DESIGN [catalogue] by PHILLIPS

Design London / 12 May 2022

Auction & Viewing Location 30 Berkeley Square London, W1J 6EX Auction Thursday, 12 May 2022, 2pm Please register to bid online, absentee or by phone. Viewing 6–12 May Monday to Saturday, 10am–6pm Sunday, 12–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050122 or Design. Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@philips.com

Design Department Head of Department, Europe, Senior International Specialist Domenico Raimondo draimondo@phillips.com Head of Design, France, Senior International Specialist Elie Massaoutis emassaoutis@phillips.com Head of Sale Antonia King antonia.king@phillips.com Senior Specialist Sofia Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Specialist Madalena Horta e Costa mhortaecosta@phillips.com Cataloguer Margherita Manca mmanca@phillips.com Assistant to Head of Design, Europe, Research Coordinator Carlotta Pintucci cpintucci@phillips.com Administrator Sophia Garbagnati sgarbagnati@phillips.com

Our Team Design

London

Domenico Raimondo

Antonia King

Sofia Sayn-Wittgenstein

Head of Department, Europe & Senior International Specialist

Head of Sale

Senior Specialist

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

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

+44 20 7318 4016 draimondo@phillips.com

Paris

Madalena Horta e Costa

Margherita Manca

Carlotta Pintucci

Sophia Garbagnati

Elie Massaoutis

Specialist

Cataloguer

Administrator

+44 20 7318 4019 mhortaecosta@phillips.com

+44 20 7901 7926 mmanca@phillips.com

Assistant to Head of Design, Europe, Research Coordinator

Head of Design, France, Senior International Specialist

+44 20 7318 4096 cpintucci@phillips.com

+44 20 7318 4048 sgarbagnati@phillips.com

New York

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

Los Angeles

Cordelia Lembo

Beth Vilinsky

Kimberly Sørensen

Benjamin Green

Meaghan Roddy

Head of Department

Senior International Specialist, Americas

Specialist

Associate Specialist, Associate Head of Sale

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

+1 212 940 1265 clembo@phillips.com

+1 347 302 5255 bvilinsky@phillips.com

+1 212 940 1259 ksorensen@phillips.com

+1 212 940 1267 bgreen@phillips.com

+1 267 221 9152 mroddy@phillips.com

Senior Executives Edward Dolman

Cheyenne Westphal

Stephen Brooks

Executive Chairman

Global Chairwoman

Chief Executive Officer

+1 212 940 1241 edolman@phillips.com

+44 20 7318 4044 cwestphal@phillips.com

+44 0 20 7318 4046 sbrooks@phillips.com

David Norman

Jonathan Crockett

Jean-Paul Engelen

Chairman, Americas

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

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

Executives

+1 212 940 1280 dnorman@phillips.com

+852 2318 2023 jcrockett@phillips.com

+1 212 940 1390 jpengelen@phillips.com

Hugues Joffre

Arnold Lehman

Jamie Niven

Senior Advisor to the CEO

+44 207 901 7923 hjoffre@phillips.com

+1 212 940 1385 alehman@phillips.com

+1 917 880 2532 jniven@phillips.com

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

Deputy Chairmen & Chairwomen

Svetlana Marich

Robert Manley

Peter Sumner

Miety Heiden

Vanessa Hallett

Vivian Pfeiffer

Worldwide Deputy Chairman

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

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

Deputy Chairwoman, Head of Private Sales

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

+1 212 940 1358 rmanley@phillips.com

+44 20 7318 4063 psumner@phillips.com

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeiffer@phillips.com

Marianne Hoet

Elizabeth Goldberg

Jeremiah Evarts

Cary Leibowitz

Kelly Troester

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

Deputy Chairwoman, Americas, Senior International Specialist, American Art

Deputy Chairman, Americas, Worldwide Co-Head of Editions

Deputy Chairwoman, Americas, Worldwide Co-Head of Editions

+32 3257 3026 mhoet@phillips.com

+1 212 940 1239 egoldberg@phillips.com

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

+1 212 940 1222 cleibowitz@phillips.com

+1 212 940 1221 ktroester@phillips.com

+44 20 7318 4010 smarich@phillips.com

+1 917 304 4329 jevarts@phillips.com

+44 20 7901 7943 mheiden@phillips.com

Business Development

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

Client Advisory

Americas

Asia

Middle East & South Asia

Laurent Taevernier

Philae Knight

Iori Endo

Yassaman Ali

Client Liaison Coordinator

Client Advisory Director

Senior Client Advisor

Client Advisory Director

+32 32 573026 ltaevernier@phillips.com

+1 212 940 1313 pknight@phillips.com

+44 20 7318 4039 iendo@phillips.com

+44 20 7318 4056 yali@phillips.com

Europe Giulia Campaner Mendes Client Advisor +44 20 7318 4058 gcampaner@phillips.com

Trusts, Estates & Valuations

Museum & Corporate Collections

Americas

Jennifer Jones

Laura Wenger

Lauren Peterson

Director of Trusts, Estates & Valuations

Senior Account Manager, Trusts, Estates & Valuations

Director of Museum & Corporate Collections

+1 212 940 1272 jjones@phillips.com

+1 212 940 1302 lwenger@phillips.com

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

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

International Specialists & Regional Directors

Europe Nathalie Zaquin-Boulakia

Laurence Calmels

Clara Rivollet

Laurence Barret-Cavy

Elie Massaoutis

Thibault Stockmann

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

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

Head of Design, France, Senior International Specialist

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

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

International Specialist, 20th Century & Contemporary Art, France

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

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

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

+33 601 888 749 tstockmann@phillips.com

Dr. Alice Trier

Tobias Sirtl

Carolina Lanfranchi

Margherita Solaini

Maura Marvão

Regional Director, Geneva

Specialist, 20th Century & Contemporary Art, Germany

Associate Specialist, 20th Century & Contemporary Art, Italy

+41 22 317 81 83 nmonbaron@phillips.com

+49 173 25 111 69 atrier@phillips.com

+49 151 4192 6447 tsirtl@phillips.com

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

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

Jeannette van Campenhout

Kalista Fenina

Kirsten MacDonald

Head of Latin American Art , Consultant, 20th Century & Contemporary Art, Spain

Specialist, 20th Century & Contemporary Art, Moscow

Regional Director, Scandinavia

Dr. Nathalie Monbaron

+34 646 01 07 68 jvancampenhout@phillips.com

+7 905 741 15 15 kfenina@phillips.com

+45 2010 2111 kmacdonald@phillips.com

+39 338 924 1720 clanfranchi@phillips.com

+39 340 369 5226 msolaini@phillips.com

+351 917 564 427 mmarvao@phillips.com

Lori Spector Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Zurich +41 76 259 30 39 lspector@phillips.com

Americas Cândida Sodré

Carol Ehlers

Blake Koh

Cecilia Laffan

Vivian Pfeiffer

Maura Smith

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Director, Los Angeles

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

+55 21 999 817 442 csodre@phillips.com

+1 773 230 9192 cehlers@phillips.com

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

Silvia Coxe Waltner

Sophia Kinell

Regional Director, Seattle

Regional Representative, San Francisco

+1 206 604 6695 scwaltner@phillips.com

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

+1 323 383 3266 bkoh@phillips.com

+52 1 55 5413 9468 claffan@phillips.com

+1 212 940 1392 vpfeiffer@phillips.com

+1 508 642 2579 maurasmith@phillips.com

Asia Kyoko Hattori

Yeonah Lim

Wenjia Zhang

Alicia Zhang

Yolanda Zeng

Cindy Yen

Regional Director, Japan

Associate Regional Representative, Korea

Regional Director, China

Associate Regional Representative, Shanghai

General Manager, Taiwan

+86 139 1828 6589 aliciazhang@phillips.com

+86 156 1886 4331 yolandazeng@phillips.com

+81 90 2245 6678 khattori@phillips.com

+82 2 797 8001 ylim@phillips.com

+86 13911651725 wenjiazhang@phillips.com

+886 2 2758 5505 cyen@phillips.com

Meiling Lee

Joyce Lin

Christine Fernando

Sandy Ma

Vivi Yip

Rika Dila

Senior International Specialist, Taiwan

Associate Representative, Taiwan

Regional Representative, Singapore

Senior Consultant, Indonesia

Senior Consultant, Thailand

+886 919 036 730 joycelin@phillips.com

+65 9128 6277 christinefernando@phillips.com

International Specialist, South East Asia

+62 8111 220 824 viviyip@phillips.com

+66 81 818 6878 rdila@phillips.com

+886 908 876 669 mlee@phillips.com

+852 2318 2025 sma@phillips.com

This extraordinary chandelier is a radical celebration of movement. In a striking composition, seven vividly painted brass tubes spring from a brass cylindrical mast stating their position in space and revealing the dynamism at the heart of Gino Sarfatti’s post-war lighting designs. The 1950s in Italy were characterized by fervent research across many design categories. During these years, Sarfatti found fertile ground to bring to life many creative theories he conceived of before the war, without any stylistic hesitation. He had recently been freed from exile, and this freedom also manifested itself in his daring ideas for lighting. His studies in aeronautical engineering enabled him to achieve the much sought-after quality of weightlessness in light fittings, firmly placing them within the contemporary intellectual pursuit of Spatialism. The present model no. 2076 is the successor to the earlier wall-mounted model no. 192 from 1952. With both models, a formal comparison with the ancient game of ‘pick-up sticks’ can be made, revealing the freefall and juxtaposition of the colourful tubular elements which correspond to Sarfatti’s exploration of gravitational concepts in his lighting design of the fifties.

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty 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 on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%.

1. Gino Sarfatti

1912-1985

Rare adjustable chandelier, model no. 2076 circa 1953 Brass, painted brass. 99.5 x 155.2 x 146.8 cm (39 1/8 x 61 1/8 x 57 3/4 in.), as shown Manufactured by Arteluce, Milan, Italy. Estimate £30,000-50,000 $39,000-65,100 €36,200-60,300 Ω 11. 1906-1978 plus Buyers Premium and VAT*

Carlo Scarpa

Provenance Rare prototype vase Private collection, circaCremona 1940 Thence by descent Red and black laccato glass. Acquired from 24.7 the above thehigh present owner cm (9by 3/4 in.) Produced by Venini & C., Murano, Italy. Literature Underside acid-etched Alberto Rosselli, ‘Disegno per l’industria’, Domus, venini/murano/ITALIA. no. 289, December 1953, p. 60 ‘Forme italianeEstimate a Zurigo’, Domus, no. 298, September 1954, p. 51 £40,000-60,000 $56,600-84,900 Roberto Aloi, Esempi di Decorazione Moderna di Tutto €46,500-69,700 il Mondo: Illuminazione 1956, p. 186 plus BuyersD’Oggi, PremiumMilan, and VAT* Andrea Branzi and Michele De Lucchi, eds., Il Design Italiano degli Anni ‘50, Milan, 1985, p. 221 Provenance Marco Romanelli and Sandra Severi, Gino Sarfatti: Private collection, Milan Opere Scelte 1938-1973, Milan, 2012, pp. 231, 470

Apparent Simplicity By Stefano Andrea Poli, Politecnico di Milano and Università di Genova

At first glance, this small piece of furniture may appear simple, to some even commonplace, if not plain. The material is certainly humble: simple smooth panels and wooden slats, devoid of any decoration, merely cut and joined. The scrupulous observer, however, cannot miss its perfect joinery, cut at a 45-degree angle between the panels of the upper edge surrounding the marine birch plywood table top. The same material is used for the furnishings and structural parts of boats. Incidentally, the present side table, made by the carpenter Saverio Anfodillo, comes from a house literally built on water in Venice’s Fondamenta Rio Marin. It was part of the master bedroom in Carlo Scarpa’s apartment-studio and, as his son Tobia recalls, was perfectly suited to the compact dimensions of that space without betraying the overall logic of the whole house project. Designed by the great artist and architect, the apartment was inhabited from the 1930s to the 1960s and was the scene of private life, meetings and, above all, the projects that Scarpa conceived in the studio on the first floor of the building. Active in Venice since the mid-twenties when he first began collaborating with M. V. M. Cappellin and later Venini, Carlo Scarpa is not only known among architects, scholars of 20th century Italian culture, or Murano glass collectors and design lovers. His work is also appreciated by the general public, thanks to some of the most successful post World War II Italian museum installations. While Scarpa’s activity as a versatile designer has been explored across numerous essays, publications and conferences, we are still without a detailed analysis of his early works beyond the world of glass, which itself has recently been the subject of in-depth studies and exhibitions. Various gaps still remain in the specific area of the young Scarpa’s furniture design, though it appears to be inseparable from his conception of an entire architectural space. This corresponds to the idea of a ‘total work of art’ in the exquisitely modernist tradition. The present side table is particularly significant and representative of Scarpa’s modus operandi of this early period. This mainly comes across in his ability to condense functional needs and expressive aspirations in an artefact which, while appearing to be of simple linearity, is instead

the result of a complex warp of orthogonal planes, partially projecting and projected into space. It is interesting to consider what the sources of inspiration and precedents could be for such a meticulous orchestration of surfaces, partitions, and geometric shapes condensed into this small piece of furniture. A project that appears to be a forerunner to the compositional characteristics of this side table is the installation of the exhibition of artistic glassware that Scarpa designed for the M. V. M. Cappellin furnace at the 1930 Monza Triennale. On that occasion, he organized the narrow and elongated space of the room by defining it with four sculptural wooden pedestals conceived to support the collection’s most significant vases. The studied asymmetry, the projection of panes jutting into space (the shelves designed to hold the glass) and the clear division of the vertical upward tapering supports, all evoke the visual language of Northern European artistic avant-gardes. The attempt to apply the structures of furniture, accessories, colours and geometries into three-dimensional space is typical of the De Stijl movement and enriched by the delicate deviation from the orthogonality of the vertical uprights. This process seems to anticipate the clear diagonal setting of this side table and the increasingly defined structural and compositional warping of objects, surfaces, architectures conceived by the Venetian master. Drawings of the Rio Marin house project held at the MAXXI in Rome show that, via multiple angles and in various directions, the trapezoidal shape of this side table resonates with other furnishings of the house, including fixed ones, such as the central living room fireplace. The proportions and height of the wooden border around the tabletop is harmoniously calibrated with the size and position of the other surrounding furniture. While not yet displaying the dense surface inlay and refined structural decomposition of Scarpa’s later works, this project does reveal his aptitude for the composition of partitions, inserts, carvings, and joints. This skill is also apparent, albeit with outputs of a very different complexity and richness, in masterpieces such as the Olivetti shop in Piazza San Marco, the Querini Stampalia Foundation also in Venice and the Brion tomb of San Vito d’Altivole, to mention but a few of the best known and most impressive iterations of Scarpa’s poetics.

2. Carlo Scarpa

1906-1978

Unique side table circa 1934 Birch, birch-veneered plywood. 39.8 x 76.9 x 77.2 cm (15 5/8 x 30 1/4 x 30 3/8 in.) Executed by Saverio Anfodillo, Venice, Italy. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω plus Buyers Premium and VAT*

Provenance Carlo Scarpa and Onorina Lazzari, Rio Marin, Venice Thence by descent

The building where Carlo Scarpa lived with his wife Onorina Lazzari, Fondamenta Rio Marin, Venice.

3. Gio Ponti

1891-1979

Love seat circa 1935 Painted iron, fabric. 84.3 x 119.8 x 63 cm (33 1/4 x 47 1/8 x 24 3/4 in.) Retailed by Casa e Giardino, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Turin

4. Carlo Scarpa

1906-1978

Rare table mirror, model no. 40 circa 1939 Rigato glass, mirrored glass, brass, birch plywood. 37.6 x 32.6 x 24.8 cm (14 3/4 x 12 7/8 x 9 3/4 in.) Produced by Venini & C., Murano, Italy. Bracket on reverse impressed VENINI/MURANO. Estimate £8,000-12,000 $13,000-19,500 €12,100-18,100 Ω plus Buyers Premium and VAT*

Provenance Private collection, Italy Literature Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 43

Stargazing at a Table By Brian Kish, Curator and Specialist in 20th Century Italian architecture and design. Associate member of the Gio Ponti Archives since 2006.

This illuminated zodiac table, recently rediscovered, is an important addition to the canon of Gio Ponti’s early 1930s Rationalist furniture designs. It joins a group of unique tables that Ponti created for exhibition purposes only, which gave him creative autonomy and thus free rein to indulge in imaginative solutions. The first of these exhibition tables was made for the 1930 Monza Triennale where Ponti presented a black mirrored top rectangular table with mythological figures etched onto the silvered glass perimeter apron and legs. One year later, he presented a striking centerpiece for Christofle’s exhibition Les Arts Précieux: a circular table completely covered in etched mirrors with mermaids that Ponti titled Istoria delle sirene. It exhibited the latest Ponti silverware made by Christofle, which was arranged on his Fontana Arte table. The collaborative efforts between Ponti and Christofle continued for more than 40 years, into the 1970s. It is most likely that the present illuminated zodiac table was a follow-up to the successful 1931 Paris trade fair. Ponti’s use of the zodiac goes back to a small series of mirrors for Luigi Fontana from 1931 with each stylized figure representing one of the 12 months set in a compartmentalised perimeter band. In these, Ponti is following the ancient Greco-Roman device of the zodiac wheel found in ancient floor mosaics. He repeated it in a slender profiled floor lamp, surmounted with an illuminated white opaline sphere, where these images are engraved onto a crystal disk that conjures up the ring of Saturn. The figures of this glowing centerpiece in finely etched glass are bunched together and set along a path that evokes the Milky Way, as seen in the nocturnal sky. The symbols of Leo and Virgo are centered in a small field of stars in the middle of the dome and placed like all the others according to their historically assigned month. This captivating glass element exhibits Ponti’s knowledge of astrological signs within the celestial system of coordinates as defined in Ptolemy’s treatise Almagest from circa 150 AD. Later, Ponti used the same Milky Way scheme again on a large etched crystal chandelier for the 1937 Paris World’s Fair when, together with Pietro Chiesa they headed Fontana Arte’s division of furniture, lighting, and decorative objects.

Istoria delle sirene: Ponti’s centerpiece for Christofle’s Les Arts Précieux stand in at the Colonial Exhibition in Paris, 1931. © P1078, Patrimoine Bouilhet-Christofle.

This turned out to be the last time Ponti used zodiac imagery, and it is comforting to think that the heavens did reward him for it on that occasion: Fontana Arte clinched no less than two Grand Prix awards, one for Art, and the second for Workmanship. The table was designed in the then current rationalist idiom and was almost certainly made by Quarti - mobili d’arte, led by the ebanista Mario Quarti. This high-end medium-scale worksop was known for using Fontana Arte etched mirrored glass designed either by Ponti or his assistant at Ginori: Giovanni Gariboldi. The austere simplicity of the Ponti wooden construct is an ideal counterpoint to the intricate glowing central dome. The structure of this oak piece is understated at first sight. Yet, on closer investigation it reveals a hidden numerological and perhaps symbolic meaning. For ancient Romans, the oak tree transmitted strength and knowledge as a symbol of the god Jupiter. Using quartered oak veneers, the tabletop is divided into twelve equal parts that are aligned in a herringbone pattern. This very thick top surface rests on six square section leg supports that are placed at a 45-degree angle and can thereby read as diamond-shaped; they in turn sit on a deep, circular wooden base. Once aware of these design considerations, the mind begins to grasp in slow motion the surprising cosmic references built into disparate elements connected by tectonic forces: the power of gravity invested in the dark, blunt, inert support is engaged in lively contest with multiple orbital movements suggested in the sparkling glass dome incisions.

Bottom right of image: Fontana Arte glass chandelier etched with Gio Ponti’s zodiac imagery, circa 1938. © Editoriale Domus S.p.A.

Ponti’s approach to the esoteric is more often encountered in his porcelain for Ginori. This is quite evident in three free standing disks with holes in the center, that have the titles Esorcismo or Sortilegio, from 1928. However, in the present display table he brings together utilitarian and artistic concerns with an emphasis on the latter. ‘The judgment of a work of art is one and always one: Is it beautiful or not beautiful? Is it art or not? Does it or does it not fascinate us?’

While elaborating a new humanist perspective in tune with the mid-20th century architecture debate, Ponti also confidently cued his design practice to the Renaissance, when architects treated their clients as spectators for whom spatial inventions were being staged to provide inexhaustible divertimenti. Over the last few years there has been a palpable surge of interest in Ponti’s poetics of the unexpected and in the novel overtones obtained when formal wit is fused with a reassuring sense of blissful calm.

5. Gio Ponti

1891-1979

Unique monumental illuminated table circa 1931 Oak, oak-veneered wood, acid-etched glass, coloured glass. 85.4 cm (33 5/8 in.) high, 229.5 cm (90 3/8 in.) diameter Executed by Quarti-Mobili d’arte and glass produced by Fontana Arte, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £35,000-55,000 $45,500-71,600 €42,200-66,300 Ω plus Buyers Premium and VAT*

Provenance Private collection, Verona

Phillips wishes to thank Brian Kish for his assistance in cataloguing the present lot.

6. Max Ingrand

1908-1969

Rare table lamp circa 1955 Coloured mirrored glass, brass, leather, paper shade. 54.5 cm (21 1/2 in.) high, including shade Manufactured by Fontana Arte, Milan, Italy. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Roberto Aloi, L’Arredamento Moderno: Sesta Serie, Milan, 1955, fig. 227

7. Gio Ponti

1891-1979

’Distex’ armchair, model no. 807 circa 1953 Fabric, vinyl, brass. 81.8 x 78.6 x 107.6 cm (32 1/4 x 30 7/8 x 42 3/8 in.) Manufactured by Cassina, Meda, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £20,000-30,000 $26,000-39,000 €24,100-36,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Varese Literature ’Alloggio uniambientale alla Triennale’, Domus, no. 301, December 1954, pp. 32, 33, 35 Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 195 Ugo La Pietra, ed., Gio Ponti, New York, 1996, pp. 229, 233, 234, 251, 252

8. Ico Parisi

1916-1996

Rare table with eight planters and magazine rack circa 1946 Cherry, cherry-veneered wood, walnut, brass, painted steel. 39.8 x 104 x 37.5 cm (15 5/8 x 40 7/8 x 14 3/4 in.) Manufactured by ArteCasa, Cantù, Italy. Together with a certificate of authenticity from the Archivio del Design di Ico Parisi.

The present model table is a variant of the model presented by Ico Parisi at the ‘Mostra Mercato per la Ricostruzione’ at Galleria del Sagrato, Milan in May-June 1946. This is the only known variant of this type to exist. Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance in cataloguing the present lot.

Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Casa B., Cantù Literature Roberta Lietti, Ico Parisi Design: Catalogo Ragionato 1936-1960, Milan, 2017, p. 84 for a similar example

9. Vittorio Introini

b. 1935

Desk circa 1968 Moulded fiberglass, painted wood. 84.2 x 205.5 x 152 cm (33 1/8 x 80 7/8 x 59 7/8 in.) Manufactured by Saporiti, Besnate, Italy. Estimate £7,000-9,000 $10,400-15,600 €9,600-14,500 Ω

10. Barovier & Toso (Co.) Unique monumental ceiling light, from the Casinò di Campione 1950s Coloured glass with gold leaf inclusions and applications, painted steel. 73.5 cm (287/8 in.) height 180.3 cm (707/8 in.) diameter Produced by Barovier & Toso, Murano, Italy.

plus Buyers Premium and VAT*

Provenance Private collection, Parma

Estimate £30,000-50,000 $39,000-65,100 €36,200-60,300 Ω plus Buyers Premium and VAT*

Literature ‘Milano: mobili all’ottavo salone’, Domus, no. 468, November 1968, p. 35 Domus, no. 470, January 1969, p. 451 Philippe Decelle, Diane Hennebert and Pierre Loze, L’Utopie du Tout Plastique 1960-1973, exh. cat., Fondation pour l’Architecture, Brussels, 1994, p. 74 for a similar example

Provenance Casinò di Campione, Italy Acquired from the above by the present owner, 2008

A Table of Many Facets By Brian Kish, Curator and Specialist in 20th Century Italian architecture and design. Associate member of the Gio Ponti Archives since 2006.

The decade of the 1950s was Ponti’s most prolific period in the fields of architecture and design. A constant stream of opportunities poured in simultaneously, keeping him and his firm, PFR, busier than they had ever been. It also gave rise to much autonomous experimentation, often while working on minor projects that generated longterm ideas for more important commissions. Nowhere is this more evident than in an inventive collection of prototypes for a small furniture company in Brianza: Cantieri Carugati. From around 1953 onwards, Ponti created a few memorable masterworks for this modern ebanista, including two dining tables and one credenza. In these works, Ponti lent three-dimensional form to ideas he had begun to express a decade earlier. These mainly revolve around his theory of architecture as an activity embodied in a living crystal, forever striving towards the essential, across a wide range of disciplines from urbanism through to buildings and industrial design, looping his ideas into a poetic continuity free of conventional hierarchies. In this group of three designs, the prototype diamond dining table is Ponti’s most successful achievement in the course of his relentless quest for absolute form. Designed in three parts, this utilitarian object is an arresting piece that can be read as both sculpture and architecture. Gio Ponti’s drawing for the Linea Diamante Alfa Romeo model. © Gio Ponti Archives.

Its hexagonal top element appears suspended by means of a steel frame that is almost imperceptibly anchored into a pair of sculpted wooden bases hewn like cut diamonds. Indeed, the birch wood tabletop is cross-veneered in four walnut triangles that divide it into three distinct hexagonal segments. This simple optical device lends surprising grace to what could have been a monotonous expanse, as often seen in mid-century modern furniture. Ponti always set his designs in optical motion while at the same time achieving a solid, definite form. This table was created while he was also developing his prototype car design for an Alfa Romeo body, Linea Diamante. One drawing, a bird’s eye view of this car, shows the exact form as well as tripartite sections repeated on the tabletop. Again this same form is to be found in multiple preliminary sketches for the footprint of the Pirelli Tower in Milan. Like this floating tabletop, the Pirelli roof also hovers above its support. The latest design relating to this sculptural table came about in the dining room of Villa Planchart in Caracas, where multi-faceted, succinct ‘diamond’ plinth supports are carved in marble, one in white Carrara and the other in Nero Portoro, this time with an octagonal, hovering walnut wood tabletop. Speculation that this 1953 prototype diamond table was the genesis of multiple projects in different scales, is based on an analysis of many other Pontian concepts. Along his entire journey of endless invention, Ponti never fully abandons a particular form. And one most dear to him is the crystal, best exemplified in the diamond form. ‘The metaphor was used to pursue an image of purity, order, impulse, and immobility, of “eternity”, of silence and charm at the same time; an image of closed forms in which everything would be consummated in the rigor of volumes and of thought; and, let me add an image of classicism’.

11. Gio Ponti

1891-1979

Rare prototype dining table circa 1957 Birch-veneered wood, walnut-veneered wood, walnut, painted steel. 76.9 x 324.2 x 92 cm (30 1/4 x 127 5/8 x 36 1/4 in.) Produced by Cantieri Carugati, Rovellasca, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £40,000-60,000 $52,100-78,100 €48,200-72,300 Ω plus Buyers Premium and VAT*

Provenance Private collection, Biella Literature Karl Kolbtiz, ed., Gio Ponti, Cologne, 2021, p. 357 for a similar example

The Pirelli Tower in Milan with its floating roof. © Gio Ponti Archives.

The present chair was designed by architect Carlo Mollino for Casa Colonna in Turin as part of a bespoke commission. The order included a large cabinet with five doors, a sixperson dining table, six chairs and four coat hangers. This set of furniture was impeccably made by local artisans Apelli e Varesio, who were entrusted with executing Mollino’s most important projects. The cabinetmakers developed the pieces in mahogany, ash, and walnut: ‘noble’ wood types that reveal the importance of this specific order which, according to its original quote, were ready for delivery by February 1954. This rare design displays an innovative leg-crossbar structure that prevents oscillations and strengthens the piece in a technically perfect way. This continuous legcrossbar solution is a recurrent feature in Mollino’s work; he also adopted it in a similar pair of chairs, now lost, made instead with a simple plywood backrest and seat. The supports of this model are hollowed out to lighten their visual weight and are elegantly finished with a rounded edge, using the a coltello process. The architect pays particular attention to varying the design of the sections that make up the wooden uprights, strengthening them where necessary and lightening them towards the edges. The significant size of the backrest gives the chair a particularly refined aspect. By Fulvio Ferrari, Author and Director of the Museo Casa Mollino, Turin

The Apelli e Varesio workshop in Turin. Photo: Riccardo Moncalvo. © Archivio Riccardo Moncalvo Torino.

12. Carlo Mollino

1905-1973

Rare chair, from Casa Colonna, Turin 1954 Walnut, fabric, brass. 95.5 x 38.8 x 56.4 cm (37 5/8 x 15 1/4 x 22 1/4 in.) Executed by Apelli & Varesio, Turin, Italy. Estimate £40,000-60,000 $52,100-78,100 €48,200-72,300 Ω plus Buyers Premium and VAT*

Provenance Casa Colonna, Turin Cambi, Milan, ‘Fine Design’, 22 November 2017, lot 41 Acquired from the above by the present owner Literature Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino, New York, 2006, p. 114 for a copy of the original quote, p. 115 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino: Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, p. 106

The present model chair is registered in the archive of the Museo Casa Mollino, Turin as number CM 156-1.

Magdalene Odundo: Vessels with Attitude By Moira Vincentelli, Curator of Ceramics and Lecturer in Art History at the University of Aberystwyth

Magdalene Odundo emerged onto the art scene after her groundbreaking MA show at the Royal College of Art in 1982. At this point, she established her signature style. For forty years she has worked steadily, producing breathtaking vessels of stunning elegance. They are like children – each one is unique, but all are clearly part of an extended family of forms. The present work dates from 1987, relatively early in her oeuvre, and embodies a distinctive type. In silhouette it might suggest a natural form such as a thistle head or a strange gourd, but such references are always oblique. A precisely balanced round base supports an upper part which flares out daringly, defined by two delicate ribs running up to the points of an oval-shaped rim. This is folded inwards creating an almond shape, framing the interior cavity. Looking down on the piece from above, it reveals a contrasting geometry of a pointed oval floating above the circular base. These are the kind of secret geometries that intrigue the eye and play on allusion. As she explained to Ben Okri in a talk in 2019, rims ‘enable you to imagine being part of the void that is inside, the fullness or the emptiness. The rim leads you into being curious. It is also an edge that enables you to think of the fragility of the pot’. One of the first times I met Magdalene Odundo was at a potters’ weekend event. When the folk band played an Irish jig, Magdalene was the only person in the room who could do Irish dancing. Such is a colonial education. As a young person, she had been taught by Irish nuns in a school in Kenya. It is emblematic of much that was to come. Odundo’s sources are often surprising and cross many boundaries. Born in Kenya, her family lived for some years in Delhi, but her schooling was mainly in Mombasa and Nairobi. She was a city child but spent holiday periods with relations in the ‘reserves’, as they were called in colonial parlance. Recognising an artistic bent, her early training and employment was in commercial design. She eagerly took up an opportunity to come to study in the UK, originally on a foundation art course in Cambridge but shifted direction a year after, towards a course where ‘making’ was at the core.

‘ Rims enable you to imagine being part of the void that is inside, the fullness or the emptiness. The rim leads you into being curious. It is also an edge that enables you to think of the fragility of the pot’. Magdalene Odundo

Magdalene Odundo in her studio. © Alun Callender.

West Surrey College of Art and Design at Farnham, now part of the University for the Creative Arts, was noted for textiles and ceramics. The institution has been a part of her life since that time, first as a student where she graduated with a firstclass honours degree in 1976, later as a teacher, and after 2001 as professor. In 2018 she was appointed Chancellor of the University of the Creative Arts. The dominant trend in studio pottery in the 1970s in the UK was wheel-thrown stoneware in the Leach tradition; but things were beginning to change and Odundo was a key figure in that change. While at Farnham she was able to visit Michael Cardew (1901-83) at Wenford Bridge. Cardew had developed the Abuja Pottery Training Centre in Nigeria and helped to arrange a two-month residency for her at Abuja. It proved to be a turning point, giving her time to concentrate on acquiring the essential skills of a working pottery. She finally learned to throw pots on the wheel but, more significantly, she learnt a system of hand building from the women potters employed there; most famously, Ladi Kwali (1925-84), by then a recognised figure who had demonstrated her ‘traditional’ hand building technique in Europe and the US. In much of Africa, pottery is a female craft and business.

Magdalene Odundo’s hand-building method. © Stephen Brayne.

Still today, women make functional vessels for cooking, storing water or brewing beer. They shape the pots by hand and fire them in open bonfires, although techniques vary from region to region. Ladi Kwali used her Gwari forming and decorating system but in fact the handsome vessels she made at Abuja were hybrids. The pots were made of stoneware clay, glazed and high-fired with wood in the big bottle kiln at Abuja. Odundo continues to use a version of the hand building technique she first learnt in Nigeria where a ball of clay is pinched out and pulled up from the inside as thick coils of clay are added. From her earliest student days in the UK, Odundo seized every opportunity to learn from the rich resources in museums. In Cambridge, she discovered the wonderful slipware of Thomas Toft (died 1689) and much more at the Fitzwilliam Museum; but she had also delighted in the domestic modernism to be found at Kettle’s Yard. The British Museum offered many other inspirational objects from across the world. At Farnham, she had responded to the classes in art and cultural history enthusiastically. Her Catholic tastes and her ability to absorb essential qualities of global design were brilliantly demonstrated in a major exhibition, The Journey of Things at the Hepworth Wakefield in 2019. There, her work was shown alongside modernist sculpture and painting, artefacts from Africa and elsewhere, and studio pottery. After graduation, Odundo took the opportunity to travel to the USA and, more by chance than design, met Maria Martinez (1887-1980) the great Pueblo potter who in that period ran summer workshops at Idyllwild in California. As in so much of Africa, Native American pottery was traditionally made by women who used hand building techniques and open firing to produce functional and ceremonial ceramics. In the early decades of the twentieth century, Maria Martinez and her husband Julian, encouraged by ethnographers and archaeologists, had re-invented and refined a system of burnishing and firing blackware to a spectacular shine. Glaze cannot be fired in an open fire but prolonged burnishing and smoking or carbonising the surface is an alternative way of giving a more sealed surface. Women potters spend long periods burnishing their pots and the polishing stones are often prized personal tools. Related techniques can be found in many parts of Africa, in Mexico, South Asia, Northern Europe and Denmark and most famously in classical Greece.

On her return from the US, Odundo worked for a period in the education department at the Commonwealth Institute in Kensington and was able to introduce clay work into the programme. She enjoyed teaching and continued to make work when she could. Nevertheless, it was her successful application to the Royal College of Art which proved a breakthrough, allowing her three years to concentrate on her own development. She had hoped to work with Hans Coper (1920-1981) whose sculptural vessels she greatly admired. He had recently retired but she found other inspirational teachers including the sculptor Eduardo Paolozzi (1924-2005), who encouraged her interest in material culture. While at the Royal College, she undertook research on different types of clay and worked out a ceramic body that suited her needs. She also experimented with terra sigillata slip (highly refined liquid clay) which could be applied over the surface and burnished to achieve a silky sheen.

Workbench and burnishing tools. © Stephen Brayne.

Vessels by Magdalene Odundo exhibited at The Journey of Things exhibition at Hepworth Wakefield in 2019 © PA Images / Alamy Stock Photo.

Like many potters, Odundo has a love hate relationship with the firing process. She creates a finish that is an equivalent of many traditional women potters’, but open firing is challenging. Each system is developed in relation to the fuel available and the climate conditions; it does not work well in the rain. Borrowing from a system widely used in industrial ceramics, she experimented with saggar firing, whereby a pot is fired inside a larger container filled with combustible material such as sawdust. Works are often fired several times to adjust the effects. In oxidising conditions, the pieces emerge a bright orange colour while, if the oxygen is cut off, they become black and carbonised. Some vessels combine the two effects. The carbonised surface of this work from 1987 has a modulated, almost metallic, sheen. Magdalene Odundo can be counted among many notable women clay artists whose work represents a distinctive departure from wheel thrown stoneware pottery that dominated the studio pottery tradition. Yet she was not a rebel but found her own distinctive path drawing on her roots in Africa, free to find inspiration from sources as varied as Elizabethan costume, Pueblo pottery, Mangbetu headdresses or modernist sculpture. With a postmodern sensibility, her vessels may evoke the natural world-gourds, stamens, body references or dancing figures but they also convey the slow and tactile manner of their creation. They are built up slowly, smoothed out carefully and finished with the soft sheen of burnished terra sigillata. Finally, they are marked by the action of fire. Odundo’s pots have attitude, like models on the catwalk, they are performers.

13. Magdalene Odundo

b. 1950

‘Untitled’ 1987 Burnished and carbonised terracotta. 36.2 x 22 x 23 cm (14 1/4 x 8 5/8 x 9 in.) Underside incised Odundo/1987. Estimate £70,000-90,000 $91,100-117,000 €84,400-109,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist by the present owner, 1987 Literature Magdalene Odundo et al., Magdalene Odundo: Clay Forms, exh. cat., Blackwell/Lakeland Arts Trust, Bowness-on-Windemere, 4 July-23 September 2001, pp. 26, 27 for similar examples Anthony Slayter-Ralph, ed., Magdalene Odundo, Aldershot, 2004, pp. 36, 103, 106 for similar examples

14. Jean Royère

1902-1981

’Perforation’ candle holder circa 1945 Brass. 12.8 x 72.2 x 11 cm (5 x 28 3/8 x 4 3/8 in.) Estimate £10,000-15,000 $13,000-19,500 €12,100-18,100 plus Buyers Premium and VAT*

The present lot is an arresting example of French designer Jean Royère’s recurrent use of round motifs in his creations. His design language notably drew upon dots, circles, balls, and perforations. Be it in larger furniture pieces or smaller objects, he returned to patterns that are unmistakably associated with his decorative flair. The simple yet dynamic form of this perforated brass candle holder is a testament to his imaginative approach to ornamental design.

Provenance Private collection, London Literature Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 103 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 1, Paris, 2012, p. 298, Volume 2, p. 77 Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2017, p. 110

15. Jean Royère

1902-1981

Two beds with integrated headboard and bedside table 1955-1958 Stained oak, stained and partially painted oak-veneered wood, brass, fabric. 84 x 390 x 210 cm (33 1/8 x 153 1/2 x 82 5/8 in.) Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Oscar Majdalani, Beirut, commissioned directly from the designer, 1955-1958 Thence by descent to the present owner

Elisabeth Joulia: A Mystical Approach to Ceramics By Jean-Louis Gaillemin, Art Historian, Lecturer and Art Magazine Editor

With a truly exceptional provenance, scale and structure, this enigmatic piece by French artist Elisabeth Joulia reveals her sensual and mystical approach to ceramics. Made in 1955 and acquired from her La Borne studio in 1978 by Alan Grizot, known as the first ‘archaeologist of the 20th century’, it was later acquired by another great connoisseur of 1950s ceramics, Pierre Staudenmeyer, from the groundbreaking ‘Le Regard d’Alan’ auction at Binoche et Godeau Paris in 1991. Following the creation of a few utilitarian pieces in her local artisanal tradition, Joulia also ventured into abstract sculpture. According to her biographer Joseph Rossetto (author of Elisabeth Joulia: Faites Entrer l’Infini, 2019), these works can evoke forms by Alicia Penalba or Barbara Hepworth. Her creations are biomorphic silhouettes that occasionally duplicate, playfully interact with one another, are in dialogue, and even confront each other. Some take on the appearance of a binnacle, others have a tripartite composition and act as primitive idols. A pair of eyes and two raised arms suffice to animate the deliberately crude bases. The present work, at once rough in materiality and soft in form, is undoubtedly the most accomplished expression of this period in the artist’s oeuvre. But the little ‘gaze’ within this interior volume, this torso which ends in a chimney shape, also outlines an oven as a sanctuary for the mysterious alchemy of earth and fire. This protective totem is a tribute to a secular practice and ritual upkept and renewed by the potters of La Borne.

Elisabeth Joulia at work in her La Borne Atelier, circa 1955. © ADAGP, Paris and DACS, London 2022.

16. Elisabeth Joulia

1925-2003

Monumental sculpture circa 1955 Stoneware with black pyrite and coloured slip. 78 x 46 x 33 cm (30 3/4 x 18 1/8 x 12 7/8 in.) Base incised Joulia. Estimate £20,000-30,000 $26,000-39,000 €24,100-36,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Alan Grizot, Paris, acquired directly from the artist, 1978 Binoche et Godeau, Paris, ‘Le Regard d’Alan’, 6 October 1991, lot 37 Pierre Staudenmeyer, Paris, acquired from the above Patrick Mignot, by descent Acquired from the above by the present owner Exhibited ’Pierre Staudenmeyer, la passion céramique’, Sotheby’s, Paris, 5-15 February 2014 Literature Chloé Braunstein-Kreigel, Les Années Staudenmeyer: 25 Ans de Design en France, Paris, 2009, illustrated p. 147

17. Georges Jouve

1910-1964

’Bouteille’ vase circa 1957 Glazed earthenware. 39.8 cm (15 5/8 in.) high Underside incised with artist’s cipher and JOUVE. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 ‡ plus Buyers Premium and VAT*

Provenance Galerie Arcade, Paris Aguttes, Paris, ‘Design’, 5 March 2020, lot 89 Acquired from the above by the present owner Literature Pierre Staudenmeyer, La Céramique Française des Années 50, Paris, 2004, p. 100 Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 21, 73-75, 99, 100, 289, 290

18. Georges Jouve

1910-1964

’Toupie’ sculpture circa 1959 Glazed earthenware. 14.6 x 20.9 x 12.8 cm (5 3/4 x 8 1/4 x 5 in.) Underside incised with artist’s cipher and JOUVE. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 ‡ plus Buyers Premium and VAT*

Provenance Georges Jouve, France Thence by descent Christie’s, Paris, ‘Design Vente du Soir’, 22 November 2016, lot 174 Acquired from the above by the present owner Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 82, 83, 101

19. Georges Jouve

1910-1964

Two ‘Galet’ vases circa 1957 Glazed earthenware. Taller: 23.5 x 12 x 9.6 cm (9 1/4 x 4 3/4 x 3 3/4 in.) Underside of each incised with artist’s cipher and JOUVE. Estimate £12,000-15,000 $15,600-19,500 €14,500-18,100 ‡ plus Buyers Premium and VAT*

Provenance Left: Georges Jouve, France Thence by descent Christie’s, Paris, ‘Design Vente du Soir’, 22 November 2016, lot 157 Acquired from the above by the present owner Right: Private collection, Paris Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 5, 79, 98, 289

20. Georges Jouve

1910-1964

Two lidded boxes circa 1957 Glazed earthenware. Green: 15 cm (57/8 in.) high, 9.8 cm (37/8 in.) diameter White: 14.7 cm (53/4 in.) high, 10.2 cm (4 in.) diameter Underside of each incised with artist’s cipher and JOUVE. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Côte d’Azur Acquired from the above by the present owner Literature Michel Faré, Georges Jouve, Paris, 1965, p. 33 Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 65, 164, 288, 289

21. Georges Jouve

1910-1964

Unique sculpture circa 1959 Glazed earthenware, stone. 67.9 x 16.7 x 16.7 cm (26 3/4 x 6 5/8 x 6 5/8 in.) Incised with artist’s cipher and JOUVE. Estimate £60,000-80,000 $78,100-104,000 €72,300-96,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private collection, Paris Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 285

22. Suzanne Ramié

1905-1974

Large vase circa 1950 Glazed earthenware. 86.1 cm (33 7/8 in.) high Executed at Atelier Madoura, Vallauris, France. Underside impressed with pottery mark MADOURA/PLEIN/FEU. Estimate £10,000-15,000 $13,000-19,500 €12,100-18,100 ‡ plus Buyers Premium and VAT*

Provenance Pierre Staudenmeyer, Paris Thence by descent to Patrick Mignot Acquired from the above by the present owner Literature La Libération de la Forme: Céramistes Françaises des Années 1950, exh. cat., Galerie Anne-Sophie Duval and Galerie Mouvements Modernes, Paris, 10 December 2009-23 January 2010, n.p. Philippe Chambost, Pascal Marziano and Arnaud Serpollet, 1947-2017: 70 Ans D’Expression Céramique Française, Neuvic-sur-l’Isle, 2020, p. 148

The present vase with an elongated and sculptural shape is a stunning example of Suzanne Ramié’s subversion of local pottery tradition in favour of more modern and abstract forms. Born in 1905 as Suzanne Douly, she studied ceramics and decoration at the School of Fine Arts in Lyon. She then began her career as a decorator in Lyon textile factories, including the Gilet factory, where she met her husband Georges Ramié. The couple married in 1936 and moved to Vallauris soon after, where Suzanne developed her ceramics and glazing craft for two years with the potter Jean-Baptiste Chiapello. In 1938, the Ramiés founded their ceramic workshop named MADOURA, an acronym of the letters MA for Maison, DOU for Douly and RA for Ramié. While Suzanne worked on ceramics, Georges assisted her in the operation of the wood-fired oven and running of the atelier. In 1946 they met Picasso who, enthused by their atelier, spent a year working there and later entrusted them with the production of his ceramic works from 1950.

Ceramic works including the present model vase on display at Atelier Madoura in Vaulluris, France.

Lot 23

Lot 24

23. Georges Jouve

1910-1964

Table lamp circa 1960 Glazed earthenware, fabric shade. 42.4 cm (16 3/4 in.) high, including shade Underside incised with artist’s cipher and JOUVE. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Paris Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 201

24. Georges Jouve

1910-1964

Table lamp circa 1960 Glazed earthenware. 42.3 cm (16 5/8 in.) high, including shade Underside incised with artist’s cipher and JOUVE. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Paris Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 201

25. Georges Jouve

1910-1964

Table lamp circa 1960 Glazed earthenware, fabric shade. 54.7 cm (21 1/2 in.) high, including shade Underside incised with artist’s cipher and JOUVE. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Lot 25

Provenance Galerie Steph Simon, Paris Private collection, Neuilly-sur-Seine Aguttes, Neuilly, ‘Design du 20e siècle’, 1 July 2021, lot 30 Aquired from the above by the present owner Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 201

26. Gio Ponti

1891-1979

Pair of ‘Finestra’ wall lights, model no. 12664 circa 1957 Brass, painted brass, painted steel. Each: 80.1 x 25.1 x 10.9 cm (31 1/2 x 9 7/8 x 4 1/4 in.) Manufactured by Arredoluce, Monza, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Provenance Private collection, Caserta Literature Alessandro Padoan, Alessandro Palmaghini and Anty Pansera, Arredoluce: Catalogo Ragionato 1943-1987, Milan, 2018, pp. 189, 313

Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 Ω plus Buyers Premium and VAT*

27. Gio Ponti

1891-1979

Pair of ‘Distex’ armchairs, model no. 807 circa 1953 Fabric, stained beech. Each: 81.3 x 80.6 x 108.2 cm (32 x 31 3/4 x 42 5/8 in.) Manufactured by Cassina, Meda, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £24,000-28,000 $31,200-36,400 €28,900-33,800 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature Domus, no. 293, April 1954, front cover Domus, no. 308, July 1955, p. 64 ‘Accanto alla architettura’, Domus, no. 312, November 1955, p. 20 Roberto Aloi, L’Arredamento Moderno: Sesta Serie, Milan, 1955, fig. 283 ‘Una porta, e nuovi mobili’, Domus, no. 321, August 1956, pp. 21, 23 Lisa Licitra Ponti, Gio Ponti: the Complete Work, 1923-1978, London, 1990, p. 160 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano degli Anni ‘40 e ‘50, Bari, 1992, pp. 41, 241 Marco Romanelli, Gio Ponti: a World, Milan, 2002, p. 58 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2004, pp. 172, 182 Ugo La Pietra, ed., Gio Ponti: L’Arte si innamora dell’Industria, New York, 2009, pp. 226, 227

Suspended in a Web of Complexities: Ponti’s Lattice-Top Tables By Brian Kish, Curator and Specialist in 20th Century Italian architecture and design. Associate member of the Gio Ponti Archives since 2006.

Even in his earliest designs for Ginori, Ponti comes up with countless iterations of the lattice motif as a device for orchestrating visual effects. These grids or skewered grid patterns appear on vases, bowls, and large cisterns, all with evocative titles like Prospettica, Passeggiata, or Ortogonale. By the mid-1930s, Ponti adapted these grid patterns as structural bracing for table tops in designs that exhibit a synthesis of two essential concerns. The ﬁrst is an inventive use of connective tectonic supports to the four legs. The second is a purely pictorial emphasis on the diamond emblem. By forcing the grid into a slight compression, he turns an array of diamonds into an interlocking web. This gives the objects a dramatic visual presence, and underscores his idea of the essentiality of the diamond form as an architectural matrix. The present model coffee table represents a speciﬁc stage of an evolution that took place over a handful of previous private commissions, all in the 1930s. Each of these tables was unique, as is the one in discussion, and each displays one of multiple variants on lattice tops. Beginning with the Casa Marmont of 1933, continuing with three interiors in rapid succession for the Laporte, Ripamonte, and Vanzetti families from 1935-38. This series is now seen as possibly the most compelling example of Ponti’s particular poetics of Rationalism. Most of this furniture was manufactured by Fratelli Radice using burled wood veneers, but the singular variation on offer here is in solid oak. It was most likely

designed at the end of the 1930s and possibly executed by Giordano Chiesa. What stands out is the treatment of the legs; they are split down the middle, which multiplies four legs into eight. Their profiles are undulating curves that taper downwards and are conjoined by a minute triangular wedge, just above the floor. Ponti keeps reinventing choreographies of protrusions and voids as he does here with the shallow indentation at the top of each leg. This produces a subtle shadow line, uplifting the entire circular table top that then seems to hover above its eight vertical supports. As we look from a standing position, our gaze is pulled through the diamond lattice top towards the split legs. In this gap, another motif emerges on our retina: an upside-down triangle or obelisk in negative, which in turn initiates endless reflections of interwoven geometries. In what is most likely the last iteration of the wooden lattice-top tables, Ponti pushed his invented archetype a step further than before, amplifying his idiosyncratic tectonic visual readings and realities. Yet by the 1950s, he still reprised the hybrid typology of split leg and lattice top, this time for a series of metal tables. Ponti’s fascination with the lattice motif is also reflected in unique pieces purpose-built for the architecture he lived in over the years, from the root-wood piece made in 1934 for his living room on Via Brin to the 1955 polychrome brass model built for what became his last residence on Via Dezza.

28. Gio Ponti

1891-1979

Unique coffee table circa 1937 Oak, glass. 50 cm (19 5/8 in.) high, 95.7 cm (37 5/8 in.) diameter Possibly executed by Giordano Chiesa, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £18,000-24,000 $23,400-31,200 €21,700-28,900 Ω plus Buyers Premium and VAT*

Provenance Private collection, Italy Literature ‘In visita alle case’, Domus, no. 113, May 1937, p. 41 for a similar example Ugo La Pietra, ed., Gio Ponti: L’Arte si innamora dell’Industria, New York, 2009, p. 61 for a similar example

Phillips wishes to thank Brian Kish for his assistance in cataloguing the present lot.

29. Pierluigi Spadolini

1922-2000

Console table circa 1965 Marble, elm. 69.5 x 160 x 50 cm (27 3/8 x 62 7/8 x 19 5/8 in.) Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Tuscany

30. Fontana Arte Large mirror, model no. 1608 circa 1956 Mirrored glass, coloured mirrored glass, brass, stained wood. 110.3 x 96.2 x 4.9 cm (43 3/8 x 37 7/8 x 1 7/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω plus Buyers Premium and VAT*

Provenance Private collection, Naples

Literature ’Un negozio di vetri: Fontana Arte’, Domus, no. 315, February 1956, p. 59 Vitrum, no. 125, May-June 1961, p. 32 Quaderni Fontana Arte 6, sales catalogue, Milan, 1964, p. 156 Roberto Aloi, L’Arredamento Moderno: Settima Serie, Milan, 1964, p. 127 Vitrum, no. 147, January-February 1965, p. 54 Edoardo Paoli, Specchiere e Specchi: Appesi, nel Mobile e Tecnici, Quaderni Vitrum, no. 8, Milan, 1966, pp. 8, 115

31. Giglio Tarone and Sandro Bigliani 1918-1959, 1917-2008 Unique daybed circa 1957 Chestnut, fabric, brass. 46.5 x 246.1 x 83.8 cm (18 1/4 x 96 7/8 x 32 7/8 in.) Estimate £7,000-9,000 $9,100-11,700 €8,400-10,900 Ω plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature Roberto Aloi, Esempi di Arredamento Moderno di Tutto il Mondo: Sale di Soggiorno e Camini, Milan, 1954, fig. 111 for a comparable sofa design Davide Alaimo, Mobili di Architetti e Progettisti Torinesi 1945-1965, Turin, 2018, p. 222 for a comparable sofa design

Phillips wishes to thank Maria Bigliani for her assistance in cataloguing the present lot.

32. Pietro Chiesa

1892-1948

Frame, model no. 1242 circa 1946 Glass, teak. 25.6 x 20.6 x 13.3 cm (10 1/8 x 8 1/8 x 5 1/4 in.) Manufactured by Fontana Arte, Milan, Italy. Underside of base impressed with manufacturer’s mark FX. Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 Ω plus Buyers Premium and VAT*

Provenance Private collection, Como Literature Guglielmo Ulrich, Arredatori Contemporanei, Milan, 1949, n.p. Quaderni Fontana Arte 6, sales catalogue, Milan, 1960s, n.p.

The present model frame was presented in the exhibition ‘Oggetti per la Casa’ at the 1946 VIII Triennale in Milan.

33. Mario Gottardi

1913-2004

Rare coffee table, model no. 593 circa 1955 Walnut, sipo, brass. 47.9 cm (18 7/8 in.) high, 105.4 cm (41 1/2 in.) diameter Together with a certificate of authenticity from the Archivio Mario Gottardi. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 plus Buyers Premium and VAT*

Provenance Private collection, Turin

A drawing of the present model table is held at the Archivio Mario Gottardi. Phillips wishes to thank Dr. Caterina Corni for her assistance in cataloguing the present lot.

34. Angelo Lelii

1911-1979

Set of four wall lights circa 1950 Glass, brass. Each: 34.8 x 19 x 21.5 cm (13 3/4 x 7 1/2 x 8 1/2 in.) Manufactured by Arredoluce, Monza, Italy. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω plus Buyers Premium and VAT*

Provenance Hotel Cristallo, Aprica

The present lot has been registered in the Arredoluce Archives, Italy as numbers 7997841, 8390671, 3227136, 8698941.

Sculptural Expression By Arch. Giampiero Bosoni, author of Osvaldo Borsani: Architect, Designer, Entrepreneur

The years following the Second World War were a very prolific period for ABV (Arredamenti Borsani Varedo) which had by then passed directly into the creative hands of Osvaldo Borsani. The studio had increasing opportunities to design for important private and public commissions. It was a period during which Osvaldo Borsani intensified his work and nurtured friendships with a pioneering circle of artists: a successful choice which had already been adopted by his father Gaetano Borsani. Under Osvaldo, this approach and partnership with artists became an ABV hallmark that distinguished the firm’s work. Starting from the design for Casa Gulinello (circa 1949), we begin to perceive elements of these collaborations and notice how creative contributions, in this case by Lucio Fontana (who had already been involved with villa Borsani, 1948) are integrated within ABV’s furnishings. This synergy went beyond paintings and sculptures such as the drawings on the pillar in the living room or the appliques above the bed. A fully-fledged integration between the furniture and artworks was underway. This concept is clearly embodied in present model side table, shown above in the living room of Casa Gulinello, where the vertical brass element supporting the glass top is wrapped in a waving cascade of wooden drapery painted in white, pink, and gold. The artistic collaboration is equally present in the room’s console, supported by a pair of painted wood winged and veiled cherubs. Overall, the Casa Gulinello project can be considered as a unique and refined example of creative intervention, centered around personalized pieces, and enriched by Fontana’s imaginative contributions. This side table, with its strong réaction poétique, is certainly among the most expressive and surreal pieces conceived by Borsani in close collaboration with Fontana in the post-war period. The original plaster model of the floating wooden ribbon carving, as well as references to this model table made for Casa Pasini, are held in the Osvaldo Borsani Archive. This model table was also presented at 1951 IX Triennale in Milan.

The present model table in the living room of Casa Gulinello, Milan. © Archivio Osvlado Borsani.

35. Osvaldo Borsani and Lucio Fontana 1911-1985 and 1899-1968 Rare side table, model no. 7303/2 circa 1950 Glass, painted and gilded wood, brass, marble. 60 cm (24 5/8 in.) high, 59 cm (22 7/8 in.) diameter Produced by Arredamenti Borsani Varedo, Italy. Together with a certificate of expertise from the Archivio Bosani. Estimate £60,000-80,000 $91,100-117,000 €84,400-109,000 Ω ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Casa P., Milan Aste Boetto, Genoa, ‘An Italian Design Auction’, 24 October 2011, lot 768 Private collection, Rome Wright, Chicago, ‘Important Design’, 7 June 2012, lot 205 Acquired from the above by the present owner Literature Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 2010, p. 112 Giampiero Bosoni, Osvaldo Borsani: Architect, Designer, Entrepreneur, Milan, 2018, pp. 363, 593

Phillips wishes to thank Brian Kish for his assistance in cataloguing the present lot.

In 1952, Ico Parisi designed a carefully thought-out bespoke study room for two ten-year-old twin sisters. The whole space was crafted with great attention to every detail and comprised an extraordinarily shaped asymmetrical sofa (lot 36), a pair of corner desks that could be used simultaneously (Lots 37 & 38) as well as capacious bookshelf with cabinets and a magazine rack (Lot 40). The sofa’s ergonomic design displays two partially visible metal supports that connect a trapezoidal seat pad to an atypical backrest featuring a horizontal crevice. The unusual form of the sofa is further underlined by the only armrest which flares outwards. The archival photograph of the room reveals its elegance and harmony also complemented by the lighting (note the lamp designed by Parisi on the table in the corner) and by the ‘Battaglia sul mare’ painting by the important Italian abstract artist Mario Radice. In addition to the furnishing for the twins’ study room, Parisi also designed a unique leather stool for the same family (Lot 39). This graceful piece presents with wooden diagonal legs linked by a painted steel support and is reminiscent of a model that Parisi designed for a kitchen in 1950, produced by Fratelli Rizzi, Itimiano. By Roberta Lietti, Curator at the Archivio del Design di Ico Parisi

The two unique desks, asymetrical sofa and bookshelf in the original home they were commissioned for in Cernobbio, Italy, 1952. © Archivio del Design di Ico Parisi.

36. Ico Parisi

1916-1996

Unique two-seater sofa 1952 Fabric, walnut, painted steel. 87.4 x 132 x 72.3 cm (34 3/8 x 51 7/8 x 28 1/2 in.) Produced by Ariberto Colombo, Cantù, Italy. Estimate £20,000-30,000 $26,000-39,000 €24,100-36,200 Ω plus Buyers Premium and VAT*

Provenance Carcano family, Cernobbio, commissioned directly from the designer, 1952 Literature Roberta Lietti, Ico Parisi Design: Catalogo Ragionato 1936-1960, Milan, 2017, p. 261

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

Lot 38

Lot 37

37. Ico Parisi

1916-1996

Desk, from a unique pair 1952 Walnut, walnut-veneered wood, painted wood, reverse-painted glass, brass. 74.3 x 125.2 x 90.4 cm (29 1/4 x 49 1/4 x 35 5/8 in.) Possibly executed by Fratelli Rizzi, Intimiano, Italy. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω plus Buyers Premium and VAT*

Provenance Carcano family, Cernobbio, commissioned directly from the designer, 1952

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

38. Ico Parisi

1916-1996

Desk, from a unique pair 1952 Walnut, walnut-veneered wood, painted wood, reverse-painted glass, brass. 74.4 x 125 x 90.9 cm (29 1/4 x 49 1/4 x 35 3/4 in.) Possibly executed by Fratelli Rizzi, Intimiano, Italy. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω plus Buyers Premium and VAT*

Provenance Carcano family, Cernobbio, commissioned directly from the designer, 1952

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

39. Ico Parisi

1916-1996

Unique stool circa 1950 Leather, African mahogany, painted steel, brass nailheads. 59.4 x 37 x 39.8 cm (23 3/8 x 14 5/8 x 15 5/8 in.) Executed by Fratelli Rizzi, Intimiano, Italy. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 Ω plus Buyers Premium and VAT*

Provenance Carcano family, Cernobbio, commissioned directly from the designer, 1952 Literature Roberta Lietti, Ico Parisi Design: Catalogo Ragionato 1936-1960, Milan, 2017, p. 459 for a similar example

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

40. Ico Parisi

1916-1996

Unique bookshelf with cabinets and magazine rack 1952 Walnut-veneered wood, painted wood, glass. 244.2 x 333.4 x 54 cm (96 1/8 x 131 1/4 x 21 1/4 in.) Possibly executed by Fratelli Rizzi, Intimiano, Italy. Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 Ω plus Buyers Premium and VAT*

Provenance Carcano family, Cernobbio, commissioned directly from the designer, 1952

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

41. Pierre Legrain

1888-1929

Rare lidded tabouret circa 1920 African ebony, ebonised pear wood, sycamore, sycamore-veneered wood, parchment, leather. 41.7 x 43.5 x 31 cm (16 3/8 x 17 1/8 x 12 1/4 in.) Estimate £60,000-80,000 $78,100-104,000 €72,300-96,500 ‡ plus Buyers Premium and VAT*

Provenance Camard & Associés, Paris, 29 November 2006, lot 111 Private collection, Paris, acquired from the above Literature Laurence Salmon, Pierre Legrain: Reliures, Meubles, Cadres, Paris, 2019, p. 137, illustrated p. 218

The present model tabouret in Madame Tachard’s boudoir, Paris, circa 1920. © Archives Gilles Peyroulet.

42. René Herbst

1891-1982

43. Jean Luce

1894-1949

Occasional table

Vase

circa 1926 Stained beech. 75.4 cm (29 5/8 in.) high, 71.6 cm (28 1/4 in.) diameter

circa 1930 Acid-etched coloured glass. 15.3 cm (6 in.) high, 8.7 cm (3 3/8 in.) diameter Underside acid-etched with artist’s monogram.

Estimate £10,000-15,000 $13,000-19,500 €12,100-18,100 Ω plus Buyers Premium and VAT*

Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, France Phillips, London, ‘Design’, 27 September 2011, lot 71 Acquired from the above by the present owner Literature Solange Goguel, René Herbst, Paris, 1990, pp. 167, 251 Guillemette Delaporte, René Herbst: Pionnier du Mouvement Moderne, Paris, 2004, p. 55

Provenance Private collection, Gourdon Christie’s, Paris, ‘Les Collections du Château de Gourdon’, 31 March 2011, lot 832 Acquired from the above by the present owner Literature René Chavance, ‘Les Verreries de Jean Luce’, Art et Décoration, January 1928, p. 22 for a similar example

The present armchairs were designed by Jean-Michel Frank for the living room of industrialist and textile producer Robert Chevalier, whose residence Frank completed in 1927. Chevalier was married to Geneviève Gallé, the fourth daughter of the renowned glass artist Emile Gallé. Located in the town of Épinal, France, the residence featured many elements of a traditional Haussmann style building, such as extensive roof space and a courtyard. The project constitutes one of only a few Frank worked on in collaboration with other architects and designers; notably, in this case, the young Jean Prouvé, godson of Chevalier’s wife, who was entrusted with designing doors and windows for the building. This unique commission came with some explicit requests from Chevalier. His love for modern art was to be fully expressed within the interiors, so Frank’s predication for minimalism and austerity was moderately restrained in the client’s favour towards bespoke furnishings more fitting to his sensibilities. The living room, the original location of the present armchairs, featured works of art from Chevalier’s collection by Marie Laurencin, which Frank paired with pale fabric-covered walls, carpet, and seating in a soft beige upholstery. This suite, from which only two of the armchairs remain, was designed and exclusively produced for the Chevalier interior and is to be considered amongst ‘the most notable designs’ by Frank conceived for the commission.

The present armchairs in the living room of Robert Chevalier’s residence, Épinal, France. Photo: Pierre-Emmanuel Martin-Vivier, JeanMichel Frank: l’Etrange Luxe du Rien, Paris, 2006.

∑

44. Jean-Michel Frank

1895-1941

Unique pair of armchairs, from the residence of Robert Chevalier, Épinal circa 1927 Brazilian rosewood, fabric. Each: 96 x 84.2 x 80.5 cm (37 3/4 x 33 1/8 x 31 3/4 in.) Produced by Chanaux & Company, Paris, France. Together with a certificate of authenticity from the Comité Jean-Michel Frank. Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 plus Buyers Premium and VAT*

Provenance Robert Chevalier, Épinal Thence by descent Private Collection, France, circa 1970 Hôtel Drouot auction, Paris, 1984 Acquired from the above Ferri & Associés, Paris, ‘Tableaux Anciens et Modernes, mobilier et objects d’art’, 4 December 2013, lot 288 Galerie Marchilhac, Paris, acquired from the above Phillips, London, ‘Important Design’, 26 April 2018, lot 34 Acquired from the above by the present owner Literature Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, illustrated pp. 92, 93 Anne Bony, Les Années 30 d’Anne Bony, Paris, 2005, illustrated p. 750 Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: L’Étrange Luxe du Rien, Paris, 2006, illustrated pp. 120, 121

The Frank Light By Laurence Benaim, Author of Jean-Michel Frank: Le chercheur de Silence

A block of rock crystal, simply connected by an electric thread. Ethereally useful and functionally luminous. For many years, the present table lamp by Jean-Michel Frank sat on his friend Alice Cerf’s piano in her flat on rue de Babylone in Paris. Nearly a century after it was created, it still retains a remarkable aura. In ancient times, rock crystal was believed to be formed from frozen mountain water. With Frank, crystal becomes a talisman again. While his contemporaries reduced a lamp’s functionality to the rigour of pure linearity, Frank surpassed it; in seeking truth in sensation, raw emotion, in the silence of a meteor fallen from the sky. A burst of heavenly glory. And from distant shores, harmonious chords Reach us - Walt Whitman, Leaves of Grass This could be the reason why, beyond its function and decorative quality, this lamp haloes the present moment with a unique light. Minerals inspire contemplation, as they did at the beginning and at the end of time. Here, the stone becomes the skin of light, it is indestructible and yet trembles with fragility. It is almost as if, at the peak of civilisation, the Middle-Eastern belief of invisibility was made possible. This lamp is the sun of the night, the ‘Frank light’, a look that has since become a style. ‘Jean-Michel Frank and Alice Cerf were friends. They shared a meditative detachment, an aesthetic of disappearance and absolute, unfettered taste. When I was in her home, I physically felt surrounded by a haze of freedom’, recalls Alice Cerf’s great-nephew who is offering this extraordinary object at auction. It is the first example to appear on the market since 2018, preceded only by very few others in the history of auctions, including one in the Yves Saint Laurent collection sale (2009) and the Jacques Grange collection sale (2017). Its presence defies time, fashions, and the constraints of movements and schools.

As the son of German Jews who settled in France before the First World War, Jean-Michel Frank was part of the bourgeoisie that was integrated by the Third Republic. Studying in the renowned school of Janson-de-Sailly, he befriended René Crevel who introduced him to Drieu la Rochelle. Alongside these young writers in the making, Frank chose to pursue interior decoration. He soon invented his refined and stripped-down style which contrasted with the heavy aesthetic that had triumphed until then. MarieLaure and Charles de Noailles called on him to transform the Salons of the hôtel particulier at no. 4, Place des États-Unis. A minimalist ahead of this time, he worked in new ways with straw marquetry, parchment, or gypsum. He stripped woodwork down, favoured stone, terracotta, bronze, and natural harmonies. With Jean-Michel Frank, it is revolution of decorative art that is at play. Personalities as diverse as Cole Porter, François Mauriac – who called him ‘doctor Frank’ – Elsa Schiaparelli or Nelson Rockefeller called upon his talent. His ‘partners in crime’ in his design circle were Francis Poulenc, Christian Bérard and Alberto Giacometti. Separately from other key figures of Art Déco, such as Jacques-Émile Ruhlmann, Jean-Michel Frank loosened the constraints of what constituted ‘good taste’ by sending all the Empire clocks, wedding gifts and family portraits to the attic. Instead, he reduced or condensed everything, until he extracted the elixir of taste from his motionless travels. An opulent bareness that further contrasted with the varnished surfaces of the other masters of Art Déco. Frank’s creations, of an almost abstract and disembodied purity, sometimes evoke a dress yet to be worn. If Gabrielle Chanel made short haircuts and black dresses fashionable, it was Jean-Michel Frank who had stripped down interiors. ‘He has decorated my parents’ apartment, rue Oswaldo Cruz’, further recalls Frank’s great-nephew, ‘I remember this water-based faux wood painting. He had an extraordinary culture, and this absolute sense of proportions; but knew how to free himself from it, time after time, to rediscover the essence of the world’.

45. Jean-Michel Frank

1895-1941

Unique table lamp circa 1929 Rock crystal, gilded bronze. 22.8 (8 7/8 in.) high Together with a certificate of authenticity from the Comité Jean-Michel Frank. Estimate £150,000-250,000 $195,000-325,000 €181,000-301,000 Ω plus Buyers Premium and VAT*

Provenance Alice Cerf, Paris Thence by descent to the great-nephew of the above Literature Waldemar George, ‘Jean-Michel Frank’, Art et Décoration, Paris, no. 65, March 1936, p. 93 for a similar example Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: Un Décorateur dans le Paris des Années 30, Paris, 2009, p. 83 for a similar example Léopold Diego Sanchez, Jean-Michel Frank, Paris, 2017, pp. 106, 126, 128, 129, 136, 210, 247, 285 for similar examples Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: l’Étrange Luxe du Rien, New York, 2012, pp. 129, 225, 273 for similar examples

A French interior featuring a similar example of the rock crystal table lamp. Photo: Pierre-Emmanuel Martin Vivier, Jean-Michel Frank, L’Étrange Luxe du Rien, Paris, 2006. *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty 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 on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%.

46. Claude Lalanne

1925-2019

Pair of candle holders circa 1989 Gilded bronze. Taller: 11.5 x 11.5 x 10 cm (4 1/2 x 4 1/2 x 3 7/8 in.) Editioned by Artcurial, Paris, France. Number 143 from the edition of 450. Underside of each incised Cl. Lalanne and stamped ARTCURIAL 143/450. Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 plus Buyers Premium and VAT*

Provenance Artcurial, Paris, ‘Limited Edition’, 10 November 2014, lot 115 Acquired from the above by the present owner

47. Louis Majorelle

1859-1926

Candle holder circa 1903 Bronze, patinated bronze, brass. 14.5 x 25.2 x 8.4 cm (5 3/4 x 9 7/8 x 3 1/4 in.) Side of base incised LMajorelle/Nancy. Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Paris Literature Alastair Duncan, Louis Majorelle: Master of Art Nouveau Design, London, 1991, p. 43

The present model candle holder was presented at the 1903 Exposition de l’Ecole de Nancy, France.

∑

48. Louis Majorelle

1859-1926

‘Aux Nénuphars’ guéridon circa 1903 Brazilian rosewood, Caribbean mahogany, Indian ebony, walnut, thuya burl, balsamo, gilded bronze. 81.6 cm (32 1/8 in.) high, 77.8 cm (30 5/8 in.) diameter Estimate £40,000-60,000 $52,100-78,100 €48,200-72,300 ‡ plus Buyers Premium and VAT*

Provenance Private collection, France Literature Alastair Duncan, Louis Majorelle: Master of Art Nouveau Design, London, 1991, pp. 76, 168 for a similar example Alastair Duncan, The Paris Salons 1895-1914, Volume III: Furniture, Woodbridge, 1996, p. 387

49. Gilbert Méténier

1844-1922

Gourd-form vase circa 1920 Porcelain with layered flowing glazes. 14.3 cm (5 5/8 in.) high Underside incised G Méténier. Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Paris Literature Paul Arthur, Art Nouveau Ceramics: An Illustrated Dictionary, Paris, 2015, p. 273 for a similar example

50. Pierre-Adrien Dalpayrat and

Alphonse Voisin-Delacroix 1844-1910 and 1857-1893 Vase with frog circa 1900 Glazed kaolinic stoneware. 7.4 x 12.2 x 11 cm (2 7/8 x 4 3/4 x 4 3/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 ‡ plus Buyers Premium and VAT*

Provenance Private collection, France Literature Makus Horst, La Céramique Française de l’Art Nouveau, Stuttgart, 1998, p. 139 Etienne Tornier and Peter Marino, Adrien Dalpayrat: The Peter Marino Collection, London, 2020, pp. 55, 102, 103, 261

51. Hector Guimard

1867-1942

Fireplace surround circa 1900 Cast iron. 90.2 x 85 x 9.5 cm (35 1/2 x 33 1/2 x 3 3/4 in.) Produced by Fonderies de Saint-Dizier, France. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 ‡ plus Buyers Premium and VAT*

Provenance Fonderies Saint-Dizier, France Yves Plantin, Paris, acquired from the above Acquired from the above by the present owner Literature ‘Fontes Artistiques pour Constructions, Fumisterie, Jardin et Sculpture - Style Moderne’, Album des Fonderies de Saint-Dizier, sales catalogue, Saint-Dizier, 1907, n.p Guimard, exh. cat, Musée d’Orsay, Paris, 13 April-26 July 1992, p. 302

The present lot was used as the master model for this fireplace surround design at the Fonderies Saint-Dizier, France.

52. Louis Süe and André Mare 1875-1968, 1885-1932 Tabouret circa 1921 Gilded beech, fabric, brass nailheads. 40.8 x 71.2 x 40.8 cm (16 1/8 x 28 x 16 1/8 in.) Produced by La Compagnie des Arts Français, Paris, France. Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 plus Buyers Premium and VAT*

Provenance Galerie Anne-Sophie Duval, Paris Private collection, Europe, acquired from the above, 1988-1989 Literature Intérieurs de Süe et Mare, présentés par Jean Badovici, Paris, 1924, pl. 31 Florence Camard, Süe et Mare et La Compagnie des Arts Français, Paris, 1993, pp. 101, 208, 270, 274

53. Jacques Adnet

1900-1984

Pair of adjustable table lamps, model no. 7706 circa 1930 Nickel-plated brass, crystal, fabric shade, leather. Each: 28 cm (11 in.) high, including shade Crystal produced by Baccarat, Paris, France. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, France Literature Alain-René Hardy and Gaëlle Millet, Jacques Adnet, Paris, 2009, p. 240

54. Jean Prouvé

1901-1984

Guéridon circa 1946 Oak, oak-veneered wood, painted steel. 71.1 cm (27 7/8 in.) high, 119.8 cm (47 1/8 in.) diameter Manufactured by Les Ateliers Jean Prouvé, France. Estimate £30,000-50,000 $39,000-65,100 €36,200-60,300 plus Buyers Premium and VAT*

Provenance Galerie Jousse Entreprise, Paris Acquired from the above by the present owner, 2008

Literature Michel Dufet, ‘Au Salon d’Automne, techniques françaises pour la reconstruction: le système de Jean Prouvé’, Le Décor d’Aujourd’hui, no. 37, 1946, p. 23 Galerie Jousse Seguin, Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, p. 82 Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 2: 1934-1944, Basel, 2000, pp. 278, 280 for similar examples Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1934-1944, Basel, 2000, pp. 148, 149 for similar examples

55. Hans Coper

1920-1981

‘Cycladic’ form circa 1972 Stoneware, layered porcelain slips and engobes over a textured and incised body, the interior with a manganese glaze. 25.5 cm (10 in.) high Underside impressed with artist’s seal. Together with a copy of the original invoice from Peter Dingley Gallery. Estimate £50,000-70,000 $65,100-91,100 €60,300-84,400 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Peter Dingley Gallery, Stratford-upon-Avon Acquired from the above by the present owner, 1976 Literature Tony Birks, Hans Coper, Yeovil, 2013, p. 8 for a similar example

56. Hans Coper

1920-1981

57. Lucie Rie

1902-1995

Early footed pot

Footed bowl

circa 1953 Stoneware, porcelain slip and engobes over a textured body, the interior with a manganese glaze. 16 cm (6 1/4 in.) high, 13 cm (5 1/8 in.) diameter Underside impressed with artist’s seal.

circa 1980 Porcelain, pure matt white glaze with a golden manganese rim. 9.8 cm (3 7/8 in.) high, 11.8 cm (4 5/8 in.) diameter

Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 ♠

Estimate £20,000-30,000 $26,000-39,000 €24,100-36,200 ♠

plus Buyers Premium and VAT, ARR applies*

Provenance Private collection, London

Provenance Private collection, London Literature Tony Birks, Lucie Rie, Yeovil, 1994, p. 201 for a similar example

58. Gordon Baldwin

b. 1932

Large vessel 1995 Earthenware, black glaze over a body with small square impressions and incised crosses. 51 cm (20 1/8 in.) high Underside incised GB/8 / 95. Estimate £3,000-4,000 $3,900-5,200 €3,600-4,800 ♠

Provenance Michael O’Connor, acquired directly from the artist, circa 1995 Bonhams, London, ‘International Contemporary Ceramics’, 16 April 2008, lot 277 Acquired from the above by the present owner Literature Gordon Baldwin and David Whiting, Gordon Baldwin: Objects for a Landscape, exh. cat., York City Art Gallery, York, 2012, p. 37 for similar examples

plus Buyers Premium and VAT, ARR applies*

59. Ron Arad

b. 1951

‘Italian Fish’ armchair 1988 Polished stainless steel and patinated mild steel. 88.8 x 95.6 x 65 cm (34 7/8 x 37 5/8 x 25 5/8 in.) Produced by One Off Ltd, London, UK. Number 9 from the edition of 20. Underside inscribed One Off. Estimate £30,000-50,000 $39,000-65,100 €36,200-60,300 Ω

Stanley J. Seeger Sotheby’s, London, ‘1000 Ways of Seeing, the Private Collection of the late Stanley J. Seeger’, 5 March 2014, lot 987 Acquired from the above by the present owner Literature Deyan Sudjic, Ron Arad: Restless Furniture, London, 1989, p. 103 Alexander von Vegesack, ed., Ron Arad: Sticks and Stones, One Offs & Short Runs, 1980-1990, exh. cat., Vitra Design Museum, Weil am Rhein, 1990, pp. 92, 93 Deyan Sudjic, Ron Arad, London, 1999, p. 64

plus Buyers Premium and VAT*

Provenance Private collection, Canada, acquired directly from One Off Ltd., London, 1989 Sotheby’s, New York, ‘Important 20th Century Design’, 9 December 2005, lot 10

Phillips wishes to thank Caroline Thorman from Ron Arad Associates for her assistance in cataloguing the present lot.

Shaping the Impossible When Dutch designer Jeroen Verhoeven first presented the concept of ‘Lectori Salutem’ to various manufacturers and craftsmen, they told him it would be impossible to achieve. ‘It can never be how you want it to be’, they said. Verhoeven remembers that moment as a realisation he was ‘on the right path. The path of resistance. Where new things are born’. This striking, limited-edition, piece is a testament to his vision, creativity, and determination. The thoughtful combination of highly skilled craftmanship and carefully programmed technical processes is visible throughout the work. This desk is a successor to the artist’s previous work ‘Cinderella Table’ (2005-2006), a pioneering feat of digital design inspired by the silhouettes of antique furniture and executed in machine carved plywood. The concept of that project was a simple juxtaposition of the profiles of a commode and a dressing table which generated a new set of complex curves.

to compress all this attention and put it into one thing.’ The artist’s personal mark was also subtly introduced during the manufacturing in the form of two silhouette portraits of Verhoeven’s collaborators, his brother Joep and design collaborator Judith de Graaw, visible at each end of the end of the desk. ‘Lectori Salutem’ means ‘Greetings Reader’, an engaging title which encourages viewers to ‘read’ the work and witness the outstanding technological process behind it. We are invited to peer through the desk’s interior and notice how each steel pane is joined together. Shaping metal into this streamlined body went from an ambitious challenge to a successful feat in showcasing the bold production journey of this work. While respecting and acknowledging traditional craftsmanship, Verhoeven’s spectacular desk pushes the limits of modern manufacturing and creates wonder through its impressive design process.

‘Lectori Salutem’ was also inspired by a historic silhouette: a drawing by Parisian cabinetmaker François Linke. It is constructed using polished steel, a typically industrial material whose seemingly inflexible nature is subverted by using it to create flowing curves and undulating forms. Whilst being made from 150 individual steel panels joined by 2,300 bolts, the desk exudes elegance and movement achieved through a precise distribution of weight. The contrast between the raw steel and the resulting fluid shapes of the piece is remarkable. The production of the piece required large-scale technical tools in order to acheive extremely accurate results in several different metal working processes. For this reason, Verhoeven worked with an automotive factory to execute the desk, noting in a 2013 interview with Glenn Adamson that ‘a process normally used to make ten thousand of the same thing [was] now used to make only one. We wanted

The ‘Lectori Salutem’ desk displays flowing curves.

Property from an Important European Collector

60. Jeroen Verhoeven

b. 1976

’Lectori Salutem’ desk 2010 Polished stainless steel. 78.4 x 236 x 109.5 cm (30 7/8 x 92 7/8 x 43 1/8 in.) Produced by DEMAKERSVAN, the Netherlands. Number 1 from the edition of 20 plus 1 artist’s proof. Interior with metal label impressed with artist’s facsimile signature and DEMAKERSVAN/Jeroen Verhoeven/Lectori Salutem Desk/No. 1 of 20. Estimate £70,000-90,000 $91,100-117,000 €84,400-109,000 plus Buyers Premium and VAT*

Provenance Blain Southern, London Acquired from the above by the present owner, 2011 Literature Jeroen Verhoeven and Robert Cook, Jeroen Verhoeven: Lectori Salutem, London, 2013, throughout

61. Serge Mouille

1922-1988

Set of three adjustable ‘Tuyau’ wall lights circa 1955 Painted aluminium, painted steel, brass. Each: 20 x 10.2 x 33 cm (7 7/8 x 4 x 12 7/8 in.) Manufactured by Atelier Serge Mouille and retailed by Galerie Steph Simon, Paris, France. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 Ω plus Buyers Premium and VAT*

Provenance Private collection, France Literature Anthony Delorenzo, ed., Jean Prouvé/Serge Mouille, New York, 1985, pp. 111, 134 Pierre-Émile Pralus, Serge Mouille: A French Classic, Saint-Cyr-au-Mont-d’Or, 2006, pp. 198-201 for similar examples

∆

62. Pierre Jeanneret

1896-1967

Set of four ‘Committee’ armchairs, designed for the High Court, the Assembly and Punjab University administrative buildings, Chandigarh circa 1959 Leather, teak. Each: 89 x 56.8 x 65 cm (35 x 22 3/8 x 25 5/8 in.) Estimate £35,000-45,000 $45,500-58,600 €42,200-54,300 plus Buyers Premium and VAT*

Provenance Galerie Patrick Seguin, Paris Phillips, London, ‘Important Design’, 26 April 2018, lot 79 (partial) Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design, Art, Architecture, Paris, 2010, pp. 232, 233, 563, 564 Galerie Patrick Seguin, ed., Le Corbusier, Pierre Jeanneret: Chandigarh, India 1951-66, Paris, 2014, p. 283

63. Angelo Ostuni Rare wall lamp, model no. 124 circa 1950 Brass, painted aluminium. 155 cm (61 in.), fully extended Manufactured by O-luce, Milan, Italy. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Thomas Braeuniger, O-Luce di Giuseppe Ostuni, Volume 2, Luxembourg, 2021, pp. 64, 65

64. Barbro Nilsson

1899-1983

’Falurutan, duhs II’ rug designed 1952, executed circa 1968 Handwoven wool on a linen warp. 314.5 x 198 cm (123 7/8 x 77 7/8 in.) Produced by Märta Måås-Fjetterström AB, Båstad, Sweden. Woven by Inga Karlsson and Hjördis Nilsson, with manufacturer’s mark AB MMF and artist’s initials BN. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω plus Buyers Premium and VAT*

Provenance Private collection, Sweden Literature Viggo Sten Møller, En bok om Barbro Nilsson, Stockholm, 1977, p. 68 for the design Märta Måås-Fjetterström: Märta flyger igen!: 90 år med Märta Måås-Fjetterström 3.10.2009-6.1.2010, exh, cat., Liljevalchs konsthall, Stockholm, 2009, p. 153 for the design

Phillips wishes to thank Martin Chard from Märta Måås-Fjetterström AB for his assistance in cataloguing the present lot.

65. Mattia Bonetti

b. 1953

Prototype ‘Strata’ cabinet 2004 Mirror-polished stainless steel. 168 x 85.7 x 44.2 cm (66 1/8 x 33 3/4 x 17 3/8 in.) Editioned by David Gill Gallery, London, UK. Prototype number 2 from the edition of 8 plus 2 prototypes and 2 artist’s proofs. Interior of one door with one metal label printed DAVID GILL/ London and another metal label impressed with artist’s facsimile signature and P2. Estimate £30,000-50,000 $39,000-65,100 €36,200-60,300 plus Buyers Premium and VAT*

Provenance David Gill Gallery, London Acquired from the above by the present owner, 2004 Literature Mattia Bonetti, exh. cat. Paul Kasmin Gallery and Reed Krakoff, New York, 11 February–13 March 2010, p. 106

66. Charlotte Perriand

1903-1999

Pair of armchairs, model no. 21 designed 1939, produced circa 1946-1968 Pine, rush. Each: 80.5 x 54.7 x 67.2 cm (31 3/4 x 21 1/2 x 26 1/2 in.) Initially manufactured by L’Equipement de la Maison, Grenoble and later by Bureau de Coordination du Bâtiment, Paris, France. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 plus Buyers Premium and VAT*

Literature Boris Lacroix, ‘Mobiliers et ensembles de vacances’, Art et Décoration, no. 9, 1948, pp. 4, 5 Jacques Barsac, Charlotte Perriand: Un Art d’habiter 1903-1959, Paris, 2005, throughout Jacques Barsac, Charlotte Perriand Complete Works, Volume 2, 1940-1955, Paris, 2015, throughout François Laffanour et al., Living with Charlotte Perriand, Paris, 2019, pp. 100, 101, 339

The present model armchair was presented at the 1949 ‘Formes Utiles, Objets de Notre Temps’ exhibition at the Musée des Arts Décoratifs, Paris.

Provenance Galerie Alexandre Guillemain, Paris Acquired from the above by the present owner, 2012

67. Gino Sarfatti

1912-1985

Adjustable floor lamp, variant of model no. 1036 circa 1947 Brass, painted aluminium, marble. 131.5 x 155 x 38.5 cm (513/4 x 61 x 151/8 in.), as shown Manufactured by Arteluce, Milan, Italy. Estimate £10,000-15,000 $13,000-19,500 €12,100-18,100 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: Opere Scelte 1938-1973, Milan, 2012, p. 446

68. Jean Prouvé

1901-1984

Amphitheatre seating circa 1950 Painted steel, oak, beech-veneered plywood, aluminium. 102.3 x 165.3 x 73.5 cm (40 1/4 x 65 1/8 x 28 7/8 in.), open Produced by Les Ateliers Jean Prouvé, France. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 plus Buyers Premium and VAT*

Provenance Private collection, London Literature Peter Sulzer, Jean Prouvé: Œuvre complète/ Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 243-245 for a similar example

69. Charlotte Perriand

1903-1999

Three ‘Berger’ stools circa 1953 Two in cedar and one in ebonised cedar. Tallest: 28.6 cm (11 1/4 in.) high, 32.2 cm (12 5/8 in.) diameter Estimate £9,000-12,000 $11,700-15,600 €10,900-14,500 plus Buyers Premium and VAT*

Provenance Private collection, France Acquired from the above by the present owner, 2013-2016 Literature Jacques Barsac, Charlotte Perriand: Complete Works, Volume 2, 1940-1955, Paris, 2015, pp. 443-45, 467, 468, 473, 515 Jacques Barsac, Charlotte Perriand: Complete Works, Volume 3, 1956-1968, Paris, 2017, throughout François Laffanour et al., Living with Charlotte Perriand, Paris, 2019, throughout

70. Ado Chale

b. 1928

Unique two-part table circa 1985 Brass, brass-covered concrete, petrified wood. 35.8 x 136.7 x 90.8 cm (141/8 x 537/8 x 353/4 in.), as shown Side of tabletop incised chale. Estimate £12,000-18,000 $15,600-23,400 €14,500-21,700 plus Buyers Premium and VAT*

Provenance Private collection, Wales

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

71. Max Ingrand

1908-1969

Rare chandelier circa 1955 Glass, brass, niello-treated brass. 69.5 x 128 x 102 cm (27 3/8 x 50 3/8 x 40 1/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £18,000-24,000 $23,400-31,200 €21,700-28,900 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan

72. Maria Pergay

b. 1930

Rare sideboard circa 1977 Laminated wood, brass, stainless steel. 75.5 x 200.2 x 45.5 cm (29 3/4 x 78 7/8 x 17 7/8 in.) Estimate £30,000-50,000 $39,000-65,100 €36,200-60,300 Ω ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private collection, France, acquired directly from the artist Private collection, Paris, acquired from the above Literature Suzanne Demisch, Maria Pergay: Between Ideas and Design, Verona, 2006, p. 46 Suzanne Demisch and Stephane Danant, Maria Pergay: Complete Works, 1957-2010, Bologna, 2011, p. 195

A French magazine advert for Maria Pergay’s boutique in Place des Vosges, Paris, featuring the present model sideboard. Photo: Suzanne Demisch, Maria Pergay: Between Ideas and Design, Verona, 2006.

73. Georges Jouve

1910-1964

Pitcher circa 1955 Glazed earthenware. 30.8 x 17 x 12 cm (12 1/8 x 6 3/4 x 4 3/4 in.) Underside incised with artist’s cipher and JOUVE. Estimate £1,800-2,400 $2,300-3,100 €2,200-2,900 Ω plus Buyers Premium and VAT*

Provenance Private collection, France Literature Pierre Staudenmeyer, La Céramique Française des Années 50, Paris, 2001, p. 215 Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 17, 98, 284, 288, 289

74. Pierre Jeanneret

1896-1967

Low sofa, designed for the High Court and Punjab University student residences, Chandigarh circa 1955 Fabric, teak. 85.5 x 140.4 x 65 cm (33 5/8 x 55 1/4 x 25 5/8 in.) Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 plus Buyers Premium and VAT*

Provenance Galerie Jousse Entreprise, Paris Acquired from the above by the present owner Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design, Art, Architecture, Paris, 2010, pp. 362, 565 Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret: Chandigarh, India 1951-66, Paris, 2014, p. 283

75. Charlotte Perriand

1903-1999

Five high ‘Berger’ stools circa 1953 Four in African mahogany and one in beech. Tallest: 45.4 cm (17 7/8 in.) high, 32.8 cm (12 7/8 in.) diameter Editioned by Galerie Steph Simon, Paris, France Estimate £15,000-25,000 $19,500-32,500 €18,100-30,100 plus Buyers Premium and VAT*

Provenance Artcurial, Paris, ‘Design’, 16 May 2018, lot 29 Acquired from the above the present owner, for four Private collection, France Acquired from the above by the present owner, for one Literature Jacques Barsac, Charlotte Perriand: Complete Works Volume 2, 1940-1955, Paris, 2015, pp. 162, 163, 169, 302, 303, 305, 311, 380, 381 Jacques Barsac, Charlotte Perriand: Complete Works Volume 3, 1956-1968, Paris, 2017, p. 90 François Laffanour et al., Living with Charlotte Perriand, Paris, 2019, throughout

76. George Nakashima

1905-1990

’Lounge Chair with Arm Right’ designed circa 1962, executed 1963 American black walnut, hickory. 84 x 76.9 x 73.6 cm (33 1/8 x 30 1/4 x 28 7/8 in.) Underside inscribed BENNETT. Together with a copy of the original order card. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 plus Buyers Premium and VAT*

Provenance Bennett Construction Company, Bethesda, USA Galerie Alexandre Guillemin, Paris Acquired from the above by the present owner, 2017 Literature George Nakashima, The Soul of a Tree: A Woodworker’s Reflections, Tokyo, 1981, p. 50 Derek E. Ostergard, George Nakashima: Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 160 Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 97

77. Donald Judd

1928-1994

’Armchair 1’ designed 1984, produced 1990 Painted aluminium. 75 x 50.1 x 50 cm (29 1/2 x 19 3/4 x 19 5/8 in.) Produced by Janssen C.V., the Netherlands. Underside of seat impressed DJ 1090. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 Ω plus Buyers Premium and VAT*

Provenance Galerie Aronowitsch, Stockholm Acquired from the above by the present owner, 1993 Literature Nigel Prince, ed., Donald Judd and Alex Coles, Donald Judd: A Good Chair is a Good Chair, exh. cat, Ikon Gallery, Birmingham, 2010, front cover, pp. 62, 67, 83, 115 Donald Judd, Donald Judd Spaces, New York, 2020, p. 247

78. Shiro Kuramata

1934-1991

’Just in Time’ clock 1986 Melamine, natural branches, wool, nylon. 52 x 37 x .6 cm (20 1/2 x 14 5/8 x 0 1/4 in.) Reverse with paper label inscribed Just in Time/1986./Shiro Kuramata. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Gifted by the artist’s wife to the present owner, 2011 Literature Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, pp. 70, 78, 181 Deyan Sudjic, Shiro Kuramata: Essays & Writings, London, 2013, p. 175 Deyan Sudjic, Shiro Kuramata: Catalogue of Works, London, 2013, p. 346

The present model ‘Just in Time’ clock was designed for the Clocks by 31 Artists exhibition held at the Matsuya Design Gallery, Tokyo in 1986. It is a piece that Kuramata was very fond of and that he often liked to have near him. For the hour hand, he pulled some twigs out of his pocket that he had possibly found while walking. For the second hand, he used a sort of bristle, experimenting repeatedly so that when the hands moved, they would create a gentle arc. The piece was thus assembled from objects that existed around the artist and included colours he liked and typically used. The clock was intended to act like a free-forming picture that changed according to the time it showed.

79. Jean Prouvé

1901-1984

‘Chaise no. 4’ circa 1934 Birch plywood, painted steel, brass. 74 x 39.8 x 48.3 cm (29 1/8 x 15 5/8 x 19 in.) Manufactured by Les Ateliers Jean Prouvé, France. Estimate £12,000-18,000 $15,600-23,400 €14,500-21,700 plus Buyers Premium and VAT*

Provenance Private collection, France Acquired from the above by the present owner, 2015 Literature Peter Sulzer, Jean Prouvé: Œuvre Complète/ Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 82, 83 Alexander von Vegesack, ed., Jean Prouvé: The Poetics of the Technical Object, exh. cat., Vitra Design Museum, Weil am Reil, 2006, p. 310 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 234, 246

80. Georges Jouve

1910-1964

Dish circa 1954 Glazed earthenware with overglaze enamel. 5.4 x 32.3 x 22.3 cm (2 1/8 x 12 3/4 x 8 3/4 in.) Underside incised with artist’s cipher and JOUVE. Estimate £7,000-9,000 $9,100-11,700 €8,400-10,900 plus Buyers Premium and VAT*

Provenance Private collection, London Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 152, 153, 160, 161

Nanna and Jørgen Ditzel’s daughter, Dennie Ditzel, in conversation with Kirsten MacDonald, Phillips Regional Director, Scandinavia Phillips: What were Nanna and Jørgen Ditzel’s inspirations for their designs?

DD: My parents inspired one another and worked together to produce pieces that they thought were needed at the time. They developed and created furniture that they themselves would use. Every year, they participated in the Cabinetmakers’ Guild exhibition which was a significant commitment as entire furniture sets had to be designed and executed. Nanna was particularly inspired by the height of spaces and cared to utilise the cubic meters available, rather than just the square meters of a room. One evening in 1952, as they thought about how to move away from conventional furniture design, Nanna and Jørgen counted the feet of all the furniture in their living room and reached a number close to fifty. They then climbed onto the dining table and realised everything looked different from that vantage point. This inspired their seating arrangement experiment where they used the entire dimensions of a room to create a stepped environment made from foam-rubber elements. The upholstered steps could accommodate a variety of moulded foam furniture and gave people different perspectives from within the same room. Their installation was exhibited at Winkel & Magnussen in central Copenhagen.

The seating arrangement experiment designed by Nanna and Jørgen Ditzel in 1952. Nanna Ditzel on the far right in the middle row, Jørgen Ditzel on the far right. Knud Willadsen on the far left on the bottom row. © Nanna Ditzel Design.

DD: They also found design cues from their travels. Nanna lived in London for 18 years and spent some time in Trinidad and Tobago where the railings on houses and the colonial style architecture inspired her to create outstanding combinations of shapes and patterns such as the ‘Trinidad Chair’.

P: What might have been the starting point for the design of this rare sofa and the striking shape of its backrest?

DD: Nature was an important source of creativity for my parents, which influenced their use of organic shapes. Nanna used to say: “Look out into nature, there are no right angles!”. They also believed that their designs went beyond the categorisation of Danish design as solely minimalist.

P:: Many of Nanna’s pieces are now recognisable designs while this sofa is a rare early gem. Do you know why it was not put into larger production?

Nanna and Jørgen Ditzel working together, circa 1955-1956. © Nanna Ditzel Design.

‘ Look out into nature, there are no right angles!’ Nanna Ditzel

Nanna’s hands-on design process, circa 1965-66. © Nanna Ditzel Design.

‘ To me it was always the “Heart sofa”’. Dennie Ditzel

DD: I wonder why this sofa didn’t make it into a larger

DD: Yes, I have memories of my parents’ working process.

production. Perhaps it was Søren Willadsen, the cabinetmaker who executed many of their sofas, who decided this; it could also have been too expensive to make or maybe the upholstery seemed complicated. The sofa was executed by master cabinetmaker Knud Willadsen and I believe that less than ten pieces were ever made.

Nanna saved all their sketches. On the front, they described projects such as: ‘wooden chair’, ‘experiments with thin veneer’, ‘millings’, etc. It was a detailed script which included her thoughts, defining how the piece would act as a sculpture and function in the room. One example might be ‘room for two, good dialogue’. It could also include thoughts about testing different wood types and experimenting with veneer. Every design was carefully written up before moving into the production phase.

P: Did Nanna and Jørgen have a view about the role of furniture design in society?

P: Nanna has also talked about her desire to create DD: Yes, they did. To them, it was essential that form and function complement each other. Aesthetics were a priority, but they also strived to create pieces that could improve lives and enhance surroundings. My parents cared deeply about making furniture that was at once useful and beautiful to look at.

P: Could you tell us about their joint design process? DD: My parents collaborated closely and developed their thoughts together. One would take over when the other stopped. Jørgen taught at the School of Interior Design in Copenhagen (led by Finn Juhl and where Bodil Kjær was one of Jørgen’s students). Designing was a shared and handson experience for them. They made sketches which later became models. These were mostly small paper models glued together or made from modelled wax which they then mocked up in real size (using either cardboard, tubes, or wood). They went through all these steps very thoroughly, supporting each other. If one ran out of steam, then the other would bring ‘fresh’ eyes to move the project or idea along.

furniture that transcended the functional. This piece seems to be a poetic iteration of that desire to express emotion beyond function in her pieces. What are your thoughts on this higher vision for furniture that your mother had?

DD: I think it can be linked back to their design education. Kaare Klint defined the development of Danish furniture design at that time, where function was in the forefront. Yet my parents were big believers that furniture needed to come alive through its shape. The definition of their own design language was enormously important to them. Take for example the jewellery that Nanna loved making. She used to say, ‘You only design jewellery if the shape is striking.’ I asked her once, if she had not become what she became, what would she have chosen? She replied: “Sculptor!”. The crafting of beautiful shapes was paramount to her and she often said that it would hurt her soul if something didn’t look beautiful.

P: Does this sofa have a name? DD: No, it doesn’t. Nanna didn’t tend to name her pieces

P: Nanna has talked about the importance of her surroundings and observations on her designs. Do you have memories of your parents at work?

but the cabinet maker gave them numbers. To me, it was always the ‘Heart Sofa’. This is the first time I see it in the flesh, as I’ve only seen it from literature in the past!

81. Nanna and Jørgen Ditzel 1923-2005 and 1921-1961 Rare two-seater sofa 1949 Fabric, stained beech. 76.7 x 144.6 x 73.6 cm (30 1/4 x 56 7/8 x 28 7/8 in.) Executed by master cabinetmaker Knud Willadsen, Lillerød, Denmark. Estimate £12,000-18,000 $15,600-23,400 €14,500-21,700 Ω plus Buyers Premium and VAT*

Provenance Private collection, Copenhagen Literature Dansk Kunsthaandvaerk, Copenhagen, November 1950, p. 192 Henrik Sten Møller, Motion and Beauty: The Book of Nanna Ditzel, Copenhagen, 1998, pp. 42, 43 Hanne Horsfeld, Danske Designere: Nanna Ditzel, Denmark, 2007, p. 20

Two remarkable Danish sofas By Thomas Dickson, Architect, Industrial Designer, and Author of Dansk Design

1949 was a very good year for Danish furniture design. Several chairs that are now considered to be classic masterpieces were shown for the first time at the annual Cabinetmakers’ Exhibition in Copenhagen. Hans J. Wegner’s remarkable ‘the Round Chair’ was present but hardly noticed at first amongst all the other artistic and visually striking pieces designed by his many colleagues. Only later did it become his claim to fame. Finn Juhl’s ‘Chieftain Chair’ was also revealed on this occasion. This huge chair is considered to be the pinnacle of Juhl’s work within his sculptural design style. It was successfully executed with delicate details and outstanding craftsmanship by master cabinetmaker Niels Vodder. The present three-seater sofa has many of the same qualities as the ‘Chieftain Chair’. It also dates from 1949 but, more importantly, it has similar design and construction features. Juhl was one of the first designers to actively emphasize the separation between the loadbearing framework and the person-bearing seating parts. One can quickly and clearly recognize how the sofa’s refined wooden framework seems to be somewhat detached from the upholstered elements of the seat

A technical drawing of the present model sofa, 1949. Photo: Designmuseum Danmark.

and backrest. In other words, there is a structural frame, almost like scaffolding, and then there are the soft parts that meet the human body. The sofa is broken down even further into smaller components, at least visually. The seat and backrest are in two different colours, highlighting that they are independent components of the whole design. Similarly, the frame consists of different wood types: the armrests and the bottom parts of the five legs are made of teak, while the rest of the frame is made of maple. This sofa may be considered slightly more restrained than Finn Juhl’s other furniture, but it has details that point towards his stylistic direction. For example, the front legs don’t go all the way up to support the armrest directly but stop just millimetres below, thus adding to the traditional feeling of lightness and elegance of a Juhl piece. The sofa was made by master cabinetmaker Søren Willadsen who had a large furniture workshop in the town of Vejen in Southern Jutland. The company was almost the size of a factory but based on traditional craftsmanship and high standards. Several Danish modern designers had some of their pieces made here; alongside Finn Juhl, there were Illum Wikkelsø, Kristian Vedel and, last but not least, Nanna and Jørgen Ditzel.

The rare three-seater sofa was presented at the 39th Købestævnet fair in Fredericia, Denmark, August 1949. Photo: Designmuseum Danmark.

Many years later, in 1989, Nanna Ditzel would return to the intimate two-seater furniture design. She designed the ‘Bench for Two’ for Fredericia Furniture, consisting of a seat in solid maple with a double circular-shaped backrest in very thin airplane plywood. This back part had a very graphic silk screen printed decoration. The ‘Bench for Two’ won the gold medal at the International Furniture Design Competition in Asahikawa, Japan, the following year. The 1949 Ditzel sofa was perhaps less advanced but, apart from being more comfortable, it gave a hint of what was to come decades later. It aimed to stimulate good conversations and a feeling of togetherness. In contrast, Finn Juhl’s sofa is a more formal and artistically elaborate example of Danish modern furniture. They are two different designs with two different ideas of how a new furniture style could help create a better, or at least a more beautiful world. A sofa for intimate conversation. © Nanna Ditzel Design.

The rare two-seater sofa by the Nanna and Jørgen Ditzel was coincidentally crafted by Søren Willadsen’s son, Knud Willadsen, who had his workshop in Copenhagen. For a couple of years in the late 1940s, Knud had a close collaboration and shared a workshop with Einar Pedersen, the renowned co-founder of PP Furniture who makes many of Hans Wegner’s most famous chairs today. The Ditzel sofa is also from 1949 but shows quite a different approach to design than the Juhl three-seater. Apart from the stained beech legs, the framework is fully upholstered and disguised by an off-white fabric. This was perhaps an atypical design for the Ditzel couple at the time yet points to some designs that appear in Nanna Ditzel’s later work. This two-seater sofa is evidently meant for human interaction between two people, a seating for intimate conversation. It has a soft and cosy aspect, with a size that would fit nicely into the small homes of the 1940s and 1950s. The design almost looks like two comfortable easy chairs have been merged into one piece of furniture. It can be seen as an interesting and sympathetic forerunner of some of the more elaborate cushioned environments designed by the Ditzels in the early 1950s, such as their low and informal sofa-like furnishings. After Jørgen’s death in 1961 at only 40 years old, Nanna continued working on more advanced concepts. In the sixties, her designs became increasingly daring with new ideas for non-traditional seating arrangements that consisted of terraced living spaces covered with custom upholstered modular pieces. The purpose was to create environments for unconventional social gatherings.

82. Finn Juhl

1912-1989

Rare three-seater sofa 1949 Maple, teak, fabric. 89.6 x 203.2 x 78.7 cm (35 1/4 x 80 x 30 7/8 in.) Executed by master cabinetmaker Søren Willadsen, Denmark. Estimate £20,000-30,000 $26,000-39,000 €24,100-36,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Denmark Acquired from the above by the present owner Literature Bygge og Bo, no. 3, Jubilæumsnummer 1939-1949, p. 18 Aalborg Stiftstidende, 2 February 1950, n.p. for an advertisement

83. Arne Jacobsen

1902-1971

Pair of wall lights, model no. 34505 circa 1967 Stainless steel. Each: 3.5 x 21 x 4.6 cm (1 3/8 x 8 1/4 x 1 3/4 in.) Manufactured by Louis Poulsen, Copenhagen, Denmark. Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 Ω plus Buyers Premium and VAT*

Provenance Private collection, Denmark Literature Louis Poulsen, sales catalogue, Copenhagen, 1967, p. D30 Mobilia, no. 159, October 1968, pp. 44, 45

84. Finn Juhl

1912-1989

Daybed, model no. Bo 103 circa 1955 Leather, stained pine, ash, patinated steel, teak. 45.4 x 194.7 x 89.2 cm (17 7/8 x 76 5/8 x 35 1/8 in.) Manufactured by Bovirke, Denmark. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Denmark Literature Bovirke, sales catalogue, Denmark, circa 1960, n.p.

85. Barbro Nilsson

1899-1983

86. Paavo Tynell

1890-1973

’Gråspättan’ rug

Rare table lamp, model no. 5321

designed 1943, executed 1950s Handwoven wool on a linen warp. 328 x 206.5 cm (129 1/8 x 81 1/4 in.) Produced by Märta Måås-Fjetterström AB, Båstad, Sweden. Woven with manufacturer’s mark AB MMF and artist’s initials BN.

circa 1941 Brass, rattan. 33.5 x 27 x 27 cm (13 1/4 x 10 5/8 x 10 5/8 in.) Produced by Taito Oy, Helsinki, Finland. Underside impressed TAITO.

Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω

Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 plus Buyers Premium and VAT*

plus Buyers Premium and VAT*

Provenance Private collection, Sweden Literature Viggo Sten Møller, En bok om Barbro Nilsson, Stockholm, 1977, p. 66 for the design Märta Måås-Fjetterström: Märta flyger igen!:90 år med Märta Måås-Fjetterström 3.10.20096.1.2010, exh, cat., Liljevalchs konsthall, Stockholm, 2009, p. 143 for the design

Phillips would like to thank Angelica Persson from Märta Måås-Fjetterström AB for her assistance in cataloguing the present lot.

Literature Marianne Aav and Nina Stritzler-Levine, eds, Finnish Modern Design: Utopian Ideals and Everyday Realities: 1930-1997, exh. cat., Museum of Art and Design, Helsinki, 1998, p. 286 Charlotte and Peter Fiell, Scandinavian Design, Köln, 2002, p. 626 Charlotte and Peter Fiell, eds., 1000 Lights, Volume 1: 1879 to 1959, Cologne, 2005, p. 398 Paavo Tynell, exh. cat., Galerie Eric Philippe, Paris, 2010, pp. 63, 64

87. Poul Henningsen

1894-1967

Early table lamp, type 4/3 shades circa 1927 Painted copper, glass, nickel-plated brass, Bakelite. 54 cm (21 1/4 in.) high Manufactured by Louis Poulsen, Copenhagen, Denmark. Interior fixture impressed PAT. APPL. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 Ω plus Buyers Premium and VAT*

Provenance Private collection, Denmark Literature Tina Jørstian and Poul Eric Munk Nielsen, eds., Light Years Ahead: The Story of the PH Lamp, Copenhagen, 1994, p. 147

88. Hans J. Wegner

1914-2007

Set of sixteen ‘Chinese’ chairs, model no. 4283 designed 1944, produced 1981 Sapele, leather. Each: 81.6 x 50.8 x 52.8 cm (32 1/8 x 20 x 20 3/4 in.) Manufactured by Fritz Hansen, Copenhagen, Denmark. Underside of fifteen with manufacturer’s paper label printed FH/Fritz/Hansen/MADE IN DENMARK 1981 and underside of one with trace of manufacturer’s paper label. Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 Ω plus Buyers Premium and VAT*

Provenance Private collection, Denmark Literature Johan Møller Nielsen, Wegner: En Dansk Møbelkunstner, Copenhagen, 1965, p. 36 Jens Bernsen, Hans J. Wegner: Om Design, exh. cat., Dansk Design Center, Copenhagen, 1995, pp. 17, 26, 27, 68 Christian Holmsted Olesen, Wegner: Just One Good Chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 121, 122

89. Nils and Eva Koppel

1914-2009,

1916-2006 Wingback armchair circa 1947 Fabric, stained beech. 94.3 x 73.2 x 79.4 cm (371/8 x 287/8 x 311/ 4 in.) Produced by Slagelse Møbelværk, Denmark. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 Ω plus Buyers Premium and VAT*

Provenance Private collection, Denmark Literature Møbelhandleren, no. 9-10, 1947, front cover, p. 26 Bonytt, Oslo, 1947, p. 176

90. Svend Aage Holm Sørensen 1913-2004 Tripod floor lamp circa 1959 Coloured glass, glass, teak, brass. 138 x 39.5 x 39.5 cm (54 3/8 x 15 1/2 x 15 1/2 in.) Produced by Holm Sørensen & Co., Copenhagen, Denmark. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Denmark Literature Henry Fuller, ed., Decorative Art: The Studio Year Book 1959-1960, London, 1959, p. 124 for a similar example

Fusing Industry and Craft

The vases in the present lot are a vibrant embodiment of Dutch designer Hella Jongerius’ ability to fuse industry and craft. As a product designer across many categories, she has repeatedly shown her ability to celebrate the benefits of standardised production methods juxtaposed with the depth, intricacy and subjectiveness of more traditional making techniques. The body of each work is marked in graphite with a unique glaze code, resulting from the artist’s elaborate colour combination research. The process behind the production of these vases is described in the Misfit monograph that accompanies them as ‘an investigation into the perception of colours that optically merge’. It further explains that, ‘on the basis on 100 old mineral recipes and 100 industrial colour transfers, 300 polychrome colours were produced which are reminiscent of the colour intensities of old paintings.’ The works are from the third of three ‘Coloured Vases’ series which followed the first and second series from 2003 and 2007. Each series involved different experiments with colours in which one vase (the ‘Red White Vase’ from 1997) was used as the canvas. Alongside this edition of 300 vases, there is an additional edition of 300 vases from this series in the designer’s own collection.

Unique vases from the ‘Coloured Vases’, series 3. © Gerrit Schreurs.

The production process of the vases. © Roel van Tour

91. Hella Jongerius

b. 1963

Four unique vases, from the ‘Coloured Vases’ series 3 2010 Cast porcelain, glaze, paint, graphite. Each: 41 cm (16 1/8 in.) high, 16 cm (6 1/4 in.) diameter Produced by Royal Tichelaar Makkum, the Netherlands. Numbers 228, 252, 269 and 283 from an edition of 300 plus 7 artist’s proofs. Body of each with artist’s mark, clay code M18/1280°C and inscribed with unique glaze codes. Underside of each inscribed with respective edition numbers, stamped with pottery mark HELLA JONGERIUS/makkum and further inscribed Hella. Each with original box and signed Misfit monograph published by Phaidon Press. Estimate £6,000-9,000 $7,800-11,700 €7,200-10,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private collection, Copenhagen Literature Hella Jongerius, Misfit, 2010, p. 208

92. Allen Jones

b. 1937

Prototype ‘Love Seat’ 1987 Birch plywood, stained birch plywood. 111 x 104 x 81.5 cm (43 3/4 x 40 7/8 x 32 1/8 in.) Produced by Crowdys Wood Products, London, UK. Estimate £7,000-9,000 $9,100-11,700 €8,400-10,900 plus Buyers Premium and VAT*

At his Aram Store on the King’s Road in the 1960s, designer and arts patron Zeev Aram introduced design household names including Marcel Breuer, Le Corbusier and Charlotte Perriand to the UK. Aram’s life commitment to design saw him foster and promote young talent, staging graduate exhibitions in his store and later at his Covent Garden space. Aram was also recognised for championing Eileen Gray’s work and the two of them became close friends; he was instrumental in ensuring her work was not to be forgotten. In 1987, on the 23rd anniversary of Aram Designs, Aram organised an exhibition for which he commissioned design works from celebrated artists such as Peter Blake, Eduardo Paolozzi, Norman Foster, Lord Snowdon and Allen Jones. The present prototype ‘Love Seat’ was one of two works designed by Jones. Since the early 1960s, Allen Jones has been a central figure of the British Pop art movement. The radical nature of his work became more distinct after he briefly relocated to New York City in 1964. There, Jones began exploring erotic motifs, which he had only discreetly alluded to in previous works. Discovering that risqué imagery was more prevalent in American advertising and magazines than in his native Britain, the artist began developing an overtly sexualised visual language that questioned the conventional ideologies of his time. Steeped in theory but taking the street as his theatre, Jones looked to develop a unique language through which he could create his idealised figures. The stylised bodies of both men and women employ and exaggerate clichés to arouse an emotional response in the viewer. While his work has earned adoration from fellow artists and viewers alike, he has also caused outcry through his seeming sexual objectification of women, most infamously in his chairs, hatstands, and other pieces of furniture in the shape of realistic life-size female forms. He avers that, ‘the artist cannot worry about how someone might misconstrue the work. When you’re doing the work, your duty is to

Provenance Aram Designs, London Thence by descent to the present owner Exhibited ’AD 23 Collection’, Aram Designs, London, 7 April-22 May 1987 Literature Caroline Clifton-Mogg, ‘Chair Play’, Harpers & Queen, May 1987, illustrated pp. 183, 186 Georgina Howell, ‘Artisans’, The Sunday Times, April 1987, n.p. ‘Stick’n Stones’, Time Out, April 1987, n.p. José Manser, ‘Aram’s altruism woos industry’, Design Week, September 1988, n.p.

make the image within the language of the artistic frame of reference you are pursuing. If someone doesn’t like it, that’s tough.’ He has also said ‘Aram’s invitation to design a piece of furniture has given me the opportunity to introduce ‘functionality’ into my sculptural pre-occupations. A love seat, like a bench, has a social connotation but with a vital difference, the former implies intercourse whilst the latter, discourse. Either way it is an act of imagination.’ Inspired by the static mannequins of his earlier work, ‘Love Seat’ is a less abrasive representation of the female figure. A stylized body lies on its elbows and knee whilst one leg is held higher and rests on the tip of its toes. A pose suggestive an invitation for two to sit and have an intimate conversation. It is a delightful piece which at once provides a sense of sensuality and intellectual enjoyment.

Allen Jones with his prototype ‘Love Seat’ Photo: Courtesy Aram Designs

93. Pierre Jeanneret

1896-1967

Demountable chair circa 1953 Teak, fabric, fabric cord. 63.7 x 53.5 x 63 cm (25 1/8 x 21 1/8 x 24 3/4 in.) Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 plus Buyers Premium and VAT*

Provenance Galerie Alexandre Guillemain, Paris Acquired from the above by the present owner, 2016 Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-ArtArchiteture, Paris, 2010, pp. 268, 280, 281, 328, 557

94. Mathieu Matégot

1910-2001

’Perfo-Lux’ floor lamp circa 1953 Painted aluminium, painted steel, brass, painted brass. 159.2 x 65.4 x 40.3 cm (62 5/8 x 25 3/4 x 15 7/8 in.) Estimate £10,000-15,000 $13,000-19,500 €12,100-18,100 plus Buyers Premium and VAT*

Provenance Galerie Matthieu Richard, Paris Acquired from the above by the present owner, 2020 Literature Patrick Favardin, Mathieu Matégot, Paris, 2014, pp. 135, 148, 194

95. Ernst Spolén

1880-1974

Console table circa 1929 Lacquered wood, gilded wood, marble. 74.6 x 140.2 x 64.9 cm (29 3/8 x 55 1/4 x 25 1/2 in.) Estimate £7,000-9,000 $9,100-11,700 €8,400-10,900 plus Buyers Premium and VAT*

Provenance Galerie Eric Philippe, Paris Karl Lagerfeld, Paris Christie’s, Paris, ‘Karl Lagerfeld Collection’, 13 December 2001, lot 76 Acquired from the above by the present owner

96. Ole Wanscher

1903-1985

Pair of armchairs circa 1960 Sapele, leather. Taller: 85.4 x 60.6 x 53.4 cm (335/8 x 237/8 x 21 in.) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Underside of one with paper label printed Snedkermester/A. J. Iversen/København. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Literature Bodil Busk Laursen, Søren Matz and Christian Holmsted Olesen, eds., Mesterværker - 100 års dansk møbelsnedkeri, Sweden, 2000, p. 129

97. Ron Arad

b. 1951

’Little Heavy’ chair circa 1989 Mirror-polished stainless steel. 76 x 58 x 67.7 cm (29 7/8 x 22 7/8 x 26 5/8 in.) Produced by One Off, London, UK. From the edition of 20 plus 5 artist’s proofs. Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 Ω plus Buyers Premium and VAT*

Provenance Gifted to the present owner, 1996 Literature Sticks & Stones: One Offs & Short Runs, Ron Arad 19801990, exh. cat., Vitra Design Museum, Weil am Rhein, 1990, pp. 112, 113 Deyan Sudjic, Ron Arad, London, 1999, pp. 58, 59 Ron Arad: A Retrospective Exhibition 1981-2001, exh. cat., Barry Friedman Ltd., New York, 2005, pp. 66, 67, 101 Paola Antonelli, Jonathan Safran Foer, Marie-Laure Jousset, Ron Arad: No Discipline, exh. cat., Museum of Modern Art, New York, 2009, pp. 82, 83

Phillips wishes to thank Caroline Thorman from Ron Arad Associates for her assistance in cataloguing the present lot.

98. Georges Jouve

1910-1964

Mirror circa 1955 Glazed earthenware, mirrored glass. 27.6 x 31.1 x 8.5 cm (10 7/8 x 12 1/4 x 3 3/8 in.), as shown Reverse incised with artist’s cipher and JOUVE. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 plus Buyers Premium and VAT*

Provenance Artcurial, Paris, ‘Design’, 22 November 2011, lot 5 Acquired from the above by the present owner Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 260

99. André Dubreuil

1951-2022

Pair of ‘Soleil’ wall-mounted candle holders circa 1987 Steel, copper, glass. Each: 67 x 38.1 x 18 cm (26 3/8 x 15 x 7 1/8 in.) Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Acquired directly from the designer by the present owner, circa 1989 Literature Jean-Louis Gaillemin, André Dubreuil: Poète du Fer, Paris, 2006, pp. 27, 73, 123

100. Pierre Jeanneret

1896-1967

Pair of chairs circa 1956 Oak, rattan. Each: 82.6 x 50.1 x 66.3 cm (32 1/2 x 19 3/4 x 26 1/8 in.) Estimate £10,000-15,000 $13,000-19,500 €12,100-18,100 plus Buyers Premium and VAT*

Provenance Galerie Alexandre Guillemain, Paris Acquired from the above by the present owner Literature Michel Weill, ‘L’appartement subtil’, La Maison Française, no. 103, December 1956-January 1957, pp. 44, 45

101. Attributed to Martin Eisler 1913-1977 Bench with integrated shelf circa 1957 Chestnut, fruitwood, wenge, glass, painted steel. 40.2 x 231 x 49.6 cm (15 7/8 x 90 7/8 x 19 1/2 in.) Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 Ω plus Buyers Premium and VAT*

Provenance Private collection, Florianopolis Private collection, Milan, acquired from the above Thence by descent

102. Max Ingrand

1908-1969

Table lamp, model no. 2150 circa 1962 Painted beech, glass. 65.8 cm (25 7/8 in.) high Manufactured by Fontana Arte, Milan, Italy. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Quaderni Fontana Arte 4, sales catalogue, Milan, 1962, p. 118

103. Mattia Bonetti

b. 1953

Prototype ‘Yo-Yo’ coffee table 2008 Polished aluminium. 42 cm (161/2 in.) high, 142 cm (557/8 in.) diameter Editioned by David Gill Gallery, London. Prototype number 1 from the edition of 30 plus 2 prototypes and 2 artist’s proofs. Bottom section impressed with artist’s facsimile signature and David Gill/London.

104. François-Xavier Lalanne and

Kazuhide Takahama 1927-2008 and 1930-2010 ’Rhinocéros’ five-panelled screen, from the ‘Ultramobile’ series circa 1976 Lacquered and serigraph-printed plywood, rubber. Each panel: 219.9 x 45.1 x 1.9 cm (86 5/8 x 17 3/4 x 0 3/4 in.) Produced by Gavina for Studio Simon, Bologna, Italy.

Estimate £12,000-18,000 $15,600-23,400 €14,500-21,700

Estimate £25,000-35,000 $32,500-45,500 €30,100-42,200 Ω

plus Buyers Premium and VAT*

Provenance David Gill Gallery, London Acquired from the above by the present owner, 2008

Provenance Private collection, Bologna Acquired from above by the present owner

Literature Jacqueline du Pasquier and Jean Jacques Wettel, Mattia Bonetti, Volume 2, Paris, 2016, p. 396

Literature Simon International, ‘Ultramobile’, sales catalogue, Italy, 1970s, p. 21 Fondazione Scientifica Querini Stampalia, ed., Dino Gavina: Collezioni Emblematiche del Moderno dal 1952 al 1992, Milan, 1992, p. 94

∑

105. Joaquim Tenreiro

1906-1992

‘Triangular’ dining table circa 1960 Brazilian rosewood, partially reverse-painted glass, painted wood. 74 x 194 x 194 cm (29 1/8 x 764 1/8 x 76 3/8 in.) Estimate £35,000-55,000 $45,500-71,600 €42,200-66,300 Ω plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature Soraia Cals, Tenreiro, Rio de Janeiro, 1998, p. 123 Aric Chen, Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture, New York, 2016, pp. 100, 101

106. Ross Lovegrove

b. 1958

’Long Liquid Bench’ 2005 Milled mirror-polished aluminium. 60.8 x 292.4 x 96.4 cm (23 7/8 x 115 1/8 x 37 7/8 in.) Manufactured by CPP, Coventry, UK. Number 1 from the edition of 10. Estimate £7,000-9,000 $9,100-11,700 €8,400-10,900 ♠ plus Buyers Premium and VAT*

Provenance ‘Ross Lovegrove: Endurance’, Phillips de Pury & Company, 17 March 2006 Acquired from the above by the present owner Literature Paola Antonelli, Supernatural: The Work of Ross Lovegrove, London, 2004, pp. 184, 185 for a form application study ‘Ross Lovegrove: Endurance’, exh. cat., Phillips de Pury & Company, New York, 21 March-4 April 2007, n.p.

∆

107. Marc Newson

b. 1963

Unique wall-mounted shelf, from Syn Studios, Tokyo 1996 Lacquered wood. 28 x 270.5 x 58 cm. (11 x 106 1/2 x 19 3/4 in.) Estimate £18,000-24,000 $23,400-31,200 €21,700-28,900 plus Buyers Premium and VAT*

Provenance Syn Studios, Tokyo Literature Alice Rawsthorn, Marc Newson, London, 1999, pp. 128-131 for the console version of the design

108. Fontana Arte Pair of coffee tables, model no. 2354 circa 1964 Glass, walnut-veneered wood, brass. Each: 38 x 110.1 x 47.1 cm (14 7/8 x 43 3/8 x 18 1/2 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan Phillips, London, ‘Design’, 20 September 2017, lot 165 Acquired from the above by the present owner Literature Quaderni Fontana Arte 7, sales catalogue, Milan, 1964, p. 41

109. Fontana Arte Pair of chandeliers circa 1958 Glass, painted brass. Each: 77 cm (30 3/8 in.) drop, 27 cm (10 5/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate £10,000-15,000 $13,000-19,500 €12,100-18,100 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ’Stand di Fontana Arte alla 39a Fiera di Milano’, Vitrum, no. 125, May-June 1961, p. 32

110. Sueharu Fukami

b. 1947

’Harukeku II’ 1992 Porcelain, seihakuji glaze, patinated brass, granite. 33 x 190 x 35 cm (12 7/8 x 74 3/4 x 13 3/4 in.), as shown Reverse incised 3/8 and inscribed S. Fukami. Together with signed and sealed artist’s boxes. Estimate £12,000-18,000 $15,600-23,400 €14,500-21,700 ‡ plus Buyers Premium and VAT*

Provenance Phillips, New York, ‘Design’, 25 May 2011, lot 66 Acquired from the above by the present owner Literature Andreas Marks, Fukami: Purity of Form, Hanford, 2011, p. 137 for the same elements in a vertical configuration

111. Gio Ponti

1891-1979

112. Ron Arad

b. 1951

Set of three star-shaped lights

Table, from the ‘38 Tables’ series

circa 1960 Brass, glass. Largest: 10.4 x 153.5 x 83.9 cm (41/8 x 603/8 x 33 in.) Together with a certificate of expertise from the Gio Ponti Archives.

1995 Mirror-polished stainless steel, patinated mild steel. 69.5 x 102.6 x 94 cm (27 3/8 x 40 3/8 x 37 in.) Produced by Ron Arad Studio, Como, Italy. Number 2 from an edition of 38. Underside incised Ron Arad 38 Tables/No. 12 2/38.

Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 Ω

Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω

plus Buyers Premium and VAT*

Provenance Hotel London, Milan Acquired from the above by the present owner

Provenance Phillips, London, ‘Design’, 24 April 2008, lot 136 Acquired from the above by the present owner Literature Deyan Sudjic, Ron Arad, London, 1999, p. 121 for a similar table from the ‘38 Tables’ series

Phillips wishes to thank Caroline Thorman from Ron Arad Associates for her assistance in cataloguing the present lot.

113. Pietro Chiesa

1892-1948

Pair of table lamps circa 1931 Silver-plated brass, glass, acid-etched coloured glass. Each: 19.5 x 16.1 x 7.9 cm (7 5/8 x 6 3/8 x 3 1/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ’Nel campo delle arti applicate’, Domus, no. 45, September 1931, p. 47 Sergio Montefusco, Fontana Arte: Repertorio 1933-1943 dalle Immagini dell’Epoca, Genoa, 2012, p. 104 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fig. 58

∑

114. Gianni Moscatelli Set of six prototype ‘Bivalve 940’ armchairs circa 1959 Brazilian rosewood-veneered plywood, fabric, steel. Each: 76.1 x 57.6 x 54.6 cm (29 7/8 x 22 5/8 x 21 1/2 in.) Produced by Formanova, Varedo, Italy. Together with a letter of expertise from the designer’s daughter Carola Moscatelli. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Lombardy Literature Formanova, sales photograph, Varedo, 1950s

115. Gio Ponti

1891-1979

Table and stool circa 1939 Figured walnut-veneered wood. Table: 80.6 x 90.2 x 33.7 cm (313/ 4 x 351/2 x 131/ 4 in.) Stool: 45.8 x 44.9 x 30.7 cm (18 x 17 5/8 x 12 1/8 in.) Together with a certificate of expertise from the Gio Ponti Archives. Estimate £7,000-9,000 $9,100-11,700 €8,400-10,900 Ω plus Buyers Premium and VAT*

Provenance Private Collection, Milan

116. Carlo Scarpa

1906-1978

Vase circa 1940 Mezza filigrana glass. 33.3 x 17.2 cm (13 1/8 x 6 3/4 in.) Produced by Venini & C., Murano and retailed by Caliari, Turin, Italy. Estimate £7,000-9,000 $9,100-11,700 €8,400-10,900 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature Marino Barovier, ed., Carlo Scarpa: Venini 19321947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, p. 159

117. Mario Passanti

1901-1972

Pair of armchairs circa 1940 Stained chestnut, rush. 98.4 x 68.5 x 61.5 cm (38 3/4 x 26 7/8 x 24 1/4 in.) Possibly executed by Francesco Boglione, Italy. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 Ω plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature Davide Alaimo, Mobili di Architetti e Progettisti Torinesi 1945-1965, Turin, 2018, n.p. for a chair variant of the model

118. Max Ingrand

1908-1969

Ceiling light, model no. 2295 circa 1964 Brass, painted brass, glass. 99.5 cm (391/8 in.) drop, as shown, 75.6 cm (293/4 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 Ω plus Buyers Premium and VAT*

Provenance Private collection, Caserta Literature Quaderni Fontana Arte 6, sales catalogue, Milan, 1964, n.p.

119. Gio Ponti

1891-1979

Large ‘Ex Voto per il Diavolo’ sculpture circa 1978 Silver-plated metal. 49.2 x 46.3 x 19.3 cm (19 3/8 x 18 1/4 x 7 5/8 in.) Executed by Lino Sabattini, Italy. Reverse impressed with facsimile signature GiòPonti. Interior with paper label printed NON IN VENDITA/ PER LA VETRINA SOLO. Together with a certificate of expertise from the Gio Ponti Archives.

Provenance Private collection, London Acquired from the above by the present owner, circa 2008 Literature Ugo La Pietra, ed., Gio Ponti: L’Arte si innamora dell’Industria, New York, 2009, p. 390

The label on the present lot indicates that it was previously part of a retail window display and not for sale.

Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 plus Buyers Premium and VAT*

120. Gio Ponti

1891-1979

Large ‘Maschera Cornuta’ sculpture circa 1978 Silver-plated metal. 99.3 x 28 x 14.2 cm (39 1/8 x 11 x 5 5/8 in.) Executed by Lino Sabattini, Italy. Side impressed with facsimile signature GiòPonti. Reverse with paper label printed NON IN VENDITA/PER LA VETRINA SOLO. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 plus Buyers Premium and VAT*

Provenance Private collection, London Acquired from the above by the present owner, circa 2008 Literature Ugo La Pietra, ed., Gio Ponti: L’ Arte si innamora dell’Industria, New York, 2009, p. 388

The label on the present lot indicates that it was previously part of a retail window display and not for sale.

121. Gio Ponti

1891-1979

122. Paolo Buffa

1903-1970

Illuminated wardrobe

Pair of armchairs

circa 1953 Walnut-veneered wood, walnut, sapeleveneered wood, brass, fabric, glass. 199.4 x 128 x 36 cm (78 1/2 x 50 3/8 x 14 1/8 in.) Together with a certificate of expertise from the Gio Ponti Archives.

circa 1942 Stained chestnut, fabric. Each: 82.2 x 72.8 x 80.4 cm (32 3/8 x 28 5/8 x 31 5/8 in.) Executed by Serafino Arrighi, Cantù, Italy. Together with a certificate of expertise from the Paolo Buffa Archive.

Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 plus Buyers Premium and VAT*

Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Phillips, London, ‘Design’, 17 October 2019, lot 68 Acquired from the above by the present owner

Provenance Private collection, Cantù Literature Roberto Aloi, L’Arredamento Moderno: Quarta Serie, Milan, 1949, pl. 366 for a similar example

123. Venini Large illuminated mirror, model no. 68 circa 1939 Mirrored glass, clear a treccia glass, brass. 132 cm (51 7/8 in.) diameter Produced by Venini & C., Murano, Italy. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600

Provenance Private collection, Milan Phillips, London, ‘Design’, 27 April 2017, lot 110 Acquired from the above by the present owner Literature Anna Venini Diaz de Santillana, Venini: Catalogue Raisonné 1921-1986, Milan, 2000, p. 242 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 44C

plus Buyers Premium and VAT*

124. Paolo Buffa

1903-1970

Coffee table circa 1945 Marble, brass. 45.5 cm (17 7/8 in.) high, 73.2 cm (28 7/8 in.) diameter Likely executed by Quarti-mobili d’Arte, Milan, Italy. Together with a certificate of expertise from the Paolo Buffa Archive. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan

125. Carlo Scarpa

1906-1978

Ceiling light, model no. 5432 circa 1942 Tagliato tondo glass, brass. 44 cm (17 3/8 in.) drop, 41 cm (16 1/8 in.) diameter Produced by Venini & C., Murano, Italy. Ceiling rose impressed VENINI/MURANO. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 Ω plus Buyers Premium and VAT*

Provenance Private collection, Rome Literature Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, n.p.

126. Carlo Enrico Rava

1903-1986

Rare pair of console tables circa 1950 Stained walnut-veneered wood, stained walnut. 81.2 x 91.8 x 40.4 cm (31 7/8 x 36 1/8 x 15 7/8 in.) Estimate £10,000-15,000 $13,000-19,500 €12,100-18,100 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Carlo Enrico Rava, Arredamenti, Milan, 1950, n.p. Carlo Enrico Rava, Il Tavolo, Milan, 1954, n.p. The present model console tables in a silvermith’s shop, Milan, 1950s. Photo: Carlo Enrico Rava, Arredamenti, Milan, 1950.

127. Tomaso Buzzi

1900-1981

Tall table lamp, variant of model no. 505 circa 1933 Laguna glass with applied gold leaf, cristallo costolato ritorto glass with gold leaf inclusions, brass. 110.2 cm (43 3/8 in.) high Produced by Venini & C., Murano, Italy. Base impressed VENINI/MURANO. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Rome Literature Marino Barovier and Carla Sonego, Tomaso Buzzi alla Venini, exh. cat., Fondazione Giorgio Cini, Venice, 2014, p. 421 for a similar example

128. Paolo de Poli

1905-1996

Nine bowls circa 1958 Enamelled copper. Largest: 12.4 cm (4 7/8 in.) high, 37.8 cm (14 7/8 in.) diameter Underside of seven inscribed De Poli and underside of two with metal label impressed P. DE POLI/MADE IN ITALY. Estimate £6,500-8,500 $8,500-11,100 €7,800-10,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Gio Ponti, De Poli: Smalti, 1958, pp. 22, 24, 48 for similar examples L’Arte dello Smalto: Paolo de Poli, exh. cat., Palazzo della Ragione, Padua, 1984, pp. 100, 108 for similar examples

129. Gio Ponti

1891-1979

Games table circa 1942 Figured walnut-veneered wood, walnut, steel. 70 x 75 x 75 cm (27 1/2 x 29 1/2 x 29 1/2 in.) Together with a certificate of expertise from the Gio Ponti Archives. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Varese

130. Gino Sarfatti

1912-1985

Early ceiling light, model no. 2003 circa 1939 Brass, painted metal. 110 cm (43 1/4 in.) drop, as shown Manufactured by Arteluce, Milan, Italy. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Bologna Literature ’Disegno per l’industria’, Domus, no. 274, September 1952, pp. 57-59 Marco Romanelli and Sandra Severi, Gino Sarfatti: Opere Scelte 19381973, Milan, 2012, pp. 124, 125

131. Pietro Chiesa

1892-1948

Desk accessories: pair of bookends, vide-poche and photo holder circa 1947 Glass. Each bookend: 13.2 x 10.4 x 3 cm (5 1/4 x 4 1/8 x 1 1/8 in.) Vide-poche: 4.6 x 25 x 17.2 cm (1 3/4 x 9 7/8 x 6 3/4 in.) Photo holder: 4.5 cm (1 3/4 in.) high, 11.8 cm (4 5/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate £1,200-1,800 $1,600-2,300 €1,400-2,200 Ω

Provenance Private collection, Como Literature Guglielmo Ulrich, Arredatori Contemporanei, Milan, 1949, n.p. for the bookends Quaderni Fontana Arte, sales catalogue, Milan, 1960s, n. p. for similar examples of the vide-poche and photo holder

The present model bookends were presented in the exhibition ‘Oggetti per la Casa’ at the 1947 VIII Triennale in Milan.

plus Buyers Premium and VAT*

132. Gio Ponti

1891-1979

Console table circa 1947 Walnut, walnut-veneered wood, brass. 76.8 x 133.4 x 39.8 cm (30 1/4 x 52 1/2 x 15 5/8 in.) Manufactured by Ambrosini Mobili, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω plus Buyers Premium and VAT*

Provenance Private collection, Varese Literature Ugo La Pietra, ed., Gio Ponti, New York, 1996, p. 136 for a similar example

The present model console table was presented as part of the ‘Camera da letto per uno scapolo’ project at the Galleria del Sagrato, Milan, in 1947.

133. Max Ingrand

1908-1969

Floor lamp, model no. 2020 circa 1961 Partially sandblasted glass, brass, painted brass. 170 cm (66 7/8 in.) high Manufactured by Fontana Arte, Milan, Italy. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 Ω plus Buyers Premium and VAT*

Provenance Private collection, Livorno Literature Quaderni Fontana Arte 1, sales catalogue, Milan, 1960s, p. 74 Pierre-Emmanuel Martin-Vivier, Max Ingrand: Du Verre à la Lumière, Paris, 2009, p. 212 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fig. 388

134. Carlo de Carli

1910-1999

Set of sixteen chairs, model no. 671 circa 1957 Walnut, vinyl. Each: 84.8 x 47.5 x 53 cm (33 3/8 x 18 3/4 x 20 7/8 in.) Estimate £14,000-18,000 $18,200-23,400 €16,900-21,700 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Giuliana Gramigna, Repertorio del Design Italiano 1950-1980, Volume 1, Turin, 2003, p. 109

The present model chair was presented at the 1957 XI Milan Triennale where it was awarded the silver medal.

135. Afra and Tobia Scarpa

b. 1937 and b. 1935

136. Flavio Poli

1900-1984

Desk, from the ‘Torcello’ series

Mirror

circa 1975 Walnut, walnut-veneered wood, aluminium. 85.5 x 130 x 67 cm (33 5/8 x 51 1/8 x 26 3/8 in.) Manufactured by Stildomus, Pomezia, Italy. Superstructure interior stamped StilDOMUS/ Torcello/Afra e Tobia Scarpa.

circa 1950 Mirrored glass, coloured glass, glass. 83 cm (32 5/8 in.) diameter Produced by Seguso Vetri d’Arte, Murano, Italy.

Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω

Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω

plus Buyers Premium and VAT*

Literature ’Una collaborazione riuscita’, Domus, no. 638, April 1983, n.p.

Provenance Private collection, Venice

137. Carlo Scarpa

1906-1978

Ceiling light, model no. 5417 circa 1931 Reticello glass, brass. 68.8 cm (27 1/8 in.) drop, 30 cm (11 3/4 in.) diameter Produced by Venini & C., Murano, Italy. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω

Provenance Private collection, Cuneo Literature Anna Venini Diaz de Santillana, Venini: Catalogue Raisonné 1921-1986, Milan, 2000, p. 256 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 138

plus Buyers Premium and VAT* *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty 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 on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%.

138. Gio Ponti

1891-1979

Unique pair of bookcases with cabinets circa 1927 Walnut, walnut-veneered wood, vinyl-covered wood, brass. Each: 161.7 x 179.7 x 28 cm (63 5/8 x 70 3/4 x 11 in.) Together with a certificate of expertise from the Gio Ponti Archives. Estimate £20,000-30,000 $26,000-39,000 €24,100-36,200 Ω plus Buyers Premium and VAT*

Provenance Casa Giampiccoli, Turin

139. Gio Ponti

1891-1979

Bench, from the Banca Nazionale del Lavoro, Italy circa 1955 Walnut, walnut-veneered wood, laminated wood, fabric. 38.1 x 149.9 x 51.2 cm (15 x 59 x 20 1/8 in.) Together with a certificate of expertise from the Gio Ponti Archives. Side with metal label printed 13180. Underside with paper label letterheaded BANCA NAZIONALE DEL LAVORO. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Banca Nazionale del Lavoro, Italy Private collection, Milan

140. Angelo Lelii

1911-1979

Floor lamp circa 1953 Glass, brass, painted brass, marble. 209.8 (82 5/8 in.) high Manufactured by Arredoluce, Monza, Italy. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Alessandro Padoan, Alessandro Palmaghini and Anty Pansera, Arredoluce: Catalogo Ragionato 1943-1987, Milan, 2018, p. 153

The present lot has been registered in the Arredoluce Archives, Italy as number 6015605.

141. Gio Ponti

1891-1979

∑

142. Gio Ponti

1891-1979

Pair of ceiling lights

Set of five chairs

circa 1957 Brass, painted brass. Each: 109.7 cm (43 1/4 in.) drop Manufactured by Arredoluce, Monza, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

circa 1928 Brazilian rosewood-veneered wood, Brazilian rosewood, fabric. Each: 93 x 46 x 46 cm (36 5/8 x 18 1/8 x 18 1/8 in.) Likely manufactured by Melchiorre Bega, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate £12,000-18,000 $15,600-23,400 €14,500-21,700 Ω

Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω

plus Buyers Premium and VAT*

Provenance Hotel Cristallo, Aprica

Provenance Private collection, Milan Literature Irene de Guttry and Maria Paola Maino, Il Mobile Déco Italiano, Bari, 1988, p. 222 for a similar example Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2004, p. 55

143. Gio Ponti

1891-1979

144. Gio Ponti

1891-1979

Low table

Large vase with illustrated letters

circa 1935 Walnut-veneered wood. 55.2 x 80.1 x 42 cm (21 3/4 x 31 1/2 x 16 1/2 in.) Together with a certificate of expertise from the Gio Ponti Archives.

circa 1930 Partially acid-etched glass. 42.9 x 30.2 x 23.3 cm (16 7/8 x 11 7/8 x 9 1/8 in.) Produced by S.A.L.I.R., Murano, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω

Estimate £12,000-18,000 $15,600-23,400 €14,500-21,700

plus Buyers Premium and VAT*

Provenance Private collection, Milan

Provenance Private collection, Venice Acquired from the above by the present owner, 1990s

Phillips wishes to thank Brian Kish for his assistance in cataloguing the present lot.

145. Fontana Arte Rare table lamp, model no. 2463 circa 1967 Glass, nickel-plated brass, chromium-plated metal. 41.9 cm (16 1/2 in.) high, 34.2 cm (13 1/2 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Quaderni Fontana Arte 9, sales catalogue, Milan, 1967, n.p.

146. Gio Ponti

1891-1979

Sofa circa 1948 Fabric, stained beech. 84.5 x 193 x 85.3 cm (33 1/4 x 75 7/8 x 33 5/8 in.) Together with a certificate of expertise from the Gio Ponti Archives. Estimate £10,000-15,000 $13,000-19,500 €12,100-18,100 Ω plus Buyers Premium and VAT*

Provenance Private collection, Brindisi

147. Ettore Sottsass, Jr.

1917-2007

’Rocchettone’ side table, model no. T. 44 circa 1965 African mahogany-veneered plywood, beech, painted wood. 44.6 cm (17 1/2 in.) high, 44 cm (17 3/8 in.) diameter Manufactured by Poltronova, Agliana, Italy. Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 Ω

Literature Catalogo Produzione Poltronova 1966/67/e, sales catalogue, Italy, 1960s, p. 32 Milco Carboni, Ettore Sottsass Jr. ‘60-’70, Orléans, 2006, p. 89 for a smaller version of the model Francesca Zanella, ed., Ettore Sottsass: Catalogo Ragionato dell’Archivio 1922-1978 CSAC Università di Parma, Milan, 2017, p. 238 for a smaller version of the model Ivan Mietton, Sottsass: Poltronova 19581974, Paris, 2021, pp. 21, 238

plus Buyers Premium and VAT*

Provenance Private collection, Florence

148. Alessandro Mendini

1931-2019

Rare ‘Redesigned Thonet no. 14’ chair designed 1978, executed 1983 Painted beech, painted plywood, cane, stainless steel. 137.8 x 108.4 x 90.1 cm (54 1/4 x 42 5/8 x 35 1/2 in.) Editioned by Anthologie Quartett, Hannover, Germany. Chair produced by Italcomma, Pesaro, Italy. Underside with paper label printed ITALCOMMA/Pesaro. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Barbara Radice, Elogio del Banale, exh. cat., I Mostra Internazionale di Architettura, Venice, 1980, p. 62 Alessandro Mendini and Stefano Casciani, Alessandro Mendini, Milan, 1989, pp. 79, 87 Alessandro Mendini and Peter Weiss, Alessandro Mendini, exh. cat., Neues Museum – State Museum for Art and Design in Nuremberg, Munich, 2011, n.p. Annachiara Sacchi, ‘Divisi dal design, riuniti nel design’, Il Corriere della Sera, 6 March 2022, p. 32

The present model chair is currently exhibited in the ‘Marco Zanuso e Alessandro Mendini, Design e Architettura’ exhibition at the ADI Design Museum, Milan.

149. Gio Ponti

1891-1979

Dressing table and chair circa 1938 Walnut, walnut-veneered wood, mirrored glass, brass, leather, fabric. Dressing table: 31.5 x 112.6 x 64.9 cm (51 3/4 x 44 3/8 x 25 1/2 in.), as shown Chair: 88.8 x 44.8 x 52 cm (347/8 x 175/8 x 201/2 in.) Together with a certificate of expertise from the Gio Ponti Archives. Estimate £8,000-12,000 $10,400-15,600 €9,600-14,500 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan

150. Max Ingrand

1908-1969

Five wall lights, variant of model no. 1799 A circa 1959 Glass, brass. Each: 46 x 10.2 x 17.8 cm (18 1/8 x 4 x 7 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Quaderni Fontana Arte 1, sales catalogue, Milan, 1962, n.p.

The 1960s in Italy were a period of vital rebirth and profound social changes. Ico Parisi was a conscious witness of this and became aware of his role in the ongoing radical lifestyle transformations. He designed new homes and holiday villas with a simple compositional scheme yet ennobled by the presence of strong artistic interventions. On the moraine hills around Como, he created a villa with eaves and sculptural gargoyles designed by his sculptor friend Francesco Somaini. Parisi also designed the villa’s interior, entirely in line with the new ideas of living which required simplicity, flexibility, and functionality. The predominant design element was undoubtedly the significant colour that strongly emerged on every compositional aspect. Amongst the bespoke furnishings were the present table with bright pink legs and a glass top, a striking chair upholstered in a vibrant pink fabric (Lot 153), and a set of four green and black stools (Lot 154). The colours throughout the villa were glossy, uniform, intense, bold and sometimes even unsettling. They were chosen by the great interior designer that was Ico’s wife, Luisa Parisi, who knew how to purposefully complete her husband’s ideas with her ‘touch’ of perfection.

By Roberta Lietti, Curator and Archivist at the Archivio del Design di Ico Parisi

151. Ico Parisi

1916-1996

Unique side table circa 1965 Painted veneered wood, chestnut-veneered wood, glass. 51.3 x 81 x 80.6 cm (20 1/4 x 31 7/8 x 31 3/4 in.) Manufactured by Brugnoli Mobili, Cantù, Italy. Estimate £7,000-9,000 $9,100-11,700 €8,400-10,900 Ω plus Buyers Premium and VAT*

Provenance Private collection, Como, commissioned directly from the designer, 1960s

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

152. Ico Parisi

1916-1996

Unique slipper chair circa 1965 Fabric, stained walnut. 79.1 x 52.8 x 68.4 cm (31 1/8 x 20 3/4 x 26 7/8 in.) Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 Ω plus Buyers Premium and VAT*

Provenance Private collection, Como, commissioned directly from the designer, 1960s

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

153. Ico Parisi

1916-1996

Unique set of four stools circa 1965 Painted veneered plywood. Each: 41.6 x 40.1 x 40 cm (16 3/8 x 15 3/4 x 15 3/4 in.) Manufactured by Brugnoli Mobili, Cantù, Italy. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 Ω plus Buyers Premium and VAT*

Provenance Private collection, Como, commissioned directly from the designer, 1960s

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

154. Ettore Sottsass, Jr.

1917-2007

‘Formosa’ chandelier designed 1989, produced 1990 Coloured glass, brass, painted metal. 96.8 cm (38 1/8 in.) drop, 38.1 cm (15 in.) diameter Produced by Venini & C., Murano, Italy. Sphere acid-etched venini 90. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 plus Buyers Premium and VAT*

Provenance Caira Mandaglio Gallery, London Acquired from the above by the present owner, 2006 Literature Luca Massimo Barbero, Ettore Sottsass: The Glass, Milan, 2017, pp. 49, 198

155. Ettore Sottsass, Jr.

1917-2007

‘Rangoon’ totem designed 1964, produced circa 1994 Painted and glazed ceramic, laminated wood. 215.5 cm (84 7/8 in.) high Produced by Manifattura S.C.3, Calenzano for Edizioni Arte Design, Agliana, Italy. Number 3 from the edition of 20 plus artist’s proofs. Totem base inscribed Sottsass/3 / 20. Estimate £15,000-20,000 $19,500-26,000 €18,100-24,100 plus Buyers Premium and VAT*

Provenance Private collection, London Literature Federica di Castro, ed., Ettore Sottsass’s Scrap-book: Disegni e Note di Ettore Sottsass, Milan, 1976, p. 63 for a drawing Alessandro Vezzosi, ed., Arte d’Abitare: Lavori di Barni, Florence, 1986, p. 108 for a drawing Fulvio Ferrari, Ettore Sottsass: Tutta la Ceramica, Turin, 1996, pp. 139, 140

Phillips wishes to thank Marina Vignozzi Paszkowski for her assistance in cataloguing the present lot.

156. Osvaldo Borsani

1911-1985

‘T1 speciale’ side table circa 1950 Reverse-painted glass, brass. 45.2 cm (173/ 4 in.) high, 26.2 cm (103/8 in.) diameter Manufactured by Arredamenti Borsani Varedo, Italy. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 Ω plus Buyers Premium and VAT*

Provenance Private collection, Rome Literature Giampiero Bosoni, Osvaldo Borsani: Architect, Designer, Entrepreneur, Milan, 2018, p. 314 Norman Foster, Tommaso Fantoni and Giampiero Bosoni, Osvaldo Borsani, exh. cat., Triennale di Milano, Milan, 2018, pp. 81, 95

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 of Lots 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 (including those accessed via QR Codes appearing in the catalogue) 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 thirdparty 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. Disclosure of financial interest by third parties Phillips requires third party guarantors to disclose their financial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confirm whether or not they have a financial interest in the lot. ∆ 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. Ж Property Subject to US Import Tariffs

Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale. 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: VAT on Buyer’s Artist’s Resale Hammer + Buyer’s + Premium and/or + Royalty (ARR) Price Premium Hamer Price (If applicable) (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: •2 6% on the portion of the hammer price up to and including £450,000; and •2 1% on the portion of the hammer price above £450,000 up to and including £4,500,000 and • 1 4.5% on the portion of the hammer price above £4,500,000. Where VAT is payable on the Buyer’s premium the VAT inclusive Buyer’s Premium rates are 31.2%, 25.2% and 17.4% respectively. VAT UK Auctioneer’s Margin Scheme lots have no VAT symbol. For these lots, VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. 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 re-sold 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: £500,000 Buyer’s Premium including VAT @20% £153,000: Calculated as follows: 26% of first £450,000 of the hammer price = £117,000 + 21% on the balance of £50,000 = £10,500 Total BP = £127,500 VAT @ 20% on the total BP of £127,500 = £25,500 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 recent proof of address. We may also require that you furnish us with a bank reference. By registering and participating in the auction, whether in person, by absentee bid, on the telephone or online, bidders represent, warrant and confirm that (i) unless otherwise expressly agreed in writing with Phillips prior to the auction, they are bidding on their own behalf and not on behalf of anyone else (ii) they will be paying the purchase price from their own funds (iii) that their participation in the auction and payment of the purchase price is lawful and shall not breach any applicable sanctions laws, and (iv) any bids placed by them , or on their behalf, are not the product of any collusive or other anti-competitive agreement and are not otherwise in breach of any applicable law, Government sanctions and other regulatory measures in force from time to time. 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 via our live bidding platform. The digital saleroom is available on our website at https://www.phillips.com/ and is optimized to run on Google Chrome, Firefox and Microsoft Edge browsers. 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 by UK£50s UK£1,000 to UK£2,000 by UK£100s UK£2,000 to UK£3,000 by UK£200s UK£3,000 to UK£5,000 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 at the auctioneer’s discretion above UK£200,000 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. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made by credit card for invoices of £30,000 or less per auction. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). 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. 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 and property release fees 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. Buyers should note that the export of items offered for sale in this Auction to certain countries (including Russia and Belarus) may be prohibited pursuant to Government sanctions and other regulatory measures in force from time to time. 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.

Important Notices 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. 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, re-stuffed 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. 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.

UK Tax Guide This Guide outlines the Value Added Tax (VAT) treatment of Lots sold in our London auctions. It covers the most common types of transactions, although other situations

may arise. We offer this information solely as a courtesy. As every buyer’s situation is different, we cannot offer specific tax advice. You are advised to and are responsible for obtaining independent tax advice where necessary. The VAT rates and conditions are correct at the time of publication but can change. If the VAT rates and conditions change between the date of publication and the auction date, the rates and conditions in force at the time of auction will apply. Where Lots move from one tax status to another following purchase, the rates and conditions in force at the time of that movement will apply.

Types of Lots and their VAT Treatment UK Auctioneer’s Margin Scheme Lots Second-hand goods qualifying for treatment under UK Auctioneer’s Margin Scheme rules have no VAT symbol and are treated as follows: VAT Symbol No symbol

Taxation basis UK Auctioneer’s Margin Scheme sale

VAT Treatment 20% in lieu of VAT on the buyer’s premium*. (The invoiced buyer’s premium will include the VAT).

*For items not normally subject to VAT (e.g. books), the rate of VAT will be 0% and no charge in lieu of VAT will be made. Lots with Special VAT Treatment If the Lot has one of the below symbols, the VAT treatment will be as follows: VAT Symbol †

Taxation basis Standard UK VAT rules

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

‡

Lot under Temporary 5% import VAT on Admission (Low rate) the hammer price** and 20% in lieu of VAT on the buyer’s premium

Lot under Temporary 20% import VAT on Admission (High rate) the hammer price** and 20% in lieu of VAT on the buyer’s premium

** UK VAT registered buyers - Please give Phillips’ shipping department your VAT details so the import paperwork correctly identifies your business as the importer. The Import VAT shown on the invoice is insufficient evidence of import VAT paid. VAT Symbol

Taxation basis

VAT which may be cancelled or refunded if Lot exported

Exporting Lots from the UK The following types of VAT may be cancelled or refunded by Phillips if the Lot is exported from the UK within the time limits specified below provided other strict conditions are met (see Conditions for Claiming VAT Refunds below). Since 1 January 2021, exports from the UK includes exports to businesses and individuals in the European Union.

No symbol

UK Auctioneer’s Margin Scheme

†

Standard UK VAT rules

20% VAT charged on the hammer price NB: No refund is possible for the 20% VAT charged on the buyer’s premium

‡

Lot under Temporary Admission (Low rate)

Lot under Temporary Admission (High rate)

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

Time limits for exportation

Proof of export documentation required

3 months from the sale date

Original correct paperwork stamped by HMRC (UK tax authority) showing the Lot has been exported from the UK within 3 months of the sale date

3 months from the sale date

Original correct paperwork stamped by HMRC (UK tax authority) showing the Lot has been exported from the UK within 3 months of the sale date

30 days from payment

Original correct paperwork stamped by HMRC (UK tax authority) showing the Lot has been exported from the UK within 30 days of payment

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

UK Conditions of Sale

Please liaise with Phillips’ Shipping Department to ensure the export is handled correctly 30 days from payment

The Conditions of Sale and Authorship Warranty set out below govern the relationship between bidders and buyers, on the one hand, and Phillips Auctioneers Limited

Original correct paperwork stamped by HMRC (UK tax authority) showing the Lot has been exported from the UK within 30 days of payment Please liaise with Phillips’ Shipping Department to ensure the export is handled correctly

Cancelling UK VAT charges upon export Provided a buyer instructs a Phillips authorised carrier to export the Lot and accepts the export quotation provided by that authorised carrier, Phillips can issue a “Zero-rated” invoice (i.e. without the UK VAT). Export arrangement

Conditions for cancellation of UK VAT charges

Lot exported using a Phillips` authorised carrier

Buyer must at or before the time of invoicing:

Note: Phillips will obtain the required proof of export paperwork directly from its authorised carrier

• •

instruct a Phillips’ authorised carrier to export the Lot; and accept the export quotation provided by that authorised carrier

Local tax charges and duties in the Delivery Destination Buyers from outside the UK should note that upon importing Lots to their final destination outside the UK, local import VAT, import duties, sales taxes and/or use taxes may be payable. Please consult your local tax advisor. Lots under Temporary Admission being exported for repair, restoration or alteration If you purchase a Lot which is under Temporary Admission (indicated by a ‡ or a Ω symbol) and intend to export it from the UK for repair, restoration or alteration, please notify Phillips’ Shipping Department before collection. The Lot will need to be transferred from Temporary Admission to another appropriate customs procedure to allow the repair, restoration or alteration to be carried out. The third-party carrier you appoint to handle the transport will need to liaise with Phillips’ shipping department to ensure this customs movement is correctly declared. Failure to do this may result in the UK import VAT becoming payable immediately and Phillips being unable to refund the UK VAT charged. You are advised to obtain independent advice on this prior to bidding. Buyers wishing to hand-carry Lots If you collect the Lot from Phillips in the UK with a view to “hand-carrying” it back to its final destination, you must pay the UK VAT in full. Phillips cannot cancel or refund the UK tax in these circumstances. Please note that with the abolition of the Tax-free shopping scheme for visitors to the UK, it is no longer possible to obtain tax refunds at UK airports upon departure. Business buyers located outside the UK If you are a business located outside the UK and buy a Lot in a UK sale for a business purpose, you may be able to seek repayment of certain taxes from HMRC (the UK tax authority) directly (e.g. the UK Import VAT charged on the hammer price if the purchased Lot is under Temporary Admission in the UK). Claim forms (VAT65A) are available from the HMRC website.https://www.gov.uk. You should submit claims for refund of UK 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 2020 to 30 June 2021 should be made no later than 31 December 2021)

UK Buyers

Refunding UK VAT charges following export If a buyer instructs a carrier who is not a Phillips authorised carrier, the buyer must pay for the Lot in full, including the UK VAT. Upon receiving satisfactory proof of export (i.e. copies of the required export documentation and declarations accepted by HMRC) Phillips can refund the buyer the UK VAT paid. Export arrangement

Conditions for refund of UK VAT charges

Lots exported using a carrier who is not a Phillips authorised carrier

• •

Note: Carriers who are not Phillips authorised carriers must collect copies of original import papers for the Lot from Phillips’ Shipping Department.

•

• •

Please Note: • We cannot refund the UK VAT paid if the export documents do not comply exactly with governmental regulations. • If the Lot is under Temporary Admission in the UK (i.e. with ‡ or , symbol) and is imported to the UK after purchase (i.e. collected by the Buyer in the UK), before then being exported, we cannot refund the UK VAT.

Buyer must have paid the UK VAT in full Lot must have been exported within the required timeframe (see Exporting from the UK above) Phillips’ must have received satisfactory proof of export once all export documentation and declarations have been accepted by HMRC. VAT to be refunded must be £50 or more per shipment A processing fee of £20 (plus any applicable VAT) will apply.

Phillips cannot cancel or refund any UK VAT charged on sales made to UK buyers where the Lot is collected from Phillips in London or delivered to a UK address. For Lots sold under the UK Auctioneer’s Margin Scheme (which do not bear a symbol), UK buyers who have a UK VAT registration may request us to reinvoice the purchase of these Lots under standard UK VAT rules. In this way the UK VAT registered buyer can reclaim all UK VAT charged as part of their accounting for VAT. Please note that UK VAT registered businesses or organisations who request to be reinvoiced under standard UK VAT rules, will then not be able to sell the Lot under any UK Margin Scheme rules in the future. 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.

(registered in England with company number 04228373) ("Phillips") and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the UK Auction Buyer’s Guide, the Important Notices, VAT & Tax Guide and the Authorship Warranty carefully before bidding. 1  Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and Important Notices, and (c) supplements to this catalogue including information accessed via QR Codes appearing in this catalogue, and (d) other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2  Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3  Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports (including those accessed via QR Codes appearing in this catalogue) as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction.

Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports, including those accessed via QR Codes appearing in this catalogue, may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4  Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online 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 recent proof of address. We may also require that you furnish us with a bank reference. (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. 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. (c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form, a copy of which is printed in this

catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges. (f) By registering and participating in the auction, whether in person, by absentee bid, on the telephone or online, bidders represent, warrant and confirm that (i) unless otherwise expressly agreed in writing with Phillips prior to the auction, they are bidding on their own behalf and not on behalf of anyone else (ii) they will be paying the purchase price from their own funds (iii) that their participation in the auction and payment of the purchase price is lawful and shall not breach any applicable sanctions laws, and (iv) any bids placed by them , or on their behalf, are not the product of any collusive or other anti-competitive agreement and are not otherwise in breach of any applicable law, Government sanctions and other regulatory measures in force from time to time. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While

we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (h) Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5  Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. 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. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of

a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6  Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the ‘Purchase Price’). The buyer’s premium is 26% of the hammer price up to and including £450,000, 21% of the portion of the hammer price above £450,000 up to and including £4,500,000 and 14.5% of the portion of the hammer price above £4,500,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol ♠ after the estimate and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice. (d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling as follows: (i) Payments may be made by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made by credit card for invoices of £30,000 or less. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). (e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds.

Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7  Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including providing information and documentation we require to satisfy our customer due diligence and verification checks for Know Your Customer compliance purposes and completing any anti-money laundering or anti-terrorism financing and sanctions checks. As soon as a buyer has satisfied all of the above conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, we will transfer all lots to offsite fine art storage facilities. Details will be included in the buyer information packs sent to buyers after the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Property will be collected by the buyer at the point it is released in the sale location by Phillips to the buyer or to a third-party shipper acting for the buyer. The buyer is responsible for paying any import duties and local taxes payable to import the Property to its final destination. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8  Failure to Collect Purchases (a) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees 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 buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full.

(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies For Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon. 10  Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 14 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale. 11  Export, Import and Endangered Species Licences and Permits Export, Import, Sales and/or Use Taxes Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf, including any applicable Sales and/or Use Taxes which may be due on importing the property to the United States. Export and Import Bans and Restrictions Buyers should note that the export of items offered for sale in this Auction to certain countries (including Russia and Belarus) may be prohibited pursuant to Government sanctions and other regulatory measures in force from time to time. Please contact the department organising the auction for further details. 12. US Imports Customs Tariffs Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany. Phillips will mark with a symbol lots which may be subject to additional US import tariffs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips does not accept liability for errors including failing to mark lots accurately or for the absence of any marking.

Export, Import, Sales and/or Use Taxes Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf, including any applicable Sales and/or Use Taxes which may be due on importing the property to the United States. Please contact the department organising the auction for further details. 13 Personal Data (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@ phillips.com. (b) Our Privacy Policy 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 (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of 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. (c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be filmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, filmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or filmed or appear in such recordings, please speak to a member of Phillips staff. Your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy available at www.phillips.com. 14  Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 14, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips

Authorship Warranty or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot.

(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer.

(c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law.

17  Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law.

(d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 15  Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 16  General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

(b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue (including descriptions accessed via QR Codes appearing in this catalogue) states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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): Paddle Number

In-person Absentee Bidding Telephone Bidding Please indicate in what capacity you will be bidding (please select one):

Sale Number

Title

Surname

First Name

Sale Date

VAT number (if applicable)

• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

Address

City

• 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 specified, if less than 50% of the low estimate.

State/Country

Post Code Phone

Mobile

Fax

• Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. • If we receive identical bids, the first bid received will take precedence.

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

• If you cannot attend the sale, we can execute bids confidentially on your behalf. • 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: 26% of the hammer price up to and including £450,000, 21% of the portion of the hammer price above £450,000 up to and including £4,500,000 and 14.5% of the portion of the hammer price above £4,500,000.

Account Number

Company (if applicable)

• Company Purchases: If you are buying under a business entity, we require a copy of government-issued identification (such as the certificate of incorporation) as well as proof of owners (including ultimate beneficial owners) and directors to verify the status of the company. This should be accompanied by an official document confirming 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.

As a private individual On behalf of a company Sale Title

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

Brief description

In Consecutive Order

Maximum pound sterling price* Absentee Bids Only

• 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 confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • 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 confirmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045. • Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by wire transfer, credit card (up to £30,000 per auction) using Visa, American Express, Mastercard or Union Pay (for in person transactions only) and UK debit cards. • 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.

* Excluding Buyer’s Premium and VAT

Signature

Date

By ticking this box, you confirm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

Please tick this box to receive emails about upcoming sales, exhibitions, and special events offered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.

Ready to go digital? Sign up

Bid anywhere

Phillips is investing in new digital services so you can explore and experience our auctions when and how you want. Create an online account today and see what’s new.

Participating in our auctions is easier than ever. Browse upcoming sales, track lots, watch our live auctions and place bids from your phone. Now available for iOS and Android.

Visit phillips.com/godigital to get started.

Download the app today to get started.

Design Sale London 12 May 2022

13.

Magdalene Odundo

b. 1950

‘Untitled’, 1987 Estimate £70,000-90,000 Burnished and carbonised terracotta. 36.2 x 22 x 23 cm (14 1/4 x 8 5/8 x 9 in.) Underside incised Odundo/1987.

Sale Information Design

Design Department

Client Accounting

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

Head of Department Europe, Senior International Specialist Domenico Raimondo draimondo@phillips.com

Head of Client Accounting Richard Addington +44 20 7901 7914

Auction Thursday, 12 May 2022, 2pm Please register to bid online, absentee or by phone. Viewing 6–12 May Monday to Saturday, 10am–6pm Sunday, 12–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050122 or Design Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@philips.com

Head of Design, France, Senior International Specialist Elie Massaoutis emassaoutis@phillips.com Head of Sale Antonia King antonia.king@phillips.com Senior Specialist Sofia Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Specialist Madalena Horta e Costa mhortaecosta@phillips.com Cataloguer Margherita Manca mmanca@phillips.com Assistant to Head of Design, Europe, Research Coordinator Carlotta Pintucci cpintucci@phillips.com Administrator Sophia Garbagnati sgarbagnati@phillips.com Senior Property Manager Oliver Gottschalk ogottschalk@phillips.com Photographer Alex Braun

Front cover Lot 13, Magdalene Odundo ‘Untitled’, 1987 Back cover Lot 5, Gio Ponti Unique monumental illuminated table, circa 1931

Client Accounting, Director Jason King +44 20 7318 4086 Seller Accounts Surbjit Kaur +44 20 7318 4072 Sofia Serra +44 20 7901 2940 Shipping Andrew Kitt +44 20 7318 4047 Annaliese Clark +44 20 7318 4081 LucÍa Núñez +44 20 7901 7906 Creative Services Chris Ward, Creative Services Manger Moira Gil, Senior Graphic Designer Grace Neighbour, Graphic Designer

Index

Adnet, J. 53

Jacobsen, A. 83

Passanti, M. 117

Arad, R. 59, 97, 112

Jeanneret, P. 62, 74, 93, 100

Pergay, M. 72

Jones, A. 92

Perriand, C. 66, 69, 75

Baldwin, G. 58

Jongerius, H. 91

Poli, F. 136

Barovier & Toso (Co.) 10

Joulia, E. 16

Ponti, G. 3, 5, 7, 11, 26, 27,

Bigliani, S. 31

Jouve, G. 17, 18, 19, 20, 21,

28, 111, 115, 119, 120, 121, 129,

Bonetti, M. 65, 103

23, 24, 25, 73, 80, 98

132, 138, 139, 141, 142, 143,

Borsani, O. 35, 156

Judd, D. 77

144, 146, 149

Buffa, P. 122, 124

Juhl, F. 82, 84

Prouvé, J. 54, 68, 79

Buzzi, T. 127 Koppel, E. 89

Ramié, S. 22

Chale, A. 70

Koppel, N. 89

Rava, C.E. 126

Chiesa, P. 32, 113, 131

Kuramata, S. 78

Rie, L. 57 Royère, J. 14, 15

Coper, H. 55, 56 Lalanne, C. 46 Dalpayrat, P.-A. 50

Lalanne, F.-X. 104

Sarfatti, G. 1, 67, 130

de Carli, C. 134

Legrain, P. 41

Scarpa, A. 135

de Poli, P. 128

Lelii, A. 34, 140

Scarpa, C. 2, 4, 116, 125,137

Ditzel, J. 81

Lovegrove, R. 106

Scarpa, T. 135

Ditzel, N. 81

Luce, J. 43

Sørensen, S.A.H. 90 Sottsass, Jr.,E. 147, 154, 155

Dubreuil, A. 99 Eisler, M. 101

Majorelle, L. 47, 48

Spadolini, P. 29

Mare, A. 52

Spolén, E. 95

Matégot, M. 94

Süe, L. 52

Fontana Arte 30, 108,

Mendini, A. 148

109, 145

Méténier, G. 49

Takahama, K. 104

Fontana, L. 35

Mollino, C. 12

Tarone, G. 31

Frank, J.-M. 44, 45

Moscatelli, G. 114

Tenreiro, J. 105

Fukami, S. 110

Mouille, S. 61

Tynell, P. 86

Gottardi, M. 33

Nakashima, G. 76

Venini 123

Guimard, H. 51

Newson, M. 107

Verhoeven, J. 60

Nilsson, B. 64, 85

Voisin-Delacroix, A. 50

Odundo, M. 13

Wanscher, O. 96

Ostuni, A. 63

Wegner, H.J. 88

Henningsen, P. 87 Herbst, R. 42 Ingrand, M. 6, 71, 102, 118, 133, 150

Parisi, I. 8, 36, 37, 38, 39,

Introini, V. 9

40, 151, 152, 153