DESIGN [Catalogue] by PHILLIPS

Design

London / 12 November 2020

Design London / 12 November 2020

Auction & Viewing Location 30 Berkeley Square, London, W1J 6EX Auction Thursday, 12 November at 2pm Please register to bid online, absentee or by phone. Viewing 3–12 November Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050220 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 Sale, Associate Specialist Madalena Horta e Costa mhortaecosta@phillips.com Senior Specialist Sofa Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Senior Cataloguer Nicola Krohman nkrohman@phillips.com Cataloguer Caroline Pedote cpedote@phillips.com Senior Administrator Antonia King antonia.king@phillips.com

Our Team Design London

Domenico Raimondo

Madalena Horta e Costa

Sofa Sayn-Wittgenstein

Head of Department, Europe & Senior International Specialist

Head of Sale, Associate Specialist

Senior Specialist

+44 20 7318 4019 mhortaecosta@phillips.com

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

+44 20 7318 4016 draimondo@phillips.com

Paris

Nicola Krohman

Caroline Pedote

Antonia King

Elie Massaoutis

Senior Cataloguer

Cataloguer

Senior Administrator

+44 20 7901 7926 nkrohman@phillips.com

+44 20 7901 4096 cpedote@phillips.com

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

Head of Design, France, Senior International Specialist

New York

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

Los Angeles

Cordelia Lembo

Kimberly SĂ¸rensen

Ben Green

Meaghan Roddy

Head of Department

Specialist

Cataloguer

+1 212 940 1265 clembo@phillips.com

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+1 212 940 1267 bgreen@phillips.com

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

Executives Edward Dolman

David Norman

Jamie Niven

Chief Executive Ofcer

Chairman, Americas

Senior Advisor to the CEO

+1 212 940 1241 edolman@phillips.com

+1 212 940 1280 dnorman@phillips.com

+1 917 880 2532 jniven@phillips.com

Cheyenne Westphal

Jonathan Crockett

Hugues Jofre

Global Chairwoman

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

Senior Advisor to the CEO

ÂŠ Brigitte Lacombe

+44 20 7318 4044 cwestphal@phillips.com

+44 207 901 7923 hjofre@phillips.com

+852 2318 2023 jcrockett@phillips.com

Arnold Lehman Senior Advisor to the CEO +1 212 940 1385 alehman@phillips.com

Deputy Chairmen & Chairwomen

Svetlana Marich

Jean-Paul Engelen

Robert Manley

Peter Sumner

Miety Heiden

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

+1 212 940 1390 jpengelen@phillips.com

+1 212 940 1358 rmanley@phillips.com

+44 20 7318 4063 psumner@phillips.com

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Elizabeth Goldberg

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

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

Deputy Chairwoman, Americas, Senior International Specialist, American Art

+32 3257 3026 mhoet@phillips.com

+1 212 940 1239 egoldberg@phillips.com

+44 20 7318 4010 smarich@phillips.com

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

+44 20 7901 7943 mheiden@phillips.com

Business Development

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

Client Advisory

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

Laurent Taevernier Client Liaison Coordinator +32 32 573026 ltaevernier@phillips.com

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

Asia

Middle East & South Asia

Iori Endo

Yassaman Ali

Senior Client Advisor

Client Advisory Director

+44 20 7318 4039 iendo@phillips.com

+44 20 7318 4056 yali@phillips.com

Trusts, Estates & Valuations

Americas Jennifer Jones

Laura Wenger

Senior Vice President, Director of Trusts, Estates & Valuations

Associate Vice President Account Manager Trusts, Estates & Valuations

+1 212 940 1272 jjones@phillips.com

+1 212 940 1302 lwenger@phillips.com

International Specialists & Regional Directors

Europe Laurence Calmels

Clara Rivollet

Laurence Barret-Cavy

Elie Massaoutis

Thibault Stockmann

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

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

+33 601 888 749 tstockmann@phillips.com

Dr. Nathalie Monbaron Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com

Dr. Alice Trier

Tobias Sirtl

Carolina Lanfranchi

Margherita Solaini

Maura Marvao

Kalista Fenina

Specialist, 20th Century & Contemporary Art, Germany

Associate Specialist, 20th Century & Contemporary Art, Italy

+49 151 4192 6447 tsirtl@phillips.com

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

Specialist, 20th Century & Contemporary Art, Moscow

+49 173 25 111 69 atrier@phillips.com

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

Kirsten MacDonald

Lori Spector

Regional Director, Scandinavia

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

+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

+7 905 741 15 15 kfenina@phillips.com

+41 76 259 30 39 lspector@phillips.com

Americas CĂ˘ndida SodrĂŠ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

Senior Specialist, 20th Century & Contemporary Art, Denver

Regional Director, Los Angeles

Specialist, Miami

+55 21 999 817 442 csodre@phillips.com

+1 773 230 9192 cehlers@phillips.com

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

+1 917 657 7193 mdekoning@phillips.com

+1 323 383 3266 bkoh@phillips.com

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Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Sophia Kinell

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

Regional Director, Seattle

Regional Representative, San Francisco

+52 1 55 5413 9468 clafan@phillips.com

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+1 206 604 6695 scwaltner@phillips.com

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

Kyoko Hattori

Jane Yoon

Yeonah Lim

Wenjia Zhang

Alicia Zhang

Yolanda Zeng

Regional Director, Japan

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

Associate Regional Representative, Korea

Regional Director, China

Associate Regional Representative, Shanghai

+86 139 1828 6589 aliciazhang@phillips.com

+86 132 6290 0120 yolandazeng@phillips.com

Asia

+81 90 2245 6678 khattori@phillips.com

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+86 13911651725 wenjiazhang@phillips.com

Cindy Yen

Meiling Lee

Christine Fernando

Sandy Ma

Vivi Yip

Rika Dila

General Manager, Taiwan

International Specialist, Taiwan

Senior Consultant, Thailand

+886 908 876 669 mlee@phillips.com

International Specialist, South East Asia

Senior Consultant, Indonesia

+886 2 2758 5505 cyen@phillips.com

Associate Regional Representative, Singapore +65 9128 6277 christinefernando@phillips.com

+852 2318 2025 sma@phillips.com

+62 8111 220 824 viviyip@phillips.com

+66 81 818 6878 rdila@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 fduciaries, and our dedicated Trusts, Estates & Valuations team provides complimentary reviews of collections.

1. Jean Royère

1902-1981

Chaufeuse circa 1936 Ebonised wood, hide, leather. 74.5 x 50.8 x 94.4 cm (293/8 x 20 x 371/8 in.) Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000

Provenance Private collection, Paris Literature Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 10 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 2, Paris, 2012, p. 52

plus Buyers Premium and VAT*

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

2. Studio BBPR - Gian Luigi

Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers Rare ceiling light, model no. 2045c circa 1962 Painted aluminium, aluminium, painted metal, acid-etched prismatic glass. 27 x 296 x 145 cm (10 5/8 x 116 1/2 x 57 1/8 in.) Manufactured by Arteluce, Milan, Italy. Interior of three shades with manufacturer’s label printed AL/MILANO/ARTELUCE.

Estimate £50,000-70,000 $64,600-90,500 €55,000-76,900 plus Buyers Premium and VAT*

Provenance Private collection, Modena Literature Arteluce, sales catalogue, 1962, p. 81

Gio Ponti: Towards Essential Form

Gio Ponti’s design typologies are constantly evolving as he invents endless reiterations of trusted furniture forms, embracing new aesthetic currents as they emerge and confguring them through his own mercurial imagination. His work stands out for its multifaceted visual impact that inspires at once wonder and delight. With this 1957 vanity it would appear that Ponti had achieved the ultimate iteration of this specific typology. Still he actually came up with a more basic and economical version of the piece, which was produced by Cassina in the following decade for use in the Parco dei Principi hotel interiors. In contrast, this custom example, exquisitely wrought by Giordano Chiesa, with blue and violet laminates and white painted finishes is an elaborate antecedent to what was to become a wellknown design icon and sought-afer collector’s item. For Ponti, the very structure of the vanity object type has a long genesis going back to his abstracted Neoclassical experiments with the Milan Novecento style, as seen in the Domus Nova series of the late 1920s. By the early 1930s, the evolution moves into a reductive phase in tune with a sea change in Italian architecture initiated by the cerebral Rationalist movement. Within both stylistic idioms Ponti resorts to his idiosyncratic repertory of rich materials

Brian Kish Curator and Specialist in 20th Century Italian architecture and design. Associate member of the Gio Ponti Archives since 2006.

ranging from burled wood veneers to coloured glass, always attaching the requisite mirror either circular or rectilinear. By the late 1930s, and again in the late 1940s, Ponti makes an excursion into a more Metaphysical realm with a fugitive eroticism of vanities ‘dressed’ in fabric skirts that also envelop the accompanying side chairs. When more ample commissions for large private villas came along in the 1950s, Ponti had reached a peak in the exalted reinterpretation of all his furniture typologies. His designs were feather drawn in attenuated lines, and in the best examples, form was blocked out in colour as exemplifed in this vanity. He had a chromatic method of always pairing a colour with white. When designing this particular vanity, he had mastered the concept of fnite form that he had strived to attain in both architecture and design. An almost identical model in elmwood designed in 1957, and also paired with a ‘Superleggera’ chair, can be seen at the Villa Planchart. The crucial difference is that the four tapering legs are set at a 90-degree angle to the top surface whereas in the present polychrome version the legs are set canted to meet the chamfered edge at 45 degrees. This subtle difference engages the ever so slightly concave curved top and pushes the optical reading into a compelling crystalline gestalt.

3. Gio Ponti

1891-1979

Rare dressing table and ‘Superleggera’ side chair, model no. 699, designed for the XI Milan Triennale circa 1957 Plastic-laminated wood, painted wood, mirrored glass, brass, ash, straw. Dressing table: 110 x 119.6 x 64.5 cm (43 1/4 x 47 1/8 x 25 3/8 in.) Chair: 82.2 x 40.2 x 45.7 cm (32 3/8 x 15 7/8 x 17 7/8 in.) The dressing table manufactured by Giordano Chiesa, Milan, Italy and the chair manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Provenance Private collection, Milan Exhibited ‘Gio Ponti. A Lifestyle Cell’, Borsa Italiana Gallery, Milan, 12-16 April 2019 Literature ‘‘Proposte per la casa’ alla XI Triennale’, Domus, no. 337, December 1957, pp. 33-35 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2004, pp. 183-86 for the chair The present models were exhibited at the XI Milan Triennale, 1957.

Estimate £20,000-30,000 $25,800-38,800 €22,000-33,000 plus Buyers Premium and VAT*

4. Gio Ponti

1891-1979

Rare low table, designed for the RAI Headquarters, Milan early 1950s Walnut, glass, brass. 40.5 x 109.5 x 64.5 cm (15 7/8 x 43 1/8 x 25 3/8 in.) Manufactured by Giordano Chiesa, Milan, Italy. Glass acid-etched VITREX. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £30,000-50,000 $38,800-64,600 €33,000-55,000 plus Buyers Premium and VAT*

Provenance RAI Headquarters, Milan

5. Carlo de Carli

1910-1999

Set of ten armchairs, model no. 585 circa 1955 Ebonised oak, fabric. Each: 85 x 57 x 56.8 cm (331/2 x 221/2 x 223/8 in.) Manufactured by Cassina, Meda, Italy. Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200

Provenance Private collection, Milan Literature Pier Carlo Santini, Gli anni del Design Italiano, Ritratto di Cesare Cassina, Milan, 1981, p. 108 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 1992, p. 132 Giampiero Bosoni, ed., Made in Cassina, Milan, 2008, p. 161

plus Buyers Premium and VAT*

6. Fontana Arte Rare table mirror 1930s Mirrored glass, walnut, nickel-plated brass. As shown: 39.2 x 24 x 21.5 cm (15 3/8 x 9 1/2 x 8 1/2 in.) Manufactured by Luigi Fontana & C., Milan, Italy. Back bracket impressed twice L. FONTANA & CO./MILANO.

Estimate ÂŁ2,000-3,000 $2,600-3,900 â&#x201A;Ź2,200-3,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan

Property from a Private Collection, Switzerland

7. Piero Bottoni

1903-1973

Rare dining table circa 1950 Partially ebonised mahogany-veneered wood, mahogany, ebonised mahogany. 75.7 x 310 x 102.2 cm (293/ 4 x 122 x 401/ 4 in.) Together with a certifcate of expertise from the Piero Bottoni Archive. Estimate £40,000-60,000 $51,700-77,500 €44,000-65,900 plus Buyers Premium and VAT*

Provenance Casa Perego, Milan Thence by descent Christie’s, London, ‘20th Century Decorative Art & Design’, 3 May 2012, lot 109 Acquired from the above by the present owner Literature ‘Una intelligente trasformazione e l’ampliamento d’una antica villa a Imola’, Domus, no. 153, September 1940, p. 76 for another version of the model Irene de Guttry and Maria Paola Maino, Il mobile déco italiano, Bari, 1988, p. 98 for another version of the model Giancarlo Consonni, La forma della convivialità. I tavoli ellittici di Piero Bottoni, Milan, 2016, illustrated pp. 22, 50

Only three examples of the present model dining table executed in wood are known to exist, which the architect Piero Bottoni designed for Casa Sant’Unione, Bologna (1942-1943), Casa Minerbi, Ferrara (1949-1950) and the present example for Casa Perego, Milan (late 1940s-early 1950s). The design developed from an earlier version in reinforced concrete for Villa Muggia (1936-1938), an eighteenth-century hunting lodge, which Bottoni together with Mario Pucci restored.

The concrete version of the table in situ in the dining room of Villa Muggia, Imola. © Archivio Piero Bottoni, DASTU, Politecnico di Milano.

8. Tomaso Buzzi

1900-1981

Glassware service for twelve, model no. 184 and set of three candle-holders, model no. 2397 circa 1933 Partial fligrana lattimo a retortoli glass. Each champagne coupe: 13.6 cm (53/8 in.) high Each wine glass: 10.1 cm (3 7/8 in.) high Each water glass: 11.8 cm (4 5/8 in.) high Each candle-holder: 18.5 cm (7 1/4 in.) high Produced by Venini & C., Murano, Italy. The glassware service comprising twelve champagne coupes, twelve wine glasses and twelve water glasses.

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Provenance Private collection, Boston Literature Marino Barovier and Carla Sonego, Tomaso Buzzi alla Venini, exh. cat., Giorgio Cini Foundation, Venice, 2014, p. 341

Property from a Private Collection, Switzerland

9. Piero Bottoni

1903-1973

Set of six dining chairs and pair of armchairs circa 1950 Painted wood, fabric. Tallest dining chair: 87 x 44.8 x 52 cm (34 1/4 x 17 5/8 x 20 1/2 in.) Each armchair: 84 x 59 x 63 cm (33 1/8 x 23 1/4 x 24 3/4 in.)

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Provenance Casa Perego, Milan Thence by descent Christie’s, London, ‘20th Century Decorative Art & Design’, 3 May 2012, lot 109 Acquired from the above by the present owner

10. Venini Large mirror 1940s Cordonato glass, mirrored glass, brass. 131 x 85 x 4.5 cm (51 5/8 x 33 1/2 x 1 3/4 in.) Produced by Venini & C., Murano, Italy. Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Provenance Private collection, Milan

11. Studio BBPR - Gian Luigi

Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers Pair of unique armchairs, designed for the library of Casa Cozzi, Treviglio 1943-1946 Walnut, cane, fabric. Each: 69.7 x 81.6 x 77.7 cm (27 1/2 x 32 1/8 x 30 5/8 in.)

Estimate £20,000-30,000 $25,800-38,800 €22,000-33,000 plus Buyers Premium and VAT*

Provenance Casa Cozzi, Treviglio, 1943-1946 Literature ‘Veranda in una loggia antica’, Domus, no. 208, April 1946, p. 27 for the commission

12. Gio Ponti

1891-1979

Pair of wall lights with niches 1950s Brass, painted steel, painted wood. Each: 60.1 x 32 x 15 cm (235/8 x 125/8 x 57/8 in.) Manufactured by Greco, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £20,000-30,000 $25,800-38,800 €22,000-33,000 plus Buyers Premium and VAT*

Provenance Via Giuseppe Dezza 49, Milan Private collection, Milan

An Exceptional Work: Gio Ponti’s Prototype ‘Mariposa’ Sofa There are two reasons that make the present two-seater sofa a truly exceptional work. The frst being that whilst conceived for a serial production, the design never went into production and only two examples are known to have been made: the present prototype sofa, which was exhibited at the XI Milan Triennale in 1957; and the sofa designed by Gio Ponti for Villa Planchart, Caracas (1955), which today still remains part of the furnishings of this important architectural masterpiece. Secondly, among all of Ponti’s designs from the post war period, this sofa is the highest expression of his work at the dawn of industrial design, for which Ponti was a pivotal fgure. Through the play of lines and proportions the present lot masterfully illustrates the interplay between architecture and design that is central to Ponti’s work. Conceived for the furnishings of Villa Planchart—the name ‘Mariposa’ (butterfy in Spanish) is where the name originates from—it is inspired in its forms and surfaces by the roofs of Ponti’s Venezuelan villas, which were designed to

The present lot exhibited at Casa Feal, XI Milan Triennale, 1957. © Gio Ponti Archives

suggest the lightness of butterfies. The play between surfaces and colour is conceived to ofer continuous changes in the appearance of the volume of the piece of furniture, depending on the viewpoint. The same principal governs Ponti’s most important architectural projects, starting from his Villas in Caracas and Teheran, through to his Montedoria ofce building, the Denver Art Museum and the Assicurazioni Savoia, among others. The present model also marks a turning point in furniture design as Ponti abandoned the wooden legs and other traditional materials he had used in the past. Instead he chose thin metal tubular legs that separated the foor from the volume of the seat, which Ponti began upholstering with novel materials such as Vipla, all in the name of ‘modern design’. Salvatore Licitra Founder and Curator, Gio Ponti Archives.

13. Gio Ponti

1891-1979

Prototype ‘Mariposa’ sofa, designed for the XI Milan Triennale circa 1957 Vinyl, brass, painted brass. 80 x 167 x 89.5 cm (31 1/2 x 65 3/4 x 35 1/4 in.) Produced by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £70,000-90,000 $90,500-116,000 €76,900-98,900

Exhibited XI Milan Triennale, 1957 ‘Espressioni di Gio Ponti’, Triennale, Milan, 6 May-24 July 2011 Literature ‘‘Proposte per la casa’ alla XI Triennale’, Domus, no. 337, December 1957, illustrated p. 33 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2004, illustrated p. 183 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, illustrated p. 239

plus Buyers Premium and VAT*

Provenance Via Giuseppe Dezza 49, Milan Private collection, Milan

14. Stilnovo Rare ‘Sputnik’ ceiling light

Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500 plus Buyers Premium and VAT*

circa 1957 Brass, painted brass, painted steel. 123 cm (48 3/8 in.) drop, 130 cm (51 1/8 in.) diameter Manufactured by Stilnovo, Milan, Italy.

Provenance Private collection, Monaco Literature Vitrum, no. 92, January 1957, front cover, pp. 2, 5-6

15. Stilnovo Ceiling light 1950s Painted aluminium, brass, rubber cord. 141 cm (55 1/2 in.) drop Manufactured by Stilnovo, Milan, Italy. Interior of one shade with manufacturer’s paper label printed MILANO/STILNOVO/ITALY.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

Provenance Private collection, Monaco

16. Carlo Scarpa

1906-1978

Vase, model no. 11020 1931–1934 Iridescent Pulegoso glass. 25.4 cm (10 in.) high Produced by Venini & C., Murano, Italy. Underside acid-etched venini/murano. Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 ‡

Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 240 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 34 Marino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, pp. 106, 111

plus Buyers Premium and VAT*

Provenance Venini Archives, Murano Phillips, New York, ‘Design Masters’, 13 December 2011, lot 59 Acquired from the above by the present owner

17. Studio BBPR - Gian Luigi

Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers Pair of armchairs circa 1959 Fabric, painted steel, brass. Each: 78 x 100 x 76.5 cm (30 3/4 x 39 3/8 x 30 1/8 in.) Manufactured by Ornaghi, Lissone, Italy.

Estimate £12,000-18,000 $15,500-23,300 €13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Un arredamento a Milano’, Domus, no. 355, June 1959, p. 19 for a similar example

18. Venini

Provenance Private collection, Milan

Pair of wall lights late 1930s Coloured glass, fabric shades. Each: 33 x 27.5 x 11 cm (127/8 x 107/8 x 43/8 in.) Produced by Venini & C., Murano, Italy.

Phillips wishes to thank Arch. Franco Deboni for his assistance cataloguing the present lot.

Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600 plus Buyers Premium and VAT*

19. Studio BBPR - Gian Luigi

Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers Sofa circa 1959 Fabric, painted steel, brass. 78 x 240.5 x 82 cm (30 3/4 x 94 5/8 x 32 1/4 in.) Manufactured by Ornaghi, Lissone, Italy. Together with original manufacturer’s label.

Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Un arredamento a Milano’, Domus, no. 355, June 1959, pp. 18-19 for a similar example

Sculptural Extension: Lucio Fontana and Osvaldo Borsani’s wall-mounted console

The present wall-mounted marble console designed by the architect Osvaldo Borsani features a sculptural support conceived and painted by his friend and collaborator the artist Lucio Fontana. The console belongs to a series of furniture and interiors designed by Borsani that incorporate painted or sculptural works by Fontana, providing a visual versatility that could respond to a client’s individual requirements and taste. Having embraced new ideological and technological advances throughout his career, Borsani played an instrumental role in the formation of Italian modernist design, while remaining dedicated to the country’s tradition of crafsmanship and quality of materials. This enduring commitment paired with his pursuit and understanding of design as addressing more than the functional underscored Borsani’s collaborative approach to his work. Fontana’s own spatial research and exploration of dimensionality provided an intersection for artistic exchange between the architect and artist, which expanded the expressive possibilities of both their practices. Synthesising classical and modern vocabularies, the present wall-mounted console dates from the early 1950s during which Borsani’s work was expanding from the highly customised artisan production of Arredamenti Borsani Varedo towards the industrial design of Tecno, while coinciding with the transition in Fontana’s work from his Baroque-inspired forms to Spatialism. While referencing Baroque ceiling frescoes, the console’s sculptural extension from the wall also parallels Fontana’s investigation into dissolving its physical dimension, reflecting his and Borsani’s shared desire to address conventional relationships between the object and its surrounding space.

Borsani received his early training under his father Gaetano Borsani, whose firm he continued to work for throughout his studies at the Politecnico di Milano, where he graduated with a degree in architecture in 1937. The family workshop in Varedo was highly regarded for its craftsmanship, an influence that would remain central to Borsani’s own design practice, in addition to the impact of his father’s appreciation for art. During the 1930s, Gaetano began collaborating with contemporary artists to produce customised furniture and interior schemes for the firm’s Milanese upper middle class clientele. Before graduating from the Politecnico, Borsani had studied at the Accademia di Brera, where he had frst encountered Fontana along with the artists Arnaldo Pomodoro and Fausto Melotti who would become the next generation of Italy’s avant-garde. Sharing his father’s interest in contemporary art and recognising the creative and experimental potential of a collaborative approach to design, Borsani’s œuvre makes evident the many professional relationships and friendships he formed with artists during his career, which in addition to Fontana, Arnaldo Pomodoro and Melotti also notably included Roberto Crippa, Giò Pomodoro, Aligi Sassu, Agenore Fabbri and Andrea Cascella. With a desire to bring art into the everyday environment, Borsani fostered a dialogue within his practice that extended beyond the traditional bounds of architecture and design. This interdisciplinary approach flourished in the context of post-war Milan and the resulting economic upturn, which created a momentum and openness for an exchange of ideas and research across cultural fields.

A focal point for the intersection of art, architecture and design during this period was the Milan Triennale exhibitions. In 1951 at the IX Triennale, Borsani and Fontana presented a glass side table with marble base. The table featured a carved and painted wood ‘ribbon’ with putti by Fontana around the brass stem. Borsani had also designed a version of the side table that was more simplifed in form without the sculpted ‘ribbon’ detail. Borsani applied the same principle to the present wall-mounted console, which features a corresponding ‘ribbon’ form, supported by gilded putti, that extended around the entirety of the tabletop. Designed a few years earlier, Borsani’s wallmounted console (lot 157) features a simple, refned form with classical symmetry. Comparing the two console designs, along with those of the side table variations, illustrates the expressive possibilities of the artist’s intervention. The accompanying expanded choice and approach to materials, incorporated into the structure designed by the architect, ofered even further variation for individual clients and projects. On the occasion of the IX Triennale, Fontana had also presented his iconic Spatial Light – Structure in Neon. Through this work, which comprised a rhythmic and intersecting 100-metre-long loop of neon tubing suspended across the ceiling of the grand staircase Palazzo dell’Arte, Fontana sought a convergence of movement and colour with the surrounding architectural space. Fontana’s early investigations into space are evident throughout the many projects in which Borsani entrusted the artist to intervene in ceiling, wall and doors designs, as well as architectural elements such as freplaces and door handles. Within these interiors, Fontana’s ideas take the form of striking ceramic tile mosaics, enamelled ceramics and sculpted spiral compositions, abstract lighting panels, and cast-bronze or gildedstucco details, integrating architecture and furnishings. The first known works created by Borsani and Fontana date to the late 1940s, following Fontana’s return from Argentina to Milan afer the war, and include the artist’s large ceramic freplace for Villa Borsani in Varedo.

Throughout the 1950s, Borsani and Fontana collaborated on residential and commercial projects, through which they developed ideas that explored extending surfaces and spaces. Fontana had published his frst manifesto on Spatialism in 1947 in which he called for a synthesis in art of colour, sound, movement and time, leading to the development of his ‘spatial environments’. In his text, Fontana advocated for a new form of art in which ‘the [a]esthetic of the organic movement replaces the empty [a]esthetic of fxed forms’ and explaining, ‘a form of art is now demanded which is based on the necessity of this new vision. The baroque has guided us in this direction, in all its as yet unsurpassed grandeur, where the plastic form is inseparable from the notion of time, the images appear to abandon the plane and continue into space the movements they suggest’. Fontana’s collaborative work with architects such as Borsani, who also ofered an additional set of technical skills, provided an important avenue for his exploration of space and the integration of art and the viewer within it. Similarly, each element of Borsani’s interiors were considered within the entire composition, ofen achieved through a dialogue between tradition and innovation. This unity of visual language, illustrated in the present wall-mounted console through a synthesis of classical and modern elements, was used by Borsani to create a continuity of material and space. The asymmetry and surface efect of the black marble tabletop with highlights of blue and silver creates a dynamic quality that moves beyond the Rationalist design of Borsani’s earlier work, while retaining a purity of form. The sculptural supporting frame executed to Fontana’s design and hand-painted by the artist, further contributes to this freer approach. The iconography of the gilded putti, which give the illusion of supporting the painted veil surrounding the marble slab, and reference Italian Renaissance and Baroque art, suggest movement as they lif the console through space. The work appears expressive and free of constraint, while simultaneously structuring the composition of the original interior, together refecting the dynamic exchange between architect and artist.

20. Lucio Fontana and

Osvaldo Borsani 1899-1968 and 1911-1985 Wall-mounted console, designed for the dining room of Casa S., Milan circa 1950 Marble, gilded and painted wood. 99.6 x 260.2 x 47.6 cm (39 1/4 x 102 1/2 x 18 3/4 in.) Produced by Arredamenti Borsani, Varedo, Italy. Together with a certifcate of expertise from the Osvaldo Borsani Archive. Estimate £100,000-150,000 $129,000-194,000 €110,000-165,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Casa S., Milan Private collection, Milan Literature Giuliana Gramigna and Fulvio Irace, Osvaldo Borsani, Rome, 1992, pp. 194-95 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 2010, p. 112 Giampiero Borsani, Osvaldo Borsani: architect, designer, entrepreneur, Milan, 2018, illustrated pp. 361, 566 Tommaso Fantoni, Norman Foster, and Giampiero Bosoni, Osvaldo Borsani, exh. cat., Milan, 2018, pp. 75, 94 Phillips wishes to thank the Osvaldo Borsani Archive for their assistance cataloguing the present lot.

21. Max Ingrand

1908-1969

Ceiling light circa 1953 Coloured glass, glass, brass. 62 cm (24 3/8 in.) drop Manufactured by Fontana Arte, Milan, Italy. Estimate £12,000-18,000 $15,500-23,300 €13,200-19,800

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

plus Buyers Premium and VAT*

22. Gio Ponti

1891-1979

Rare ‘Distex’ armchair circa 1953 Fabric, vinyl, walnut. 79 x 80 x 106.5 cm (31 1/8 x 31 1/2 x 41 7/8 in.) Manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature ‘Linea e comfort’, Domus, no. 289, December 1953, p. 53; no. 293, April 1954, front cover; no. 308, July 1955, n.p. Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2004, p. 172 The present model was exhibited at the X Milan Triennale, 1954.

23. Studio BBPR - Gian Luigi

Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers Rare wall-mounted mirror and shelf 1950s Mirrored glass, brass, painted metal. Mirror: 120 x 58.5 x 2.5 cm (47 1/4 x 23 x 0 7/8 in.) Shelf: 30 x 118.2 x 32 cm (11 3/4 x 46 1/2 x 12 5/8 in.)

Estimate £12,000-18,000 $15,500-23,300 €13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Particolari di interni’, Domus, no. 325, December 1956, p. 21 for a larger version of the shelf

24. Gio Ponti

1891-1979

Set of four side chairs, model no. 601 circa 1951 Walnut, rush. Tallest: 86 x 42.8 x 53 cm (33 7/8 x 16 7/8 x 20 7/8 in.) Manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600 plus Buyers Premium and VAT*

Provenance Private collection, Bari Literature Domus, no. 259, June 1951, n.p. ‘Across the seas collaborations for the new Singer collection’, Interiors, December 1951, pp. 120, 122, 127

25. Carlo Scarpa

1906-1978

Vase, model no. 3594, from the ‘Sommersi’ series 1934-1936 Sommerso a bollicine glass with gold leaf inclusions. 21.3 cm (8 3/8 in.) high Produced by Venini & C., Murano, Italy. Underside acid-etched venini/murano.

Provenance Private collection, London Literature Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 35 Marino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, p. 140

Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600 plus Buyers Premium and VAT*

26. Gio Ponti

1891-1979

Dining table 1940s Verde malachite marble, walnut-veneered wood, walnut, brass. 80 x 195.5 x 90.5 cm (311/2 x 767/8 x 355/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate ÂŁ15,000-20,000 $19,400-25,800 â&#x201A;Ź16,500-22,000 plus Buyers Premium and VAT*

Provenance Private collection, Milan

27. Carlo Paccagnini Pair of side tables circa 1953 Painted iron, glass. Each: 50.5 x 60 x 60 cm (19 7/8 x 23 5/8 x 23 5/8 in.) Manufactured by C. Paccagnini S.r.L., Milan, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700

Provenance Collection of the designer, circa 1953 Thence by descent Acquired from the above by the present owner Literature Roberto Aloi, Esempi Di Arredamento Moderno Di Tutto Il Mondo: tavoli tavolini carrelli, seconda serie, Milan, 1955, fg. 25 ‘Un appartamento in un solo ambiente’, Rivista dell’Arredamento, no. 9, September 1955, p. 27; no. 42, June 1958, pp. 28-29

plus Buyers Premium and VAT*

28. Gino Sarfatti

1912-1985

Rare adjustable standard lamp, model no. 1049/N circa 1951 Painted aluminium, painted steel, brass, marble. 205 cm (80 3/4 in.) high Manufactured by Arteluce, Milan, Italy. Estimate £20,000-25,000 $25,800-32,300 €22,000-27,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 34

29. Gio Ponti

1891-1979

Cofee table circa 1936 Stained walnut-veneered wood, stained walnut, mirrored glass. 45.4 cm (17 7/8 in.) high, 79.3 cm (31 1/4 in.) diameter Manufactured by Casa e Giardino, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £6,000-8,000 $7,800-10,300 €6,600-8,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Domus, no. 106, October 1936, p. 42; no. 112, April 1937, p. 118 Lo Stile nella casa e nell’arredamento, no. 36, December 1943, p. 47

30. François-Xavier Lalanne

Provenance Private collection, Paris

1927-2008 ‘Pigeon’ table lamp designed 1991 Patinated bronze, copper, glass. 21.5 x 14 x 24.5 cm (8 1/2 x 5 1/2 x 9 5/8 in.) Produced by Artcurial, Paris, France. Number 421 from the edition of 900. Impressed ARTCURIAL 421/900/FXL. Together with a certifcate of authenticity from Artcurial. Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000 plus Buyers Premium and VAT*

Literature Daniel Abadie, Lalanne(s), Paris, 2008, pp. 130-31 Adrian Dannatt, François-Xavier & Claude Lalanne: In the Domains of Dreams, New York, 2018, p. 119

31. Gio Ponti

1891-1979

Ceiling light, model no. 5254 1931-1935 Cordonato glass, brass. 80.5 cm (31 3/4 in.) drop Produced by Venini & C., Murano, Italy. Finial impressed VENINI/MURANO. Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000

Provenance Private collection, Rome Literature ‘Casa P. a Milano’, Domus, no. 100, April 1936, pp. 27, 30 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 139

plus Buyers Premium and VAT*

32. Gio Ponti

1891-1979

Ceiling light, model no. 5254 1931-1935 Cordonato glass, nickel-plated brass. 75 cm (29 1/2 in.) drop Produced by Venini & C., Murano, Italy. Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000 plus Buyers Premium and VAT*

Provenance Private collection, Crema Thence by descent to the present owner Literature ‘Casa P. a Milano’, Domus, no. 100, April 1936, pp. 27, 30 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 139

33. Alberto Rosselli

1921-1976

Low table circa 1952 Glass, brass. 42.3 x 113.7 x 70.4 cm (16 5/8 x 44 3/4 x 27 3/4 in.)

Provenance Private collection, Milan Literature ‘Tre tavoli’, Domus, no. 267, February 1952, p. 30

Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

34. Gio Ponti

1891-1979

Set of twelve dining chairs, model no. AP 1676 circa 1954 Stained walnut, fabric, brass. Each: 84 x 50.3 x 52 cm (33 1/8 x 19 3/4 x 20 1/2 in.) Manufactured by Cassina, Meda, Italy. Reverse of eight chairs with manufacturer’s brass label printed FIGLI DI AMEDEO CASSINA/TEL 72 38 MEDA (MILANO). Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 plus Buyers Premium and VAT*

Provenance Fasan restaurant, Lissone Literature Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923-1978, London, 1990, p. 170 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano degli anni ‘40 e ‘50, Bari, 1992, p. 41

35. Yoichi Ohira

b. 1946

Vase 1996 Hand-blown glass canes with powder inserts, ground surface. 15 cm (5 7/8 in.) high Executed by Livio Serena, master glassblower, Murano, Italy. Underside incised with artist’s cipher and Yoichi Ohira/ m° L. Serena/1 / 1 unico/1996 murano.

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

Provenance Caterina Tognon, Venice

36. Yoichi Ohira

b. 1946

Vase 2003 Hand-blown glass canes with powder inserts, partial inciso surface. 29.8 cm (11 3/4 in.) high Executed by Livio Serena, master glassblower, and Giacomo Barbini, master cutter and grinder, Murano, Italy. Underside incised Yoichi Ohira/m° L. Serena/m° G. Barbini/1 / 1 unico/Friday 11-12-2003/ murano and with artist’s cipher. Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan

37. Yoichi Ohira

b. 1946

Vase, from the ‘Caleidoscopio’ series 2005 Hand-blown glass canes with murrine, granular and powder inserts, battuto and carved surface. 16.4 cm (6 1/2 in.) high Executed by Andrea Zilio, master glassblower, and Giacomo Barbini, master cutter and grinder, Murano, Italy. Underside incised Yoichi Ohira/m° A. Zilio/m° G. Barbini/Tuesday 31-5-2005/ murano/1 / 1 unico and with artist’s cipher.

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Provenance Private collection, Milan

38. Yoichi Ohira

b. 1946

Vase 2000 Hand-blown glass canes, inciso surface. 11.5 cm (4 1/2 in.) high Executed by Livio Serena, master glassblower, and Giacomo Barbini, master cutter and grinder, Murano, Italy. Underside incised with artist’s cipher and Yoichi Ohira/1 / 1 unico/m° L. Serena/m° G. Barbini/Friday 28-04-2000/murano. Together with original box inscribed with artist’s cipher and text to the original owner signed and dated by Yoichi Ohira in Japanese characters.

Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ‡ plus Buyers Premium and VAT*

39. Stilnovo Pair of adjustable wall lights 1950s Painted aluminium, painted brass, brass. Each: 202 cm (79 1/2 in.) high Manufactured by Stilnovo, Milan, Italy. Each stem impressed stilnovo/PATENT. Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500 plus Buyers Premium and VAT*

Provenance Private collection, Turin

Property from an Important Collection, Paris

40. Jean Royère

1902-1981

Dining table 1933-1950 Oak. 72 x 149 x 74 cm (28 3/8 x 58 5/8 x 29 1/8 in.) Estimate £20,000-30,000 $25,800-38,800 €22,000-33,000 plus Buyers Premium and VAT*

Provenance Galerie du Passage, Paris Acquired from the above by the present owner, 1992

Literature C. Grange-Bary, ‘Un Dialogue Inspiré’, Maison & Jardin, 30 September 1994, illustrated n.p. Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 156 for another version of the model Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 55, 64 for another version of the model Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 1, Paris, 2012, p. 260 for another version of the model

41. Jean-Michel Frank

1895-1941

Pair of ‘X’ table lamps circa 1940 Painted iron, paper shades. Each: 46 cm (18 1/8 in.) high, 30 cm (11 3/4 in.) diameter Produced by Comte, Buenos Aires, Argentina. Together with a certifcate of authenticity from the Comité Jean-Michel Frank.

Provenance Hotel Horizonte, Mar del Plata Literature ‘A Twentieth Century Apartment’, Vogue, August 1929, p. 33 Léopold Diego Sanchez, Jean-Michel Frank, Adolphe Chanaux, Paris, 1997, pp. 47, 87 Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: l’étrange luxe du rien, New York, 2006, pp. 13, 131

Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000 plus Buyers Premium and VAT*

42. Jean-Michel Frank

1895-1941

Pair of stools circa 1938 Gilt iron, leather. Each: 45 x 50 x 38 cm (173/ 4 x 195/8 x 147/8 in.) Produced by Comte, Buenos Aires, Argentina. Together with a certifcate of authenticity from the Comité Jean-Michel Frank. Estimate £20,000-30,000 $25,800-38,800 €22,000-33,000 Ω plus Buyers Premium and VAT*

Provenance Antonio D’Alessandro and Esther Bergonzi, Buenos Aires, circa 1938 Thence by descent to the present owner Literature Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, p. 198

Sobriété, élégance, confort, luxe c’est aujourd’hui

Following his studies at the École nationale supérieure des Arts Décoratifs in Paris, the architect and décorateur Jacques Adnet joined the Maîtrise workshop of the Galeries Lafayette in 1922. The workshop’s director, the designer Maurice Dufrêne became an important collaborator and friend to Adnet, supporting his appointment as artistic director of the Compagnie des Arts Français in 1928. Founded in 1919 by Louis Süe and André Mare in the spirit of renewing the tradition of the French decorative arts, under the young Adnet’s leadership, the Compagnie des Arts Français became a ‘laboratoire de modernité’, embracing geometric simplicity and modern materials. That year, at the 18th Salon des Artistes décorateurs, Adnet exhibited furnishings for a bedroom, which made evident this new visual language. The furniture comprised seemingly regimented forms executed using luxurious materials otherwise devoid of ornamentation. A notable element within the interior was the present model table lamp. The design featured two intersecting squares made from silver-plated tubular metal and four integrated fuorescent bulbs, supported on an ebony base. Adnet also applied this architectural structure to designs for ceiling and wall lights, in which the confgurations of right angles were informed by the shape and number of the exposed linear bulbs. Adnet was among the frst designers to incorporate metal and glass into the structure of his furnishings, which he also celebrated for their aesthetic value within his interiors: ‘l’intérieur doit être comme l’extérieur’ (Blaise Cendrars, extract from a poem written on the invitation for the opening of the new Compagnie des Arts Français, Paris, 1928).

The present model exhibited at the Salon des Artistes Décorateurs, 1928. © DACS 2020.

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

43. Jacques Adnet

1900-1984

Rare table lamp circa 1928 Silver-plated metal, glass, ebony, Bakelite. 57 x 59 x 11.4 cm (22 1/2 x 23 1/4 x 4 1/2 in.) Produced by La Compagnie des Arts Français, Paris, France. Estimate £35,000-55,000 $45,200-71,100 €38,500-60,500 plus Buyers Premium and VAT*

Provenance Private collection, Paris Galerie Doria, Paris Private collection, Gourdon Christie’s, Paris, ‘Les Collections du Château de Gourdon: Chefs-d’œuvre du XXème siècle’, 29 March 2011, lot 4 Acquired from the above by the present owner Literature René Prou, Intérieurs au Salon des Artistes Décorateurs, Paris, 1928, pl. 44 A. Diard, ‘L’éclairage de la demeure moderne’, Les Echos des Industries d’Art, no. 38, September 1928, p. 25 René Chavance, ‘Les appareils d’éclairage’, Mobilier et Décoration, no. 8, August 1929, p. 61 Alain-René Hardy and Gaëlle Millet, Jacques Adnet, Paris, 2009, pp. 68-69

Connective Art: Beverly Pepper’s Utopic Vision for Design By Dr. Margaret J. Schmitz

Beverly Pepper shattered glass ceilings by becoming a world-renowned, female artist of monumental, site-specifc steel sculpture during the 1960s and 70s. This time period, and the medium with which she worked, is most commonly associated with her contemporary male peers. However, Pepper’s angled and curvilinear forms comprised of Cor-Ten steel predate even Richard Serra and Donald Judd’s use of the material. Her work appears to derive much theoretical and aesthetic inspiration from mid-century movements such as Land Art and Minimalism, but it would be wrong to defne Pepper with these labels in any conclusive way. To do so would fail to acknowledge the profound impact that Pepper’s work had on formulating these movements in the frst place. Additionally, such an assertion would minimise Pepper’s utopian agenda, unique amongst her contemporaries, which sought to foster connection between viewers and their fellow human beings, nature, and themselves. In Pepper’s own words: ‘The work should be in dialogue with the people around it. I believe this is a prime function of art in a world increasingly hostile to human life. With the pollution of the environment, the atomising of the human spirit, it is increasingly necessary that modern art, especially public art, have some relationship with people–that is, with the world of common experience…Art must speak to the troubled, alienated human being for this reason I conceive of a return to a relationship between art and the living world which can be called Connective Art…’1 Connective Art’s potential social impact was the theoretical catalyst for Pepper’s experiments with site and space. The present table ofers an intimate example of Pepper’s motivations in this regard. Simultaneously, the work is unusual for the artist’s oeuvre in that it is equally a sculpture and a utilitarian object. The fact that it is both is perhaps the perfect culmination of Connective Art’s goals: the table invites its users and spectators into a shared, abstract fantasy. Pepper’s conceptual framework required that her art provide people with a safe space that was removed from the chaos inundating contemporary life. What better way for Pepper to reify Connective Art than by turning her sculpture into furniture, particularly a table—an

object whose spirit and function is to serve as a human meeting place? What is more, Pepper has stipulated that if a single person came upon her work, they would never feel alone with it. The table’s intense angularity and shimmering surface brazenly announces the object’s presence and, consequently, a sense of communion is created between the object and its spectator. Pepper has explained the aesthetic experience she wished people to inhabit when approaching her work: ‘seeing, touching, and the physical sensory engagement is the way into my sculpture; my intention is that the meaning of my work rests in experiencing it.’2 The present lot is, likewise, emphatically multi-sensory. The table is comprised of smooth, polished stainless steel that mirrors a rippled abstraction of the room surrounding it. Its top is met by three additional triangular slabs of steel serving as the table’s base, which recede downward to a support made of steel-reinforced concrete. The support element is meant to hide underneath the foor, ensuring that the object appear weightless, with its impressive form seemingly balanced on a mere few centimetres. As a spectator approaches the work and walks around it, the planes and linear elements supporting the table top’s refective surface suddenly appear then dissipate into voids. Characteristic of Pepper, there are unexpected textures in this work. In addition to the polished stainless steel, a triangular recess of brushed steel can be discovered within one of the table’s side panels. When the table was created, in the early 1970s, Pepper was at the height of her career. She had been experimenting with transitioning the forms of her enormous angular sculptures inset with triangular hollows, such as Perazim II (1975), into objects of utilitarian design, but the present lot is unique among Pepper’s already rare hybrid examples. At the time, she was living and working in Todi, Italy where she remained until her recent death in February 2020. Her life up until this point is a circuitous tale of creative self-discovery. Pepper was born to Jewish immigrant parents in Brooklyn in 1922. She studied at Pratt University where she took up work initially as an abstract painter.

By 1948, she had moved to France, then, fnally, to Todi in 1951. Pepper’s turn to sculpture began in earnest afer a trip to Angkor Wat in 1960. She was seduced by the ancient temple complex’s monumental sculptures, architecture, and the way nature had overtaken the site. Entranced by the idea that the passage of time and a union between human beings and the larger world could be made so visibly manifest, she had the epiphany that sculpture might help her express these transcendental ideas. The next major turning point in Pepper’s career occurred in 1962, when she moved from working with wood to steel and iron. That year, ten sculptors were commissioned by Italsider, a subsidiary of U.S. Steel., for an outdoor exhibition held in Spoleto, Italy. Of the ten artists three were American: Alexander Calder, David Smith, and Beverly Pepper. In an unconventional move at the time, the exhibition’s all-male jury wished to have a woman sculptor, but Pepper’s involvement in the exhibition was contingent on whether or not she could weld. Knowing the exhibition was months away, she lied and said she could. Pepper then furtively took courses with a local steel monger and poured herself into the new medium. In a display of unprecedented artistic stamina, Pepper created several steel works in abstract, rounded and looped forms. The exhibition proved to be a milestone for her career and artistic development. From then on Pepper worked consistently with steel factories and manufacturers to source her materials and assist her in creating work.

Beverly Pepper at work at the factory in Terni, Italy, 1970. Courtesy of Beverly Pepper studio, Italy.

Pepper’s outdoor, public sculptures were frequently comprised of Cor-Ten steel, which oxidises over time, naturally forming a rusted finish that preserves the sculptures without the need of finishes. Importantly, this oxidisation welcomes time and natural elements as co-designers of the work. Pepper embraced a similar rationale when completing her polished stainless-steel sculptures, which, she stipulated, are ‘fnished’ by the sky (see, for example, Exodus (1972)). As Pepper’s terrestrial abstractions appear to emerge from the earth, or foor, their refective surfaces, populated by solids and voids, create metaphoric allusions to the dualities between earth and the cosmos, surface and interior, and the interplay between the man-made and organic. Her interest in these dualities are what defne Connective Art’s principles, which are made exquisitely manifest by the present table’s assertive, yet intimate, form and functionality. Dr. Margaret J. Schmitz

1 2

Beverly Pepper, 1970-71, quoted in Beverly Pepper: Sculpture 1960 – 1973, Tyler School of Art in Rome, Temple University Abroad, March 1-April 4, 1973. Beverly Pepper quoted in Sarah Cascone, ‘At 96, the Sculptor Beverly Pepper Is Only Now Getting Credit for Using Cor-Ten Steel Way Before Richard Serra’, ArtNet News, 25 February, 2019.

44. Beverly Pepper

1922-2020

Unique table circa 1973 Polished and brushed stainless steel. 91 x 428.8 x 169.9 cm (35 7/8 x 168 7/8 x 66 7/8 in.)

Provenance Count Urbano Rattazzi, Italy Private collection, Milan, acquired directly from the above, 1980s Thence by descent to the present owner

Estimate £25,000-35,000 $32,300-45,200 €27,500-38,500 plus Buyers Premium and VAT*

45. Carlo Scarpa

1906-1978

Pair of wall lights, model no. 442 circa 1936 Corroso glass, nickel-plated brass. Each: 28.5 x 31.5 x 20.5 cm (11 1/4 x 12 3/8 x 8 1/8 in.) Produced by Venini & C., Murano, Italy. Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200

Provenance Spada family, Buenos Aires Literature ‘La battaglia di Parigi’, Domus, no. 106, October 1936, pp. 22-23 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 161 Marino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, p. 60

plus Buyers Premium and VAT*

The present model was exhibited at the VI Milan Triennale, 1936.

46. Carlo Scarpa

1906-1978

Standard lamp, model no. 516 circa 1942 Corroso glass, brass, paper shade. 185.5 cm (73 in.) high Produced by Venini & C., Murano, Italy. Estimate ÂŁ12,000-18,000 $15,500-23,300 â&#x201A;Ź13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, Vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 178A

47. Elizabeth Garouste and

Mattia Bonetti

b. 1949 and b. 1953

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

Pair of ‘Comtesse’ guéridons circa 1990 Patinated bronze. Each: 60.5 cm (23 7/8 in.) high, 40 cm (15 3/4 in.) diameter Each with one foot impressed with the designers’ monogram B.G.

Literature Volker Albus, et. al., Garouste & Bonetti, Frankfurt, 1996, p. 58

48. Pierluigi Giordani Set of ffeen dining chairs 1950s Mahogany-veneered wood, mahogany, fabric. Tallest: 87 x 42 x 52 cm (34 1/4 x 16 1/2 x 20 1/2 in.) Estimate £12,000-18,000 $15,500-23,300 €13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Bologna Literature Irene de Guttry and Maria Paola Maino, Antiquariato del ‘900: Mobili e arredi degli anni Quaranta e Cinquanta, Milan, 2013, p. 39 for a similar example

49. Melchiorre Bega

1898-1976

Unique double desk circa 1954 Reverse-painted glass, walnut-veneered wood, walnut, brass. Desk: 80 x 173.8 x 76 cm (31 1/2 x 68 3/8 x 29 7/8 in. Desk attachment: 64.5 x 85.5 x 43.3 cm (25 3/8 x 33 5/8 x 17 in.) Overall: 80 x 214 x 85.5 cm (31 1/2 x 84 1/4 x 33 5/8 in.)

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Provenance Private collection, Bologna, commissioned directly from the designer, circa 1954

50. Ico Parisi

1916-1996

‘Iride’ standard lamp circa 1970 Painted aluminium, stainless steel, painted steel. 179 cm (70 1/2 in.) high Manufactured by Lamperti, Robbiate, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Flaminio Gualdoni, ed., Ico Parisi & architecture, exh. cat., Galleria Civica, Bologna, 1990, p. 225 Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

51. Melchiorre Bega

1898-1976

Unique cofee table circa 1954 Reverse-painted glass, walnut-veneered wood, walnut. 56 x 115 x 76.8 cm (22 x 45 1/4 x 30 1/4 in.)

Estimate ÂŁ4,000-6,000 $5,200-7,800 â&#x201A;Ź4,400-6,600 plus Buyers Premium and VAT*

Provenance Private collection, Bologna, commissioned directly from the designer, circa 1954

52. Georges Jouve

1910-1964

Four ‘Cylindre’ vases circa 1955 Glazed stoneware. Tallest: 24.4 cm (9 5/8 in.) high Underside of each signed with artist’s cipher and JOUVE.

Estimate £6,000-8,000 $7,800-10,300 €6,600-8,800 plus Buyers Premium and VAT*

Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 62–65, 150 for other examples from the series

53. Charlotte Perriand

1903-1999

Dining table circa 1958 Ash. 72 x 199.5 x 84.5 cm (28 3/8 x 78 1/2 x 33 1/4 in.) Estimate ÂŁ20,000-30,000 $25,800-38,800 â&#x201A;Ź22,000-33,000 plus Buyers Premium and VAT*

Provenance Commissioned for a hotel restaurant, France, circa 1958 Private collection, France Literature Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, pp. 77, 79, 239 for a similar example

54. Paolo de Poli

1905-1996

Three bowls circa 1966 Enamelled copper. Largest: 6.4 cm (2 1/2 in.) high Underside of each signed De Poli and one dated 1966. Estimate £1,200-1,800 $1,600-2,300 €1,300-2,000

Provenance Private collection, Milan Literature ‘Metalli alla VI Triennale’, Domus, no. 103, July 1936, p. 47 for similar examples Gio Ponti, Smalti di De Poli, Milan, 1958, fgs. 22, 24, 48, 60 for similar examples Pier Luigi Fantelli, et. al., L’arte dello smalto: Paolo de Poli, Padua, 1984, p. 100 for a similar example

plus Buyers Premium and VAT*

55. Max Ingrand

1908-1969

Rare low table circa 1959 Glass, painted metal, brass. 39.5 x 98.5 x 38.5 cm (15 1/2 x 38 3/4 x 15 1/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature ‘Rassegna Domus per Natale’, Domus, no. 361, December 1959, n.p. for a similar example

56. Georges Jouve

1910-1964

‘Oursin’ vase 1959-1960 Glazed stoneware. 14.5 cm (5 3/4 in.) high, 18 cm (7 1/8 in.) diameter Underside signed with artist’s cipher and JOUVE.

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 151

57. Charlotte Perriand

1903-1999

Pair of tripod stools designed 1947 Walnut. Each: 45 cm (17 3/4 in.) high, 32.5 cm (12 3/4 in.) diameter Estimate ÂŁ3,000-5,000 $3,900-6,500 â&#x201A;Ź3,300-5,500 plus Buyers Premium and VAT*

Provenance Architect Jean-Louis Garnaud, Paris Literature Jacques Barsac, Charlotte Perriand: Complete Works Volume 2, 1940-1955, Paris, 2015, pp. 162-63, 169, 302-03, 305, 311, 380-81 Jacques Barsac, Charlotte Perriand: Complete Works Volume 3, 1956-1968, Paris, 2017, p. 90

58. Jacques and Dani Ruelland Table lamp

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

circa 1960 Glazed earthenware, brass, fabric shade. 41 cm (16 1/8 in.) high, 35 cm (13 3/4 in.) diameter Underside incised Ruelland.

Literature Pierre Staudenmeyer, La Céramique Française des Années 50, Paris, 2001, p. 282 for a similar example

59. Jean Prouvé

1901-1984

Two ‘Tout bois’ chairs circa 1942 Oak-veneered plywood, oak. Taller: 81 x 40.2 x 45.4 cm (31 7/8 x 15 7/8 x 17 7/8 in.) Manufactured by Les Établissements Vauconsant, Saint-Nicolas-de-Port, France, for Les Ateliers Jean Prouvé, Nancy, France.

Estimate £6,000-8,000 $7,800-10,300 €6,600-8,800 plus Buyers Premium and VAT*

Literature Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 2: 1934-1944, Basel, 2000, pp. 33, 294-95 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 66-69, 98, 397

60. Jacques and Dani Ruelland Group of seven vases

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

1960s Glazed earthenware. Tallest: 35.5 cm (13 7/8 in.) high Underside of each incised Ruelland.

Literature Pierre Staudenmeyer, La Céramique Française des Années 50, Paris, 2001, pp. 284-85 for similar examples

61. Jules Wabbes

1919-1974

Dining table circa 1970 Laminated end-grain wenge, painted steel. 74.3 cm (29 1/4 in.) high, 205.5 cm (80 7/8 in.) diameter Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 plus Buyers Premium and VAT*

Provenance Galerie Dutko, London Literature J.J. Wabbes, exh. cat., Galerie Les Années 50, Brussels, 2001, p. 24 Marie Ferran-Wabbes, Jules Wabbes, 1919-1974, Architecte d’intérieur, Tournai, 2002, p. 147 Jules Wabbes, Furniture Designer, exh. cat., Bozar Centre for Fine Arts, Brussels, 2013, fg. 139

∑

62. George Nakashima

1905-1990

Pair of rare lounge chairs circa 1968 Stained East-Indian rosewood, seagrass. Each: 77.5 x 56.3 x 68 cm (30 1/2 x 22 1/8 x 26 3/4 in.) Produced by the National Design Institute, Ahmedaba, India. Number 2 and 4 from the edition of 29. Each frame with metal label impressed N D D B/029 / 0002 and N D D B/029 / 0004, respectively. Together with a letter from Mira Nakashima.

Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500 plus Buyers Premium and VAT*

Literature Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craf Museum, New York, 1989, pp. 49, 53, 158 for a similar example

63. Georges Jouve

1910-1964

Large pitcher

Estimate £1,800-2,400 $2,300-3,100 €2,000-2,600 plus Buyers Premium and VAT*

1950s Glazed stoneware. 31.4 x 18.5 x 13 cm (12 3/8 x 7 1/4 x 5 1/8 in.) Underside signed with artist’s cipher.

Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 17, 301

64. Isamu Noguchi

1904-1988

Early ‘Akari’ light sculpture, model no. 31N mid 1950s Japanese mulberry bark paper, bamboo, painted metal. 192 cm (75 5/8 in.) drop, 29 cm (11 3/8 in.) diameter Manufactured by Ozeki & Co., Gifu, Japan. Shade stamped with artist’s ideograph. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan, mid 1950s Thence by descent Acquired from the above by the present owner Literature Nancy Grove and Diane Botnick, The Sculpture of Isamu Noguchi, 1924–1979: A Catalogue, New York, 1980, cat. no. 820 31N Isamu Noguchi and Seibu Bijutsukan, Isamu Noguchi: Space of Akari and Stone, San Francisco, 1986, p. 67 Alexander von Vegesack, et al., eds., Isamu Noguchi, Sculptural Design, exh. cat., Vitra Design Museum, Weil am Rhein, 2001, p. 274

∑

65. George Nakashima

1905-1990

‘Conoid’ bench 1966 American black walnut, hickory, East Indian rosewood butterfy key. 75.8 x 203 x 86.9 cm (297/8 x 797/8 x 341/4 in.) Underside signed in marker STUDIO and incised III. Together with a copy of the original order card and certifcate of authenticity from Mira Nakashima. Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 Ω plus Buyers Premium and VAT*

Provenance Private collection, New Jersey, acquired directly from the artist, 1966 Private collection, Florida Wright, Chicago, ‘Important Design’, 13 December 2012, lot 239 Acquired from the above by the present owner Literature George Nakashima, The Soul of a Tree, A Woodworker’s Refections, Tokyo, 1981, p. 151 Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craf Museum, New York, 1989, p. 157 for a similar example Mira Nakashima, Nature, Form & Spirit, The Life and Legacy of George Nakashima, New York, 2003, pp. 173, 176 for similar examples

66. Franco Albini

1905-1977

Rare pair of bookends

Estimate £1,200-1,800 $1,600-2,300 €1,300-2,000 plus Buyers Premium and VAT*

circa 1930 Cast iron. Each: 11.6 x 10.2 x 6 cm (4 5/8 x 4 x 2 3/8 in.) Manufactured by Fonderie Milanesi A. Vanzetti, Milan, Italy. Underside of one impressed -AP-RL1-/F.M. A-VANZETTI/MILANO.

Provenance Private collection, Monaco Literature Giampiero Bosoni and Federico Bucci, Il Design e gli Interni di Franco Albini, Milan, 2009, p. 129

67. Ado Chale

b. 1928

‘Goutte d’eau’ low table circa 1970 Bronze, painted steel. 31.5 x 116.5 x 56.8 cm (123/8 x 457/8 x 223/8 in.) Tabletop incised Chale. Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 plus Buyers Premium and VAT*

Literature Philippe Cruysmans, Ado Chale, Brussels, n.p. for a similar example IIona Chale, Ado Chale, Brussels, 2017, n.p. for a similar example Phillips wishes to thank Ilona Chale from the Ado Chale studio for her assistance cataloguing the present lot.

68. Hans Coper

1920-1981

Pot on cylindrical foot circa 1974 Stoneware, black glaze, the interior with a cylindrical stem-holder. 11.8 x 7.8 x 7.5 cm (4 5/8 x 3 1/8 x 2 7/8 in.) Impressed with artist’s seal. Estimate £6,000-9,000 $7,800-11,600 €6,600-9,900 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Kösters Kunstkammer, Mönchengladbach Baroness Margot Winkler von Mohrenfels, Hemhofen, acquired from the above, 1975 Thence by descent to the present owner Literature Tony Birks, Hans Coper, Yeovil, 2013, p. 192 for a similar example

69. Lucie Rie

1902-1995

‘Knitted’ footed bowl circa 1978 Stoneware, inlaid with semi-transparent pink glaze, feathered manganese rim. 9 cm (3 1/2 in.) high, 23.5 cm (9 1/4 in.) diameter Impressed with artist’s seal. Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Kösters Kunstkammer, Mönchengladbach Baroness Margot Winkler von Mohrenfels, Hemhofen, acquired from the above 1978 Thence by descent to the present owner

70. Lucie Rie

1902-1995

Conical bowl circa 1972 Stoneware, glaze, mixed clays producing an integral spiral. 10 cm (3 7/8 in.) high, 22.6 cm (8 7/8 in.) diameter Impressed with artist’s seal.

Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Baroness Annette Winkler von Mohrenfels, Nuremberg, acquired directly from the artist, 1975 Thence by descent to the present owner

71. Hans Coper

1920-1981

‘Cycladic’ pot circa 1975 Stoneware, layered white porcelain slips and engobes over a body with textured and incised linear designs, the interior with manganese glaze. 27 cm (10 5/8 in.) high Impressed with artist’s seal. Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Baroness Annette Winkler von Mohrenfels, Nuremberg, acquired directly from the artist, 1975 Thence by descent to the present owner Literature Maya Nishi, ed., Hans Coper Retrospective: Innovation in 20th Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, p. 111 for a similar example Tony Birks, Hans Coper, Yeovil, 2013, pp. 159, 193 for similar examples

72. Gio Ponti

1891-1979

Pair of chairs circa 1938 Burr walnut-veneered wood, walnut, fabric. Each: 87 x 44.2 x 48.4 cm (34 1/4 x 17 3/8 x 19 in.) Manufactured by Bega, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 plus Buyers Premium and VAT*

Provenance Private collection, Florence Literature Irene de Guttry and Maria Paola Maino, Il mobile déco italiano, Bari, 1988, p. 222 for a similar example

73. Fontana Arte Pair of monumental lanterns 1940s Glass, painted steel, steel. Each: 231 x 60.5 x 26.7 cm (90 7/8 x 23 7/8 x 10 1/2 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £20,000-30,000 $25,800-38,800 €22,000-33,000 plus Buyers Premium and VAT*

Provenance Private residence, Santa Margherita Literature Sergio Montefusco, Fontana Arte: repertorio 1933-1943 dalle immagini dell’epoca, Genoa, 2012, p. 146

74. Ico Parisi

1916-1996

Set of six dining chairs designed 1947, produced circa 1954 Walnut, fabric. Each: 90.3 x 45.5 x 51.7 cm (35 1/2 x 17 7/8 x 20 3/8 in.) Manufactured by Fratelli Rizzi, Intimiano, Italy. Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

Provenance Gabriella Cozzi, Como, commissioned directly from the designer, circa 1954 Private collection, Milan, 2000 Galerie Marc Heiremans, Brussels, 2001 Acquired from the above by the present owner Literature Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, pp. 92, 185 Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

75. Gio Ponti

1891-1979

Cabinet circa 1937 Beech-veneered wood, beech, birch, painted wood, nickel-plated brass. 114.1 x 222 x 40.5 cm (447/8 x 873/8 x 157/8 in.) Reverse with paper label inscribed in pencil Dr GIOVANNI/ROVELLA/Viale Reg. Margherita 14/CATANIA. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate ÂŁ14,000-18,000 $18,100-23,300 â&#x201A;Ź15,400-19,800 plus Buyers Premium and VAT*

Provenance Rovella family, Catania Literature Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2004, p. 112 for a similar example

76. Max Ingrand

1908-1969

Pair of wall lights, model no. 2311 circa 1960 Chiselled glass, glass, brass. Each: 21 x 17 x 10 cm (8 1/4 x 6 3/4 x 3 7/8 in.) Manufactured by Fontana Arte, Milan, Italy.

Provenance Private collection, Milan Literature Quaderni Fontana Arte 6, sales catalogue, 1964, p. 76 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du Verre À La Lumière, Paris, 2009, p. 179

Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600 plus Buyers Premium and VAT*

77. Franco Albini and Franca

Helg

1905-1977, 1920-1989

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

‘Miraggio’ bed 1970s Brass, painted wood. 122.5 x 176 x 203 cm (481/ 4 x 691/ 4 x 797/8 in.) Manufactured by Frigerio, Desio, Italy.

Provenance Private collection, Milan Literature ‘Domus Rassegna Letti’, Domus, no. 537, August 1974, n.p.

78. Franco Albini

1905-1977

‘Fiorenza’ armchair circa 1952 Fabric, walnut, brass. 102 x 79 x 92 cm (40 1/8 x 31 1/8 x 36 1/4 in.) Manufactured by Arfex, Milan, Italy. Underside with manufacturer’s label printed ar/FLEX/MILANO/CORSO DI PORTA VITTORIA.54/TEL. 70 60 66 / 70 60 67.

Provenance Private collection, Milan Literature ‘Interni con mobili di serie’, Domus, no. 317, April 1956, p. 32 Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, vol. 1, Turin, 2003, p. 28 Giampiero Bosoni and Federico Bucci, Il design e gli interni di Franco Albini, Milan, 2016, p. 100

Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

79. Max Ingrand

1908-1969

Ceiling light, model no. 2077 circa 1958 Glass, painted steel. 29.5 cm (11 5/8 in.) drop, 88 cm (34 5/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate £14,000-18,000 $18,100-23,300 €15,400-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Varese Literature Quaderni Fontana Arte 1, sales catalogue, 1960s, p. 41 ‘Stand di Fontana-Arte alla 39a Fiera di Milano’, Vitrum, no. 147, February 1965, pp. 28-29, 31 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 316

80. Gabriella Crespi

1922-2017

Pair of ‘Scultura’ low tables, from the ‘Plurimi’ series circa 1976 Brass-covered wood. Each: 40 x 79.6 x 60.2 cm (15 3/4 x 31 3/8 x 23 3/4 in.) Each: 40 x 89.4 x 69.4 cm (153/4 x 351/4 x 273/8 in.) fully extended Produced by Gabriella Crespi, Milan, Italy. One impressed with artist’s facsimile signature and ® below the applied artist’s logo and incised Gabriella Crespi/BREV. 29. The other incised Gabriella Crespi/ BREV. 31.

Literature Gabriella Crespi, Il segno e lo spirito: mobili, plurimi, sculture e gioielli, exh. cat., Palazzo Reale, Milan, 2011, p. 67 Pierluigi Masini, Gabriella Crespi: Spirito e Materia, Arte e Design, Bologna, 2018, p. 88 The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200401006.

Estimate £24,000-28,000 $31,000-36,200 €26,400-30,800 plus Buyers Premium and VAT*

81. Gio Ponti

1891-1979

Pair of lounge chairs circa 1937 Painted wood, painted steel, fabric, rubber. Each: 59.5 x 63.6 x 110 cm (23 3/8 x 25 x 43 1/4 in.) Manufactured by Casa e Giardino, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Provenance Private collection, Forlì Literature ‘Mobili e oggetti per la casa e il giardino’, Domus, no. 117, September 1937, p. 20; no. 152, August 1940, p. 55

82. Gianni Celada

b. 1935

Ceiling light circa 1970 Painted aluminium, painted steel, brass. 139 cm (54 3/4 in.) drop Manufactured by Fontana Arte, Milan, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

Provenance Private collection, Milan

83. Gabriella Crespi

1922-2017

‘Bar Ovale’, from the ‘Menhir’ series circa 1976 Brass covered-steel, laminated wood. 74 x 60.2 x 39.8 cm (29 1/8 x 23 3/4 x 15 5/8 in.) Produced by Gabriella Crespi, Milan, Italy. Reverse impressed with artist’s facsimile signature and ® below the applied artist’s logo and further incised Gabriella Crespi. Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Rosaria Zucconi and Doriana Torriero, ‘Fuga nel Tempo’, Elle Decor Italia, March 2015, p. 294 The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200212063.

A Room to Rest and Wonder By Brian Kish A rare occurrence but no anomaly, the present bedroom suite is an autonomous single commission that does not quite conform to Gio Ponti’s well known preference for total control of an entire project, where he designs a commercial, devotional or residential building and all of its contents from top to bottom. Nevertheless, in this private commission he demonstrates a wide panoply of original spatial solutions that combines structural mastery with a seductive manipulation of materials. The scheme is an adroit juxtaposition of three distinct units, pared down into elegantly functional elements adapted to the needs of everyday life. The wardrobe wall is the largest unit, extending more than three and half metres with a four-door cabinet that terminates into an open element with a slightly recessed niche. A short right angled return hugs a corner of the room. Into its shallow setback a vertical stack of drawers functions as a dresser, above which a wood panel contains a brass frame insert, most likely meant for a mirror. The bedside wall unit is confgured into a corner space with the wood panelling wrapping around it and supporting a large cantilevered chest of drawers. There are three angular shelves projecting from its lef side, while a magazine holder hangs on the panel above near another mirror frame insert. In dialogue with the surrounding elements the free standing single bed itself is adorned with cut-out voids at either end so that the headboard and footboard are identical. In turn, these two end profles are slightly canted so that their symmetrical confguration relates to the three oblique foating shelves of the back wall panel. The third unit is the desk area, which is also set into a corner. It features a more resolute hef where the complexity of geometries is the most visually engaging of the three bedroom compositions. Under the backpainted glass top of the desk, which is perpendicular to the wall panel, several open box shelves contrast against closed ones while the back wall holds an array of cantilevered magazine shelves. Ponti enriched the optical readings of every surface with geometrical and pictorial

Brian Kish Curator and Specialist in 20th Century Italian architecture and design. Associate member of the Gio Ponti Archives since 2006.

embellishments as well as varying treatments of oak veneers. Besides the warmth that oak imparts with its symbolic meanings of strength and knowledge, the textures of the Italian grissinatura technique and the plain vertical strips of quartered oak surfaces bring out the full force of this noble material. The present bedroom design has clear historical precedents in Ponti’s oeuvre. The emergence of the parete attrezzata (furnished wall) can be traced back to his rationalist interiors of 1930s such as the Casa Marmont (1933) and the Casa Vanzetti (1938). By 1948, this trend came to full development in the Cremaschi apartment where Ponti devised ‘organisational’ furniture that doubled as a wall, which became for him a method to enliven these domestic realms. The bedroom demonstrates these principles and methods to varying degrees in all three distinct units. Along with the pictorial aspects, they enhance and pull the bedroom together in a state of efortless cohesion that endows the space with a touch of enchantment. In 1951, Ponti achieved great notoriety for his ‘Hotel Bedroom’ at the 9th Milan Triennale. That experimental exhibition concept is very likely to have led directly to this private bedroom commission. Both rooms have a similar scheme, profling of forms, and spatial afnities. However, the imaginary hotel room was predominantly covered in yellow laminates with oak trimmings and brass handles that was meant to suggest the space of a room within the exhibition. Meanwhile the present private commission became a more elaborate program, no doubt enhanced by client specifcations supported with adequate funding. Still, the installation at the Triennale was executed by Egidio Proserpio, one of Ponti’s most trusted ebanisti, and the similarities of many details in both bedrooms point to the same crafsman. The overall structure of this project and its spatial qualities are above all the result of an architect’s thinking and methodology where Ponti distillates his innate sensibilities through his labyrinthine handling of space and tectonics to create a space to rest and wonder.

84. Gio Ponti

1891-1979

Bed with integrated ‘Parete attrezzata’ 1950s Oak-veneered wood, oak, sapele, reverse-painted glass, glass, brass. Overall: 105.5 x 244.5 x 220 cm (41 1/2 x 96 1/4 x 86 5/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £12,000-18,000 $15,500-23,300 €13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Busto Arsizio, commissioned directly from the designer, 1950s

85. Gio Ponti

1891-1979

Illuminated wardrobe with integrated ‘Parete attrezzata’ and stool 1950s Sapele-veneered wood, oak-veneered wood, oak, mirrored glass, glass, brass, fabric. Overall: 179.5 x 361 x 63 cm (70 5/8 x 142 1/8 x 24 3/4 in.) Stool: 39 x 62.5 x 42 cm (15 3/8 x 24 5/8 x 16 1/2 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500 plus Buyers Premium and VAT*

Provenance Private collection, Busto Arsizio, commissioned directly from the designer, 1950s

86. Gio Ponti

1891-1979

Desk and chair with integrated ‘Parete attrezzata’ 1950s Oak-veneered wood, oak, sapele, reverse-painted glass, glass, brass, fabric, ofset print. Overall: 166.3 x 270 x 142.5 cm (65 1/2 x 106 1/4 x 56 1/8 in.) Chair: 76.8 x 47.5 x 48 cm (30 1/4 x 18 3/4 x 18 7/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000 plus Buyers Premium and VAT*

Provenance Private collection, Busto Arsizio, commissioned directly from the designer, 1950s

87. Max Ingrand

1908-1969

Set of fve ‘Micro’ wall lights, model no. 2093 circa 1961 Partially sandblasted glass, nickel-plated brass. Each: 21 x 12 x 15 cm (8 1/4 x 4 3/4 x 5 7/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200

Provenance Private collection, Como Literature Quaderni Fontana Arte 1, sales catalogue, 1960s, p. 62 Edoardo Paoli, ‘Specchi nell’ arredamento’, Vitrum, no. 151, September-October 1965, p. 45 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 203

plus Buyers Premium and VAT*

88. Max Ingrand

1908-1969

Ceiling light circa 1965 Glass, brass, painted metal, painted steel. 77.5 cm (30 1/2 in.) drop, 57.4 cm (22 5/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate £10,000-15,000 $13,000-19,500 €11,000-16,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Quaderni Fontana Arte 1, sales catalogue, 1960s, pp. 22-23 for larger versions of the model ‘Stand di Fontana-Arte alla 39a Fiera di Milano’, Vitrum, no. 147, February 1965, pp. 28, 33 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 326 for a larger version of the model

89. Gio Ponti

1891-1979

Rare side table circa 1939 Mahogany-veneered wood, mahogany. 49.8 x 48 x 70.2 cm (19 5/8 x 18 7/8 x 27 5/8 in.) Manufactured by Casa e Giardino, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Provenance Private collection, Mariano Comense Literature ‘Mobili per la casa’, Domus, no. 143, November 1939, p. 60 for a similar example

Estimate £6,000-8,000 $7,800-10,300 €6,600-8,800 plus Buyers Premium and VAT*

90. Fritz Hansen Sofa, model no. 1669a 1940s Fabric, stained beech. 76.6 x 184 x 84 cm (30 1/8 x 72 1/2 x 33 1/8 in.) Manufactured by Fritz Hansen, Copenhagen, Denmark.

Estimate ÂŁ5,000-7,000 $6,500-9,000 â&#x201A;Ź5,500-7,700 plus Buyers Premium and VAT*

Literature Fritz Hansen, sales catalogue, 1942, p. 17

91. Emiel Veranneman

1924-2004

Standard lamp circa 1961 Bronze, paper shade. 163.5 cm (64 3/8 in.) high

Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

Provenance Madame Ankart, Oudenaarde, acquired directly from the designer, circa 1961 White Interiors 49, Ostend Acquired from the above by the present owner Literature Veranneman, exh. cat., Galerie Emiel Veranneman, Brussels, 1969, pp. 36, 44, 47-48

∑

92. Finn Juhl

1912-1989

Pair of armchairs, model no. FJ 46 designed 1946 Brazilian rosewood, leather. Each: 82.4 x 62.5 x 60 cm (32 1/2 x 24 5/8 x 23 5/8 in.) Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark. Underside of each impressed NIELS VODDER CABINETMAKER/COPENHAGEN DENMARK/DESIGN FINN JUHL. Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500 plus Buyers Premium and VAT*

1. Provenance Gio Ponti

1891-1979????????????? Corporate Collection, Dublin Acquired from thesofa above Rare two-seater by the present owner 1950s Vinyltex, Literaturebrass, painted brass. 73 x 122.5 86 cm and (28 3/4 x 48 1/4 x 33 7/8 in.) Viggo StenxMøller Svend Erik Possibly manufactured by Cassina, Møller, Dansk Møbelkunst: Københavns Meda, Italy. Together with a certifcate of Snedkerlaugs Møbeludstilling, expertise the Gio Ponti 1927-1951,from Copenhagen, 1951,Arcahives. p. 82 Niels Vodder Furniture, Estimate Copenhagen, 1959, pp. 16-17 £22,000-28,000 $28,500-36,300 Grete Jalk, ed., Dansk Møbelkunst €26,300-33,400 gennem 40 aar, Volume 2: 1937-1946, plus Buyers Premium Copenhagen, 1987,and p. VAT* 321

Esbjørn Hiort, Finn Juhl: Furniture, Provenance Private collection, Architecture, Applied Milan Art, Copenhagen, 1990, pp. 10, 26 Literature Per H. Hansen, Finn Juhl and His House, ‘’Proposte la casa’ Ostfldern, per 2014, pp. 4,alla 14, XI 32,Triennale’, 158, 186 Domus, no. 337, December 1957, p. 33 Anne-Louise Sommer, Watercolors by for a similar Finn Juhl,example Berlin, 2016, p. 124 Ugo La Pietra, ed., Gio Ponti, NewLife, York, Christian Bundegaard, Finn Juhl: 2009, 239 for a similar example Work, p. World, London, 2019, pp. 139, 239 Laura Falconi, ed., Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, The present model was exhibited at the 2010, p. 183 for a similar example ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 27 September–13 October 1946, stand 24.

Salto’s‘Budding’ Style In his 1949 book Den spirende Stil, Axel Salto writes that the expression of movement or growth is inherent to the ceramic form, explaining, ‘The vase is like a living organism; the body buds, the buds develop, and sprouting, even prickly, vases are the result of this life’ (Axel Salto, Den spirende Stil, Copenhagen, 1949, p. 62). The resulting abstract forms observed from details in nature and expressed in stoneware with rich glazes are then further transformed through the tension of the firing process. Salto reinterpreted classical ceramic forms (such as the vase, bowl, jar), creating organic, asymmetrical designs that exploited the expressive potential of the idiosyncratic glazes, from which the idea for his ‘Budding’ style developed. In the form of high-relief carved buds in the present unique and large vase in the ‘Budding’ style, circa 1940 (lot 93), Salto created ‘obstacles’ in which the glaze fowed downward and around, allowing the ceramic body to re-emerge in the extreme heat of the kiln. Describing the process Salto writes, ‘The glaze runs round the raised points, which break through and push the glaze away so the piece is laid bare. The glaze concentrates and is thinned, and the colour changes with the thickness of the layer. Thereby arises the interplay, peculiar to stoneware, between piece and glaze: the dramatic, eruptive, natural, which for me is the characteristic feature of stoneware’ (Salto, pp. 59-60).

Salto worked as a designer for The Royal Copenhagen Porcelain Manufactory between 1933-1959, during which time he incorporated the frm’s classical and newly developed glazes into his work, in addition to collaborating with many of the stoneware workshop’s crafsmen and chemical engineers, including Carl Halier and Hans A. Madslund. The present unique and large vase in the ‘Budding’ style features two of Salto’s favourite glazes: Sung, one of Royal Copenhagen’s most celebrated stoneware glazes, which Salto admired for its variation in colour when fred; and Solfatara, created in 1936 by Madslund with the artist Nils Thorsson and named afer a volcanic crater near Mount Vesuvius. Describing the dramatic glaze, Salto recalled, ‘As sulphurous as Hekla and as bitter as an oath is this uranium glaze, which ranges from the deep plum-green, the black-blue to the chirping yellow-a fnd for the sprouting style. Some of the most emotionally charged pieces we produced during my entire time there have to be sought in the Solfatara and in Halier’s old, well-tried Sung glaze’ (Salto, p. 38). In addition to Sung, the present ‘Fruit Form’ vase, designed in 1946 (lot 94), features a light blue glaze, illustrating Salto’s use of the organic form to lead the glaze down and concentrate within the modelled surface. Designed in 1955, the two vases in the ‘Budding’ style, (lots 111 and 112) feature a deep red oxblood glaze, revealing white edges across the areas of high relief of Salto’s pinecone-shaped forms.

93. Axel Johann Salto

1889-1961

Unique and large vase in the ‘Budding’ style circa 1940 Stoneware, Sung and solfatara glazes with carved design. 28.4 cm (11 1/8 in.) high Produced by Royal Copenhagen, Denmark. Underside painted SALTO and blue wave mark under the glaze.

Estimate £30,000-50,000 $38,800-64,600 €33,000-55,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private collection, Denmark

94. Axel Johann Salto

1889-1961

‘Fruit Form’ vase, model no. 20818 designed 1946, produced 1961 Stoneware, Sung and light blue glazes. 21 cm (8 1/4 in.) Produced by Royal Copenhagen, Denmark. Underside incised 20818/179/ SALTO, painted 21818 and blue wave mark under the glaze and stamped DENMARK. Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500

Provenance Private collection, Denmark Literature Axel Salto, Den Spirende Stil, Copenhagen, 1949, p. 48 Den Kongelige Porcelainsfabrik A/S, sales catalogue, 1967, n.p. Susanne Bruhn and Christina Rauh Oxbøll, eds., Axel Salto: Master of Stoneware, exh. cat., CLAY Museum of Ceramic Art Denmark, Middelfart, 2017, p. 180

plus Buyers Premium and VAT*

Axel Salto in his studio, 1955. Courtesy of The Royal Library, Copenhagen. © DACS 2020.

95. Hans J. Wegner

1914-2007

Rare pair of lounge chairs, model no. JH516 designed 1951 Oak, cane. Each: 81 x 72.5 x 61 cm (317/8 x 281/2 x 24 in.) Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside of one chair with manufacturer’s label impressed JOHANNES HANSEN/CABINET MAKER/COPENHAGEN - DENMARK/ DESIGN: H. J. WEGNER. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

Provenance Private collection of cabinetmaker at Johannes Hansen, Copenhagen Literature Jens Bernsen, Hans J Wegner: om Design, exh. cat., Dansk Design Center, Copenhagen, 1995, p. 13 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 28 September-14 October 1951, stand 14. Phillips wishes to thank Marianne Wegner from the Hans J. Wegner Design Studio for her assistance cataloguing of the present lot.

96. Finn Juhl

1912-1989

Sofa, model no. BO64 circa 1948 Fabric, teak. 84.8 x 180.5 x 78 cm (333/8 x 711/8 x 303/ 4 in.) Manufactured by Bovirke, Copenhagen, Denmark.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

Literature Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 87, 136 for the twoseater version, model no. BO46

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

97. Paavo Tynell

1890-1973

Ceiling light, model no. 9049 circa 1950 Brass, glass. 59.5 cm (23 3/8 in.) drop, 59.5 x 59.2 cm (23 3/8 x 23 1/4 in.) diameter Manufactured by Taito Oy, Helsinki, Finland.

Estimate ÂŁ10,000-15,000 $12,900-19,400 â&#x201A;Ź11,000-16,500 plus Buyers Premium and VAT*

Provenance Private collection, Helsinki Literature Idman, sales catalogue, no. 135, 1953, p. 13; no. 136, 1954, p. 42; no. 138, 1955, p. 56

98. Paavo Tynell

1890-1973

Pair of adjustable desk lamps, model no. 9227 1950s Partially painted brass, brass. Each: 47 x 21 x 27 cm (18 1/2 x 8 1/4 x 10 5/8 in.) Manufactured by Idman, Helsinki, Finland. Each stamped Idman.

Estimate £6,000-8,000 $7,800-10,300 €6,600-8,800 plus Buyers Premium and VAT*

Provenance Private collection, Helsinki Acquired from the above by the present owner Literature Idman, sales catalogue, no. 142, 1958, p. 111

99. Hans J. Wegner

1914-2007

‘V’ desk, model no. JH563 designed 1950, produced early 1960s Teak-veneered wood, teak, oak. 74.5 x 172 x 83 cm (29 3/8 x 67 3/4 x 32 5/8 in.) Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside impressed JOHANNES HANSEN/COPENHAGEN/DENMARK and with manufacturer’s stamp.

Estimate £6,000-8,000 $7,800-10,300 €6,600-8,800 plus Buyers Premium and VAT*

Provenance Private collection, Brædstrup, early 1960s Thence by descent to the present owner

Literature Roberto Aloi, Esempi Di Arredamento Moderno Di Tutto Il Mondo, studi librerie scrivanie, Milan, 1956, fg. 99 Johan Møller Nielsen, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, p. 118 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 141-42 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, p. 239 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 22 September–8 October 1950, stand 19.

100. Kaj Gottlob

1887-1976

Armchair designed 1937 Fabric, stained beech. 93.5 x 92 x 96 cm (36 3/4 x 36 1/4 x 37 3/4 in.) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark.

Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 15 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 10 September-3 October 1937, stand 17.

Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

101. Paavo Tynell

1890-1973

Pair of table lamps, model no. 5061 1950s Partially-painted brass, brass. Each: 41 cm (16 1/8 in.) high, 37 cm (14 5/8 in.) diameter Manufactured by Taito Oy, Helsinki, Finland. Underside of each impressed O/Y TAITO A/B and 5061. Estimate ÂŁ10,000-15,000 $12,900-19,400 â&#x201A;Ź11,000-16,500 plus Buyers Premium and VAT*

Provenance Private collection, Helsinki Literature Finland House Lighting: harmony in lighting for harmony in living, original designs by Paavo Tynell, sales catalogue, New York, 1950s, p. 27 Idman, sales catalogue, no. 135, 1953, p. 43; no. 136, 1954, p. 49; no. 138, p. 66

EXTEND EXTEND P BLE Photograph of the Johannes Hansen workshop by Egon Engmann. Image from Christian Holmsted Olesen, Wegner: just one good chair, p. 55.

To demonstrate the crafsmanship of the Danish cabinetmakers, Hans J. Wegner designed his ‘Round Chair’, model no. FH501 for the occasion of the 1949 Copenhagen Cabinetmakers’ Guild. Designed shortly before the exhibition opened, Wegner had not yet decided on his fnal solution for the joinery between the back support and armrests. Therefore, the early version exhibited in 1949 with a cane seat also featured caning around the back support to conceal the dowel joints. The following year, the American magazine Interiors, featured an article on the Cabinetmakers’ Guild exhibition and illustrated Wegner’s armchair. The design received high acclaim, becoming known simply as ‘The Chair’ in America, and leading to a large number of orders from Johannes Hansen’s workshop. In response to the armchair being exported internationally, Wegner designed a version with a leather seat, which was easier to maintain than the caning. By that time, he had also re-designed the curved top rail using turned W joints, which strengthened and further revealed the chair’s construction. That year, for the 1950 Copenhagen Cabinetmakers’ Guild, Wegner presented this second version of the armchair, model no. JH503. That autumn both model no. JH501 with cane seat and model no. JH503 with leather seat, now each with exposed top rails, went into production. However, at the request of several clients, Johannes Hansen continued to produce examples of the model no. JH501 with caned back support, including the present set of ten armchairs, until the mid-1950s.

D BG and PLINTH TO EED 102. Hans J. Wegner

1914-2007

Early set of ten ‘The Chair’ armchairs, model no. JH501 designed 1949, produced early-mid 1950s Teak, cane. Each: 76 x 62.7 x 53 cm (29 7/8 x 24 5/8 x 20 7/8 in.) Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside of each impressed JOHANNES HANSEN/COPENHAGEN/DENMARK and with manufacturer’s stamp. Estimate £25,000-35,000 $32,300-45,200 €27,500-38,500 plus Buyers Premium and VAT*

Provenance Galerie Philippe Denys, Brussels Acquired from the above by the present owner, 2001 Literature Esbjørn Hiort, Modern Danish Furniture, New York, 1956, p. 68 Johan Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, p. 101 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 99-101 Frederik Sieck, Contemporary Danish Furniture Design - a short illustrated review, Copenhagen, 1990, p. 221 Jens Bernsen, Hans J Wegner: om Design, exh. cat., Dansk Design Center, Copenhagen, 1995, pp. 13, 15, 24-25, 70, 92, 101, 111

Bodil Busk Laursen, Søren Matz and Christian Holmsted Olesen, eds., Mesterværker: 100 års dansk møbelsnedkeri, Copenhagen, 2000, p. 128 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 6, 14, 16, 52, 63, 66, 82, 90, 133-35 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 30 September–16 October 1949, stand 12. Phillips wishes to thank Marianne Wegner from the Hans J. Wegner Design Studio for her assistance cataloguing of the present lot.

103. LUMEN Standard lamp 1950s Acrylic, painted steel, brass, marble. 184.2 cm (72 1/2 in.) high Manufactured by Lumen, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

Provenance Private collection, Monaco

∑

104. Ole Wanscher

1903-1985

Desk circa 1959 Brazilian rosewood-veneered wood, Brazilian rosewood. 73.6 x 182 x 93 cm (28 7/8 x 71 5/8 x 36 5/8 in.) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Underside with manufacturer’s paper label printed Snedkermester/ A. J. Iversen/København.

Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4: 1957-1966, Copenhagen, 1987, p. 93 for another version of the model

105. Ettore Sottsass, Jr.

1917-2007

Mirror 1960s Mirrored glass, brass. 119 x 38.2 x 12 cm (46 7/8 x 15 x 4 3/4 in.) Manufactured by Santambrogio & De Berti, Lissone, Italy. Mirror with manufacturer’s foil label printed CUIVROGLACE/SPECCHIO GALVORAMATO/SANTAMBROGIO/& DE BERTI/-LISSONE VIA S. MICHELE DEL CARSO 37-/REGISTRATO. Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500 plus Buyers Premium and VAT*

Provenance Private collection, Forlì Literature Edoardo Paoli, L’importanza dello Specchio, Milan, p. 22 Edoardo Paoli, ‘Specchiere e specchi: appesi, nel mobile e tecnici’, Quaderni di Vitrum, no. 8, Milan, p. 124

106. Melchior Wernstedt

1886-1973

Daybed, designed for the Lillhagen Hospital, Gothenburg circa 1932 Stained beech, painted wood, fabric. 65.3 x 195 x 65 cm (25 3/4 x 76 3/4 x 25 5/8 in.) Manufactured by AB Nordiska Kompaniet, Stockholm, Sweden. Underside impressed 27. The present model illustrated in situ at the Lillaghen Hospital, Gothenburg. Image from Lillhagens sjukhus 1932 1982: 50 år av psykiatrins historia ‑ en tillbakablick, 1982.

Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600 plus Buyers Premium and VAT*

Provenance Lillhagen Hospital, Gothenburg Private Collection, Sweden Acquired from the above by the present owner Literature Britta Magnusson, Lillhagens sjukhus 1932‑1982: 50 år av psykiatrins historia ‑ en tillbakablick, Göteborg, 1982, p. 41

The present daybed was designed by the Swedish architect Melchior Wernstedt as part of his designs for the Lillhagen Hospital, which opened in 1932. The original drawing of the daybed and the order from AB Nordiska Kompaniet, Stockholm are documented in the Regional Archives in Gothenburg. Only two from the order of thirty daybeds are known to exist. Both examples, including the present daybed, were acquired by psychiatrists working at Lillahagen when they retired from their respective practices. Wernstedt studied architecture at the Chalmers Institute of Technology, Gothenburg, where he later became a professor, and at the Royal Academy of Fine Arts, Stockholm. Other notable projects include the Stadshuskällaren restaurant in Stockholm City Hall, which Wernstedt designed while working for the architect Ragnar Östberg from 1916-1921. In addition to his teaching position at Chalmers Institute of Technology, which he held from 1923-1951, Wernstedt also led the architectural ofce for the school’s expansion.

107. Fritz Hansen Pair of armchairs, model no. 1669 1940s Fabric, stained beech. Each: 76.5 x 82 x 82 cm (30 1/8 x 32 1/4 x 32 1/4 in.) Manufactured by Fritz Hansen, Copenhagen, Denmark.

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Literature Fritz Hansen, sales catalogue, 1942, pp. 17, 19

108. Paavo Tynell

1890-1973

Rare standard lamp 1940s Brass, painted brass, glass, leather, birch shade. 162 cm (63 3/4 in.) high, 50 cm (19 5/8 in.) diameter Manufactured by Taito Oy, Helsinki, Finland. Estimate ÂŁ18,000-24,000 $23,300-31,000 â&#x201A;Ź19,800-26,400 plus Buyers Premium and VAT*

Provenance Private collection, Kokkola, 1940s

109. Mogens Koch

1898-1992

Rare desk designed 1935 Mahogany, brass. 75 x 190 x 92.5 cm (29 1/2 x 74 3/4 x 36 3/8 in.) Executed by cabinetmaker N.C. Jensen Kjær, Copenhagen, Denmark. Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 plus Buyers Premium and VAT*

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

Literature ‘Arbejdsbord og Armstol’, Nyt Tidsskrif For Kunstindustri, no. 2, February 1936, p. 24 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 57 Bodil Busk Laursen, Søren Matz and Christian Holmsted Olesen, eds., Mesterværker: 100 års dansk møbelsnedkeri, Copenhagen, 2000, p. 144 Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, p. 30

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Charlottenborg, Copenhagen, 15 September-2 October 1938, entrance hall and at ‘Danish Art Treasures’, Victoria & Albert Museum, London, 28 October 1948-2 January 1949. The architect Mogens Koch designed the present model desk for the living room of the Danish textile artist and politician Gertie Wandel (1894–1988). Wandel was a central fgure in the establishment of the Håndarbejdets Fremme (Danish Handcraf Guild) in 1928 and remained involved in the organisation until her retirement in 1978. Phillips wishes to thank Lasse Hyldgaard Andersen for his assistance cataloguing the present lot.

110. Hans-Agne Jakobsson 1919-2009

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

Pair of ceiling lights, from a church, Sweden late 1950s Brass, glass. Each: 186 cm (73 1/4 in.) drop, 77.5 cm (30 1/2 in.) diameter Manufactured by Hans Agne Jakobsson A/B, Markaryd, Sweden. Each fxture impressed with designer’s monogram. Interior of ceiling plates with manufacturer’s label impressed HANS·AGNE JAKOBSSON A/B MARKARYD/MADE IN SWEDEN.

111. Axel Johann Salto

1889-1961

Vase in the ‘Budding’ style, model no. 21329 designed 1955, produced 1966 Stoneware, oxblood glaze. 23.2 cm (9 1/8 in.) high Produced by Royal Copenhagen, Denmark. Underside incised 21329/SALTO, painted 21329 and blue wave under the glaze, stamped ROYAL/COPENHAGEN/ DENMARK and with paper label stamped with manufacturer’s mark.

Estimate £8,000-10,000 $10,300-12,900 €8,800-11,000 plus Buyers Premium and VAT*

Provenance Private collection, Denmark Literature Susanne Bruhn and Christina Rauh Oxbøll, eds., Axel Salto: Master of Stoneware, exh. cat., CLAY Museum of Ceramic Art Denmark, Middelfart, 2017, p. 180

112. Axel Johann Salto

1889-1961

Vase in the ‘Budding’ style, model no. 21330 designed 1955, produced 1961 Stoneware, oxblood glazes. 18.5 cm (7 1/4 in.) high Produced by Royal Copenhagen, Denmark. Underside incised 21330/SALTO, painted 21330 and blue wave mark under the glaze and stamped DENMARK.

Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

113. Angelo Lelii

1911-1979

Rare ceiling light circa 1954 Painted aluminium, brass, glass, nylon strings. 80 x 61 x 68.5 cm (31 1/2 x 24 x 26 7/8 in.) Manufactured by Arredoluce, Monza, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700

Provenance Private collection, Milan Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, pp. 159, 295 The present lot has been registered in the Arredoluce Archives, Italy as number 1208359.

plus Buyers Premium and VAT*

114. 1. Ilmari Gio Ponti Tapiovaara 1891-1979????????????? 1914-1999 Rare two-seater ‘Dolphin’ chaise sofa longue 1950s circa 1955 Vinyltex, Oak, painted brass, plywood, paintedleather, brass. 73 x 122.5 x 86steel. cm (28 3/4 x 48 1/4 x 33 7/8 in.) painted steel, Possibly 84 x 127 xmanufactured 44.5 cm. (33 xby 50Cassina, x 17 5/8 in.) Meda, Italy. withFinland. a certifcate of Produced byTogether Skanno Ltd., expertise from the Gio Ponti Arcahives. Estimate Estimate £7,000-9,000 $9,000-11,600 £22,000-28,000 $28,500-36,300 €7,700-9,900 €26,300-33,400 plus Buyers Premium and VAT* plus Buyers Premium and VAT*

Provenance Private collection, Phillips, London, ‘Design’, Milan 27 April 2017, lot 89 Literaturefrom the above by Acquired ‘’Proposte la casa’ alla XI Triennale’, the presentper owner Domus, no. 337, December 1957, p. 33 for a similar example Literature Pekka Ilmari Tapiovaara, Ugo LaKorvenmaa, Pietra, ed., Gio Ponti, New York, Salamanca, 109,example 195 2009, p. 2391997, for app. similar Laura Aila Svenskberg, Falconi, ed.,Ilmari Gio Ponti: Tapiovaara: Interiors, Objects, Drawings, life and design, exh.1920-1976, cat., DesignMilan, Museum, 2010, p. 183 forp. a similar example Helsinki, 2014, 116

115. Ettore Sottsass, Jr.

1917-2007

‘Sun Carpet’ rug 1996 Wool, silk. 210.3 x 167.3 cm (82 3/4 x 65 7/8 in.) Produced for Namaste Design GmbH, Munich, Germany. Number 7 from the edition of 12. Reverse with brass medallion impressed ETTORE SOTTSASS/”SUN CARPET”/YEAR 1996/LIMITED EDITION/NO 7 OF 12. Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

116. Gio Ponti

1891-1979

Occasional table 1950s Stained walnut, glass, brass. 51.6 cm (20 3/8 in.) high, 80 cm (31 1/2 in.) diameter Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Provenance Spada family, Buenos Aires Literature Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 200 for a similar example

117. Arne Jacobsen

1902-1971

Set of twelve ‘Lily’ armchairs, model no. 3208 designed 1970, produced 1970-1974 Leather, chromium-plated steel. Tallest: 80 x 62 x 45.5 cm (31 1/2 x 24 3/8 x 17 7/8 in.) Manufactured by Fritz Hansen, Copenhagen, Denmark. Estimate £12,000-18,000 $15,500-23,300 €13,200-19,800 plus Buyers Premium and VAT*

Literature Noritsugu Oda, Danish Chairs, Tokyo, 1996, pp. 52, 64 Arne Karlsen, Danish Furniture Design in the 20th Century, Volume 2, Copenhagen, 2007, p. 135 Carsten Thau and Kjeld Vindum, Arne Jacobsen, Copenhagen, 2001, pp. 512, 532 The present model was exhibited at the Scandinavian Furniture Fair, Copenhagen, 1970. Phillips wishes to thank Mathias Bøgeholdt for his assistance cataloguing the present lot.

118. Pietro Chiesa

1892-1948

Standard lamp circa 1935 Glass, nickel-plated brass, nickel-plated steel, painted metal, paper shade. 188 cm (74 in.) high Manufactured by Fontana Arte, Milan, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

Provenance Private collection, Monaco Literature Domus, no. 132, December 1938, n.p. for another version of the model Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 110 for another version of the model

119. Hans J. Wegner

1914-2007

Pair of lounge armchairs, model no. AP-47 and ottoman, model no. AP-49 designed 1960 Chromium-plated steel, fabric, leather. Each armchair: 87.5 x 92.5 x 95 cm (34 1/2 x 36 3/8 x 37 3/8 in.) Ottoman: 34 x 75 x 49 cm (13 3/8 x 29 1/2 x 19 1/4 in.) Manufactured by AP Stolen Copenhagen, Denmark. Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000 plus Buyers Premium and VAT*

Provenance Phillips, London, ‘Design’, 27 April 2017, lot 83 Acquired from the above by the present owner Literature Jens Bernsen, Hans J. Wegner: Om Design, exh. cat., Dansk Design Centre, Copenhagen, 1995, p. 19 Phillips wishes to thank Marianne Wegner from the Hans J. Wegner Design Studio for her assistance cataloguing of the present lot.

120. Carlo Bugatti

1855-1940

Armchair circa 1902 Partially painted vellum-covered wood, embossed vellum, oak, repoussé brass. 98.5 x 67 x 67 cm (38 3/4 x 26 3/8 x 26 3/8 in.)

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

Literature Marie-Madeleine Massé, Carlo Bugatti au Musée d’Orsay: Catalogue sommaire illustré du fonds d’archives et des collections, Paris, 2001, pp. 72, 87, 99

121. Line Vautrin

1913-1997

Mirror 1980s Talosel resin, coloured mirrored glass, convex mirrored glass. 28 x 20.5 x 10.2 cm (11 x 8 1/8 x 4 in.) Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

Provenance David Gill Gallery, London, circa 1988 Acquired from the above by the present owner Together with a certifcate of expertise from the Comité Line Vautrin.

122. Gio Ponti

1891-1979

Set of freplace tools

Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 plus Buyers Premium and VAT*

circa 1937 Brass, iron. 61 x 40.6 x 13.3 cm (24 x 15 7/8 x 5 1/4 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Provenance Private collection, Milan Literature Domus, no. 109, January 1937, front cover

123. Carlo Bugatti

1855-1940

Pair of adjustable side chairs circa 1902 Partially painted vellum-covered wood, embossed vellum, oak, repoussé brass. Each: 86 x 49 x 52 cm (337/8 x 191/4 x 201/2 in.)

Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500 plus Buyers Premium and VAT*

Literature Philippe Dejean, Carlo-Rembrandt-EttoreJean Bugatti, New York, 1982, pp. 70, 76, 87 Gabriele Mazzotta, I Bugatti, exh. cat, Masnago Castle, Italy, 1997, p. 57

124. Guglielmo Ulrich

1904-1977

Unique cofee table circa 1954 Honduras mahogany-veneered wood, birch, marble, painted wood. 52.6 cm (20 3/4 in.) high, 100 cm (39 3/8 in.) diameter Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600

Provenance Casa Guazzoni, Vicenza, commissioned directly from the designer, circa 1954 For the present table the architect and furniture designer Guglielmo Ulrich incorporated an eighteen-century pedestal base with wood and marble tabletop. The fanciful carved and painted base refect’s Ulrich’s study of Venetian history during this period, while the tabletop’s simplicity of form situates the design within the post-war period.

plus Buyers Premium and VAT*

Arts du Feu: Works from the Collection of Jason Jacques

125. Séraphin Soudbinine 1870-1944 Vase circa 1934 Carved stoneware, white ash glaze. 14.6 cm (5 3/4 in.) high Underside painted with artist’s mark and SERA/PHIN.

Estimate £15,000-20,000 $19,400-25,800 €16,500-22,000 ‡ plus Buyers Premium and VAT*

Provenance Collection of Jacques Mostini, Paris Perrin-Royère-Lajeunesse, Versailles, ‘La céramique en France de 1880 à 1940, Collection Jacques Mostini’, 4 April 1993 Hermann Tob, Brussels Acquired from the above by the present owner, 2012

Arts du Feu: Works from the Collection of Jason Jacques

126. Pierre-Adrien Dalpayrat 1844-1910 Vase circa 1894 Stoneware, ‘Dalpayrat’ red glaze. 48.3 cm (19 in.) high Underside painted Dalpayrat. Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 ‡ plus Buyers Premium and VAT*

Provenance François-Josef Graf, Paris Acquired from the above by the present owner, 2010 Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, p. 101 Jason Jacques, Exotica, Lenox, 2010, pl. 88 The present model was exhibited at the 1894 Salon de la Société Nationale des Beaux-Arts, Paris.

Arts du Feu: Works from the Collection of Jason Jacques

127. Pierre-Adrien Dalpayrat

128. Pierre-Adrien Dalpayrat

1844-1910

Vase

circa 1900 Stoneware, ‘Dalpayrat’ red glaze. 36.5 cm (14 3/8 in.) Underside incised Dalpayrat.

circa 1894 Stoneware, ‘Dalpayrat’ red glaze. 48.3 cm (19 in.) high Underside signed AD Dalpayrat and impressed 25.

Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600 ‡ plus Buyers Premium and VAT*

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 ‡ plus Buyers Premium and VAT*

Provenance François-Josef Graf, Paris, 2004 Acquired from the above by the present owner Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, p. 100

Arts du Feu: Works from the Collection of Jason Jacques

129. Taxile Doat

1851-1939

‘La Musique et la Danse’ coloquinte-shaped vase 1903 Glazed porcelain. 35.6 cm (14 in.) high Underside signed in glaze 37/1903/T DOAT/SÈVRES. Estimate £10,000-15,000 $12,900-19,400 €11,000-16,500 ‡ plus Buyers Premium and VAT*

Provenance Moonstone gallery, Paris Acquired from the above by the present owner, 2004 Literature Taxile Doat, Grand Feu Ceramics: A Practical Treatise on the Making of Fine Porcelain and Grès, Syracuse, 1905, p. 120 ‘Les Céramiques de Grand Feu: La Porcelaine dure et le Grès-Cérame’, Art et Décoration, July-December 1906, p. 156 Laurence Bufet-Challié, Le Modern Style, Paris, 1982, p. 115 Alastair Duncan, The Paris Salons 1895-1914, Volume IV: Ceramics & Glass, Sufolk, 1998, p. 182 Jason Jacques, Exotica, Lenox, 2010, pl. 13

130. Napoleone Martinuzzi

Provenance Private collection, Palermo

1892-1977 Rare Table lamp, model no. 9010 circa 1930 Velato glass, nickel-plated brass. 24 cm (9 1/2 in.) high Produced by Venini & C., Murano, Italy.

Literature Marino Barovier, Napoleone Martinuzzi Venini 1925-1931, exh. cat., Fondazione Giorgio Cini, Venice, 2013, p. 410

Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600 plus Buyers Premium and VAT*

131. Gio Ponti

1891-1979

Corner cabinet circa 1929 Burr walnut-veneered wood, burr walnut, Bakelite, brass. 210 x 101.5 x 72 cm (82 5/8 x 39 7/8 x 28 3/8 in.) Manufactured by Paolo Lietti, Cantù, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £6,000-8,000 $7,800-10,300 €6,600-8,800 plus Buyers Premium and VAT*

Provenance Private collection, Catania

132. Ronan and Erwan Bouroullec b. 1971, b. 1976 Set of two ‘Lianes’ ceiling lights 2010 Leather-covered fbreglass, leather, acrylic. Each larger shade (3): 23 cm (9 in.) high, 27 cm (10 5/8 in.) diameter Each smaller shade (3): 15 cm (57/8 in.) high, 18.6 cm (7 3/8 in.) diameter Produced by Galerie kreo, Paris, France. Number 3 from the edition of 3 plus 1 artist’s proof and 1 prototype. Each impressed L6–ERB–N° 3 / 3–2010. Estimate £30,000-50,000 $38,800-64,600 €33,000-55,000 Ω plus Buyers Premium and VAT*

Provenance Galerie kreo, Paris Literature Ronan and Erwan Bouroullec, Ronan & Erwan Bouroullec: Works, New York, 2012, pp. 222-23, 225-27 Clémence and Didier Krzentowski, eds., The Complete Designers’ Lights (1950-1990) 30 Years of Collecting, Paris, 2012, p. 391

Describing the idea behind the ‘Liane’ ceiling lights, Ronan and Erwan Bouroullec explained the design was intended to incorporate and unify each element of the interconnected lights: the shades, cables and ceiling plates are covered entirely in industrial black or natural-coloured leather. The material’s adherence and the use of topstitching along the suspended electrical cables creates a natural friction that allows the user to orientate the shades without additional fxtures. Recalling the natural formation of a plant, the design can be confgured to respond to a specifc space. The present set of two ‘Liane’ ceiling lights are part of a limited edition the brothers presented at Galerie kreo, Paris in autumn 2009, which sold out before the exhibition opened. Ronan and Erwan Bouroullec’s practice successfully encompasses both craf and industrial scale design as demonstrated by the present ceiling lights, which they subsequently developed in aluminium for industrial production for the Italian lighting manufacturer Flos.

133. Charles Spindler

1865–1938

Side chair circa 1902 Stained oak, stained mahogany, burr walnut, ash, beech, elm, burl elm, sycamore and maple-veneered wood. 85 x 51 x 47 cm (33 1/2 x 20 1/8 x 18 1/2 in.) Backrest signed Spindler (partially obscured).

Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 † plus Buyers Premium and VAT*

Literature ‘The International Exhibition of Decorative Art at Turin: The German Section’, The Studio, vol. 27, January 1903, p. 191

Dining room in the German section, Turin exhibition, 1902. Courtesy of Univetsitätsbibliothek Heidelberg/Studio: International Art, vol. 27, 1903, p. 191.

Alsation artist and crafsman Charles Spindler designed the present model chair for the dining room in the German section at the 1902 International Exhibition of Modern Decorative Art, Turin. Born in 1865, in Bœrsch in the region of Alsace, Spindler studied painting and design in Germany, before opening his own workshop in Saint-Léonard, a small village near Strasbourg. In 1893, Spindler began creating pictures using marquetry. He soon integrated his marquetry into furniture designs, which featured an extensive range of woods selected for their diferent colours and grains. The present chair illustrates Spindler’s mastery in the technique, which he applied to a vernacular chair form. In 1900 at the Paris International Exhibition, Spindler won the German Grand Prix and French Silver medal for his designs for a music room, which included a settle and panelling now held in the collection of the Victoria & Albert Museum, London.

134. Gio Ponti

1891-1979

Standard lamp, designed for the Fondazione Livio e Maria Garzanti circa 1954 Glass, painted aluminium, brass, painted wood, painted steel. 178 cm (70 1/8 in.) high Manufactured by ISA, Bergamo, Italy. Base with manufacturer’s metal label printed isa/arredamenti/Ponte S. Pietro. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £12,000-18,000 $15,500-23,300 €13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Rimini

135. Marcel Wanders

b. 1963

‘Pizzo Carrara’ bench 2007 Sandblasted Carrara marble, painted metal. 40 x 130.4 x 45.2 cm (15 3/4 x 51 3/8 x 17 3/4 in.) Number 6 from the edition of 20 plus 1 prototype. Underside with metal label impressed with designer’s facsimile signature and 6 / 20.

Provenance Private collection, Lucca Literature Ingeborg de Roode, Marcel Wanders: Pinned Up, 25 Years of Design, exh. cat., Stedelijk Museum, Amsterdam, 2014, p. 143 for a similar example

Estimate £6,000-8,000 $7,800-10,300 €6,600-8,800 † plus Buyers Premium and VAT*

136. Atelier Van Lieshout

est. 1995

Rare desk 1992 Painted fbreglass. 75.8 x 180 x 100.3 cm (29 7/8 x 70 7/8 x 39 1/2 in.) Produced by Atelier Van Lieshout, the Netherlands. Interior of central drawer signed Lieshout/92. Estimate ÂŁ7,000-9,000 $9,000-11,600 â&#x201A;Ź7,700-9,900 plus Buyers Premium and VAT*

Provenance Carlo Cattelani, Italy Thence by descent Acquired from the above by the present owner Exhibited Rivara Castle, Turin, 1993 Phillips wishes to thank Atelier Van Lieshout for their assistance cataloguing the present lot.

137. Deborah Tomas

b. 1956

Unique chandelier 1989 Glass, hand-coloured and varnished papier-mâched steel, steel wire. 183 cm (72 in.) drop Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

Provenance Themes & Variations, London Acquired from the above by the present owner, 1990 Phillips wishes to thank Deborah Thomas for her assistance cataloguing the present lot.

138. Ron Arad

b. 1951

‘Lo Void’ 2005 Polished aluminium, aluminium mesh. 75 x 46.5 x 117 cm (29 1/2 x 18 1/4 x 46 1/8 in.) Produced by The Gallery Mourmans, Maastricht, The Netherlands. Artist’s proof number 1 from the edition of 20 plus 5 artist’s proofs. Proper right side incised Ron Arad AP1. Together with a certifcate of expertise from The Gallery Mourmans. Estimate £20,000-30,000 $25,800-38,800 €22,000-33,000 plus Buyers Premium and VAT*

Provenance Barry Friedman Ltd., New York Acquired from the above by the present owner Exhibited ‘Ron Arad: A Retrospective Exhibition 1981–2004’, Barry Friedman Ltd., New York, 5 May–24 June 2005 Literature Dwell, September 2005, p. 44 Phillips wishes to thank Caroline Thorman from Ron Arad Associates for her assistance cataloguing the present lot.

139. Ettore Sottsass, Jr.

1917-2007

Lidded vase, model no. 189, from the ‘Ceramiche di serie’ circa 1959 Glazed earthenware. 11.8 cm (4 5/8 in.) high, 12.8 cm (5 in.) diameter Produced by Bitossi, Montelupo Fiorentino for Galleria Il Sestante, Milan, Italy. Underside signed 189/IL•SESTANTE/SOTTSASS/ITALY.

Estimate £3,000-5,000 $3,900-6,500 €3,300-5,500 plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature ‘Un appartamento a Genova’, Domus, no. 356, July 1969, pp. 17-18 Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 73

140. Toni Zuccheri

1937-2008

‘Gabbia da Richiamo’ 1968 Patinated bronze, coloured glass, steel wire. 59 x 26 x 57 cm (23 1/4 x 10 1/4 x 22 1/2 in.) Produced by Venini & C., Murano, Italy. Cage acid-etched venini Toni Zuccheri 1968.

Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Piasa, Paris, ‘Venini in Progess, Prototypes, Pièces uniques from Venini Museo’, 15 October 2015, lot 72 Acquired from the above by the present owner

141. Angelo Lelii

1911-1979

Rare ceiling light, model no. 12785 circa 1959 Brass, glass. 65 cm (25 5/8 in.) drop, 139 cm (54 3/4 in.) diameter Manufactured by Arredoluce, Monza, Italy. Estimate £20,000-30,000 $25,800-38,800 €22,000-33,000

Provenance Private collection, Venice Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, p. 327 The present lot has been registered in the Arredoluce Archives, Italy as number 1399619.

plus Buyers Premium and VAT*

142. Gio Ponti

1891-1979

Desk, designed for the public administration ofces, Forlì circa 1950 Painted wood, oak, brass. 81.5 x 299.8 x 89.8 cm (321/8 x 118 x 353/8 in.) Each base with aluminium label printed AMMINISTRAZIONE PROVINCIALE/ FORLI’/NUMERO D’INVENTARIO/A 61 and AMMINISTRAZIONE PROVINCIALE/ FORLI’/NUMERO D’INVENTARIO/A 136. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Provenance Public administration ofces, Forlì Literature ‘Chiarezza, unità, visibilità totale negli ufci modernissimi’, Domus, no. 270, May 1952, p. 21 for a similar example

143. Ettore Sottsass, Jr.

1917-2007

Pair of rare ‘Dado’ stools, model no. T29 circa 1963 Oak-veneeered wood, painted wood, painted steel. Each: 31.5 x 29 x 29 cm (123/8 x 113/8 x 113/8 in.) Manufactured by Poltronova, Agliana, Italy.

144. Ettore Sottsass, Jr.

1917-2007

Prototype ‘Essetre’ shelving unit, from the ‘Mobili Grigi’ series circa 1970 Fibreglass, painted wood. 182.5 x 86.4 x 33.1 cm (71 7/8 x 34 x 13 in.) Manufactured by Poltronova, Agliana, Italy,

Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600

Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400

plus Buyers Premium and VAT*

Provenance Private collection, Florence

Provenance Private collection, Florence, acquired directly from the manufacturer, circa 1970 Literature ‘Proposte’, Domus, no. 488, July 1970, n.p. Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, p. 91 Fulvio Ferrari and Napoleone Ferrari, Luce Lampade 1968-1973: il nuovo design italiano, Turin, 2002, fgs. 147-48 The present model was exhibited at Eurodomus 3, Milan, 1970.

Literature Ettore Sottsass: Catalogo ragionato dell’archivio 1922-1978, exh. cat., CSAC, Parma, 2017, p. 238

Prototype ‘Essetre’ shelving unit Designed by Ettore Sottsass in 1969, the ‘Mobili Grigi’ series was frst exhibited in May 1970 at ‘Eurodomus 3’, Palazzo della Triennale, Milan, the landmark exhibition devoted to the major international furniture companies. The series marked the fnal act of the prolifc collaboration between Sottsass and Poltronova, for which he had served as artistic director for the last twenty years. Sottsass’ intentions for presenting this series were deliberately anticommercial. For the architect, it was another opportunity to apply design as a tool for social communication, promoting existential self-awareness against consumerism. For the exhibition, Sottsass presented various elements for a domestic interior: a bed, a table, chairs, wardrobes, bookcases, disc cases, which he designed in painted grey fbreglass. The furniture was displayed in a dimly lit space with black painted walls, ceiling and foor. The space was only illuminated by dim coloured neon lights that were integrated into some of the furniture designs: an environment that Sottsass defned as claustrophobic and compared to the interior of a submarine. To remedy the foreseeable commercial failure of the series, Sergio Cammilli, the enlightened founder and owner of Poltronova, suggested to Sottsass that he change the colour from dark grey to white, to which the architect agreed to. In June 1970, the exhibition ‘Nuovi mobili bianchi Eurodomus di Ettore Sottsass’ opened at the Design Centre Poltronova in Florence. The exhibition featured the ‘Mobili Grigi’ series now in white fibreglass, which included the present ‘Essetre’ shelving unit, produced from the original wood moulds. However, to put the designs into serial production required new moulds, which due to their high expense were never created. Therefore, the only examples of the series are the prototypes in dark grey and white produced on the occasions of the Milan and Florence exhibitions. Arch. Milco Carboni

Lot 144

145. Ettore Sottsass, Jr.

1917-2007

‘Bastonio’ chest of drawers circa 1964 Stained oak-veneered wood, stained oak, painted wood. 102.4 x 120.3 x 67.8 cm (40 3/8 x 47 3/8 x 26 3/4 in.) Manufactured by Poltronova, Agliana, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700

Provenance Private collection, Turin Literature ‘Ettore Sottsass Jr.: Mobili 1965 per Poltronova’, Domus, no. 433, December 1965, p. 40 Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, p. 114 Giuliana Gramigna, Repertorio del Design Italiano 1950-1980, Volume 1, Turin, 2003, p. 128

plus Buyers Premium and VAT*

146. Ettore Sottsass, Jr.

1917-2007

Large vase, model no. 180, from the ‘Ceramiche di Lava’ series circa 1957 Red clay, chamotte. 42.8 cm (16 7/8 in.) high Manufactured by Bitossi, Montelupo Fiorentino for Galleria Il Sestante, Milan, Italy. Underside signed 180/IL·SESTANTE/ SOTTSASS/ITALY.

Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 plus Buyers Premium and VAT*

Provenance Private collection, Bologna Literature Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 71

147. Ettore Sottsass, Jr.

1917-2007

Two vases, model no. Y/30, from the ‘Yantra di Terracotta’ series circa 1969 Glazed earthenware. Each: 20.5 x 28.5 x 17.7 cm (81/8 x 111/4 x 67/8 in.) Distributed by Design Centre, Milan, Italy. Underside of each signed SOTTSASS and Y 30 and Y / 30, respectively.

Estimate £6,000-8,000 $7,800-10,300 €6,600-8,800 plus Buyers Premium and VAT*

Provenance Private collection, Agliana Literature ‘Ettore Sottsass Ceramiche dal 1955 al 1970’, Domus, no. 749, May 1993, p. 73 Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 149

148. Ettore Sottsass, Jr.

1917-2007

‘Clair de Lune’ totem circa 1988 Glazed earthenware, plastic-laminated wood. 194 cm (76 3/8 in.) high Produced by Mirabili, Florence, Italy. Number 15 from the edition of 29. Base with brass plaque impressed Sottsass/ CLAIR DE LUNE/15 / 29/MIRABILI/ITALY. Estimate £14,000-18,000 $18,100-23,300 €15,400-19,800 plus Buyers Premium and VAT*

Provenance Galerie Harter, Nice Acquired from the above by the present owner Literature Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, p. 170 Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 122

149. Angelo Lelii

1911-1979

Standard lamp circa 1958 Glass, painted brass, brass. 137.6 cm (54 1/8 in.) high Manufactured by Arredoluce, Monza, Italy. Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, p. 319 The present lot has been registered in the Arredoluce Archives, Italy as number 2176997.

150. Angelo Lelii

1911-1979

Adjustable ‘Televisione’ standard lamp, model no. 12627 circa 1956 Painted aluminium, brass, painted steel. 174.3 cm (68 5/8 in.) high Manufactured by Arredoluce, Monza, Italy. Underside of switch impressed with manufacturer’s mark. Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

Provenance Private collection, Naples Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, p. 307 The present lot has been registered in the Arredoluce Archives, Italy, as number 3417225.

151. Ettore Sottsass, Jr.

1917-2007

Pair of ‘Canada’ armchairs early 1960s Fabric, mahogany. Each: 68.5 x 77.5 x 86.5 cm (26 7/8 x 30 1/2 x 34 in.) Manufactured by Poltronova, Agliana, Italy. Frame of one armchair with manufacturer’s label printed poltronova.

Provenance Hotel Cristallino, Montecatini Terme Literature ‘Piccolo arredamento per due giovani’, Domus, no. 343, June 1958, pp. 27-28 Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, p. 78

Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

152. Ettore Sottsass, Jr.

1917-2007

Two-seater ‘Canada’ sofa early 1960s Fabric, mahogany. 67 x 141 x 85 cm (26 3/8 x 55 1/2 x 33 1/2 in.) Manufactured by Poltronova, Agliana, Italy. Frame with manufacturer’s label printed poltronova. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

Provenance Hotel Cristallino, Montecatini Terme Literature ‘Un arredamento a Genova’, Domus, no. 356, July 1959, p. 19 Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, pp. 76, 78

153. Studio BBPR - Gian Luigi Banf,

Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers Ceiling light 1950s Burnished and partially-painted bronze, rubber cord. As shown: 148 cm (58 1/4 in.) drop Estimate £12,000-18,000 $15,500-23,300 €13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan

154. Studio BBPR - Gian Luigi

Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers Large daybed circa 1959 Cherry, leather, brass, fabric. 70 x 198 x 114 cm (27 1/2 x 77 7/8 x 44 7/8 in.) Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 plus Buyers Premium and VAT*

Provenance Casa Ravelli, Milan, commissioned directly from the designers, circa 1959 Literature ‘Un arredamento a Milano’, Domus, no. 355, June 1959, p. 23

155. Venini Pair of wall lights 1930s Cordonato glass, acid-etched glass, brass. Each: 43 x 40.6 x 30 cm (16 7/8 x 15 7/8 x 11 3/4 in.) Produced by Venini & C., Murano, Italy.

Estimate £3,000-4,000 $3,900-5,200 €3,300-4,400 plus Buyers Premium and VAT*

Provenance Astoria cinema, Como

156. Attributed to Renato Angeli Unique cofee table circa 1954 Glass, birch-veneered wood, birch, painted steel. 46.5 x 87.6 x 89.5 cm (18 1/4 x 34 1/2 x 35 1/4 in.) Estimate ÂŁ4,000-6,000 $5,200-7,800 â&#x201A;Ź4,400-6,600 plus Buyers Premium and VAT*

Provenance Private collection, Milan Phillips wishes to thank Brian Kish for his assistance cataloguing the present lot.

157. Osvaldo Borsani

1911-1985

Wall-mounted console circa 1948 Marble, gilded wood, brass. 40.5 x 150 x 35 cm (15 7/8 x 59 x 13 3/4 in.) Manufactured by Arredamenti Borsani, Varedo, Italy. Estimate £4,000-6,000 $5,200-7,800 €4,400-6,600

Provenance Private collection, Milan Literature Giampiero Borsani, Osvaldo Borsani: architect, designer, entrepreneur, Milan, 2018, pp. 292, 297 Norman Foster, Tommaso Fantoni and Giampiero Bosoni, Osvaldo Borsani, exh. cat., Triennale, Milan, 2018, p. 125

plus Buyers Premium and VAT*

158. Tomaso Buzzi

1900-1981

Two pairs of wall lights

Estimate ÂŁ6,000-8,000 $7,800-10,300 â&#x201A;Ź6,600-8,800 plus Buyers Premium and VAT*

1930s Pulegoso glass, Calcedonio glass, brass. Green pair: 23.5 x 18 x 15 cm (9 1/4 x 7 1/8 x 5 7/8 in.) Gold pair: 22 x 19 x 14 cm (8 5/8 x 7 1/2 x 5 1/2 in.) Produced by Venini & C., Murano, Italy. Underside of two impressed VENINI/MURANO.

Provenance Private collection, Rome

159. Ico Parisi

1916-1996

Unique chest of drawers 1950s Walnut-veneered wood, walnut. 85.8 x 105.4 x 57.5 cm (33 3/4 x 41 1/2 x 22 5/8 in.)

Provenance Vincenza Parisi Zerboni, Como Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 plus Buyers Premium and VAT*

160. Gio Ponti

1891-1979

Pair of armchairs circa 1950 Walnut, fabric. Each: 78.5 x 60.5 x 82 cm (30 7/8 x 23 7/8 x 32 1/4 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate ÂŁ15,000-20,000 $19,400-25,800 â&#x201A;Ź16,500-22,000 plus Buyers Premium and VAT*

Provenance Private collection, Milan

161. Guglielmo Ulrich

1904-1977

Pair of ceiling lights early 1940s Brass, glass. Each: 143 cm (56 1/4 in.) drop Produced by Strada, Italy.

Provenance Private collection, Milan Literature Luca Scacchetti, Guglielmo Ulrich: 1904-1977, Milan, 2009, p. 475

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200 plus Buyers Premium and VAT*

162. Gio Ponti

1891-1979

Wall-mounted chest of drawers 1957 Mirrored glass, glass, painted wood, nickel-plated brass. 50.1 x 149.3 x 42 cm (19 3/4 x 58 3/4 x 16 1/2 in.) Manufactured by Fontana Arte, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate ÂŁ12,000-18,000 $15,500-23,300 â&#x201A;Ź13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Rimini

163. Max Ingrand

1908-1969

Pair of table lamps, model no. 2228 designed 1956, produced 1960s Coloured glass, nickel-plated brass. Each: 21 cm (8 1/4 in.) high, 11.7 cm (4 5/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Estimate £8,000-12,000 $10,300-15,500 €8,800-13,200

Provenance Private collection, Catania, 1960s Thence by descent to the present owner Literature Quaderni Fontana Arte 5, sales catalogue, 1960s, p. 69 Domus, no. 424, March 1965, Milan, n.p. Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 373

plus Buyers Premium and VAT*

164. Ignazio Gardella

1905-1999

Pair of ‘Digamma’ adjustable armchairs circa 1957 Fabric, painted steel, brass. Each: 86 x 71.6 x 85.5 cm (33 7/8 x 28 1/4 x 33 5/8 in.) when upright Produced by Gavina, San Lazzaro di Savena, Italy. Estimate £12,000-18,000 $15,500-23,300 €13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Giulio Carlo Argan, Ignazio Gardella, Milan, 1959, pp. 193, 198 ‘A Milano, un nuovo negozio di mobili’, Domus, no. 392, July 1962, p. 13 Giuliana Gramigna, Repertorio del Design Italiano 1950-1980, Volume 1, Turin, 2003, p. 50

165. Gio Ponti

1891-1979

Storage unit circa 1950 Oak, painted wood. 79.7 x 147 x 97.8 cm (31 3/8 x 57 7/8 x 38 1/2 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700

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

plus Buyers Premium and VAT*

166. Gino Sarfatti

1912-1985

Rare ceiling light, model no. 2036 circa 1948 Brass, painted aluminium. 122 cm (48 in.) drop Manufactured by Arteluce, Milan, Italy. Interior of one shade with manufacturer’s label printed AL/MILANO/ARTELUCE.

Estimate £18,000-24,000 $23,300-31,000 €19,800-26,400 plus Buyers Premium and VAT*

Provenance Private collection, Parma Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, p. 464

167. Arredoluce Unique adjustable standard lamp circa 1950 Brass, fabric shades. 209 cm (82 1/4 in.) high Manufactured by Arredoluce, Monza, Italy. Estimate £5,000-7,000 $6,500-9,000 €5,500-7,700 plus Buyers Premium and VAT*

Provenance Private collection, Milan The present lot has been registered in the Arredoluce Archives, Italy as number 8136181.

168. Renzo Zavanella

1900-1988

Pair of armchairs 1950s Fabric, walnut. Each: 106 x 80 x 89 cm (41 3/4 x 31 1/2 x 35 in.) Together with a certifcate of expertise from the Renzo Zavanella Archive.

Estimate ÂŁ12,000-18,000 $15,500-23,300 â&#x201A;Ź13,200-19,800 plus Buyers Premium and VAT*

Provenance Private collection, Bologna

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

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.

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.

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.

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.

Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue.

Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips.com. Our specialists are available to give advice and condition reports at viewings or by appointment. Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Pre-sale estimates do not include the buyer’s premium or VAT. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction. Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction. Condition Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our

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 Tarifs

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:

Hammer Price

Buyer’s Premium

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

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

The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer. Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: • 26% on the portion of the hammer price up to and including £450,000; and • 21% on the portion of the hammer price above £450,000 up to and including £4,500,000 and • 14.5% 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 Most items we sell are sold under UK Auctioneer’s Margin Scheme rules. This means that VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. UK Auctioneer’s Margin Scheme lots have no VAT symbol. Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are 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

event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk. By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at https://phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders.

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. For individuals, acceptable forms of government issued photo identification include a passport or photo driving licence. For companies, acceptable forms of government issued identification include a certificate of incorporation or similar as well as proof of owners (including ultimate beneficial owner) and directors. 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

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000

by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion. Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive And Responsive Bidding; The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. No Reserve Lots If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum. Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer. 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

Important Notices 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. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing

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

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

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

UK Auctioneer’s Margin Scheme sale

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

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

Basis

Treatment

Standard UK VAT rules

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

Imported lot under Temporary Admission (Low rate)

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

Imported lot under Temporary Admission (High rate)

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

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

In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or before the time of invoicing, the buyer instructs Phillips to export the property from the EU. This will require acceptance of an export quotation provided by Phillips. If such instruction is received after payment, a refund of the VAT amount will be made.

If you are located in an EU member state other than the UK you will need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority. As a result, your form may include VAT incurred in a number of member states.

Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of the following conditions are met:

Time limits for claiming VAT refunds

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips is provided with appropriate original documentary proof of export from the EU within three months of the date of sale. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department to facilitate this process. • For lots sold under temporary admission, Phillips is provided with the original correct paperwork duly completed and stamped by HMRC which shows the property has been exported from the EU via the UK within 30 days of the payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HMRC insist that the correct customs procedures are followed and Phillips will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 (plus any applicable VAT) will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips. Phillips is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of the payment date. We can only process VAT refunds where the VAT to be refunded is £50 or more per shipment. There will be a processing fee of £20 (plus any applicable VAT). Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips being unable to refund the VAT charged on deposit. VAT Refunds from HM Revenue & Customs Where VAT charged cannot be cancelled or refunded by Phillips, it may be possible to seek repayment from HMRC . Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission.

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

UK Conditions of Sale 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 (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 or 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 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 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 (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 participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal, state or other antitrust law. (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 ♠ next to the lot number 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 per auction. 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 by Phillips in the sale location 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 Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property 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. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. 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 of continent of origin and confirmation the object is more than 100 years old. 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 item 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 containing endangered species 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. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 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)

Authorship Warranty accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips 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. (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. (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.

(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. 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. (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 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):

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• Private Purchases: Proof of identity in the form of government-issued identification and recent proof of address will be required. • Company Purchases: If you are buying under a business entity, we require a copy of government-issued identifcation (such as the certifcate of incorporation) as well as proof of owners (including ultimate benefcial owners) and directors to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale available online at phillips.com,. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

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

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* Excluding Buyer’s Premium and VAT

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Design New York / 9 December

Auction 9 December, New York Enquiries designnewyork@phillips.com +1 212 940 1268

phillips.com

Sale Information

Design

Design Department

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

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

Auction 12 November at 2pm Lots 1–168 Viewing 3–12 November Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050220 or Design Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@philips.com

Head of Sale, Associate Specialist Madalena Horta e Costa mhortaecosta@phillips.com Senior Specialist Sofa Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Senior Cataloguer Nicola Krohman nkrohman@phillips.com Cataloguer Caroline Pedote cpedote@phillips.com Senior Administrator Antonia King antonia.king@phillips.com International Business Manager Adam Clay aclay@phillips.com Senior Property Manager Oliver Gottschalk ogottschalk@phillips.com Photographers Alex Braun Charlie Sheldon Kent Pell

Front cover Lot 20, Lucio Fontana and Osvaldo Borsani Wall-mounted console, designed for the dining room of Casa S., Milan, circa 1950 (detail) Back cover Lot 13, Gio Ponti, Prototype ‘Mariposa’ sofa, designed for the XI Milan Triennale, circa 1957

Catalogues New York +1 212 940 1240 London +44 20 7901 4024 catalogues@phillips.com £22/€25/$35 at the gallery Client Accounting Richard Addington Head of Client Accounting +44 20 7901 7914 Jason King Client Accounting, Director +44 20 7318 4086 Seller Accounts Surbjit Kaur +44 20 7318 4072 Sofia Serra +44 20 7901 2940 Client Services 30 Berkeley Square London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Annaliese Clark +44 20 7318 4081 Rita Matos +44 20 7901 7906 LucÍa Núñez +44 20 7901 7906 Creative Services Chris Ward, Creative Services Manger Grace Neighbour, Graphic Designer Steven Rubbins, Senior Graphic Designer

Index

Adnet, J. 43

Ingrand, M. 21, 55, 76, 79, 87, 88, 163

Salto, A. 93, 94, 111, 112 Sarfatti, G. 28, 166

Albini, F. 66, 77, 78 Angeli, R. 156

Jacobsen, A. 117

Scarpa, C. 16, 25, 45, 46

Arad, R. 138

Jakobsson, H.-A. 110

Sottsass, Jr., E. 105, 115, 139, 143,

Arredoluce 167

Jouve, G. 52, 56, 63

144, 145, 146, 147, 148, 151, 152

Atelier Van Lieshout 136

Juhl, F. 92, 96

Soudbinine, S. 125

Bega, M. 49, 51

Koch, M. 109

Spindler, C. 133 Stilnovo 14, 15, 39 Studio BBPR 2, 11, 17, 19, 23, 153, 154

Bonetti, M. 47 Borsani, O. 20, 157

Lalanne, F.-X. 30

Bottoni, P. 7, 9

Lelii, A. 113, 141, 149, 150

Tapiovaara, I. 114

Bouroullec, E. 132

LUMEN 103

Thomas, D. 137 Tynell, P. 97, 98, 101, 108

Bouroullec, R. 132 Bugatti, C. 120, 123

Martinuzzi, N. 130 Ulrich, G. 124, 161

Buzzi, T. 8, 158 Nakashima, G. 62, 65 Celada, G. 82

Noguchi, I. 64

Vautrin, L. 121 Venini 10, 18, 155

Chale, A. 67 Ohira, Y. 35, 36, 37, 38

Veranneman, E. 91

Paccagnini, C. 27

Wabbes, J. 61

Parisi, I. 50, 74, 159

Wanders, M. 135

Dalpayrat, P.-A. 126, 127, 128

Pepper. B. 44

Wanscher, O. 104

de Carli, C. 5

Perriand, C. 53, 57

Wegner, H. J. 95, 99, 102, 119

de Poli, P. 54

Ponti, G. 3, 4, 12, 13, 22, 24, 26, 29,

Wernstedt, M. 106

Doat, T. 129

31, 32, 34, 72, 75, 81, 84, 85, 86, 89,

Chiesa, P. 118 Coper, H. 68, 71 Crespi, G. 80, 83

Fontana Arte 6, 73

116, 122, 131, 134, 142, 160, 162, 165

Zavanella, R. 168

ProuvĂŠ, J. 59

Zuccheri, T. 140

Fontana, L. 20 Frank, J.-M. 41, 42

Rie, L. 69, 70 Rosselli, A. 33

Gardella, I. 164

RoyĂ¨re, J. 1, 40

Garouste, E. 47

Ruelland, D. 58, 60

Giordani, P. 48

Ruelland, J. 58, 60

Gottlob, K. 100 Hansen, F. 90, 107 Helg, F. 77

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Design London 12 November 2020

20.

Lucio Fontana and Osvaldo Borsani Wall-mounted console, designed for the dining room of Casa S., Milan Estimate £100,000-150,000 ♠

Marble, gilded and painted wood. 99.6 x 260.2 x 47.6 cm (39 1/4 x 102 1/ 2 x 18 3/4 in.)

phillips.com