, correspondence, drawing signed by George Nakashima and certifcate of authenticity from Mira Nakashima. Underside of three signed in black marker KENT and one Showroom.

‘Conoid’ dining table, 1967 American black walnut, three East Indian rosewood butterfy keys. 69.5 x 155 x 99.5 cm (27 3/8 x 61 x 39 1/8 in.) Together with a copy of the original order card, invoice, correspondence, drawing signed by George Nakashima and certifcate of authenticity from Mira Nakashima. Underside signed in marker KENT.

Estimate £10,000-15,000 $12,900-19,400 €11,400-17,100

Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500

plus Buyers Premium and VAT*

Provenance Leticia Kent, New York, acquired directly from the artist, 1976 Thence by descent to the present owner

Provenance Leticia Kent, New York, acquired directly from the artist, 1968 Thence by descent to the present owner

Literature George Nakashima, The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, pp. 32, 38, 108, 143, 149, 152-53, 167, 169, 177, 179, 183-84, 187, 190-91 Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craf Museum, New York, 1989, p. 110 Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 173–75, 195, 212-13, 215-16, 223, 226-27, 248

Literature George Nakashima, The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, pp. 184-85 for similar examples Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 147, 174, 223 for similar examples

Property from a Private Collection, London

85. George Nakashima

1905-1990

‘Conoid’ lounge chair, circa 1980 American black walnut, hickory. 83.8 x 55.5 x 65.5 cm (32 7/8 x 21 7/8 x 25 3/4 in.) Together with a copy of original certifcate of authenticity from Mira Nakashima. Underside signed in black marker Studio. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Property from a Private Collection, London

86. George Nakashima

1905-1990

Wall-mounted cabinet, 1967 Walnut, pandanus cloth. 36.2 x 152.2 x 35.7 cm (14 1/4 x 59 7/8 x 14 in.) Together with a copy of the original order card, invoice, correspondence and certifcate of authenticity from Mira Nakashima. Estimate £6,000-8,000 $7,700-10,300 €6,800-9,100 plus Buyers Premium and VAT*

Provenance Leticia Kent, New York, acquired directly from the artist Thence by descent to the present owner Literature George Nakashima, The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, pp. 143, 173 Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craf Museum, New York, 1989, p. 163

Provenance Leticia Kent, New York, acquired directly from the artist, 1968 Thence by descent to the present owner Literature George Nakashima, The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, p. 178 for a similar example Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 174 for a similar example

Property from a Private Collection, London

87. George Nakashima

1905-1990

Single-armed lounge chair, 1961 American black walnut, hickory. 84 x 76.5 x 72.5 cm (33 1/8 x 30 1/8 x 28 1/2 in.) Together with a copy of the original order card, correspondence and certifcate of authenticity from Mira Nakashima. Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

Provenance Leticia Kent, New York, acquired directly from the artist, 1961 Thence by descent to the present owner Literature Roberto Aloi, L’arredamento moderno: settima serie, Milan, 1964, p. 102 The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, pp. 38, 143, 173, 181 Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craf Museum, New York, 1989, p. 160 for a similar example Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 82, 97, 156

88. Augusto Romano

1918-2001

Side table, from Casa F., Milan, circa 1947 Oak, glass, brass. 47.3 x 77 x 48.7 cm (18 5/8 x 30 3/8 x 19 1/8 in.) Glass acid-etched SECURIT. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Casa F., Milan Literature ‘Il sostegno a X’, Domus, no. 226, vol. 1, 1948, p. 64 Daniele Regis, Lucetta Battaglia, Augusto Romano Architetto, Turin, 2012, pp. 17, 68, 154 The present model was exhibited at the VIII Milan Triennale, 1947.

89. Angelo Lelii

1915-1979

Pair of ‘Cartuccia’ adjustable table lamps, model no. 12445, circa 1954 Painted aluminium, glass, nickel-plated brass, painted steel. Each: 25 cm (9 7/8 in.) high Manufactured by Arredoluce, Monza, Italy. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 490 Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 77 Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, pp. 157, 294 The present lot has been registered in the Arredoluce Archives, Italy as numbers 5379176 and 8966399.

∑

90. Ettore Sottsass, Jr.

1917-2007

Storage Unit Furniture No. 4, from the ‘Mémoires de Chine’ collection, 1996 Plastic-laminated wood, stained cocobolo-veneered chipboard, black limba-veneered chipboard, painted wood. 199.6 x 140.2 x 148.2 cm (78 5/8 x 55 1/4 x 58 3/8 in.) as shown Produced by the Gallery Mourmans, Knokke-Zouote, Belgium. From the edition of six.

Provenance The Gallery Mourmans, Knokke-Zouote Casa van Impe, Belgium Dorotheum, Vienna, ‘Design’, 23 November 2010, lot 298 Acquired from the above by the present owner Literature ‘Reviews’, Artforum, vol. 35, no. 7, March 1997, p. 190

Estimate £18,000-24,000 $23,200-31,000 €20,500-27,400 plus Buyers Premium and VAT*

91. Lucie Rie

1902-1995

Footed bowl, circa 1970 Porcelain, manganese glaze with sgrafto design and blue glazed well. 10.3 cm (4 in.) high, 19.5 cm (7 5/8 in.) diameter Impressed with artist’s seal. Estimate £15,000-20,000 $19,400-25,800 €17,100-22,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Private collection, Hamburg, 1980s Acquired from the above by the present owner Exhibited ‘Lucie Rie-Hans Coper Keramik’, Museum für Kunst und Gewerbe Hamburg, 30 August-4 October 1972 and then travelled to Museum für Kunsthandwerk, Frankfurt, February–March 1973

92. Kati Tuominen-Niittylä

b. 1947

Unique bowl, 2016 Stoneware. 28.3 cm (11 1/8 in.) high, 33 cm (12 7/8 in.) diameter Impressed with artist’s seal. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 ♠ plus Buyer’s Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner, 2016

93. Alev Ebüzziya Siesbye

b. 1938

‘Black matt white gold coated’ bowl, 2007 Stoneware, black glaze with a masked design and white gold leaf. 17.5 cm (6 7/8 in.) high, 28.5 cm (11 1/4 in.) diameter Underside incised alev. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 ♠

Provenance Lacoste Gallery, Concord, Massachusetts, acquired directly from the artist, 2008 Acquired from the above by the present owner, 2017 Exhibited ‘A View From Denmark’, Lacoste Gallery, Concord, 4-6 October, 2008

plus Buyer’s Premium and VAT, ARR applies*

Phillips wishes to thank Alev Ebüzziya Siesbye for her assistance cataloguing the present lot.

94. Max Ingrand

1908-1969

Table lamp, circa 1955 Painted metal, coloured glass, brass, linen shade. 62 cm (24 3/8 in.) high including shade Manufactured by Fontana Arte, Milan, Italy. Estimate £10,000-15,000 $12,900-19,400 €11,400-17,100 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Nuovi negozi di vetri e cristalli d’arte’, Vitrum, no. 100, February 1958, p. 40 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du Verre À La Lumière, Paris, 2009, pp. 193, 195 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 363

95. Jean Royère

1902-1981

‘Quille’ table and pair of chairs, circa 1955 Painted wood. Table: 75.2 x 95.5 x 94 cm (29 5/8 x 37 5/8 x 37 in.) Each chair: 90 x 43.5 x 53 cm (35 3/8 x 17 1/8 x 20 7/8 in.) Estimate £30,000-40,000 $38,700-51,600 €34,200-45,700 plus Buyers Premium and VAT*

Provenance Ansóm Fernandini, Ancón, Lima, Peru Phillips, London, ‘Design’, 7 April 2011, lot 48 Acquired from the above by the present owner

Literature Claudine Chareyron, ‘La Décoration Française Au Liban, trois installations à Beyrouth’, Mobilier et Décoration, no. 5, June 1960, p. 3 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 1, Paris, 2012, pp. 188-89, 191 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 2, Paris, 2012, pp. 56, 68, 218-19, 315 The present models are documented in the Jean Royère papers held by the Musée des Arts décoratifs, Paris in the Fernandini ensemble fle for Ancó, Lima, Peru as tracing plan no. 10.006.

96. Jean Royère

1902-1981

‘Croisillon’ desk and armchair, circa 1955 Oak, oak-veneered wood, brass, fabric. Desk: 75.6 x 110.4 x 55.2 cm (29 3/4 x 43 1/2 x 21 3/4 in.) Armchair: 81.4 x 52.3 x 52.4 cm (32 x 20 5/8 x 20 5/8 in.) Estimate £35,000-42,000 $45,200-54,200 €40,000-47,900 plus Buyers Premium and VAT*

Provenance Hotel, Beirut, Lebanon Galerie Jacques Lacoste & Galerie Patrick Seguin, Paris

Literature Jean Royère, Cheminées et Coins de Feu, Première Série, Paris, 1950s, pl. 34 for the chair René Chavance, ‘Aménagements ofciels et installations privées par Jean Royère’, Mobilier et Décoration, no. 7, October 1951, p. 31 for the chair Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 1, Paris, 2012, p. 272 for the chair Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 2, Paris, 2012, p. 54 for the chair

97. Pietro Chiesa

1892-1948

Rare chandelier, circa 1936 Acid-etched glass, nickel-plated brass, rubber. 101.5 cm (39 7/8 in.) drop, 89.7 cm (35 3/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate £6,000-8,000 $7,700-10,300 €6,800-9,100 plus Buyers Premium and VAT*

Provenance Private collection, Monaco Literature ‘Sette lampade nuove’, Domus, no. 99, March 1936, p. 29 Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 204 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fgs. 12, 21

98. Elizabeth Garouste and Mattia Bonetti b. 1949 and b. 1953 Standard lamp, 1987 Painted wrought iron, painted steel. 196 cm (77 1/8 in.) high Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

Provenance Christian Lacroix Salons de Haute Couture, Paris, 1987 Acquired from the above by the present owner Literature Marie-France Boyer, ‘Au Revoir, Lacroix’, World of Interiors, June 2010, p. 108 Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 328

99. Le Corbusier and Pierre Jeanneret 1887-1965, 1896-1967 Two ‘Advocate and Press’ armchairs, model no. LC/PJ-SI-41-A, designed for the High Court, Chandigarh, circa 1955 Teak, hide. Largest: 90 x 64 x 65.5 cm (35 3/8 x 25 1/4 x 25 3/4 in.) Estimate £35,000-42,000 $45,200-54,200 €40,000-47,900 plus Buyers Premium and VAT*

Provenance High Court, Chandigarh Galerie Patrick Seguin, Paris High Court, Chandigarh. ©FLC/ ADAGP, Paris and DACS, London 2017 and Lucien Hervé.

Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-Art-Architecture, Paris, 2010, pp. 168-69, 567 Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret: Chandigarh, India, Paris, 2014, pp. 136-39, 282, 323

100. Jacques Le Chevallier and René Kœchlin 1896-1987 and 1866-1951 Piano lamp, model no. 58, circa 1929 Aluminium, Ebonite. 26 x 34.2 x 26.6 cm (10 1/4 x 13 1/2 x 10 1/2 in.) Reverse impressed DÉPOSÉ, Type58/JLC/Nº 32, R, K and MADE IN/FRANCE. Estimate £25,000-35,000 $32,300-45,200 €28,500-40,000 Ω plus Buyers Premium and VAT*

Provenance Private collection, Paris Galerie Doria, Paris Laurent Negro, Château de Gourdon, France Christie’s, Paris, ‘Les Collections du Château de Gourdon’, 29-31 March 2011, lot 857 Acquired from the above by the present owner Literature Chronique de l’art décoratif, L’Art Vivant, no. 124, February 1930, p. 178 Art et Décoration: Revue Mensuelle d’Art Moderne, vol. LVIII, July-December 1930, Paris, n.p. Jean-François Archieri, et. al., Jacques Le Chevallier 18961987: La Lumière Moderne, exh. cat., La Piscine-Musée d’art et d’industrie André Diligent, Roubaix, 2007, pp. 96-99 The present model was exhibited at the Salon d’Automne, Paris, 1929 and the Première Exposition de l’Union des Artistes Modernes, musée des Arts Décoratifs, Pavillon de Marsan, Paris, 1930.

In 1929 the Union des Artistes Modernes (UAM) had their frst exhibition at the Salon d’Automne, Paris, where the present model piano lamp was exhibited. The UAM was formed in 1929 and disbanded in 1958. Alongside Jacques Le Chevallier, the members of this conscientious and innovative collective of architects, decorators and crafsmen, included Pierre Chareau, Jean Prouvé, Le Corbusier, Charlotte Perriand and Robert Mallet-Stevens, who came together through a shared belief in a synthesis of art, technology and materials. Having studied at the École Nationale des Arts Décoratifs, in Paris, Le Chevallier was a maître verrier (master glassmaker) who worked for Louis Barillet’s eponymous architectural glass company, which famously created the glass roof of the Villa Noailles in Hyères designed by Robert Mallet-Stevens. Both were founding members of the UAM and contributed works to their early exhibitions. Between 1927 and 1932 Le Chevallier collaborated with René Koechlin on experimental lighting designs. The lamps present as cubist sculptures or architectural models, and often employed impressive technical innovations. Ingeniously constructed for maximum range and stability, the present model is recorded as having been selected for production by Décoration Intérieure Moderne (DIM), a French furnishings frm founded in 1919 by René Joubert and Georges Mouveau. The present model and others were intended for mass production, though ultimately they were produced in only small number. An example of the present model is in the permanent collection of the Centre Georges Pompidou, Paris.

101. Pierre Jeanneret

1896-1967

Set of six ‘Ofce’ armchairs, model no. PJ-SI-28-A, designed for the Architects Ofce, Secrétariat, and administrative buildings, Chandigarh, 1955-1956 Teak, cane. Tallest: 83 x 50.5 x 60 cm (32 5/8 x 19 7/8 x 23 5/8 in.) Estimate £30,000-50,000 $38,700-64,500 €34,200-57,100 plus Buyers Premium and VAT*

Provenance Chandigarh, India Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design - Art Architecture, Paris, 2010, pp. 191, 343, 364-65, 562 Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret: Chandigarh, India, Paris, 2014, pp. 153-54, 164, 166, 168-73, 236, 246, 253, 256, 283

102. Angelo Lelii

1915-1979

‘Stella a 6’ six-armed ceiling light, circa 1959 Glass, brass, painted metal. 27.5 x 150 x 97 cm (10 7/8 x 59 x 38 1/4 in.) Manufactured by Arredoluce, Monza, Italy. Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, pp. 216, 325 The present lot has been registered in the Arredoluce Archives, Italy, as number 1341285.

Property from a Private Collection, Brussels

103. Gio Ponti

1891-1979

Floor lamp, circa 1973 Anodised aluminum, stainless steel. 114.3 cm (45 in.) high Manufactured by Reggiani, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

104. Jean Prouvé

1901-1984

‘Tout bois’ chair, circa 1942 Oak-veneered plywood, oak. 82 x 40.8 x 49.2 cm (32 1/4 x 16 1/8 x 19 3/8 in.) Manufactured by Les Etablissements Vauconsant, Saint-Nicolas-de-Port, France, for Les Ateliers Jean Prouvé, Nancy, France. Estimate £6,000-8,000 $7,700-10,300 €6,800-9,100 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 382-83 Sophie Bouilhet-Dumas, Dominique Forest and Salvatore Licitra, eds., Gio Ponti: archi-designer, exh. cat., Milan, 2018, p. 288

Literature Jean Prouvé Constructeur, exh. cat., Centre Georges Pompidou, Paris, 1991, p. 128 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

105. Gio Ponti

1891-1979

Storage unit, circa 1950 Painted wood, oak. 79 x 192.2 x 108.8 cm (31 1/8 x 75 5/8 x 42 7/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

Provenance Private collection, Roveto Literature Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923-1978, London, 1990, p. 155 for a similar example Daria Guarnati, ed., Aria D’Italia: espressione di Gio Ponti, Milan, 2011, p. 122

106. Gio Ponti

1891-1979

Set of fve ‘Sole’ ceiling lights, circa 1957 Acrylic, brass. Each: 9 cm (3 1/2 in.) drop, 73 cm (28 3/4 in.) diameter Manufactured by Arredoluce, Monza, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £18,000-24,000 $23,200-31,000 €20,500-27,400 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, pp. 190, 313 The present lot has been registered in the Arredoluce Archives, Italy as numbers 1181478, 2677373, 9770906, 3318478 and 5699275.

107. Mathieu Matégot

1910-2001

Garden table and set of four chairs, 1950s Painted steel, glass, fabric. Table: 76.2 (30 in.) high, 54.6 cm (21 1/2 in.) diameter Each chair: 84.4 x 73.3 x 61 cm (33 1/4 x 28 7/8 x 24 in.) Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 Ω plus Buyers Premium and VAT*

Provenance Tajan, Paris, ‘Design’, 26 May 2003, lot 73 Acquired from the above by the present owner Literature Philippe Jousse and Caroline Mondineu, Mathieu Matégot, Paris, 2003, pp. 148-49, 218 for similar examples Patrick Favardin, Mathieu Matégot, Paris, 2014, pp. 50-51, 54, 67 for similar examples

108. Ugo La Pietra

b. 1938

‘Senza titolo’ table lamp, 1967-1968 Acrylic, painted metal, chromium-plated brass. 19 x 20 x 34.5 cm (7 1/2 x 7 7/8 x 13 5/8 in.) Manufactured by Zama Elettronica, Italy. Estimate £2,000-3,000 $2,600-3,900 €2,300-3,400 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Segnaliamo V’, Domus, no. 488, July 1970, fg. 2 Philippe Decelle, Diane Hennebert and Pierre Loze, L’Utopie du Tout Plastique 1960-1973, exh. cat., Fondation pour l’architecture, Brussels, 1994, p. 90 Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973: il nuovo design italiano, Turin, 2002, fg. 61 Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 273

109. Pietro Chiesa

1892-1948

Table lamp, circa 1940 Glass, brass, copper, fabric shade. 49.8 cm (195/8 in.) high including shade Manufactured by Fontana Arte, Milan, Italy. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Sergio Montefusco, Fontana Arte: repertorio 1933-1943 dalle immagini dell’epoca, Genoa, 2012, p. 121 for similar examples

110. Gio Ponti

1891-1979

Two-tiered side table, circa 1929 Mahogany-veneered wood, mahogany, painted wood. 45.1 x 60.1 x 50.7 cm (17 3/4 x 23 5/8 x 19 7/8 in.) Manufactured by Turri, Bovisio Mombello, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Provenance Private collection, Èze Literature Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2004, p. 55

111. Gio Ponti

1891-1979

Set of fourteen dining chairs, late 1950s Oak, vinyl. Each: 92 x 49 x 55 cm (36 1/4 x 19 1/4 x 21 5/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £15,000-20,000 $19,400-25,800 €17,100-22,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 274, 370 for similar examples

112. Carlo Scarpa

1906-1978

Rare nine-armed chandelier, model no. 5338, circa 1942 Zanfrico glass, glass, painted brass. 119 cm (46 7/8 in.) drop, 72 cm (28 3/8 in.) diameter Produced by Venini & C., Murano, Italy. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 plus Buyers Premium and VAT*

113. Gio Ponti

1891-1979

Armchair, model no. 811, circa 1956 Walnut, fabric, rubber, painted metal. 85.5 x 71 x 96 cm (33 5/8 x 27 7/8 x 37 3/4 in.) Manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 plus Buyers Premium and VAT*

Provenance Private collection, Como Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 265, The Blue Catalogue (appendix) pl. 192

Provenance Private collection, Milan Literature Pier Carlo Santini, Gli anni del design Italiano, Ritratto di Cesare Cassina, Milano, 1981, p. 109

114. Ico Parisi

1916-1996

Rare ‘Uovo’ chair, model no. 813, circa 1953 Fabric, painted iron, painted brass. 81.5 x 79 x 74 cm (32 1/8 x 31 1/8 x 29 1/8 in.) Manufactured by Cassina, Meda, Italy. Estimate £6,000-8,000 $7,700-10,300 €6,800-9,100

115. Ico Parisi

1916-1996

Rare modular bookcase and unique stepladder, designed for a private residence, Como, circa 1960 Wenge-veneered wood, wenge, brass. Bookcase: 298 x 206 x 39.8 cm (117 3/8 x 81 1/8 x 15 5/8 in.) as shown Stepladder: 59.5 x 36.2 x 61 cm (23 3/8 x 14 1/4 x 24 in.) Manufactured by Brugnoli Mobili, Cantù, Italy.

plus Buyers Premium and VAT*

Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500

Provenance Private collection, Monaco

plus Buyers Premium and VAT*

Literature ‘Mobili italiani per l’America’, Domus, no. 292, March 1954, p. 66 Roberto Aloi, Mobili Tipo: Presentazione Dell’Arch. Agnoldomenico Pica, Milan, 1956, p. 219 Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, pp. 516-17 Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

Provenance Private collection, Como Literature M. Rabbi, ‘Modi architettonici del comasco Ico Parisi in due Realizzazioni romane’, L’Architettura, cronaca e storia, no. 83, September 1962, p. 300 Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, pp. 406-07 Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

116. Gino Sarfatti

1912-1985

Standard lamp, model no. 1086/nt, circa 1971 Painted aluminium, painted iron, chromium-plated metal. 111.8 cm (44 in.) high Manufactured by Arteluce, Milan, Italy. Interior of shade with manufacturer’s printed label AL/MILANO/ARTELUCE.

Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 325, 457 Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 293

Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

117. Fernando Campana and Humberto Campana b. 1961 and b. 1953 ‘Cake’ stool, 2008 Stufed toy animals, brushed stainless steel. 66.5 x 137.2 x 134 cm (26 1/8 x 54 x 52 3/4 in.) Manufactured by Estudio Campana, Brazil. Number 12 from the edition of 150 plus 5 artist’s proofs and 1 prototype. One animal embroidered Campana N˚ 12 / 150. Together with a certifcate of authenticity from The Campana Studio. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

Provenance Michael Hue-Williams Gallery, London Acquired from the above by the present owner, 2008 Literature Darrin Alfred, et al, Campana Brothers, Complete Works (So Far), New York, 2010, p. 286

118. Angelo Lelii

1915-1979

Rare ceiling light, circa 1958 Acrylic, brass. 78 cm (30 3/4 in.) drop Manufactured by Arredoluce, Monza, Italy. Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300 plus Buyers Premium and VAT*

Provenance Private collection, Germany Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, illustrated pp. 196, 315 The present lot has been registered in the Arredoluce Archives, Italy as number 1548638.

119. Gio Ponti

1891-1979

Armchair, designed for Casa Grimaldi, Naples, circa 1949 Oak, fabric. 78.5 x 61.5 x 62 cm (30 7/8 x 24 1/4 x 24 3/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate ÂŁ1,000-1,500 $1,300-1,900 â&#x201A;Ź1,100-1,700 plus Buyers Premium and VAT*

Provenance Casa Grimaldi, Naples, circa 1949

120. Angelo Mangiarotti

1921-2012

Set of six vessels, circa 1961 Patinated and burnished bronze. Largest: 29 cm (11 3/8 in.) diameter Manufactured by Bernini, Italy. Underside of each impressed MANGIAROTTI and four additionally impressed BERNINI ITALY. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Bronzi’, Domus, no. 360, November 1959, pp. 47-48 for similar examples ‘Vasi in bronzo’, Domus, no. 376, March 1961, pp. 47-49 for similar examples Enrico D. Bona, Angelo Mangiarotti: Il Processo Del Construire, Milan, 1980, p. 113 Enrico D. Bona, Mangiarotti, Genoa, 1988, p. 34 François Burkhardt, Angelo Mangiarotti: Opera complete/ Complete works, Milan, 2010, pp. 268-69

121. Cesare Lacca Occasional table, 1950s Maple-veneered wood, brass, painted steel. 49.6 cm (19 1/2 in.) high, 64 cm (25 1/4 in.) diameter Estimate £3,000-4,000 $3,900-5,200 €3,400-4,600 plus Buyers Premium and VAT*

Literature Roberto Aloi, L’ Arredamento Moderno, sesta serie, Milan, 1955, fg. 321 for a similar example

122. Max Ingrand

1908-1969

Pair of wall lights, model no. 2311, circa 1964 Chiselled glass, coloured glass, brass. Each: 20.5 x 17 x 9.5 cm (8 1/8 x 6 3/4 x 3 3/4 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Provenance Hotel M., Milan Literature Quaderni Fontana Arte 6, Milan, 1964, n.p Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 179

123. Ettore Sottsass, Jr.

1917-2007

Pair of ‘Canada’ armchairs, circa 1958 Teak, fabric. Each: 71 x 80.5 x 85 cm (27 7/8 x 31 3/4 x 33 1/2 in.) Manufactured by Poltronova, Agliana, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

Provenance Private collection, Milan Acquired from the above by the present owner, 2000s Literature ‘Piccolo arredamento per due giovani’, Domus, no. 343, June 1958, pp. 27-28 Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, p. 78

124. Max Ingrand

1908-1969

Pair of ‘Micro’ wall lights, model no. 2093, circa 1962 Partially acid-etched glass, nickel-plated brass. Each: 21 x 12 x 14.5 cm (8 1/4 x 4 3/4 x 5 3/4 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Quaderni Fontana Arte 1, Milan, 1962, p. 62 Edoardo Paoli, ‘Specchi nell’arredamento’, Vitrum, no. 151, September-October 1965, p. 45 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 203

125. Ettore Sottsass, Jr.

1917-2007

‘Canada’ sofa, circa 1959 Teak, fabric. 72 x 203.5 x 87.5 cm (28 3/8 x 80 1/8 x 34 1/2 in.) Manufactured by Poltronova, Agliana, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

Provenance Private collection, Milan Acquired from the above by the present owner, 2000s Literature ‘Un arredamento a Genova’, Domus, no. 356, July 1959, p. 19 ‘In un arredamento, composizione di pareti’, Domus, no. 358, September 1959, pp. 13, 18 Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, pp. 76, 78

Property from a Private European Collection

126. Carlo Scarpa

1906-1978

Mirror, model no. 30, circa 1937 Pulegoso glass, mirrored glass, brass. 41.7 x 36.2 x 8.7 cm (16 3/8 x 14 1/4 x 3 3/8 in.) Produced by Venini & C., Murano, Italy. Back plate impressed VENINI/MURANO and MADE IN ITALY. Back corner brackets impressed 67, 68, 69, and 70, respectively. Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300

Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 242, The Blue Catalogue (appendix), pl. 43 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 43 Marino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, p. 33

plus Buyers Premium and VAT*

127. Osvaldo Borsani

1911-1985

Pair of bedside tables, 1930s Burr walnut-veneered wood, walnut, nickel-plated brass. Each: 61.5 x 65 x 38.5 cm (24 1/4 x 25 5/8 x 15 1/8 in.) Produced by Atelier di Varedo, mobili d’arte Gaetano Borsani, Italy. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Giuliana Gramigna and Fulvio Irace, Osvaldo Borsani, Rome, 1992, pp. 106, 114 for similar examples

128. Osvaldo Borsani

1911-1985

Pair of armchairs, 1930s Burr walnut-veneered wood, fabric. Each: 82 x 69.3 x 62 cm (32 1/4 x 27 1/4 x 24 3/8 in.) Produced by Atelier di Varedo, mobili d’arte Gaetano Borsani, Italy. Reverse of one with brass label embossed ATELIER DI VAREDO/Mobili d’Arte - G. BORSANI. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan

129. Seguso Standard lamp, circa 1940 Corroso glass with gold leaf inclusions, brass. 175.5 cm (69 1/8 in.) high Produced by Seguso, Murano, Italy. Estimate ÂŁ5,000-7,000 $6,500-9,000 â&#x201A;Ź5,700-8,000 plus Buyers Premium and VAT*

130. Gio Ponti

1891-1979

Occasional table, designed for Casa Grimaldi, Naples, circa 1949 Walnut-veneered wood, walnut, glass. 50 cm (19 5/8 in.), 80 cm (31 1/2 in.) diameter Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Casa Grimaldi, Naples

131. Ignazio Gardella

1905-1999

Pair of ‘Digamma’ adjustable armchairs, circa 1957 Fabric, painted steel, brass. Each: 85 x 71.5 x 88.5 cm (33 1/2 x 28 1/8 x 34 7/8 in.) when upright Produced by Gavina, San Lazzaro di Savena, Italy. Estimate £12,000-18,000 $15,500-23,200 €13,700-20,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Giulio Carlo Argan, Ignazio Gardella, Milan, 1959, pp. 193, 198 ‘A Milano, un nuovo negozio di mobili’, Domus, no. 392, July 1962, p. 13 ‘Per chi deve scegliere mobili di serie’, Domus, no. 398, January 1963, p. d/96 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 108

132. Pietro Sala Pair of modular tables, circa 1961 Meranti-veneered plywood. Each: 45 x 49.6 x 49.6 cm (17 3/4 x 19 1/2 x 19 1/2 in.) Together: 45 x 92.8 x 49.6 cm (17 3/4 x 36 1/2 x 19 1/2 in.) Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Mobili e mobilieri d’Italia, Milan, 1961, p. 331

133. Ettore Sottsass, Jr.

1917-2007

Fruit bowl, circa 1978 Walnut, painted steel. 24.8 cm (9 3/4 in.) high, 33 cm (12 7/8 in.) diameter Manufactured by EAD, Italy. Interior of bowl incised Sottsass. Estimate ÂŁ1,500-2,500 $1,900-3,200 â&#x201A;Ź1,700-2,900 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Ettore Sottsass Jr., Zeichnungen aus 4 Jahrzehnten, Frankfurt, 1990, p. 56 for a drawing

134. Antonio Scoccimarro Two-seater ‘Arcadia’ sofa, circa 1957 Walnut, fabric, brass. 83 x 125 x 90 cm (32 5/8 x 49 1/4 x 35 3/8 in.) Manufactured by Adrasteia, Italy. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Roberto Aloi, L’Arredamento Moderno, settima serie, Milan, 1964, p. 112 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 107 Giuliana Gramigna and Paola Biondi, Il Design In Italia, Dell’Arredamento Domestico, Turin, 1999, p. 415

135. Ettore Sottsass, Jr.

1917-2007

‘Firenze’ ceiling light, circa 1994 Coloured glass, glass, painted steel. 95.2 cm (37 1/2 in.) drop, 11.5 cm (4 1/2 in.) diameter Produced by Venini & C., Murano, Italy. Fixture with manufacturer’s printed label VENINI/mod.FIRENZE/896.01. Estimate £5,000-7,000 $6,500-9,000 €5,700-8,000 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Alberto Bassi, La luce italiana: design delle lampade 1945-2000, Milan, 2003, p. 200

136. Stilnovo Ceiling light, model no. 1140, 1960s Acid-etched glass, painted aluminium, brass. 121 cm (47 5/8 in.) drop, 60 cm (23 5/8 in.) diameter Manufactured by Stilnovo, Milan, Italy. Interior of shade with manufacturer’s printed label MILANO/STILNOVO/ITALY. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, Parma Literature Stilnovo: apparecchi per l’illuminazione, Milan, 1960s, p. 22

∑

137. Gio Ponti

1891-1979

Pair of console tables, circa 1955 Walnut-veneered wood, East Indian rosewood-veneered wood. Each: 84.8 x 127.8 x 34.8 cm (33 3/8 x 50 3/8 x 13 3/4 in.) Executed by Giordano Chiesa, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £25,000-35,000 $32,300-45,200 €28,500-40,000 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Mobili a Göteborg’, Domus, no. 307, June 1955, p. 48 for a similar example Giampiero Bosoni, Il Modo italiano: Italian design and avantgarde in the 20th Century, exh. cat., Montreal, Museum of Fine Arts, 2006, p. 72 for a similar example Laura Falconi, Gio Ponti: Interior, Objects, Drawings, 1920-1976, Milan, 2010, p. 244 for a similar example Daria Guarnati, ed., Aria D’Italia: espressione di Gio Ponti, Milan, 2011, p. 74 for a similar example

138. Gio Ponti

1891-1979

Pair of luggage racks, designed for the Hotel Royal, Naples, circa 1953 Walnut, brass. Each: 64 x 64.8 x 41.9 cm (25 1/4 x 25 1/2 x 16 1/2 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 plus Buyers Premium and VAT*

Literature Gio Ponti designer, exh. cat., Museo del Design industriale, Calenzano, 2007, p. 26

139. Osvaldo Borsani and Arnaldo Pomodoro 1911-1985 and b. 1926 Rare bed, 1960s Brass, painted steel. 105.5 x 195.5 x 208.7 cm (41 1/2 x 76 7/8 x 82 1/8 in.) Estimate ÂŁ12,000-18,000 $15,500-23,200 â&#x201A;Ź13,700-20,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan

140. Luciano Grassi, Sergio Conti and Marisa Forlani Rare ‘Monoflo’ armchair, circa 1955 Painted iron, nylon, rubber. 86.5 x 89.5 x 78 cm (34 x 35 1/4 x 30 3/4 in.) Manufactured by Emilio Paoli, Florence, Italy. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, US Private collection, Germany Literature ‘Una selezione di gusto per la casa’, Domus, no. 314, January 1956, p. 53 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 75

141. Gio Ponti

1891-1979

Carafe and set of six ‘A canne’ glasses, circa 1950 Canne glass. Carafe: 25.5 cm (10 in.) high Each glass: 8 cm (3 1/8 in.) high Produced by Venini & C., Murano, Italy. Estimate £4,000-6,000 $5,200-7,700 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Murano’, Domus, nos. 252-53, NovemberDecember 1950, p. 59 for a similar example Marino Barovier, ed., Paolo Venini e la sua fornace, exh. cat., Fondazione Giorgio Cini, Milan, 2016, pp. 386, 393 for similar examples

142. Ugo La Pietra

b. 1938

‘Senza titolo’ table lamp, 1967-1968 Acrylic, painted aluminium. 31.7 x 31.7 x 38 cm (12 1/2 x 12 1/2 x 14 7/8 in.) Manufactured by Zama Elettronica, Italy. Estimate £2,000-3,000 $2,600-3,900 €2,300-3,400 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Philippe Decelle, Diane Hennebert and Pierre Loze, L’Utopie du Tout Plastique 1960-1973, exh. cat., Fondation pour l’architecture, Brussels, 1994, p. 90 Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973: il nuovo design italiano, Turin, 2002, fg. 62 Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 2: 1960 to Present, Cologne, 2005, p. 142

143. Gio Ponti

1891-1979

Rare armchair, model no. 835, circa 1954 Oak, vinyl, brass. 86 x 51 x 56 cm (33 7/8 x 20 1/8 x 22 in.) Manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £8,000-12,000 $10,300-15,500 €9,100-13,700 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 90 Giuliana Gramigna and Paola Biondi, Il design in Italia: Dell’arredamento domestico, Turin, 1999, p. 368

144. Luis Barragán

1902-1988

Pair of ‘Miguelito’ chairs, circa 1951 Sabino, leather. Each: 75 x 55 x 65.4 cm (29 1/2 x 21 5/8 x 25 3/4 in.) Estimate £30,000-40,000 $38,700-51,600 €34,200-45,700 plus Buyers Premium and VAT*

Provenance Casa Prieto-López, Pedregal, Mexico City César Cervantes collection, Mexico City Acquired from the above Literature Carlos Contreras, ‘House by Luis Barragán’, Arts & Architecture, August 1951, p. 25 ‘Barragán a Città del Messico’, Domus, no. 321, August 1956, p. 4 Federica Zanco, ed., Luis Barragán: the quiet revolution, Milan, 2001, p. 96

145. Arredoluce Rare standard lamp, circa 1956 Opaque glass, brass, painted steel. 206.5 cm (81 1/4 in.) high Manufactured by Arredoluce, Monza, Italy. Underside of switch impressed MADE IN ITALY/ ARREDOLUCE MONZA. Estimate ÂŁ5,000-7,000 $6,500-9,000 â&#x201A;Ź5,700-8,000 plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, pp. 175, 304 The present lot has been registered in the Arredoluce Archives, Italy as number 6805528.

146. Osvaldo Borsani

1911-1985

Set of three ‘T1’ side tables, 1950s Reverse-painted glass, chromium-plated metal, chromium-plated steel. Tallest: 46.5 cm (18 1/4 in.) high, 26.5 cm (10 3/8 in.) diameter Manufactured by Arredamenti Borsani Varedo, Italy. Estimate £7,000-9,000 $9,000-11,600 €8,000-10,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Giuliana Gramigna and Fulvio Irace, Osvaldo Borsani, Rome, 1992, p. 193 Giampiero Bosoni, Osvaldo Borsani: architect, designer, entrepreneur, Milan, 2018, pp. 314, 340-41, 375, 429 Norman Foster, Tommaso Fantoni, and Giampiero Bosoni, Osvaldo Borsani, exh. cat., Milan, 2018, pp. 80-81, 131, 186, 218

Sale Information Important Design

Design Department

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX

Worldwide Head Alexander Payne apayne@phillips.com

Auction 21 March 2019 at 2pm (lots 1–146) Viewing 16–21 March 2019 Monday – Saturday, 10am – 6pm Sunday, 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050119 or Important Design Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 Susanna Brockman +44 20 7318 4041 Rebecca Gathercole +44 20 7901 7927 Anne Flick +44 20 7318 4089 bidslondon@phillips.com

Head of Sale Madalena Horta e Costa mhortaecosta@phillips.com

Photographers Alex Braun Jean Bourbon Kent Pell Auctioneers Adam Clay

Head of Design, Europe Domenico Raimondo draimondo@phillips.com

Catalogues New York +1 212 940 1240 London +44 20 7901 4024 catalogues@phillips.com £22/€25/$35 at the gallery

International Specialist Marcus McDonald mmcdonald@phillips.com

Client Accounting Richard Addington, Head of Client Accounting +44 20 7901 7914

Senior Specialist Sofa Sayn-Wittgenstein ssayn-wittgenstein@phillips.com

Jason King, Client Accounting, Director +44 20 7318 4086

Senior Cataloguer Nicola Krohman nkrohman@phillips.com Cataloguer Caroline Pedote cpedote@phillips.com Administrator Antonia King antonia.king@phillips.com Senior Property Manager Oliver Gottschalk +44 20 7318 4033 ogottschalk@phillips.com

Buyer Accounts Carolyn Whitehead +44 20 7318 4020 Seller Accounts Surbjit Kaur +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Kyle Buchanan +44 20 7318 4081 Rita Matos +44 20 7901 7906 LucÍa Núñez +44 20 7901 7906 Creative Services Ben Marcus, Creative Services Manager Moira Gil, Graphic Designer Grace Neighbour, Graphic Designer

Front cover Lot 32, Studio Bbpr, Gian Luigi Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers Set Of Four Ceiling Lights, Designed For The Olivetti Showroom, New York, circa 1954 (detail) Back cover lot 35, Carlo Bugatti Rare games table and set of four chairs, circa 1902 (detail)

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UK Auction Buyer’s Guide The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you. The Conditions of Sale and Authorship Warranty published on our website at https://phillips.com also govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship between Phillips, the seller and the buyer and describe the terms upon which items are bought at auction. A) Before The Auction Catalogues & Catalogue Entries Our catalogues provide information on the lots for sale at the auction and are available on our website at www.phillips. com and in hard copy. Lot details can also be viewed on the Phillips App. If you would like to purchase a hard copy catalogue for a Phillips auction, please visit our website or contact us at catalogues@phillips.com. Catalogue entries may include the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive. In some cases we may not disclose the identity of previous owners where we are not authorised to do so. Please note that all dimensions of the property set out in the catalogue entry are approximate. Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips.com. Our specialists are available to give advice and condition reports at viewings or by appointment. Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Pre-sale estimates do not include the buyer’s premium or VAT. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction. Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction. Condition Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections.

Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third-party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the thirdparty guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor. ∆ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. No Reserve •Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot

is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. ∑ Endangered Species Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import.

Calculating the Total Purchase Price If you are the successful bidder on a Lot, the total purchase price you pay is made up of the following elements:

Hammer Price

Buyer’s Premium

VAT on Buyer’s Premium and/or Hammer Price (If applicable)

Artist’s Resale Royalty (ARR) (If applicable)

The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer. Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: • 25% on the portion of the hammer price up to and including £300,000; and • 20% on the portion of the hammer price above £300,000 up to and including £3,000,000 and • 13.5% on the portion of the hammer price above £3,000,000. Where VAT is payable on the Buyer’s premium the VAT inclusive Buyer’s Premium rates are 30%, 24% and 16.2% respectively. VAT Most items we sell are sold under UK Auctioneer’s Margin Scheme rules. This means that VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. UK Auctioneer’s Margin Scheme lots have no VAT symbol. Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are resold for a hammer price of EUR 1,000 or more. Lots subject to ARR are marked with the symbol ♠. The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price: Portion of the Hammer Price (in EUROS) From 0 to 50,000 From 50,000.01 to 200,000 From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

Royalty Rate 4% 3% 1% 0.5% 0.25%

The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank. Example To illustrate how the purchase price is calculated, please see the below example: UK Auctioneer’s Margin Scheme lot Hammer Price: £350,000 Buyer’s Premium including VAT @20% £102,000: 25% of first £300,000 of the hammer price = £75,000 + 20% on the balance of £50,000 = £10,000 Total BP = £85,000 VAT @ 20% on the total BP of £85,000 = £17,000 B) At The Auction Bidding Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement. In Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk. By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at https://phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer.

Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000

by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at the auctioneer’s discretion The auctioneer may vary the increments during the course of the auction at his or her own discretion. Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive And Responsive Bidding; The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve

by placing consecutive bids or bids in response to other bidders. No Reserve Lots If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum. Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer directly to: Bank of Scotland, Gordon Street, Glasgow G1 3RS For the account of Phillips Auctioneers Ltd Account no. 00440780 Sort code: 80-54-01 SWIFT BIC: LOYDGB2LXXX IBAN: GB36BOFS 8054 0100 4407 80 Please reference the relevant invoice number. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes. Collection Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection. To collect paid for lots buyers (or their authorised representatives) must provide proof of identity. Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect. Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment. After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection.

Important Notices Storage Charges Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to you in the buyer information pack you will receive after the auction. Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven (7) days following the auction. Transport and Shipping We will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. As a free service for buyers, Phillips will wrap purchased lots which are for hand carry only. We do not provide packing, handling or shipping services directly. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species. Privacy Our Privacy Policy is available at https://phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips’ premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third-party websites and applications.

Identification of Business or Trade Buyers As of January 2010, Her Majesty’s Revenue & Customs (“HMRC”) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside the UK. • Where the buyer is a non-EU business, Phillips requires evidence of the business status by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists. • Where the buyer is an EU VAT registered business, Phillips requires the business’s VAT registration number. These details can be scanned and emailed to us, or alternatively they can be faxed or mailed. If these requirements are not met, we will be unable to cancel/ refund any applicable VAT. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician. Upholstered furniture Lots of upholstered furniture manufactured in 1950 or after may not comply with the levels of fire resistance for domestic upholstered furniture under the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended ) (the “Regulations”). These items are sold as decorative works of art and should not be used in your home as domestic furniture, unless they are reupholstered, restuffed or recovered (as appropriate) with materials complying with the Regulations. Please speak to a specialist before the sale for information on whether the lots have been recently upholstered.

VAT & Tax Guide VAT Depending on the status of the lot, and your status as a buyer, VAT may be charged on the hammer price, the buyer’s premium or both. UK Auctioneer’s Margin Scheme Most items we sell are second-hand goods, so we sell them under UK Auctioneer’s Margin Scheme rules. Lots falling into this category have no VAT symbol and are treated as follows: No symbol

UK Auctioneer’s Margin Scheme sale

20% VAT charged on the buyer’s premium. (The invoiced buyer’s premium will include the VAT).

Special VAT Treatment If the Lot has one of the below symbols, the VAT treatment will be as follows: VAT Symbol

Basis

Treatment

Standard UK VAT rules

20% VAT charged on both the hammer price and buyer’s premium

Imported lot under Temporary Admission (Low rate)

5% import VAT on the hammer price and 20% VAT on the buyer’s premium

Imported lot under Temporary Admission (High rate)

20% import VAT on the hammer price and 20% VAT on the buyer’s premium

Lots sold outside the Auctioneer’s Margin Scheme If the buyer is a relevant business person in the EU (nonUK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium. Exports from the European Union The following types of VAT may be cancelled or refunded by Phillips on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol). • The VAT on the hammer price for property sold under normal VAT rules (i.e., with a † symbol). The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of the payment date if strict conditions are met: • The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a Ω symbol) under the Auctioneer’s Margin Scheme. In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or

before the time of invoicing, the buyer instructs Phillips to export the property from the EU. This will require acceptance of an export quotation provided by Phillips. If such instruction is received after payment, a refund of the VAT amount will be made. Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of the following conditions are met: • For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips is provided with appropriate original documentary proof of export from the EU within three months of the date of sale. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department to facilitate this process. • For lots sold under temporary admission, Phillips is provided with the original correct paperwork duly completed and stamped by HMRC which shows the property has been exported from the EU via the UK within 30 days of the payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HMRC insist that the correct customs procedures are followed and Phillips will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 (plus any applicable VAT) will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips. Phillips is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of the payment date. We can only process VAT refunds where the VAT to be refunded is £50 or more per shipment. There will be a processing fee of £20 (plus any applicable VAT). Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips being unable to refund the VAT charged on deposit. VAT Refunds from HM Revenue & Customs Where VAT charged cannot be cancelled or refunded by Phillips, it may be possible to seek repayment from HMRC . Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission. If you are located in an EU member state other than the UK you will need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority. As a result,

your form may include VAT incurred in a number of member states. Time limits for claiming VAT refunds • If you are located in an EU member state other than the UK: Any claim must be made on a calendar year basis and submitted no later than 30 September in the following calendar year (e.g., for VAT incurred in the year 1 January to 31 December 2019 you should make a claim to your local tax authority no later than 30 September 2020). Once you have submitted the electronic form to your local tax authority it is their responsibility to ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest on the unpaid amounts. • If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC. Claim forms are available from the HMRC website. https://www.gov.uk. You should submit claims for VAT to HMRC no later than six months from the end of the 12-month period ending 30 June (e.g., claims for the period 1 July 2019 to 30 June 2020 should be made no later than 31 December 2020). Please note that refunds of VAT will only be made where VAT has been incurred for a business purpose. Any VAT incurred on articles bought for personal use will not be refunded. Sales and Use Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of lots following purchase. Buyers should consult their own tax advisors.

Index Albini, F. 21, 22, 23, 24, 25

Jacobsen, A. 53

Rie, L. 91

Arredoluce 145

Jeanneret, P. 99, 101

Romano, A. 88

Asnago, M. 29, 30, 31

Judd, D. 69

Rosola, Y. 58, 61

Juhl, F. 49

Royère, J. 95, 96

Boman, C.-J. 56

Kœchlin, R. 100

Sala, P. 132

Bonetti, M. 71, 98

Kuramata, S. 68

Sarfatti, G. 8, 26, 37, 43, 116

Barragán, L. 144

Borsani, O. 14, 127, 128, 139, 146

Scarpa, C. 112, 126

Bouroullec, E. 67

La Pietra, U. 108, 142

Schinkel, K. F. 40

Bouroullec, R. 67

Lacca, C. 121

Scoccimarro, A. 134

Bugatti, C. 35

Lalanne, F.-X. 44

Seguso 15, 45, 129

Lassen, F. 60

Siesbye, A. E. 93

Calka, M. 63

Le Chevallier, J. 100

Sottsass, Jr., E. 39, 90, 123,

Campana, F. 117

Le Corbusier 99

125, 133, 135

Campana, H. 117

Lelii, A. 89, 102, 118

Stilnovo 64, 136

Chale, A. 70

Lutyens, E. 72, 73, 76

Studio BBPR 32

Mangiarotti, A. 120

Tuominen-Niittylä, K. 92

Martinuzzi, N. 4

Tynell, P. 51, 55

Chiesa, P. 9, 10, 97, 109 Conti, S. 140 Després, J. 34

Matégot, M. 107 Mendini, A. 65

Vender, C. 29, 30, 31

Mølgaard-Nielsen, O. 50

Venini 6

Mollino, C. 12, 28, 33

Venini, P. 17

Fontana Arte 62

Montalcini, G. L. 20

Vietti, L. 11

Fontana, L. 14

Moser, K. 38

Ericson, E. 59

Forlani, M. 140

Wagner, O. 41 Nakashima, G. 82, 83, 84,

Gardella, I. 27, 131

Wegner, H. J. 46, 52

85, 86, 87

Garouste, E. 71, 98

Zavanella, R. 2

Grassi, L. 140

Ohira, Y. 77, 78, 79, 80, 81

Henningsen, P. 47, 74

Pagano, G. 20

Hvidt, P. 50

Parisi, I. 114, 115 Pomodoro, A. 139

Ingrand, M. 1, 13, 48,

Ponti, G. 3, 5, 7, 16, 18, 19, 36,

54, 57, 75, 94, 122, 124

103, 105, 106, 110, 111, 113, 119,

Ito, T. 66

130, 137, 138, 141, 143 Prouvé, J. 104 Przyrembel, H. 42

Important Design Auction 6 June 2019 New York Public viewing 31 May-6 June at 450 Park Avenue, New York. Enquiries Cordelia Lembo clembo@phillips.com

Wendell Castle “Butterfy Love Seat”, 1967 Estimate $60,000-80,000

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30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by email to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying to bid as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one):

In-person Absentee Bidding Telephone Bidding

Paddle Number

As a private individual On behalf of a company

• If you cannot attend the sale, we can execute bids confdentially on your behalf.

Sale Title

Sale Number First Name

Sale Date

Surname

VAT number (if applicable)

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specifed, if less than 50% of the low estimate.

Address

City

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 13.5% of the portion of the hammer price above £3,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

Account Number

Company (if applicable)

State/Country

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Post Code Phone

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Fax

• If we receive identical bids, the frst bid received will take precedence.

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confrmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

Phone number to call at the time of sale (for Phone Bidding only) 1.

Please complete the following section for telephone and absentee bids only Lot number

• Company Purchases: We require a copy of government-issued identifcation (such as the certifcate of incorporation) to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale available online at phillips.com,. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

Title

• Private Purchases: Proof of identity in the form of government-issued identification will be required.

Brief description

In Consecutive Order

Maximum pound sterling price* Absentee Bids Only

• Please submit your bids to the Bid Department by email to bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confrmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045. • If you have not bid and bought with us before, please provide a bank reference • Payment for lots must be made by the invoiced party in pound sterling by wire transfer, credit card (up to £30,000) using Visa, American Express, Mastercard or Union Pay (Union Pay for in person transactions only), or cash (up to £5,000 for all purchases in any calendar year). • Lots cannot be collected until payment has cleared and all charges have been paid. • You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

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New Now London, 11 April 2019

Ugo Rondinone b. 1964 achtundzwanzigsterjulizweitausendundelf signed, titled and dated 'Ugo Rondinone 2011 "achtundzwanzigsterjulizweitausendundelf"' on the reverse acrylic and glitter on polyester, silkscreen on plexiglass plaque 200 x 500 x 4 cm (78 3/4 x 196 7/8 x 1 5/8 in.) Executed in 2011. ÂŠ Ugo Rondinone. Photo: Stefan Altenburger Photography, Zurich.

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Public Viewing 4â&#x20AC;&#x201C;10 April 2019 30 Berkeley Square, London W1J 6EX Enquiries contemporaryartlondon@phillips.com +44 20 7318 4082

92. Lucie Rie

8. Gino Sarfatti

phillips.com