DESIGN [catalogue] by PHILLIPS

Design London / 2 November 2022

Design

London / 2 November 2022

Auction & Viewing Location

30 Berkeley Square London, W1J 6EX

Auction Wednesday, 2 November at 2pm

Viewing

27 October–2 November Monday–Saturday 10am–6pm Sunday 12pm–6pm

Sale Designation

When sending in written bids or making enquiries please refer to this sale as UK050222 or Design.

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

Design Department

Head of Department, Europe, Senior International Specialist

Domenico Raimondo draimondo@phillips.com

Head of Design, France

Senior International Specialist

Elie Massaoutis emassaoutis@phillips.com

Senior Specialist

Sofia Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Specialist

Madalena Horta e Costa mhortaecosta@phillips.com

Head of Sale

Antonia King antonia.king@phillips.com

Cataloguer

Margherita Manca mmanca@phillips.com

Assistant to Head of Design, Europe and Research Coordinator

Carlotta Pintucci cpintucci@phillips.com

Administrator

Sophia Garbagnati sgarbagnati@phillips.com

Our Team Design

London

Domenico Raimondo Head of Department, Europe & Senior International Specialist +44 20 7318 4016 draimondo@phillips.com

Sofia Sayn-Wittgenstein Senior Specialist +44 20 7318 4023 ssayn-wittgenstein@phillips.com

Madalena Horta e Costa Specialist +44 20 7318 4019 mhortaecosta@phillips.com

Antonia King Head of Sale +44 20 7901 7944 antonia.king@phillips.com

Margherita Manca Cataloguer +44 20 7901 7926 mmanca@phillips.com

Carlotta Pintucci Assistant to Head of Design, Europe, Research Coordinator +44 20 7318 4096 cpintucci@phillips.com

New York

Sophia Garbagnati Administrator +44 20 7318 4048 sgarbagnati@phillips.com

Paris

Elie Massaoutis Head of Design, France, Senior International Specialist +33 7 86 34 53 15 emassaoutis@phillips.com

Los Angeles

Cordelia Lembo Head of Department, New York +1 212 940 1265 clembo@phillips.com

Beth Vilinsky Senior International Specialist, Americas +1 347 302 5255 bvilinsky@phillips.com

Kimberly Sørensen Specialist +1 212 940 1259 ksorensen@phillips.com

Benjamin Green Associate Specialist, Associate Head of Sale +1 212 940 1267 bgreen@phillips.com

Meaghan Roddy Head of Design, West Coast, Senior International Specialist, Americas +1 267 221 9152 mroddy@phillips.com

Senior Executives

Edward Dolman

Executive Chairman +1 212 940 1241 edolman@phillips.com © Brigitte Lacombe

Executives

Jonathan Crockett Chairman, Asia, Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com

Hugues Joffre

Senior Advisor to the CEO +44 207 901 7923 hjoffre@phillips.com

Jamie Niven

Senior Advisor to the CEO +1 917 880 2532 jniven@phillips.com

Cheyenne Westphal Global Chairwoman +44 20 7318 4044 cwestphal@phillips.com

Jean-Paul Engelen President, Americas, Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1390 jpengelen@phillips.com

Arnold Lehman

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

Derek Collins

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

Stephen Brooks

Chief Executive Officer +44 0 20 7318 4046 sbrooks@phillips.com

Deputy Chairmen & Chairwomen

Svetlana Marich

Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com

Robert Manley

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1358 rmanley@phillips.com

Peter Sumner

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art +44 20 7318 4063 psumner@phillips.com

Miety Heiden

Deputy Chairwoman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com

Vanessa Hallett

Deputy Chairwoman, Americas, Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com

Vivian Pfeiffer

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

Marianne Hoet

Deputy Chairwoman, Europe, Senior Specialist, 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com

Elizabeth Goldberg

Deputy Chairwoman, Americas, Senior International Specialist, American Art +1 212 940 1239 egoldberg@phillips.com

Jeremiah Evarts

Deputy Chairman, Americas, Senior International Specialist, 20th Century & Contemporary Art +1 917 304 4329 jevarts@phillips.com

Deputy Chairman, Americas, Worldwide Co-Head of Editions +1 212 940 1222 cleibowitz@phillips.com

Kelly Troester

Deputy Chairwoman, Americas, Worldwide Co-Head of Editions +1 212 940 1221 ktroester@phillips.com

Deputy Chairman, Americas, Senior International Specialist, 20th Century & Contemporary Art +1 212 940 1354 snussbaum@phillips.com

Kevie Yang

Deputy Chairwoman, Americas, Senior International Specialist, 20th Century & Contemporary Art +1 212 940 1254 kyang@phillips.com

Cary Leibowitz Scott Nussbaum

Business Development

Americas

Vivian Pfeiffer

Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeiffer@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

Iori Endo

Senior Client Advisor +44 20 7318 4039 iendo@phillips.com

Middle East & South Asia

Yassaman Ali

Client Advisory Director +44 20 7318 4056 yali@phillips.com

Trusts, Estates & Valuations Museum & Corporate Collections

Americas

Jennifer Jones

Director of Trusts, Estates & Valuations +1 212 940 1272 jjones@phillips.com

Laura Wenger

Senior Account Manager +1 212 940 1302 lwenger@phillips.com

Diana Willkie

Account Manager & Business Development Associate +1 212 940 1276 dwillkie@phillips.com

Americas

Lauren Peterson

Director of Museum & Corporate Collections +1 310 922 2841 lauren.peterson@phillips.com

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

International Specialists & Regional Directors

Europe

Nathalie Zaquin-Boulakia

Regional Director, France, Senior International Specialist, 20th Century & Contemporary Art +44 7342 884 127 nzaquin-boulakia@phillips.com

Dr. Nathalie Monbaron

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

Jeannette van Campenhout

Senior International Consultant, Latin American Art +34 646 01 07 68 jvancampenhout@phillips.com

Laurence Calmels

Regional Director, France +33 1 53 71 77 87 lcalmels@phillips.com

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

Kalista Fenina Specialist, 20th Century & Contemporary Art, Moscow +7 905 741 15 15 kfenina@phillips.com

Clara Rivollet

International Specialist, 20th Century & Contemporary Art, France +33 6 42 09 97 39 crivollet@phillips.com

Tobias Sirtl

Specialist, 20th Century & Contemporary Art, Germany +49 151 4192 6447 tsirtl@phillips.com

Kirsten MacDonald Regional Director, Scandinavia +45 2010 2111 kmacdonald@phillips.com

Laurence Barret-Cavy Specialist, 20th Century & Contemporary Art, France +33 153 71 77 89

lbarret-cavy@phillips.com

Carolina Lanfranchi

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy +39 338 924 1720 clanfranchi@phillips.com

Lori Spector

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

Americas

Cândida Sodré

Regional Director, Consultant, Brazil +55 21 999 817 442 csodre@phillips.com

Sophia Kinell

Regional Representative, San Francisco +1 650 799 7931 sophia.kinell@phillips.com

Asia

Kyoko Hattori

Regional Director, Japan +81 90 2245 6678 khattori@phillips.com

Cindy Yen

General Manager, Taiwan +886 2 2758 5505 cyen@phillips.com

Rika Dila

Senior Consultant, Thailand +66 81 818 6878 rdila@phillips.com

Carol Ehlers

Regional Director, Specialist, Photographs, Chicago +1 773 230 9192 cehlers@phillips.com

Blake Koh Regional Director, Los Angeles +1 323 383 3266 bkoh@phillips.com

Cecilia Laffan

Regional Director, Consultant, Mexico +52 1 55 5413 9468 claffan@phillips.com

Elie Massaoutis

Head of Design, France, Senior International Specialist +33 7 86 34 53 15 emassaoutis@phillips.com

Margherita Solaini

Associate Specialist, 20th Century & Contemporary Art, Italy +39 340 369 5226 msolaini@phillips.com

Thibault Stockmann

International Specialist, 20th Century & Contemporary Art, France +33 601 888 749 tstockmann@phillips.com

Maura Marvão

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain +351 917 564 427 mmarvao@phillips.com

Vivian Pfeiffer

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

Silvia Coxe Waltner

Regional Director, Seattle +1 206 604 6695 scwaltner@phillips.com

Minhee Suh

Regional Director, Korea +82 2 797 8001 msuh@phillips.com

Meiling Lee

Senior International Specialist, Taiwan +886 908 876 669 mlee@phillips.com

Yeonah Lim

Associate Regional Representative, Korea +82 2 797 8001 ylim@phillips.com

Joyce Lin

Associate Representative, Taiwan +886 919 036 730 joycelin@phillips.com

Wenjia Zhang

Regional Director, China +86 13911651725 wenjiazhang@phillips.com

Christine Fernando

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

Alicia Zhang

Associate Regional Representative, Shanghai +86 139 1828 6589 aliciazhang@phillips.com

Sandy Ma

International Specialist, South East Asia +852 2318 2025 sma@phillips.com

Yolanda Zeng

Associate Regional Representative, Shanghai +86 156 1886 4331 yolandazeng@phillips.com

Vivi Yip

Senior Consultant, Indonesia +62 8111 220 824 viviyip@phillips.com

1. Max Ingrand 1908-1969

Rare ceiling light

circa 1959

Glass, brass. 86.5 cm (34 in.) drop 86.9 cm (34 1/4 in.) diameter

Manufactured by Fontana Arte, Milan, Italy.

Estimate

£30,000-50,000 $33,200-55,400 €34,200-57,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan Literature

Domus, no. 356, July 1959, p. 65 for a floor lamp variant

Charlotte and Peter Fiell, eds., 1000 Lights, Volume 1: 1879 to 1959, Cologne, 2005, p. 368 for a floor lamp variant

From his first Moutons de Laine to his later Moutons de Pierre and Nouveaux Moutons, François-Xavier Lalanne’s sheep have become iconic expressions of his imaginative creations. An ensemble of whimsical sculptures, including the present ‘Brebis’, were conceived as much as works of art as innovative pieces of furniture. Since the 1960s, they have graced the homes of distinguished collectors and embody the sense of playfulness at the heart of the artist’s oeuvre. One of Lalanne’s aims was to turn sculptures into everyday objects and to demystify the concept of art in doing so. Of his sheep designs, he said: ‘Just the fact that you can squat on it reduces the risk of this inappropriate devotion.’

The first flock were made from wool for Lalanne’s acclaimed 1966 installation titled Pour Polyphème shown at the Salon de la Jeune Peinture in the Musée d’Art Moderne de la Ville de Paris.

The title was an homage to Homer’s Odyssey in which the cyclops Polythemus captures Odysseus and his compatriots, who escape their captivity by clinging onto the bellies of the monster’s giant sheep. These mythologyinspired woolly creatures gave way in the late 1970s, and again in the early 1990s, to remarkable new versions in epoxy stone and patinated bronze which allowed them to be displayed outside. The Nouveaux Moutons included a rams and lambs to complete the family.

Lalanne’s fascination with the natural and animal world was perhaps ignited during his early days working as an attendant at the Musée du Louvre in the galleries of ancient Egyptian and Assyrian art, surrounded by sculptures. Those imposing natural forms would have had a lasting effect on him and possibly inspired the creation of the menagerie that is an important part of his artistic output. Through sculptural figures and ingenious constructions, he brought to life rhinoceros, hippos, gorillas and sheep to name but a few, often giving them a function in the domestic space. Using a rhino as a desk, a gorilla as a safe or a sheep as a seat undoubtedly conveyed his passionate interest in subverting traditional art forms in a way that recalls the Surrealist movement.

Lalanne’s captivating internationally imaginary world has seduced spectators. In nature, the artist found an extensive array of images and inventive ideas which he employed to make fine arts visceral and accessible. ‘Everyone can recognize animals throughout the world’, he said. ‘You don’t have to explain what they are or mean.’

Photographs of his studio in a farmhouse in Ury, France, which he shared with his wife, the artist Claude Lalanne (who designed Lot 45), reveal the enchanted world they created around them and that inspired their creative process during their prolific careers.

The epoxy stone and bronze sheep have been praised and exhibited globally, most notably in the middle of New York City’s Fifth Avenue and recently in an exhibition in the garden of the Château de Versailles.

A herd of ‘Nouveaux Moutons’ including the present model ‘Brebis’ exhibited in the middle of Park Avenue, New York. Photo: Courtesy Kasmin Gallery, New York, Artwork: © ADAGP, Paris and DACS, London 2022

2. François-Xavier Lalanne 1927-2008

‘Brebis’, from the ‘Nouveaux Moutons’ series 1994

Epoxy stone, patinated bronze.

90.3 x 35 x 101 cm (35 1/2 x 13 3/4 x 39 3/4 in.)

Produced by Fonderie Blanchet-Landowski, Bagnolet, France. Number 25 from the edition of 250. Underside of muzzle impressed Fondeur Blanchet 25 / 250/1994

Estimate

£200,000-300,000 $221,000-332,000 €228,000-342,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Guy Pieters Gallery, Sint-Martens-Latem Acquired from the above by the present owner, 1995

Literature

Daniel Marchessau, The Lalannes, Paris, 1998, p. 37

Daniel Abadie, Lalanne(s), Paris, 2008, p. 188

Paul Kasmin, Claude & François-Xavier Lalanne: Art/ Work/Life, New York, 2012, n.p.

Adrian Dannatt, François-Xavier and Claude Lalanne: In the Domain of Dreams, New York, 2018, inside cover, pp. 66, 181, 192

3. Gio Ponti 1891-1979

Monumental vase circa 1940

Patinated copper. 83.4 x 56 x 47.7 cm (32 7/8 x 22 x 18 3/4 in.) Produced by Nino Ferrari, Brescia, Italy. Underside impressed with facsimile signature Nino Ferrari Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£7,000-9,000 $7,800-10,000 €8,000-10,300 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Brescia Literature

Antonella Rossi Colavini, ‘Nino Ferrari: Artist-craftsman of the novecento’, Forme Moderne, no. 5/10, Rome, 2010, p. 82 for a similar example

4. Venini

Pair of wall lights

circa 1940 Glass, copper, painted brass.

Each: 75 x 20.6 x 13.4 cm (29 1/2 x 8 1/8 x 5 1/4 in.) Produced by Venini & C., Murano, Italy.

Estimate £5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Rome Literature

Marino Barovier and Carla Sonego, Venini: Luce 1921-1985, exh. cat., Le Stanze del Vetro, Venice, 2022, p. 599 for a similar example

Paolo Buffa 1903-1970

Illuminated bar cabinet circa 1940

Walnut, walnut-veneered wood, cherry-veneered wood, brass. 107 x 98.5 x 37 cm (42 1/8 x 38 3/4 x 14 5/8 in.)

Executed by Mario Quarti, Milan, Italy. Together with a certificate of expertise from the Paolo Buffa Archive.

Estimate £10,000-15,000 $11,100-16,600 €11,400-17,100 Ω

plus Buyers Premium and VAT*

Provenance

Private collection, Como Literature

Roberto Aloi, L’Arredamento Moderno, Terza Serie, Milan, 1947, fig. 288

The present lot is from the same commission as lot 7.

6. Studio B.B.P.R.

Rare ceiling light, variant of model no. 2045 circa 1962

Painted aluminium, glass. 18.9 x 246.8 x 170.6 cm (7 1/2 x 97 1/8 x 67 1/8 in.) Manufactured by Arteluce, Milan, Italy.

Estimate

£70,000-90,000 $77,500-99,700 €79,900-103,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan Literature

‘Lampade enormi e lampade piccolissime’, Domus, no. 403, June 1963, p. 38 for another configuration Arteluce, sales catalogue, 1966, pp. 64-65 for other configurations

This impressive ceiling light comprises twelve model no. 3055/37 and twelve smaller model no. 3055/12 lights. A lighting review in Domus no. 403 from June 1963 explains that it was available to order in various configurations: ‘a special joint system allows to combine these elements in all sorts of ways, in symmetrical or asymmetrical aggregations. This can lead to the creation of enormous ceiling lights’. Custom configurations were in Milan’s Castello Sforzesco, a city landmark which was restored by Studio B.B.P.R. between 1954 and 1963 and in the HispanoOlivetti showroom in Barcelona. A model with this particular configuration was created for the Palermo branch of the Intesa San Paolo bank.

7. Paolo Buffa 1903-1970

Bookcase

circa 1940

Walnut, walnut-veneered wood, brass. 107.8 x 128.5 x 31 cm (42 1/2 x 50 5/8 x 12 1/4 in.)

Executed by Mario Quarti, Milan, Italy. Together with a certificate of expertise from the Paolo Buffa Archive.

Estimate

£6,000-8,000 $6,600-8,900 €6,800-9,100 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Como Literature

Roberto Aloi, L’Arredamento Moderno, Terza Serie, Milan, 1947, fig. 288 for a bar cabinet version of the design

The present lot is from the same commission as lot 5.

8. Venini

Pair of rare large mirrors

circa 1940

Coloured a treccia glass, coloured mirrored glass, brass. Each: 199.3 x 3.6 x 60.6 cm (78 1/2 x 1 3/8 x 23 7/8 in.)

Produced by Venini & C., Murano, Italy.

Estimate

£15,000-20,000 $16,600-22,100 €17,100-22,800 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Asti

Mario Federico Roggero was among Carlo Mollino’s closest friends, to whom we owe the conservation of the Mollino archive, lovingly assembled after his friend’s death in 1973. Although Roggero was the Dean of the Architecture Faculty at the Politecnico in Turin, where his friend Mollino also taught, their relationship went beyond that of a professional collaboration and was rooted in human understanding.

It is not easy to place Roggero amongst designers. It would be more appropriate to consider him a creator of unique furniture conceived for his clients, much like his peers Carlo Mollino, Roberto Gabetti & Aimaro Isola and Franco Campo & Carlo Graffi. His rare design works are exceptional in their uniqueness, executed by the best craftsmen whom he supervised throughout the production process.

The present armchair perfectly represents the historical period in which it was made. The significant wooden frame is supported by shaped feet to lighten its line, and the spatial importance of each component part of the armchair is individually recognisable. The armrests detach from the seat with an aerial structure ending in anthropomorphic supports while the pair of wings rise freely from the backrest displaying a distinct presence. The whole composition recalls the supple lines of Art Nouveau which partially inspired the organic tendency of some post-war Italian architecture and design. The elements of the work come together in a coherent and unified manner thanks to the fabric upholstery that gives the armchair an elegance and air of splendour.

By Fulvio Ferrari Author and Director of the Museo Casa Mollino, Turin A period photograph of the present model armchair, 1950s. Photo: Riccardo Moncalvo © Archivio Riccardo Moncalvo Torino *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%.

9. Mario Federico Roggero 1919-2012

Rare armchair circa 1950 Fabric, ebonised wood. 98.5 x 82 x 85.4 cm (38 3/4 x 32 1/4 x 33 5/8 in.) Likely produced by Baiano, Turin, Italy.

Estimate £5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Rome

Literature

Davide Alaimo, Mobili di Architetti e Progettisti Torinesi 1945-1965, Turin, 2018, p. 197

10. Tomaso Buzzi 1900-1981

Pair of wall lights, model no. 416 circa 1933

Incamiciato lattimo and pagliesco glass, cordonato glass and coloured ballotton glass with applied gold leaf, brass. Each: 33.8 x 20.7 x 22 cm (13 1/4 x 8 1/8 x 8 5/8 in.) Produced by Venini & C., Murano, Italy.

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

Provenance

Private collection, Milan

Literature

Anna Venini Diaz de Santillana, Venini Catalogue

Raisonné 1921–1986, Milan, 2000, p. 257

Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, Turin, 2007, pl. 147

Marino Barovier and Carla Sonego, Tomaso Buzzi alla Venini, exh. cat., Giorgio Cini Foundation, Venice, 2014, p. 413

Marino Barovier and Carla Sonego, Venini: Luce 1921-1985, exh. cat., Le Stanze del Vetro, Venice, 2022, p. 537

Tomaso Buzzi 1900-1981

Four armchairs circa 1948

Painted and gilded iron, fabric.

Tallest: 109.5 x 65.5 x 64.9 cm (43 1/8 x 25 3/4 x 25 1/2 in.)

Produced by Casa e Giardino, Italy.

Estimate

£12,000-18,000 $13,300-19,900 €13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan Literature

‘Spunti per l’arredamento’, Domus, no. 228, September 1948, pp. 48-49 for drawings of similar examples

11.

12. Seguso Set of three ceiling lights

1940s

Coloured pulegoso glass, nickel-plated brass. Each: 70.2 cm (27 5/8 in.) drop Produced by Seguso Vetri d’Arte, Murano, Italy.

Estimate

£6,000-8,000 $6,600-8,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Asti

Gio Ponti 1891-1979

Coffee table circa 1931

Burr walnut-veneered wood with walnut, maple, cherry, ash and ebonised wood marquetry, walnut-veneered wood, brass.

38 cm (14 7/8 in.) high, 82 cm (32 1/4 in.) diameter

Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£12,000-18,000 $13,300-19,900 €13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan Literature

Domus, no. 47, November 1931, p. 89 for a drawing of the marquetry design

‘Alcuni particolari dell’appartamento P. in Milano’, Domus, no. 98, February 1936, p. 31 for a similar example

13.

Gio Ponti & Giordano Chiesa: Constructive Affinities

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

Gio Ponti wrote these words in his 1957 book, Amate l’architettura, when describing materials and wood. It is no surprise that he lists Giordano Chiesa first in a line-up of his five preferred ebanisti since Ponti trusted him to interpret the lion’s share of his endless furniture orders from 1948 to the early sixties. These were the most prolific years for Ponti’s interior design activities, when Chiesa faithfully rose to the challenge of the architect’s insatiable appetite for new combinations of woods together with metals and stone. The list of their completed projects, in just ten years running, includes some of Ponti’s most famous pieces. Chiesa was involved in executing the furniture for every commission, starting with three sumptuous Milan apartments in 1948-50: Cremaschi, Ceccato, and Lucano (also known as Casa di Fantasia).

Among their most prominent collaborations, we should mention the offices of R.A.I., Vembi-Burroughs, the executive desk for the publisher of Domus, Giovanni Mazzocchi, six of ocean liners, and all three great villas outside Italy: Planchart and Arreaza both in Caracas, and Namazee in Tehran.

The fourteen lots in this group, are most likely commissions or prototypes except for a pair of armchairs (Lot 18). These are identical to the model no. 1609 by Cassina, although this example has the rare addition of brass sabots, which may indicate a custom order. Two other works, a low table with blue enamelled copper work by Paolo De Poli (Lot 22), and a taller three-legged occasional table with a glass top (Lot 24) were possibly conceived for the Altamira showroom in New York but never put into production.

The two metal objects presented here were made at different times: a brass vase from the early 1930s, which is a hybrid of Novecento typologies and Rationalist geometries (Lot 23) and a bronze ashtray from circa 1960, with a biomorphic form (Lot 17).

Gio Ponti

The other twelve lots from this selection demonstrate a growing interest in some of Ponti’s ‘meta-furniture’ designs, which can be described as oggetti d’arte. All these items are connected to Ponti’s private interiors or commercial commissions that he and Chiesa collaborated on. It is possible that some of these items were bestowed upon Chiesa by Ponti and others remained in Chiesa’s workshop. Their specific contexts reveal a timeline of Ponti’s endeavours in the realm of fine art.

The earliest are two wax-covered and painted papiermâché sculptures circa 1945 (Lots 15 & 16) made by Enrico Dal Monte from whom Ponti commissioned displays for advertisements in Stile, as well as shop windows for La Rinascente and Elizabeth Arden in Milan in 1947.

These two female and angel figures of ethereal dancing deities were likely designed to be private interior decorations. The same goes for the three ‘Donna Uccello’ figures (Lots 20, 21 & 26) that evolved from Ponti’s interest in ancient Greek Tanagra figurines, and admiration for Alberto Savinio’s delirious painted Metaphysical inventions. They were possibly orphaned from the Casa di Fantasia of the Lucano apartment where much of this surreal family was hosted.

‘Many people love wood. Among those I know or remember are Chiesa, Molinari, the old Magnoni, the Cassinas, and Proserpio. When it comes to wood we understand each other. “I have put aside a specimen for you, sir.”’

The four prototype sculptures in this group (Lot 25) were carved by Chiesa and metaphysical in inspiration as well.

Three painted wood embellished obelisks and one solitary hand were eventually executed in ceramic and meant to be placed inside wall lights. The hand displays the Vembi-Burroughs company logo in its palm revealing a commission for their offices in either Genoa or Turin. Their appearance may have been intriguing at the time with their glowing illusion of suspension.

The fine art works in this group are three oil paintings (Lots 14, 19, 27) that Ponti included in his 1955 ‘Accanto alla architettura’ exhibition at the Galleria del Sole, Milan. Their subjects were recurring themes specific to Ponti: angels, portraits in his positivo/negativo method, and fragmented bodies. The architect’s exhibition concept, rendered in an English translation as ‘Alongside Architecture’, was a juxtaposition of his latest furniture, a selection of beautifully designed objects, a cowhide rug, together with nearly fifty framed paintings. In this project he spells out his polemical vision to break down high and low categories among the arts. Ponti was at his most generous, and it is understandable that his most trusted ebanista, Giordano Chiesa, was a close part of his circle. This exceptional, diverse and yet coherent array of exquisite objects reveals the intense constructive affinities between these two creative masters.

Interior of Vembi-Burroughs office, Turino, showing a glowing wall light containing a sculpture of a hand with the company’s logo. Photo: © Gio Ponti Archives Gio Ponti’s exhibition ‘Accanto alla architettura’ at the Galleria del Sole, Milan, 1955. Lot 14 ‘Gambe’ is hung top right. Image: Archivio Domus© Editoriale Domus S.p.A.

Property from a Milanese Estate

14. Gio Ponti 1891-1979

‘Angelo’ circa 1955 Oil on panel.

39.2 x 16.1 x 0.9 cm (15 3/8 x 6 3/8 x 0 3/8 in.)

Signed PONTI lower right. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£6,000-8,000 $6,600-8,900 €6,800-9,100 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Giordano Chiesa, Milan

Thence by descent to the present owner

Literature

‘Accanto alla architettura’, Domus, no. 312, November 1955, illustrated p. 21

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%. 15. Gio Ponti 1891-1979 Female figure circa 1945 Wax-covered papier-mâché 33.5 cm (13 1/4 in.) high Executed by Enrico Dal Monte, Faenza, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £3,000-5,000 $3,300-5,500 €3,400-5,700 ‡ plus Buyers Premium and VAT* Provenance Giordano Chiesa, Milan Thence by descent to the present owner Property from a Milanese Estate

16. Gio Ponti 1891-1979 Angel figure circa 1945 Painted papier-mâché, wood base. 23.5 cm (9 1/4 in.) high Executed by Enrico Dal Monte, Faenza, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £3,000-5,000 $3,300-5,500 €3,400-5,700 ‡ plus Buyers Premium and VAT* Provenance Giordano Chiesa, Milan Thence by descent to the present owner Property from a Milanese Estate

Property from a Milanese Estate

17. Gio Ponti 1891-1979

Unique ashtray

circa 1960 Bronze.

3.9 x 9.3 x 10.2 cm (1 1/2 x 3 5/8 x 4 in.)

Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£700-900 $780-1,000 €800-1,000 ‡ plus Buyers Premium and VAT*

Provenance

Giordano Chiesa, Milan

Thence by descent to the present owner

Property from a Milanese Estate

18. Gio Ponti 1891-1979

Pair of armchairs

circa 1955

Walnut, vinyl, brass.

Each: 84.5 x 56.7 x 55.1 cm (33 1/4 x 22 3/8 x 21 3/4 in.) Executed by Giordano Chiesa, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate £3,000-5,000 $3,300-5,500 €3,400-5,700 ‡ plus Buyers Premium and VAT*

Provenance

Giordano Chiesa, Milan

Thence by descent to the present owner

Literature

‘Camera d’albergo’, Domus, no. 265, December 1951, p. 12 ‘Studio legale a Milano’, Domus, no. 286, September 1953, p. 34 Marco Romanelli, ed., Gio Ponti: A World, exh. cat., Design Museum, London, 2002, p. 90 Paolo Piccione, Gio Ponti, Le Navi: Il Progetto degli Interni Navali 1948-1953, Milano, 2007, pp. 126-29, 131

Property from a Milanese Estate

19. Gio Ponti 1891-1979

‘Gambe’

circa 1955

Oil on canvas laid on board. 39.8 x 49.5 x 0.4 cm (15 5/8 x 19 1/2 x 0 1/8 in.) Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£8,000-12,000 $8,900-13,300 €9,100-13,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Giordano Chiesa, Milan

Thence by descent to the present owner

Literature

‘Accanto alla architettura’, Domus, no. 312, November 1955, illustrated p. 19

The painting in the present lot was exhibited in Gio Ponti’s exhibition ‘Accanto alla architettura’ at the Galleria del Sole, Milan, in 1955. An image of the exhibition featuring this painting is published with Lot 14, ‘Angelo’.

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%. 20. Gio Ponti 1891-1979 ‘Donna uccello’ figure with crinoline circa 1951 Glazed terracotta. 24.5 cm (9 5/8 in.) high Manufactured by Gabbianelli, Milan, Italy. Underside painted with manufacturer’s logo and P.3. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT* Provenance Giordano Chiesa, Milan Thence by descent to the present owner Literature Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 178-79 for similar examples Property from a Milanese Estate

21. Gio Ponti 1891-1979 ‘Donna uccello’ figure with dress circa 1951 Glazed terracotta. 23 cm (9 in.) high Manufactured by Gabbianelli, Milan, Italy. Underside painted with manufacturer’s logo and P.3. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT* Provenance Giordano Chiesa, Milan Thence by descent to the present owner Literature Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 178-79 for similar examples Property from a Milanese Estate

Gio Ponti & Paolo De Poli: Tables as Analogous Objects

By Brian Kish, Curator and Specialist in 20th Century Italian architecture and design

Associate member of the Gio Ponti Archives since 2006

During the 1950s, Gio Ponti designed a few experimental furniture pieces with Paolo De Poli. The three works which we know of are two unique coffee tables and one large freestanding fireplace. At first sight it may seem that in these works Ponti is stepping away from his familiar imagery to embrace abstract form. Within the octagonal structure of his fireplace for the villa Namazee in Teheran, however, the surface panels are dappled with blue and white painterly gestures evocative of cloudy skies.

The two coffee tables custom-built within the same twelve months period are both distinctive in intent. The 1954 lattice top table was a prototype made for the Altamira showroom in New York. Here Ponti asked De Poli to devise an enamelled copper grid of alternating colours that is evocative of some De Stijl paintings by Mondrian or Van Doesburg.

This unique rectangular table from circa 1955 marks a momentary departure from Ponti’s emblematic tectonics of enhanced structural features toward a design involving pictorial emphasis that is also related to his very own architectural idiosyncrasies. Indeed, the piece seems like a vertical mirroring, that could be a model for his swimming pool projects such as the one for the roof of Hotel Royal in Sanremo.

Still, both tables have structural features in common such as the white lacquered wood elements and tapering legs terminating in brass sabots. The rectangular table has a streamlined elevation almost concealing the depth of the massive solid wood slab under the glass top.

Gio Ponti’s coffee table prototype for the Altamira showroom in New York, with Paolo De Poli’s enamelled copper lattice top design, circa 1954.

Image: Archivio Domus - © Editoriale Domus S.p.A.

Ponti relied on his faithful master ebanista Giordano Chiesa to hollow out cavities across the flat-top surface of the wooden slab according to a meandering pattern; he then asked De Poli to fill the voids with his intense ultramarine blue enamel, which turned them into irregular ‘pools’, echoing Ponti’s own words.

This table project can be seen as a coda to his 1940s surrealist interiors, where furniture forms were dissolved in Fornasetti patterns, but it also shows Ponti opening up the next chapter where custom design attains the long-sought glow of fine art. In the following decade Ponti achieved an ever-growing autonomy from commerce and industry and contributed to the breakdown of categories between architecture, design, and art, which can also be attributed to the additional momentum of his editorial and curatorial activities. Last but not least, it could be said that these pieces prefigure some experiments developed in 1960s contemporary art projects by Lucio Fontana, Remo Bianco, or Carla Accardi, amongst others.

‘I hate rectangular swimming pools. Are lakes and rivers rectangular? I want swimming pools for nymphs; And that one dives into from the top of trees; And that have a bar in a cave, reached by swimming underwater.’

Gio Ponti’s watercolour drawing of the Hotel Royal swimming pool, Sanremo. Images: Archivio Domus - © Editoriale Domus S.p.A.

Gio Ponti

Property from a Milanese Estate

22. Gio Ponti and Paolo De Poli

1891-1979 and 1905-1996

Unique low table circa 1955

Painted ash, enamelled copper, glass, brass. 39.7 x 139.6 x 38.5 cm (15 5/8 x 54 7/8 x 15 1/8 in.)

Executed by Giordano Chiesa, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£30,000-50,000 $33,200-55,400 €34,200-57,000 ‡ plus Buyers Premium and VAT*

Provenance

Giordano Chiesa, Milan

Thence by descent to the present owner

Property from a Milanese Estate

Gio Ponti 1891-1979

Rare vase

circa 1933 Brass. 27.8 cm (10 7/8 in.) high

Likely executed by Nino Ferrari, Brescia, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£2,000-3,000 $2,200-3,300 €2,300-3,400 ‡ plus Buyers Premium and VAT*

Provenance

Giordano Chiesa, Milan

Thence by descent to the present owner

23.

24. Gio Ponti 1891-1979 Rare side table circa 1953 Ebonised fruitwood, glass, brass. 55.2 cm (21 3/4 in.) high, 60.2 cm (23 3/4 in.) diameter Executed by Giordano Chiesa, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT* Provenance Giordano Chiesa, Milan Thence by descent to the present owner Property from a Milanese Estate

25. Gio Ponti 1891-1979

Four prototype sculptures

circa 1950

Painted wood.

Tallest: 51.5 x 8 x 6.1 cm (20 1/4 x 3 1/8 x 2 3/8 in.)

Executed by Giordano Chiesa, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£2,000-3,000 $2,200-3,300 €2,300-3,400 ‡ plus Buyers Premium and VAT*

Provenance

Giordano Chiesa, Milan

Thence by descent to the present owner

Literature

For the ceramic version of the sculptures:

‘Considerazioni su alcuni mobili’, Domus, no. 243, February 1950, pp. 26-27

‘Chiarezza, unità, visibilità totale negli uffici modernissimi’, Domus, no. 270, May 1952, p. 27

Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 158, 195

Salvatore Licitra et al., Gio Ponti, Cologne, 2021, pp. 236-37

The present prototype sculptures comprising three embellished obelisks and one hand with the VembiBurroughs logo were subsequently executed in ceramic, to be placed inside wall lights.

Property from a Milanese

Estate

26. Gio Ponti 1891-1979 ‘Donna uccello’ figure with corset circa 1951 Glazed terracotta. 24 cm (9 1/2 in.) high Manufactured by Gabbianelli, Milan, Italy. Underside painted with manufacturer’s logo and P.3. Together with a certificate of expertise from the Gio Ponti Archives. Estimate £5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT* Provenance Giordano Chiesa, Milan Thence by descent to the present owner Literature Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 178-79 for similar examples Property from a Milanese Estate

Property from a Milanese Estate

27. Gio Ponti 1891-1979

‘Maschera’ circa 1950

Oil on canvas laid on board, in artist’s frame.

45 x 35.3 x 2 cm (17 3/4 x 13 7/8 x 0 3/4 in.)

55.5 x 45.8 x 5.5 cm (21 7/8 x 18 x 2 1/8 in.), including frame Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£7,000-9,000 $7,800-10,000 €8,000-10,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Giordano Chiesa, Milan

Thence by descent to the present owner

28. Ico Parisi 1916-1996

Unique dining table circa 1955 Oak, painted iron. 76 x 300.6 x 110.6 cm (29 7/8 x 118 3/8 x 43 1/2 in.) Produced by Brugnoli Mobili, Cantù, Italy. Together with a certificate of authenticity from the Archivio del Design di Ico Parisi.

Estimate £20,000-30,000 $22,100-33,200 €22,800-34,200 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan, commissioned directly from the designer, circa 1955

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

Marcel Coard:

A Zodiac Ceiling Light Rediscovered

By Amélie Marcilhac , Author of Marcel Coard Décorateur

After beginning his career with the great couturier and patron of Art Deco, Jacques Doucet, Marcel Coard’s career took a turning point in 1928 when he eventually asserted his own individual style through an entire commission to design Paul and Marcelle Cocteau’s country house in Touraine.

Paul Cocteau was Jean Cocteau’s older brother and worked as stockbroker in Paris. In the mid-1920s, he turned to Marcel Coard for the design of a pair of parchment and grey velvet display cabinets to exhibit his collection of Roman sculpted marble heads, Egyptian vases and Japanese and Chinese miniatures. After his wedding to Marcelle Rageot, Paul Cocteau commissioned other pieces from the designer for the interior of their new Parisian home including an occasional table in Macassar ebony and mother-of-pearl, a parchment and malachite chest of drawers as well as a shagreen coffee table with a glass slab decorated with a fish, made together with the Hungarian sculptor József Csáky.

Thrilled with this collaboration and new friendship with Marcel Coard, the young couple gave carte blanche to Marcel Coard to carry out the interior decoration of their house in Champgault. On a plot of land near Tours, given to Marcelle as a gift for the birth for their daughter Nicole, the Cocteaus built an important country mansion with two master bedrooms, six guest bedrooms, two dining rooms as well as multiple living rooms and boudoirs. Marcel Coard conceived the entire project: he chose the furnishing fabrics; the floors finishes and wall coverings as well as the furniture design arrangement and lighting which he created for them. The project was a total work of art which was completed by the end of 1930. The house was featured in an article published in September 1932 in Art & Décoration and in February 1935 in Art & Industrie.

The photographs in these two periodicals show a marked difference in the materials used in the works completed before 1929 and those that were finalised after that date, revealing the consequences of the Great Depression. The furniture in Paul and Marcelle Cocteau’s bedrooms, for example, are delicately enhanced with Macassar ebony, mother-of-pearl, blue scagliola and brown leather. Some of the guest rooms are decorated with straw marquetry furniture, the living rooms display shagreencovered furnishings, or present entirely chisel-carved pieces and a yellow lacquered cabinet with maps of Champgault painted on it. These ensembles recall the first precious creations inspired by African imagery which he designed for Jacques Doucet. In order to finish the house during the economic crisis and the financial difficulties of his patrons, Marcel Coard had to rely on local craftsmen near Tours and used more accessible materials paired with simpler and more economical techniques, adapted to the use of a country house. In the Champgault mansion, shagreen-

covered pieces and lacquered furniture coexisted with simple painted wood tables without compromising the harmony of the interior.

Coard’s lighting, mostly created after 1929, appears only partially in the pictures from both periodicals. Fortunately, however, the Cocteau family archives show two ceiling lights created by the designer with similar features and construction to the present lot. These are important spheres, displaying planetary systems with a painted grey wrought iron structure, enclosing a globe in their centre and small glass spheres suspended from metal rods. The one illustrated in the periodicals also displays several glass stars. Their composition is nearly identical, and they both have painted illustrations of zodiac signs on the central painted band. Their structure comprises interlocking circles and a small star in the upper part, offset from the ceiling hook. Alongside the esoteric nature of these pieces, Marcel Coard’s interest in the stars was most likely motivated by the discovery of the planet Pluto, ninth planet of the solar system on the 18 February 1930 by the American Clyde Tombaugh.

The present ceiling light (Lot 29) is the only one of this kind known to exist, and the other two have never appeared on the art market. After Paul Cocteau's death in 1961, his widow sold part of the furniture from the house in 1970s to Parisian dealers but also to Bob Walker, an important American collector. Walker was fond of Marcel Coard and persistently called him to acquire his designs. He eventually purchased Marcelle Cocteau’s entire bedroom as well as other precious pieces of furniture from Champgault, which he kept in this private collection for decades. Parisian art dealer Michel Souillac was amongst those who also acquired other furniture from the house, including the lacquered yellow wardrobe in the small living room and the present chandelier that he installed in the present owner’s townhouse in early 1980s.

As this ceiling light does not include the central bulb-covering globe like the ones in the two similar examples, one could suppose that this one was not installed in a room with such high ceilings as the one of the grand entrance hall but in a smaller room. The central band is painted on metal in shimmering colours with simplified illustrations of zodiac signs with applied gold leaf.

This extraordinary piece embodies Marcel Coard’s very own style of creating original and unique pieces for Paul and Marcelle Cocteau despite their diminishing means. With the use of new materials such as glass, mirrored glass or tubular metal, he achieved new forms, lighter and more subdued than those made for Jacques Doucet. Marcel Coard’s ceiling lights were singular creations not to be seen again in his later projects. He cared deeply about producing one of a kind or very limited pieces.

29. Marcel Coard 1889 - 1974

Monumental ceiling light, from the Paul Cocteau residence, Champgault circa 1930

Painted iron, painted steel with painted zodiac signs illustrations and applied gold leaf. 136 cm (53 1/2 in.) high, 132 cm (51 7/8 in.) diameter

Estimate

£40,000-60,000 $44,300-66,400 €45,600-68,500 plus Buyers Premium and VAT*

Provenance

Paul Cocteau, Champgault, commissioned directly from the designer, circa 1930

Thence by descent

Michel Souillac, Paris, acquired from the above Acquired from the above by the present owner, circa 1981

Literature

Jean Gallotti, ‘Marcel Coard’, Art et Décoration, September 1932, p. 278 for a similar example

‘Un Manoir Moderne chez M.P.C.’, Art et Industrie, February 1935, p. 11 for a similar example

Amélie Marcilhac, Marcel Coard Décorateur, Paris, 2012, pp. 26-27, 100 for a similar example

Katsu Hamanaka 1895-1982

Two plates

1934

Lacquered wood, galuchat Larger: 35.4 cm (13 7/8 in.)

Estimate

£7,000-9,000 $7,800-10,000 €8,000-10,300 ‡ plus Buyers Premium and VAT*

Provenance

Galerie Vallois, Paris Galerie Foncillon, Royan Phillips, London, ‘Design’, 27 September 2011, lots 68 and 69 Acquired from the above by the present owner

30.

31. Jean Prouvé 1901-1984

Rare adjustable swivel stool circa 1954

Painted steel, birch plywood. 66.3 x 44.2 x 44.2 cm (26 1/8 x 17 3/8 x 17 3/8 in.), fully raised Manufactured by Les Ateliers Jean Prouvé, France.

Estimate £12,000-18,000 $13,300-19,900 €13,700-20,500 Ω plus Buyers Premium and VAT*

Provenance

Private collection, France

Literature

Peter Sulzer, Jean Prouvé: Œuvre Complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 258 for the variant of the present model with a backrest

A variant of this stool with a backrest is documented in the Archives Jean Prouvé at the Archives Départementales de Meurthe-etMoselle, Nancy.

32. Jean Prouvé 1901-1984

Panel

circa 1950

Plywood, aluminium, painted aluminium, glass. 232 x 104 x 5.3 cm (91 3/8 x 40 7/8 x 2 1/8 in.)

Manufactured by Les Ateliers Jean Prouvé, France.

Estimate

£30,000-50,000 $33,200-55,400 €34,200-57,000 ‡ plus Buyers Premium and VAT*

Provenance

Galerie 54, Paris

Private collection, Paris Phillips, New York, ‘Design’, 12 June 2008, lot 105 Acquired from the above by the present owner

Literature

Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, front and back cover, pp. 192-93, 195-96, 200-01

Peter Sulzer, Jean Prouvé: Œuvre Complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 195

Galerie Patrick Seguin, Jean Prouvé, Paris, 2007, Volume 1, pp. 79-81, 155, Volume 2, pp. 294, 529

Jean Prouvé 1901-1984

Panel

circa 1950

Plywood, aluminium, painted aluminium, glass. 232 x 104 x 5.3 cm (91 3/8 x 40 7/8 x 2 1/8 in.) Manufactured by Les Ateliers Jean Prouvé, France.

Estimate £30,000-50,000 $33,200-55,400 €34,200-57,000 ‡ plus Buyers Premium and VAT*

Provenance

Galerie 54, Paris, France

Private collection, Paris Phillips, New York, ‘Design’, 12 June 2008, lot 104 Acquired from the above by the present owner

Literature

Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, front and back cover, pp. 192-93, 195-96, 200-01

Peter Sulzer, Jean Prouvé: Œuvre Complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 195

Galerie Patrick Seguin, Jean Prouvé, Paris, 2007, Volume 1, pp. 79-81, 155, Volume 2, pp. 294, 529

33.

34. Angelo Lelii 1911-1979

‘Vela’ ceiling light, model no. 12385 circa 1951

Painted aluminium, brass, nylon string. 78.7 x 78.7 x 86.4 cm (30 7/8 x 30 7/8 x 34 in.) Manufactured by Arredoluce, Monza, Italy.

Estimate

£5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan Literature

Domus, no. 279, February 1953, n.p. Anty Pansera, Alessandro Padoan, Alessandro Palmaghini, Arredoluce: Catalogue Raisonné 1943-1987, Milan, 2018, pp. 129, 283

The present lot has been registered in the Arredoluce Archives, Italy as number 1875449.

An advertisement for Arredoluce in Domus no. 278, featuring the present model ceiling light, 1953.

Image: Archivio Domus - © Editoriale Domus S.p.A.

Gio Ponti 1891-1979

Lounge chair circa 1937

Painted oak, fabric. 75.8 x 62.3 x 163.5 cm (29 7/8 x 24 1/2 x 64 3/8 in.) Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£6,000-8,000 $6,600-8,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

Domus, no. 116, August 1937, p. 18 for a similar example

Domus, no. 117, September 1937, p. 20 for a similar example

Domus, no. 152, August 1940, pp. 62-63 for a drawing of a similar example

35.

36. Gino Sarfatti 1912-1985

Pair of rare table lamps, model no. 594 circa 1960

Painted iron.

Each: 11.5 x 11.5 x 11.5 cm (4 1/2 x 4 1/2 x 4 1/2 in.) Manufactured by Arteluce, Milan, Italy.

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

Provenance

Private collection, Turin Phillips, London, ‘Design’, 7 April 2011, lot 138 Acquired from the above by the present owner

Literature

‘Lampade enormi e lampade piccolissime’, Domus, no. 403, June 1963, p. 38 Domus, no. 411, February 1964, n.p.

Marco Romanelli and Sandra Severi, Gino Sarfatti: Opere Scelte 1938-1973, Milan, 2012, pp. 322-23, 438

The present model table lamps were exhibited at the XII Milan Triennale, 1960.

Alessandro Mendini 1931-2019

Prototype ‘Ondoso’ coffee table circa 1978

Plastic-laminated wood, steel. 32.6 x 116.5 x 98 cm (12 7/8 x 45 7/8 x 38 5/8 in.)

Produced by Studio Alchymia, Milan, Italy. Underside with label printed STUDIO/ALCHYMIA/MILANO.

Estimate

£8,000-12,000 $8,900-13,300 €9,100-13,700

plus Buyers Premium and VAT*

Literature

Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 126 for a similar example

Albrecht Bangert, Italienisches Möbeldesign: Klassiker von 1945 bis 1985, Munich, 1985, pp. 63, 139 for a similar example

Phillips wishes to thank Beatrice Felis at the Atelier Mendini and Alessandro Guerriero, co-founder of Studio Alchymia, for their assistance cataloguing the present lot.

The present coffee table is a prototype created by Alessandro Mendini that embodies a key moment in the history of Italian 20th century design. It reveals the working process of Studio Alchymia, who were the radical predecessors of the Memphis group.

Alessandro Guerriero, co-founder of Studio Alchymia who personally followed the creation of the present lot clearly recalls its execution. He explained that having a 1:1 model in front of them helped to understand its measurements, materials and everything that concerned its construction. The ‘Ondoso’ model table was later developed as part of the Studio Alchymia’s ‘Bauhaus’ series from 1979 which evolved from this prototype to include bright green, orange, blue and yellow legs, and a central red dot on the tabletop.

37.

38. Jean Prouvé 1901-1984

Five-panel screen circa 1955

Aluminium, steel. 183.8 x 377.6 x 39.7 cm (72 3/8 x 148 5/8 x 15 5/8 in.) Manufactured by Les Ateliers Jean Prouvé, France.

Estimate

£30,000-50,000 $33,200-55,400 €34,200-57,000 plus Buyers Premium and VAT*

Provenance

Galerie Jousse Entreprise, Paris Acquired from the above by the present owner, 2012

Literature

Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 158-59

Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, pp. 463-67

The present integrated bedroom furniture was designed by Ettore Sottsass, Jr. for the Milanese home of his trusted printmaker Giovanni Lana and his family. In a 1967 Domus feature, Sottsass described the space containing these furnishings as an entirely white and simple room. This was because, in his view, ‘the bedroom of two people who truly love each other very much ought to be bare, with flowers and fruit at most, since very little is needed in love - very little indeed: it is anger that makes people insatiable.’

Executed by Sottsass’ friend and collaborator Renzo Brugola, the components of this room reveal a masterpiece in the ingenious use of space. The beds are placed against a white laminated wall that supports a pair of unadorned bedside tables. The three wall-mounted units with geometrical details are positioned with different functionalities in mind. The teal one and the black one can be used as book or object holders, while the white one at the top is designed to store larger items. The entire organisation of the room, with its few essential pieces, are a testament to Sottsass’ creative and thoughtful vision for this special commission.

The master bedroom of Casa Lana, Milan. Photo: Archivio Domus - © Editoriale Domus S.p.A.

‘ The bedroom of two people who truly love each other very much ought to be bare, with flowers and fruit at most, since very little is needed in love – very little indeed.’

Ettore Sottsass, Jr.

Property from Casa Lana, Milan

39. Ettore Sottsass, Jr. 1917-2007

Bedroom furniture circa 1966

Ash, ash-veneered wood, painted ash, laminated wood. Wall panel: 212.7 x 334.4 x 5.6 cm (83 3/4 x 131 5/8 x 2 1/4 in.)

Each bed: 50 x 85.7 x 192.1 cm (19 5/8 x 33 3/4 x 75 5/8 in.)

Each bedside table: 4.7 x 40.8 x 38.4 cm (17/8 x 161/8 x 151/8 in.)

Each unit: 40.2 x 40 x 36 cm (15 7/8 x 15 3/4 x 14 1/8 in.)

Executed by Renzo Brugola, Lissone, Italy. Comprising a wall panel, a pair of beds, a pair of wall-mounted bedside tables and three wall-mounted units.

Estimate

£12,000-18,000 $13,300-19,900 €13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance

Mr and Mrs Giovanni Lana, commissioned directly from the designer, circa 1966

Thence by descent to the present owner

Literature

Ettore Sottsass, ‘Una stanza nella stanza’, Domus, no. 457, December 1967, illustrated p. 34

Bellezza, February 1968, illustrated p. 45

Space Design: Journal of Art and Architecture, no. 43, June 1968, illustrated pp. 32-33

40. Gino Sarfatti 1912-1985

Floor lamp, model no. 1095

circa 1968

Painted aluminium, painted brass, iron. 185 cm (72 7/8 in.) high Manufactured by Arteluce, Milan, Italy.

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

Provenance

Private collection, Milan Phillips, London, ‘Design’, 25 September 2008, lot 156 Acquired from the above by the present owner

Literature

Marco Romanelli and Sandra Severi, Gino Sarfatti: Opere Scelte 1938-1973, Milan, 2012, pp. 356-57, 458

Elio Monesi 1927-1994

Bench circa 1960

Painted wood, painted steel, teak. 41.1 x 120.1 x 45.3 cm (16 1/8 x 47 1/4 x 17 7/8 in.)

Estimate £3,000-5,000 $3,300-5,500 €3,400-5,700

plus Buyers Premium and VAT*

Provenance

Private collection, Milan

41.

‘Alga’

with

cm (14 1/4 in.) high

by Venini

Estimate

C., Murano,

Provenance

amount of Buyer’s Premium,

and, if applicable, Artist’s Resale Royalty payable is dependent on the sale

For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at

*The

VAT

outcome.

20%. 42. Ludovico Diaz de Santillana 1931-1989 Floor lamp, model no. 845.00 circa 1980

incamiciato glass

applied gold leaf, glass, painted steel. 36.2

Produced

Italy.

£8,000-12,000 $8,900-13,300 €9,100-13,700 ‡ plus Buyers Premium and VAT*

Private collection, Sorrento Literature Venini, sales catalogue, Venice, 1980, n.p.

Borsani 1911-1985

Literature

Domus, no. 435, February 1966, n.p.

Giuliana Gramigna, 1950/1980 Repertorio: Immagini e Contributi per una Storia dell’arredo Italiano, Milan, 1985, p. 219

Maurizio Romano and Marco Squarcini, eds., Osvaldo Borsani, Rome, 1992, p. 334

Giampiero Bosoni, Osvaldo Borsani: Architect, Designer, Entrepreneur, Milan, 2018, pp. 498-99

Tommaso Fantoni, Norman Foster and Giampiero Bosoni, Osvaldo Borsani, Milan, 2018, pp. 131, 189, 195

Provenance

Private collection, Milan

43. Osvaldo

Set of four ‘Canada’ armchairs, model no. P110 circa 1965 Painted plywood, painted wood, fabric, plastic. Each: 80 x 78.6 x 87.2 cm (31 1/2 x 30 7/8 x 34 3/8 in.) Manufactured by Tecno, Milan, Italy. Back of each with paper label printed with manufacturer’s logo and Tecno/Milano Estimate £6,000-8,000 $6,600-8,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Games table

circa 1900

Ebonised wood, walnut, bone, vellum with inked illustrations. 67 x 55 x 54.8 cm (26 3/8 x 21 5/8 x 21 5/8 in.)

Estimate

£8,000-12,000 $8,900-13,300 €9,100-13,700 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Rome

Thence by descent to the present owner

Literature

Philippe Dejean, Bugatti: Carlo, Rembrandt, Ettore, Jean, New York, 1982, p. 88 for a similar example

Henry H. Hawley, Bugatti, exh. cat., The Cleveland Museum of Art, Cleveland, 1999, pp. 12-13 for a similar example

Amanda Dunsmore and John Payne, Bugatti: Carlo, Rembrandt, Ettore, Jean, Mulgrave, 2009, p. 12 for a similar example

44. Carlo Bugatti 1855-1940

When Claude Lalanne and her husband François-Xavier moved to the rural town of Ury near Fontainebleau in 1967, the area was already frequented by bohemians, fellow sculptors and like-minded artists. Having outgrown their Paris apartment due to their burgeoning careers, the artists’ creative visions found fertile ground in a new countryside home. For Claude in particular, the larger spaces of a converted 19th century farmhouse allowed her metalwork craft including casting, moulding, and electroplating to reach new heights. Surrounded by rich fauna and flora, her vivid imagination thrived more than ever. In an environment where animals had always roamed, introducing her very own kind only seemed fitting.

A few years after settling into this new bucolic environment, Claude visited the Paris Zoo thanks to her

friend and fellow artist Niki de Saint Phalle. The story goes that the zoo's amenable director agreed to let her have the remains of a recently deceased crocodile, which she used to give a series of cast bronze works a reptilian texture. From the early 1970s, the tactile forms of the animal’s scaly skin became a recurrent theme of her oeuvre. The crocodile motif first appeared as a chandelier and later in various forms of seating, each uniquely honouring the animal’s remarkable morphology though her whimsical interpretations. In the present bronze ‘Crocoseat’, Lalanne’s fascination for the striking shapes of the animal world merge with her knowledge and profound interest in precious metal craftsmanship. The gleaming, life-like crocodile skin drapes over the seat and creates a fantastical free form backrest. The piece is amongst the most extraordinary manifestations of her playful homages to wildlife.

Claude Lalanne at work in her studio in Ury, circa 1976.

Photo: © Pierre Boulat / Ass.

Pierre & Alexandra Boulat

45. Claude Lalanne 1925-2019

‘Crocoseat’ 2007 Bronze. 71 x 39.5 x 43.4 cm (27 7/8 x 15 1/2 x 17 1/8 in.)

Number 1 from an edition of 8 plus four artist’s proofs. Seat impressed 1/8 D CL LALANNE 2007

Estimate

£180,000-240,000 $199,000-266,000 €205,000-274,000 ♠

plus Buyers Premium and VAT, ARR applies*

Provenance

Private collection, London

Literature

Paul Kasmin, Claude & François-Xavier Lalanne, New York, 2012, n.p.

Adrian Dannatt, François-Xavier & Claude Lalanne: In the Domain of Dreams, New York, 2018, p. 259

46. Gio Ponti 1891-1979

Pair of andirons

circa 1941 Painted iron.

Each: 33.8 x 13.2 x 58.9 cm (13 1/4 x 5 1/4 x 23 1/4 in.) Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£6,000-8,000 $6,600-8,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Gio Ponti and Emilio Lancia

1891-1979, 1890-1973

Daybed circa 1933

Walnut, walnut-veneered pine, stained pine, fabric. 63.1 x 204.5 x 98.5 cm (24 7/8 x 80 1/2 x 38 3/4 in.) Together with a certificate of expertise from the Gio Ponti Archives.

Estimate £12,000-18,000 $13,300-19,900 €13,700-20,500 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Varese

47.

48. Shiro Kuramata 1934-1991

‘How High the Moon’ armchair circa 1986

Nickel-plated steel mesh, nickel-plated steel. 74 x 94.3 x 82.6 cm (29 1/8 x 37 1/8 x 32 1/2 in.) Manufactured by Vitra, Basel, Switzerland.

Estimate

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

Provenance

Acquired directly from the manufacturer by the present owner, 1980s

Literature

Domus, no. 714, March 1990, n.p.

Domus, no. 788, December 1996, p. 55

Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, pp. 21, 56-57, 177, 181

Domus, no. 858, April 2003, pp. 124-25

An advertisement for Vitra in Domus no. 714, featuring the painter Robert Rauschenberg in the present model armchair, 1990.

Image: Archivio Domus - © Editoriale Domus S.p.A.

49. Ignazio Gardella 1905-1999

Rare side table

circa 1945

Walnut, walnut-veneered wood, brass. 63 x 66 x 44.1 cm (24 3/4 x 25 7/8 x 17 3/8 in.)

Estimate

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

Provenance

Coggi family, Milan, commissioned directly from the designer, circa 1945

Cambi, Milan, ‘Fine Design’, 20 December 2019, lot 33 Acquired from the above by the present owner

Literature

Giulio Carlo Argan, Ignazio Gardella, Milan, 1959, pp. 190, 194

Angelo Lorenzi and Carlo Quintelli, eds., Ignazio Gardella: Altre Architetture, Padova, 2020, pp. 24, 53

Phillips wishes to thank the Archivio Storico Gardella for their assistance in cataloguing the present lot.

The present model side table in the living room of Villa Coggi, Via Elba, Milan, circa 1945.

Photo: Archivio Storico Gardella

50. Tobia Scarpa b. 1935

Provenance

Anna Venini

de Santillana,

for a

and Techniques,

Franco Deboni, Venini Glass:

Set of three wall lights circa 1968 Battuto coloured glass, brass. Each: 22.6 x 16.7 x 20 cm (8 7/8 x 6 5/8 x 7 7/8 in.) Produced by Venini & C., Murano, Italy. Estimate £5,000-7,000 $5,500-7,800 €5,700-8,000 Ω plus Buyers Premium and VAT*

Private collection, Turin Literature

Diaz

Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 294

vase version of the model

Its History, Artists

Catalogue 1921-2007, Volume 1, Turin, 2007, n.p. for a vase version of the model

51. Fernando Campana and Humberto Campana

b. 1961, b. 1953

‘Humberto’ side table, from the ‘Brazilian Baroque’ series 2011

Carrara marble, gilt bronze. 54.7 cm (21 1/2 in.) high, 35 cm (13 3/4 in.) diameter Produced by Galleria O. Project, Rome, Italy. Number 5 from the edition of 25 plus 2 artist’s proofs. Underside of one foot incised 5/25. Together with a certificate of authenticity from Galleria O. Project signed by the designers.

Estimate

£8,000-12,000 $8,900-13,300 €9,100-13,700 plus Buyers Premium and VAT*

Provenance 88 Gallery, Paris

Acquired from the above by the present owner, 2012

Literature

Francesca Alfano Miglietti, ed., Irmãos Campana: 35 Revoluções, exh. cat., Museu de Arte Moderna, Rio de Janeiro, 2020, pp. 104, 245

Phillips would like to thank Daniel Kini of Estudio Campana for his assistance cataloguing the present lot.

52. Vladimir Böhm b. 1970

Group of thirteen vessels

2002-2005

Bowl: fine silver, vitreous enamel.

Square vessels and trays: fine silver, vitreous enamel.

Dishes: copper, vitreous enamel, precious metal.

Bowl: 5.2 cm (2 in.) high, 30.3 cm (11 7/8 in.) diameter

Larger square vessel: 7.1 x 8.9 x 8.7 cm (23/4 x 31/2 x 33/8 in.)

Largest tray: 2.2 x 27.6 x 28 cm (0 7/8 x 10 7/8 x 11 in.)

Largest dish: 2.9 cm (11/8 in.) high, 27.7 cm (107/8 in.) diameter

Comprising one bowl, two square vessels, three trays and seven dishes. Bowl, square vessels and trays impressed with London Assay Office hallmarks.

Estimate

£5,000-7,000 $5,500-7,800 €5,700-8,000 ♠ plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, 2002-2005

The largest tray in this group is named ‘Les Plaisirs de l’Île Enchantée’.

Phillips wishes to thank Vladimir Böhm for his assistance in cataloguing the present lot.

Ron Arad b. 1951

‘Bookworm’ shelf circa 1993

Polished stainless steel. 188 x 118.2 x 18.9 cm (74 x 46 1/2 x 7 1/2 in.), as shown Produced by One Off Ltd. London, UK. Incised Ron Arad

Estimate

£6,000-8,000 $6,600-8,900 €6,800-9,100 plus Buyers Premium and VAT*

Provenance

David Gill Gallery, London, acquired directly from the artist Acquired from the above by the present owner, 2004

Literature

Volker Albus, The Bookworm by Ron Arad, Frankfurt, 1997, pp. 26-27

Paola Antonelli, Ron Arad: No Discipline, exh. cat., The Museum of Modern Art, New York, 2009, pp. 59, 61

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

53.

At first glance, this red plywood chair appears to perfectly fit within the familiar aesthetic of Donald Judd’s Chair 84’. A disarmingly simple, geometric form with an indisputable function. Looking more closely at the piece, however, four neat rows of six stainless steel slotted screws reveal its anomalous existence within this style of chair, and its significant rarity amongst the American artist's body of work. Designed in 1991 and fabricated by Wood & Plywood Furniture in 1992 at Spring Street, it is an early model made at a time when final manufacturing decisions were still ongoing. This partially explains the existence of screws in the piece. According to Jeff Jamieson, who started the WPF workshop with Rupert Deese in 1990, no more than four chairs of this kind with visible screws were made and it was later decided that these chairs would be manufactured without these metal details. This possible prototype chair embodies a distinct moment in the chronology of Donald Judd furniture design, where experiments were often made and sometimes not converted to ultimate production choices.

Rows of objects, screws, visible joints, or the voids in between them that themselves create rows are recurrent in Judd's work and highlight the importance of sequence and order for the artist. Function was also a focus in Judd's designs, and he insisted that chairs be used as such: This exceptional yet straightforward work is made from phenoliccoated plywood, a material that is congruous with Judd's predilection for industrial building materials. It was originally developed as flooring for trucks and as shuttering for casting concrete. The 12mm thickness of this chair’s panels are less visually dense than the plywood or wood used in other Judd designs which, together with the piece’s open sides, giving it an elegant lightness.

Alongside the designer's name and fabrication year, the impressed marking on the underside of the chair reads PC 139 10R, referring to: Plywood Chair, the 10th style of ‘Chair 84’, in the colour red, and the 139th identifies the piece within WPF’s production. This chair was exhibited in the ‘Donald Judd - Möbel’ exhibition at Formatera in Zürich in 1993 alongside four other plywood chairs and four metal chairs produced by Janssen. Judd attended that exhibition, and this is the first time this chair is seen by a wider public since then.

‘If a chair or a building is not functional, if it appears to be only art, it is ridiculous. The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness and scale as a chair ... A work of art exists as itself; a chair exists as a chair itself’.

Donald Judd

54. Donald Judd 1928-1994

Rare ‘Side Shelf Plywood Chair 84’, style no. 10 designed 1991, fabricated 1992

Phenolic coated birch plywood, stainless steel screws. 76 x 38 x 38 cm (29 7/8 x 14 7/8 x 14 7/8 in.) Fabricated by Wood & Plywood Furniture, New York, USA for Formatera, AG, Zurich, Switzerland. Underside impressed JUDD 1992 © PC 10 R 139 WPF

Estimate

£8,000-12,000 $8,900-13,300 €9,100-13,700 ‡ plus Buyers Premium and VAT*

Provenance

Formatera AG, Zurich, acquired directly from the designer, 1992 Acquired from the above by the present owner, 2004

Exhibited

‘Donald Judd - Möbel’, Formatera, Zurich, 1993

Literature

Rainer Judd and Flavin Judd, eds., Donald Judd Spaces, New York, 2020, pp. 263-65 for similar examples

Evolutionary Design

At the inception of Joris Laarman’s ‘Bone’ armchair is the fascinating research on the growth of trees and bones. Both efficiently optimise their mass quantity at specific points, in function of where strength and support are required. This principle was also at the heart of the dynamic digital tool created by German engineer Professor Lothar Harzeim and Adam Opel GmbH which mimicked these growth patterns to improve car parts production. For Laarman, this software ‘opened up an entire world of possibilities’ and compelled him and his Netherlands-based studio Joris Laarman Lab to develop the ‘Bone Furniture’ series.

The remarkable functionality of the software’s algorithm when applied to furniture design is that it eliminates unneeded material without weakening the objects. In the initial projection stage, mass is removed from a block of

virtual material out of which the load bearing parts of the armchair are also carved out. This digital sculpting informs the construction and appearance of the piece well before it comes to life.

In the present lot, the tangible outcome of this process manifests as a beautiful and efficient web of negative space throughout the armchair. Laarman describes this intelligent process as a marked shift from the industrial era into the digital era. ‘Industrial times and modernist pioneers were all about assembly and standardised parts in a geometric form language dictated by the limitations of industrial machines. In our digital era, however, we are no longer bound by these limitations. With digital design and fabrication tools we can create smarter customised forms that are much more complex.’

Close-up of the components of the armchair’s 91-part mould. Photo: Joris Laarman Lab

In awe of the possibilities afforded by technology, Joris Laarman Lab chose to cast the present lot in a single piece from a 3-D printed 91-part mould. The armchair is a successor to the paper and aluminium models all of which had their own challenges. This piece too was a result of experimentation. Having initially attempted to make it with ground old bone-china coffee cups mixed with casting resin, the result was not what they were expecting. They opted instead for Carrara marble powder which gives the piece its stunning porcelain-like smoothness.

By using as little material as possible and as much as necessary, the ‘Bone’ armchair is an ode to the complexity of science which can be harnessed to create an at once aesthetically minimalist and materially imposing object. In the designer's words ‘our digital age makes it possible to not just use nature as a stylistic reference, but to use the underlying principles to generate shapes just like an evolutionary process.’

As a recognition of Laarman’s ground-breaking design process, this model chair is part of the permanent collection of the High Museum of Art, Atlanta, US.

‘Bone’ armchair. Photo: Joost van Brug The present model armchair being removed from its mould. Photo: Adriaan de Groot

55. Joris Laarman b. 1979

‘Bone’ armchair

2007

Carrara marble, casting resin. 73.4 x 100.2 x 77.7 cm (28 7/8 x 39 1/2 x 30 5/8 in.)

Produced by Joris Laarman Lab, Amsterdam, the Netherlands. Number 2 from the edition of 12 plus 3 artist’s proofs and 1 prototype. Underside impressed with facsimile signature Joris Laarman and 2/12.

Estimate £150,000-200,000 $166,000-221,000 €171,000-228,000

plus Buyers Premium and VAT, ARR applies*

Provenance Friedman Benda, New York

Acquired from the above by the present owner, 2008

Literature

Anita Star, ed., Joris Laarman Lab, exh. cat., Groninger Museum, Groninger, 2015, pp. 74-75, 94-101

Anita Star, ed., Joris Laarman Lab, exh. cat., Cooper Hewitt, Smithsonian Design Museum, New York, 2017, pp. 64-65, 82-89, 313

*The amount of Buyer’s Premium,

and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%.

‡ ♠

Property from an Important European Collection

VAT

It is the inherent mesmerising irregularity of their surfaces that makes Akiko Hirai’s Moon Jars such striking pieces. Inspired by Lucie Rie’s Korean object of the same name in the British Museum’s collection, she honours imperfection through her practice. Three different slips are applied over a stoneware base, and crushed porcelain is attached under a transparent or white glaze to achieve various textures. Different movements happen during the firing, giving life to crazed, rough surfaces with flowing glazes that remind of a lunar eruption.

Akiko Hirai at work on a Moon Jar in her Hackney studio, London. Photo: Courtesy goldmarkart.com

56. Akiko Hirai b. 1970 Moon Jar 2021 Grogged stoneware, rugged and cracked porcelain deposits over layered slips beneath running ash glazes. 52 cm (20 1/2 in.) high Underside with painted artist’s signature. Estimate £15,000-20,000 $16,600-22,100 €17,100-22,800 ♠ plus Buyers Premium and VAT, ARR applies* Provenance Private collection, London Literature Glenn Adamson, Martina Droth and Simon Olding, eds., Things of Beauty Growing: British Studio Pottery, exh. cat., Yale Centre for British Art, New Haven, 2017, pp. 168, 180-81 for a similar example Amber Creswell Bell, Clay: Contemporary Ceramic Artisans, New York, 2017, pp. 12-13 for a similar example Tom Morris, New Wave Clay: Ceramic Design, Art and Architecture, Amsterdam, 2018, pp. 86-87 for a similar example

57. Peder Moos 1906-1991

Chair 1942

Beech, teak, fabric.

75.4 x 51.7 x 50.1 cm (29 5/8 x 20 3/8 x 19 3/4 in.)

Underside inscribed ù3-1942/Pmoos.

Estimate

£5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Copenhagen

Thence by descent

Acquired from the above by the present owner, 1999

Literature

Peder Moos and Morten Knudsen, Pedermoos, Copenhagen, 1988, pp. 6, 11

58. Akiko Hirai b. 1970 Moon Jar circa 2021 Grogged stoneware, rugged and cracked porcelain deposits over layered slips beneath running ash glazes. 56.4 cm (22 1/4 in.) high Estimate £15,000-20,000 $16,600-22,100 €17,100-22,800 ♠ plus Buyers Premium and VAT, ARR applies* Provenance Private collection, London Literature Glenn Adamson, Martina Droth and Simon Olding, eds., Things of Beauty Growing: British Studio Pottery, New Haven, 2017, pp. 168-69, 178-81 for a similar example Amber Creswell Bell, Clay: Contemporary Ceramic Artisans, New York, 2017, pp. 12-13 for a similar example Tom Morris, New Wave Clay: Ceramic Design, Art and Architecture, Amsterdam, 2018, pp. 86-87 for a similar example

Phillips in conversation with Christian Holmsted Olesen, Head of Exhibitions and Collections at the Design Museum Denmark

The present lot is a rare example of the early work by pioneering Danish architect and designer Finn Juhl. Only two of these coffee tables with an integrated planter are known to have been made. One of them was part of the designer’s home, as shown by an early photograph of the piece in his house and a 1941 floor plan by the designer himself. Phillips’ Regional Director for Scandinavia, Kirsten MacDonald, spoke with Design Historian Christian Holmsted Olesen, to get his insights on this remarkable piece of Danish design history.

An Early Pioneering Form

Kirsten: How does this coffee table exemplify Finn Juhl’s early work and experimentation in furniture making?

Christian: It is relevant here to understand that Finn Juhl wanted to be an Art Historian, but his merchant father thought that he could not make a living from that profession. The compromise was that he could become an architect instead. Despite this, Juhl remained very interested in contemporary art and artists such as Henry Moore, Jean Arp, Barbara Hepworth as well as Erik Thommesen sculptures and Vilhelm Lundstrøm paintings in Denmark. He assiduously followed the modern styles of

international architecture: the Bauhaus school, De Stijl in Holland and Russian constructivism from an early age. Proponents of these styles were themselves very influenced by contemporary art. These influences are visible in some of Juhl’s early drawings from architecture school. It is worth noting that this table is a piece that predates the period when Finn Juhl became the renowned Finn Juhl. The first phase in his oeuvre is from around 1940 when he made large, animal-like forms, upholstered furniture that some say looked a bit like a walrus. But this table is different.

K: How do you think he reached the striking shape we can see here?

C: It is interesting to first consider Finn Juhl’s ‘Grasshopper’ chair. That design is a construction, for which he was partly influenced by ancient Egyptian furniture as well as Marcel Breuer and Gerrit Rietveld designs. It goes beyond organic design. Juhl was not yet as advanced in the process of construction: it is not very durable and was very challenging for his cabinetmaker. Moving on to this coffee table, it also differs from his organic period, because it is more angled, but it is still strongly influenced by art. It is asymmetrical and its form defies explanation. This remarkable object embodies Finn Juhl’s search for his distinguishing form and his style and reveals his influence by contemporary international styles. What was happening internationally in Europe was very different from what was happening in Denmark in that period. Most of the Danish architects and cabinetmakers were strongly influenced by Kaare Klint and his school. They looked to the past, studying British 18th century furniture and Chinese furniture, and took a very functionalist and rational approach to design.

K: So, Finn Juhl really stood out in the design landscape of his time?

C: He stood out and was extremely defiant. You can also tell that, in his early years, he had not yet had much practice in furniture making but rather had learnt a lot about art from books. It is very interesting to see how at the time this coffee table was made, he was exploring what his style, art and expression could be.

K: Might we say that this is as much a piece of art than it is a piece of furniture?

C: I would say so, yes. We can say that about most of Finn Juhl’s furniture, it is particularly evident in this coffee table.

Photo: © Designmuseum. Denmark Archive

‘

This remarkable table embodies Finn Juhl’s search for his own design language and reveals his interest in contemporary international styles.’

Christian Holmsted Olesen

A Unique Cabinetmaking Collaboration

K: Finn Juhl worked with master cabinetmaker Niels Vodder with whom he established a long standing and prolific partnership in the late 1930s. How would this collaboration have played out for this table?

C: Finn Juhl was not trained as a cabinetmaker, so he was very lucky to meet Niels Vodder. Most Danish architects like Hans Wegner and Børge Mogensen had been educated as cabinetmakers themselves and knew about what was feasible and was not. They knew what traditional joints looked like, what was strong and what was less so. Finn Juhl seemed to focus less on those aspects and was more interested in the artistic approach. He strove to find new solutions to furniture making problems and made a lot of compromises. At some of the Cabinetmakers’ Guild Exhibitions, cabinetmakers and architects would go to Niels Vodder’s stand and laugh in amazement at Niels Vodder’s outlandish creations with thin constructions and joints. They were breaking the cabinetmaking rules. Most of the cabinetmakers would have said no to Finn Juhl’s ideas, but Niels Vodder understood his artistic talent.

Detail and Individuality

K: The integrated flower holder is a playful and unusual detail. Can you suggest where the idea for this detail might have come from, and whether similar features exist in other of his works?

C: Finn Juhl used this typically modernist feature several times in his table designs. He also sometimes integrated a brass hot plate. He was very conscious about modernism from an early age, which was rare for a Dane because most Danes didn’t yet grasp what was happening internationally, but Finn Juhl had been reading about it and closely following its output.

K: The rarity of this table and the presence of the model in the designer’s house suggest a truly personal nature behind this specific design project. Can you talk about how Finn Juhl’s individuality comes across in this table?

C: It certainly shows his individuality because it is so different from everything else that was being made in Denmark at the time. It is noteworthy that the model is seen in his home, which corresponds to the fact that he wished to live with his own pieces of furniture. Finn Juhl’s house was built in 1942 and was a type of laboratory where he could experiment with his furniture and see how it felt to live with it.

K: What are your impressions about this piece, apart from it being ‘Finn Juhl before Finn Juhl’?

C: It is a very interesting work because Finn Juhl is an important designer who holds a significant place in furniture history. It is fascinating to see how he was already trying to produce pieces at such a young age. The

almost unfinished nature of the design suggests that there is much more to come from him which of course we now know to be true. This coffee table is asymmetrical, and he broke with traditional forms. The table is a testament to the development process of his furniture, leading to the harmony of his later works, and that’s what makes it special. The investigative nature of the piece shows that trialling was very much a part of the design process, especially at the beginning. Arne Jacobsen also tried several different design avenues, all designers did. Some destroyed the early pieces they weren’t satisfied with, but Finn Juhl did not.

K: It’s fascinating to find an object that is documented in a personal period image next to the designer sitting in one of his historic chairs. This coffee table might be a more experimental work, but it has a great historical importance.

C: It certainly has. There are very few artists who only made masterpieces. My reading of this coffee table is that Finn Juhl was in his early days, building experience. He knew that he wanted to carve a different path than the rest of the Danish cabinetmakers. We can already see that he has an international outlook and imagine that he would later become friends with some of the influential figures at MoMA. In the books by Grete Jalk, which document the cabinetmaker exhibitions, we can see the various experimentations in design by architects of 30s and 40s and 50s, and most of them did not become world-famous.

K: Finally, if we consider Danish culture and Jantelov – an underlying Scandinavian philosophy principle that dictates emphasis on collective accomplishments and well-being, and disdains focus on individual achievements – he must have been bold to break through that mould and ambitious to change the mindset of the Danish way of thinking of how you decorate a home?

C: I think that must have been part of his character; he often had to stand up for himself and be very tough. His mother died shortly after he was born, and he had to live with his father who was very strict, commercially minded and did not understand any of his interests into art. He had to fight to do what he wanted to do. He also had to assert himself among other architects and cabinetmakers, because he wanted to pursue a design language which was different from that of the Danish school. He later made friends with Edgar Kaufmann as well as others from the U.S and became part of the American avantgarde or high society. So, he was very different from the beginning and used to living a different lifestyle. That is perhaps why it was easier for him to be an outsider, because he has experienced that feeling from the outset. He was a good architect and the few buildings he built were rather interesting including his own, underestimated, very modern house from 1942. It was one of the first villas in Denmark with an open plan construction where you see directly from the dining room into the living room. It was built ten years later than what was happening in Germany, but for Denmark it was very early. He never finished his architecture studies because he started working for Vilhelm Lauritzen furniture so you can say that as a furniture designer he really was self-made.

‘Most of the cabinetmakers would have said no to Finn Juhl’s ideas, but Niels Vodder understood his artistic talent.’

Christian Holmsted Olesen

59. Finn Juhl 1912-1989

Rare coffee table

circa 1941

Walnut-veneered wood, ash, walnut, painted steel, aluminium. 41.4 x 123.4 x 61.8 cm (16 1/4 x 48 5/8 x 24 3/8 in.) Executed by master cabinetmaker Niels Vodder, Denmark.

Estimate

£20,000-30,000 $22,100-33,200 €22,800-34,200 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Denmark Literature

Per H. Hansen, Finn Juhl and His House, Berlin, 2014, pp. 176, 182

Anne-Louise Sommer, Watercolours by Finn Juhl, Berlin, 2016, p. 9

Christian Bundegaard, Finn Juhl: Life, Work, World, London, 2019, pp. 40-41

Image: © Designmuseum.

Denmark

Archive

Edmund de Waal b. 1964

Two lidded jars circa 2005 Glazed porcelain.

cm (347/8

with

cm (4

Provenance

Literature

Edmund de Waal and Edward King, A Line Around a Shadow, exh. cat., Blackwell: The Arts & Crafts House, Bowness-onWindermere, 2005, figs. 4, 17 for similar examples

Edmund de Waal at Kettle’s Yard, Mima and Elsewhere, exh. cat., Kettle’s Yard, Cambridge, 2007, pp. 84-85, 116 for similar examples

A. S. Byatt et al., Edmund de Waal, New York, 2014, pp. 37, 61 for similar examples

Amanda Game, Contemporary British Crafts: the Goodison Gift to the Fitzwilliam Museum, London, 2016, pp. 192-93 for a similar example

Taller: 88.5

in.) high, 10.2

in.) diameter Body

each

impressed marks. Estimate £15,000-20,000 $16,600-22,100 €17,100-22,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Commissioned directly from the artist by the present owner

Arne Jacobsen 1902-1971

‘Drop’ chair, from the SAS Royal Hotel, Copenhagen circa 1958

Leather, copper-plated steel. 85.3 x 46 x 55.6 cm (33 5/8 x 18 1/8 x 21 7/8 in.) Manufactured by Fritz Hansen, Copenhagen, Denmark.

Estimate

£6,000-8,000 $6,600-8,900 €6,800-9,100 plus Buyers Premium and VAT*

Provenance

SAS Royal Hotel, Copenhagen

Bruun Rasmussen, Copenhagen, ‘Furniture and lamps’, 25 September 2014, lot 1131

Acquired from the above by the present owner

Literature

Noritsugu Oda, Danish Chairs, San Francisco, 1999, p. 61

Carsten Thau and Kjeld Vindum, Jacobsen, Copenhagen, 2001, pp. 436, 439, 441

Charlotte and Peter Fiell, Scandinavian Design, Cologne, 2002, pp. 298-99

Dansk Møbelkunst, Arne Jacobsen, Copenhagen, 2002, front cover, pp. 62-63

Arne Karlsen, Danish Furniture Design in the 20th Century, Volume 2, Copenhagen, 2007, p. 136

61.

62. Peder Moos 1906-1991

Extendable table

1944 Oak, cherry. 70.2 x 179.2 x 76.6 cm (275/8 x 701/2 x 301/8 in.), fully extended Underside incised B117-1944/moos and with remnants of paper label.

Estimate

£30,000-50,000 $33,200-55,400 €34,200-57,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Copenhagen Thence by descent

Acquired from the above by the present owner, 1999

Literature

Grete Jalk, ed., Dansk Møbelkunst gennam 40 aar: Københavns Snedkerlaugs møbeludstillinger 1927-1966, Volume 2: 1937-1946, Denmark, 1987, pp. 236-37

Peder Moos 1906-1991

Pair of chairs

1942 Beech, teak, fabric.

Each: 75.4 x 51.7 x 50.1 cm (29 5/8 x 20 3/8 x 19 3/4 in.) Underside inscribed ù3-1942/Pmoos.

Estimate £12,000-18,000 $13,300-19,900 €13,700-20,500

plus Buyers Premium and VAT*

Provenance

Private collection, Copenhagen Thence by descent

Acquired from the above by the present owner, 1999

Literature

Peder Moos and Morten Knudsen, Pedermoos, Copenhagen, 1988, pp. 6, 11

63.

‡

Sculpted Space: Gabo’s Cornish Fireplace

By Caroline Maclean, author of Circles and Squares: The Lives and Art of the Hampstead Modernists

Naum Gabo was a sculptor of space rather than material. ‘Space is not around us, space is in us’ he explained in his 80s. The present fireplace, originally commissioned for a house in Redruth, Cornwall in 1946 curves gently inwards, as if inviting us into its own space: a beautifully simple design. It was one of Gabo’s last pieces before he left for America in 1946.

Gabo was working in stone (as well as his more familiar Perspex) in the mid40s. He finally completed Kinetic Stone Carving in 1944 (which he had begun in 1936), introducing space and movement into a single block of Portland stone. And in April 1945 he asked John Wells to send him some slightly ‘yellowish boney colour’ stone from the Scilly Isles. And then he completed his fossil-like Granite Carving in 1945 from Tintagel stone. It was just after this that Gabo was commissioned to design two fireplaces for the new home of Mr and Mrs Ince in Redruth, up the coast from Carbis Bay where Gabo was living with his wife Miriam. Mr Ince was the chief obstetrician for Cornwall and his wife, who knew Miriam through a mutual friend, was interested in modern art. They commissioned this slate grey fireplace for the drawing room and a brown one for the dining room (that no longer exists).

Gabo went with Ince to the Polyphant Quarries at Delabole near Tintagel and they chose the stone together: one single piece for the mantel, three slabs for the hearth and smaller pieces for the rest. The selection and cutting were supervised by Gabo. The design is typically elegant and embodies Gabo’s ideas of space and the ‘essential’ rhythm of the object he described in his Realistic Manifesto in 1920. The fireplace curves inwards by four inches and although Gabo didn’t want a mantlepiece Mrs Ince insisted and its slim shadow enhances the convex curve. The individual stone slabs are vertically arranged, a simple reversal of a conventional brick bonding pattern. The subtle differences in the colours of the slabs from deep slate to warmer ochres and umbers, particularly towards the centre above the fireplace, highlight the curve and create the appearance of an almost woven texture. Gabo was thinking about textiles. He had recently completed ‘Linear Construction Number 1’ and intended a large version of it to be placed near a textile factory as the strings were an abstract representation of weaving. The fireplace is similar: a deceptively simple, beautifully executed piece of modernist design.

Barbara Hepworth and Ben Nicholson had persuaded Gabo and his wife Miriam to join them in Carbis Bay in Cornwall after the outbreak of war in 1939. They found them ‘Faerystone cottage’, almost at the end of the driveway of Adrian Stokes and Margaret Mellis’s house, where Ben and Barbara had moved with their triplets just a week or two earlier. Adrian and

Margaret had a wireless and the three couples spent most of their evenings together. Gabo and Miriam planned to stay for a couple of weeks before crossing the Atlantic but then the passenger liner SS Athenia was torpedoed by a U-boat and so they cancelled their tickets and ended up staying in Cornwall until 1946. It turned out to be an important period in Gabo’s career.

Gabo (born Nehemiah Pevzner) had an idyllic childhood growing up in the Mogilev District of Southwest Russia ‘among peasants, the poetry of the woods, the fields, the marshes, the snows and the wolf packs’. Perhaps this was why Cornwall felt like ‘a spot of paradise’, although, he admitted, ‘it is somewhat windy.’ He had lived all over Europe, he studied in Munich (medicine, philosophy and then engineering), lived in Copenhagen and Oslo (where he decided to change his name to avoid confusion with his brother), taught at the Bauhaus in Dessau, and then moved to Paris and worked on the Ballet Russes before coming to London in 1935. Ben Nicholson found him a flat on Lawn Road, just down the road from the lsokon block of flats where Walter Gropius and László Moholy-Nagy had recently moved in. Gabo was impressed by the sense of optimism and sympathy towards abstract art in London. Irrespective of his surroundings, Gabo was always elegantly turned out and made an impression in Carbis Bay in his cream overcoat, light trousers and a white trilby when out walking ‘Snezhka’ (snowball) his Samoyed dog, along the coast path.

The first two years of the war were difficult for Gabo. He was extremely anxious about his brother and was ‘suffering incredibly’ and had a ‘feeling of some kind of emptiness’. It didn’t help that he and Miriam were in great financial difficulty. The landscape offered some relief: ‘one looks at the sea (for the past few days it has been especially delightful)’ and yet ‘the heart suffers looking at it, and the contrast with what is happening in the world’. And then in 1941 Miriam gave birth to their daughter Nina. This was a turning point and in the months that followed he began work on Spiral Theme, which was exhibited at the London Museum. Herbert Read (much to Gabo’s delight) described it as ‘the highest point ever reached by the aesthetic intuition of man’. Spiral Theme gave way to Linear Construction Number 1, which has been described as the most beautiful plastic object ever made. The threads are closely strung together and create an illusion of a gently curved form with an ellipse at the centre. Helen Sutherland called it ‘an angelic instrument’ and bought it. Gabo’s purpose with Linear Construction Number 1 was simple and constructive in every sense: ‘I am offering in my art what comfort I can to alleviate the pains and convulsions of our time ... to remind us that the image of the world can be different’. Gabo designed the fireplace shortly after.

64. Naum Gabo 1890-1977

Fireplace surround 1946

Delabole slate, Polyphant stone. 105.7 x 137.6 x 51 cm (41 5/8 x 54 1/8 x 20 1/8 in.)

Estimate £20,000-30,000 $22,100-33,200 €22,800-34,200 plus Buyers Premium and VAT*

Provenance

Mr and Mrs Ince, Redruth, Cornwall, commissioned directly from the designer, 1946

Literature

Christina Lodder and Martin Hammer, Constructing Modernity, The Art & Career of Naum Gabo, New Haven, 2000, illustrated p. 297

amount of Buyer’s Premium,

Buyer’s Premium is payable on the hammer price at a maximum rate of

VAT

For

the Buyer’s Premium, where applicable, is payable at 20%.

Buyer’s

in this

*The

VAT and,

applicable, Artist’s Resale Royalty payable is dependent on the sale outcome.

full details see Calculating the Purchase Price in the

Guide online or

catalogue.

26%.

The present fireplace surround in the Ince’s home in Redruth, Cornwall, circa 1946. Photo: The work of Naum Gabo © Nina and Graham Williams / Tate

Photo: The Work of Naum Gabo © Nina & Graham Williams / Tate

65. Hans Coper 1920-1981

‘Thistle’ form

circa 1967

Stoneware, porcelain slips and engobes over a textured and incised body, the rim and interior with a manganese glaze. 18 cm (7 1/8 in.) high Underside impressed with artist’s seal.

Estimate

£40,000-60,000 $44,300-66,400 €45,600-68,500 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Museum Boijmans Van Beuningen, Rotterdam

Sonja Landweer collection, acquired from the above, 1967

Thence by descent

Bonhams, London, ‘Design’, 28 April 2022, lot 63 Acquired from the above by the present owner

Exhibited

‘Lucie Rie and Hans Coper’, Boijmans Van Beuningen Museum, Rotterdam, April 1967; Gemeente Museum, Arnhem, June 1967

Literature

Margreet Eijkelenboom-Vermeer, The Essential Potness: Lucie Rie and Hans Coper in the Museum Boijmans Van Beuningen, Rotterdam, 2014, illustrated p. 45

The present ‘Thistle’ form on display at the ‘Lucie Rie and Hans Coper’ exhibition at the Museum Boijmans Van Beuningen, Rotterdam, 1967.

66. Lucie Rie 1902-1995 Footed bowl circa 1980 Porcelain, inlaid pink radiating lines, turquoise and manganese bands. 10.3 cm (4 in.) high, 21 cm (8 1/4 in.) diameter Underside impressed with artist’s seal. Estimate £20,000-30,000 $22,100-33,200 €22,800-34,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies* Provenance New Craftsman Gallery, St Ives, UK Acquired from the above by the present owner, 1984 Literature Issey Miyake Meets Lucie Rie, exh. cat., Sogestu Gallery, Tokyo, 1989, pp. 36, 114 for a similar example Lucie Rie, Hans Coper, and their Pupils: A Selection of Contemporary Ceramics Illustrating their Influence, exh. cat., Sainsbury Centre for Visual Arts, Norwich, 1990, pp. 24-25 for a similar example Isabella Smith, Lucie Rie, London, 2022, front cover for a similar example *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%.

67. Lucie Rie 1902-1995 Footed bowl circa 1978 Porcelain, golden manganese, terracotta and turquoise glazes, two bands of vertical sgraffito lines repeated inside and out. 10 cm (3 7/8 in.) high, 15.3 cm (6 in.) diameter Underside impressed with artist’s seal. Estimate £40,000-60,000 $44,300-66,400 €45,600-68,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies* Provenance Private collection, New York Phillips, New York, ‘Design’, 25 May 2011, lot 3 Acquired from the above by the present owner Literature John Houston, ed., Lucie Rie: a Survey of her Life and Work, exh. cat., Crafts Council and The Victoria and Albert Museum, London, 1981, p. 88 for a similar example

In 1955, brothers and collaborators Achille and Pier Giacomo Castiglioni, contributed to design of the XXI radio and television exhibition in Milan which included the layout of the Phonola electronics stand. The present bench, originally designed for Achille’s home in via Morandi, was part of the carefully chosen furnishings.

The present bench on display at the Phonola stand at the XXI radio and television exhibition, Milan, 1955. Photo: © Courtesy Archivio Pier Giacomo Castiglioni

Achille Castiglioni 1918-2002

Unique bench, from the designer’s home, Milan circa 1954

Cherry, painted iron. 38 x 117.5 x 35.2 cm (14 7/8 x 46 1/4 x 13 7/8 in.)

Together with a certificate of authenticity from the Fondazione Achille Castiglioni.

Estimate

£6,000-8,000 $6,600-8,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Achille Castiglioni, Milan

Private collection, Milan, gifted by the above Thence by descent

Acquired from the above by the present owner

Literature

Sergio Polano, Achille Castiglioni: Tutte le Opere 1938-2000, Milan, 2002, illustrated p. 89

68.

Provenance Bonhams,

Ceramics’,

Literature

Peter Collingwood|Hans Coper: Rugs and Wallhangings by Peter Collingwood, Pots by Hans Coper, exh. cat., Victoria and Albert Museum, London, 1969,

20 for a similar example Tony Birks, Hans Coper, Yeovil,

178-79 for a similar example

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%. 69. Hans Coper 1920-1981 Ovoid form with flattened cylinder circa 1969 Stoneware, porcelain slips and engobes over a textured and incised body, the interior with a manganese glaze. 29.3 cm (11 1/2 in.) high Underside impressed with artist’s seal. Estimate £30,000-40,000 $33,200-44,300 €34,200-45,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

London, ‘International Contemporary

23 May, 2006, lot 216 Acquired from the above by the present owner

pl.

2013, pp. 62, 149,

Property from an Important Collection

70. Hans Coper 1920-1981 Large ovoid pot with disc top circa 1967 Stoneware, porcelain slips and engobes over a textured and incised body, the neck, lip and interior with a rich manganese glaze. 24.4 cm (9 5/8 in.) high Underside impressed with artist’s seal. Estimate £40,000-60,000 $44,300-66,400 €45,600-68,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies* Provenance Bonhams, London, ‘International Contemporary Ceramics’, 19 September, 2006, lot 174 Acquired from the above by the present owner Exhibited ‘Lucie Rie and Hans Coper’, Boijmans Van Beuningen Museum, Rotterdam, April 1967; Gemeente Museum, Arnhem, June 1967 Literature Tony Birks, Hans Coper, Yeovil, 2013, illustrated p. 62 The present large ovoid pot with disc top on display at the ‘Lucie Rie and Hans Coper’ exhibition at the Boijmans Van Beuningen Museum, Rotterdam, 1967. Photo: Jane Coper Property from an Important Collection

71. Hans Coper 1920-1981 Early vase form circa 1956 Stoneware, scrubbed surface with porcelain slips, engobes and manganese. 33.8 cm (13 1/4 in.) high Underside impressed with artist’s seal. Estimate £15,000-20,000 $16,600-22,100 €17,100-22,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies* Provenance Bonhams, London, ‘Contemporary Ceramics’, 18 April, 1996, lot 243 Private collection, London Phillips, New York, ‘Design’, 9 June, 2010, lot 86 Acquired from the above by the present owner Literature Maya Nishi, Hans Coper Retrospective - Innovation in 20th Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, p. 30 for a similar example *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%. Property from an Important Collection

72. Hans Coper 1920-1981 Cup with central disc circa 1965 Stoneware, porcelain slips and manganese over a textured body, the interior with a manganese glaze. 14.5 cm (5 3/4 in.) high Underside impressed with artist’s seal. Estimate £15,000-20,000 $16,600-22,100 €17,100-22,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies* Provenance Bonhams, London, ‘International Contemporary Ceramics’, 19 September, 2006, lot 171 Acquired from the above by the present owner Literature Tony Birks, Hans Coper, Yeovil, 2013, p. 132 for a similar example Property from an Important Collection

73. Hans Coper 1920-1981 Shouldered bottle with flat circular lip circa 1969 Stoneware, porcelain slips and engobes over a textured and incised body, the neck, lip and interior with a manganese glaze. 20 cm (7 7/8 in.) high Underside impressed with artist’s seal. Estimate £30,000-40,000 $33,200-44,300 €34,200-45,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies* *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%. Provenance Bonhams, London, ‘International Contemporary Ceramics’, 19 September, 2006, lot 172 Acquired from the above by the present owner Exhibited Midland Group Gallery, Nottingham, 1970 Literature Tony Birks, Hans Coper, Yeovil, 2013, illustrated p. 70 The present shouldered bottle with flat circular lip on display at the Midland Group Gallery, Nottingham, 1970. Photographer unknown Property from an Important Collection

74. Hans Coper 1920-1981 Footed cup 1968 Stoneware, black glaze over a textured and incised body. 16.4 cm (6 1/2 in.) high Underside impressed with artist’s seal. Estimate £20,000-30,000 $22,100-33,200 €22,800-34,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies* Provenance Acquired directly from the artist The present footed cup on display at the ‘Collingwood|Coper’ exhibition at the Victoria and Albert Museum, London, 1967. Photo: Jane Coper Property from an Important Collection Exhibited ‘Peter Collingwood|Hans Coper: Rugs and wallhangings by Peter Collingwood, Pots by Hans Coper’, Victoria and Albert Museum, London, 29 January-2 March 1969; Art Gallery Southampton 12 April-4 May 1969; City Museum and Art Gallery Birmingham, 29 May-22 June 1969; City Art Gallery Manchester, 15 July-10 August 1969 Literature Peter Collingwood|Hans Coper: Rugs and wallhangings by Peter Collingwood, Pots by Hans Coper, exh. cat., Victoria and Albert Museum, London, 1969, illustrated pl. 21

Provenance

Literature

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%. 75. Hans Coper 1920-1981 Large squeezed vase with four indents circa 1972 Stoneware, porcelain slips and manganese over a lightly textured body, four strong indents and an oval lip, the interior with a manganese glaze. 26.1 cm (10 1/4 in.) high Underside impressed with artist’s seal. Estimate £20,000-30,000 $22,100-33,200 €22,800-34,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Bonhams, London, ‘International Contemporary Ceramics’, 19 September, 2006, lot 175 Acquired from the above by the present owner

Tony Birks, Hans Coper, Yeovil, 2013, pp. 164-65 for a similar example Property from an Important Collection

76. Hans Coper 1920-1981 Large flattened form with disc top circa 1970 Stoneware, porcelain slips and engobes over a textured and incised body, the neck, disc and interior with a manganese glaze. 21.2 cm (8 3/8 in.) high Underside impressed with artist’s seal. Estimate £30,000-40,000 $33,200-44,300 €34,200-45,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies* Provenance Bonhams, London, ‘International Contemporary Ceramics’, 19 September, 2006, lot 173 Acquired from the above by the present owner Literature Cyril Frankel, Modern Pots: Hans Coper, Lucie Rie & their Contemporaries: The Lisa Sainsbury Collection, London, 2000, p. 47 for a similar example Maya Nishi, Hans Coper Retrospective - Innovation in 20th Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, pp. 100, 177 for a similar example Tony Birks, Hans Coper, Yeovil, 2013, p. 164 for a similar example Property from an Important Collection

Property from an Important Collection

77. Hans Coper 1920-1981

Bottle with disc top circa 1972

Stoneware, porcelain slips and manganese over a textured and incised body, the disc top, neck and interior with a manganese glaze. 37.8 cm (14 7/8 in.) high Underside impressed with artist’s seal.

Estimate

£50,000-70,000 $55,400-77,500 €57,000-79,900

plus Buyers Premium and VAT, ARR applies*

Provenance

Laurens Coper, London Phillips, London, ‘Design’, 24 April 2008, lot 35 Acquired from the above by the present owner

Literature

Tony Birks, Hans Coper, Yeovil, 2013, p. 128 for a similar example

‡ ♠

78. Junzo Sakakura 1901-1969

Two low lounge chairs, model no. 5016 designed 1957, produced circa 1980

Left: Teak-veneered plywood, fabric.

Right: Oak-veneered plywood, fabric.

Each: 64.5 x 55.4 x 67 cm (25 3/8 x 21 3/4 x 26 3/8 in.)

Manufactured by Tendō Mokkō, Tendō, Japan. Back of one chair with manufacturer’s paper label printed with logo and TENDO and underside of other chair with manufacturer’s paper label printed with logo and 天童木工

Estimate

£4,000-6,000 $4,400-6,600 €4,600-6,800 Ω plus Buyers Premium and VAT*

Provenance

Objet d’art gallery, Tokyo WA Design Gallery, Paris, acquired from the above Acquired from the above by the present owner

Literature

Charlotte and Peter Fiell, eds., Decorative Art 70s, Cologne, 2000, p. 99 Junzo Sakakura, Architect: Living in Modernism, Housing, Furniture and Design, exh. cat., The Museum of Modern Art, Kamakura & Hayama, Tokyo, 2009, pp. 99-100, 138-41, 165

Gwyn Hanssen Pigott 1935-2013

‘Family 2’ circa 1997

Porcelain, celadon glaze. Tallest: 23.4 cm (9 1/4 in.) high

Comprising ten vessels. Impressed with artist’s seal.

Estimate

£15,000-20,000 $16,600-22,100 €17,100-22,800 plus Buyers Premium and VAT*

Provenance Galerie B15, Munich

Private collection, Germany, acquired from the above

Literature

Glenn R. Cooke, Gwyn Hanssen Pigott: A Twenty Year Survey, Brisbane, 1996, p. 2 for a similar example

Gwyn Hanssen Pigott, Caravan: A Parade of Beakers, Bottles, Bowls, Jugs and Cups, exh. cat., Tate St Ives, 2004, p. 5, for a similar example

Jason Smith, Gwyn Hanssen Pigott: A Survey 19552005, exh. cat., National Gallery of Victoria, Melbourne, 2005, pp. 36, 55-57, 60-61 for a similar example

Lynne Seear and Julie Ewington, eds., Brought to Light

2: Contemporary Australian Art 1966-2006 from the Queensland Art Gallery Collection, Brisbane, 2007, pp. 378-79 for a similar example

Tanya Harrod, The Real Thing: Essays on Making in the Modern World, London, 2015, p. 286 for a similar example

79.

80. Max Ingrand 1908-1969

Pair of table lamps, model no. 2228

circa 1956

Nickel-plated brass, painted brass, glass, coloured glass. Each: 21 cm (8 1/4 in.) high Manufactured by Fontana Arte, Milan, Italy.

Estimate £8,000-12,000 $8,900-13,300 €9,100-13,700 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Parma

Literature

Fontana Arte, no. 5, sales catalogue, Milan, 1963, p. 49

Fontana Arte, no. 6, sales catalogue, Milan, 1964, p. 115

Domus, no. 424, March 1965, n.p.

Laura Falconi, Fontana Arte: Una Storia Transparente, Milan, 1998, fig. 130

Laura Falconi, ed., Luci e Trasparenze: Fontana Arte Millenovecentotrenta-millenovecentocinquanta, exh. cat., Galleria Babuino Novecento, Rome, 2006, pp. 47, 88

Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fig. 373

Literature

Matthew Collings, Ron Arad Talks to Matthew Collings, London, 2004, pp. 232-33 Ron Arad: A Retrospective Exhibition 1981-2001, exh. cat., Barry Friedman Ltd., New York, 2005, pp. 70-71, 101 Paola Antonelli, Jonathan Safran Foer, Marie-Laure Jousset, Ron Arad: No Discipline, exh. cat., Museum of Modern Art, New York, 2009, pp. 96-97

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

81. Ron Arad b. 1951 ‘Looploom’ 1992 Stainless steel mesh, stainless steel. 77.7 x 194.5 x 45.5 cm (30 5/8 x 76 5/8 x 17 7/8 in.) Produced by One Off Ltd. London, UK. Number 1 from the edition of 5 plus 2 artist’s proofs. Side incised R. Arad 92 1/5. Side of base incised R. Arad 92 1/5. Estimate £30,000-50,000 $33,200-55,400 €34,200-57,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies* Provenance Acquired directly from the designer by the present owner, 1993

82. Hervé van der Straeten b. 1965

‘Bubble Gum’ table, model no. 477

2017

‘Black Beauty’ granite, patinated bronze. 73.8 cm (29 in.) high, 172 cm (67 3/4 in.) diameter Number 1 from the edition of 20. Underside with plaque with embossed artist’s logo and incised 1/20

Estimate £25,000-35,000 $27,700-38,800 €28,500-39,900 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner

Literature

Muriel Brandolini, The World of Muriel Brandolini, New York, 2011, p. 176 for a similar example

Phillips wishes to thank the Galerie Hervé van der Straeten for their assitance cataloguing the present lot.

83. Seguso

Pair of ceiling lights

circa 1940

Coloured corroso glass, brass. Each: 72.5 cm (28 1/2 in.) drop

Produced by Seguso Vetri d’Arte, Murano, Italy.

Estimate

£7,000-9,000 $7,800-10,000 €8,000-10,300 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Venice

84. George Nakashima 1905-1990

Extendable trestle table designed 1944, executed 1958

American black walnut, East Indian rosewood. 73 x 183 x 103 cm (28 3/4 x 72 x 40 1/2 in.), fully extended Executed by George Nakashima Woodworkers, New Hope, United States. Underside inscribed Hoffman, partially faded. Together with a copy of the original order card.

Estimate £10,000-15,000 $11,100-16,600 €11,400-17,100 ‡ plus Buyers Premium and VAT*

Provenance

Dr. Jules Hoffman, Tenafly, acquired directly from the artist, 1958

Thence by descent

Rago Auctions, Lambertville, ‘Modern Design’, 13 May 2020, lot 127

Acquired from the above by the present owner Literature

George Nakashima, The Soul of a Tree: A Woodworker’s Reflections, Tokyo, 1981, p. 188 for a drawing of a similar example Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 68-69 for a similar example

∑

Simone ten Hompel b. 1960

Flatware, six dishes and three beakers 1999-2003

Two serving spoons: sterling silver

Two other serving spoons: oxidised sterling silver

Four further serving spoons: precious metal

One fork: sterling silver

Two other forks: precious metal

Dessert spoons, large teaspoons, teaspoons, five dishes and beakers: sterling silver

One dish: oxidised sterling silver

Largest utensil: 37.5 cm (14 3/4 in.) long

Largest dish: 0.5 x 30 x 30 cm (0 1/4 x 11 3/4 x 11 3/4 in.)

Each beaker: 6.5 cm (21/2 in.) high, 6.6 cm (25/8 in.) diameter

Comprising eight serving spoons, three serving forks, four dessert spoons, six large teaspoons, six teaspoons, six dishes and three beakers. Four serving spoons, one fork, each dessert spoon, each large teaspoon, each teaspoon, each dish and each beaker impressed with London Assay Office hallmarks. Four other serving spoons and two other serving forks impressed with artist’s mark and StH

Estimate

£5,000-7,000 $5,500-7,800 €5,700-8,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Acquired directly from the artist by the present owner, circa 1999-2003

Literature

John Snelson, ‘Il gioco delle parti’, Architectural Digest, no. 287, April 2005, one fork and three spoons illustrated p. 289 ‘Simone ten Hompel: Conversations with metal’, Crafts, no. 262, September/October 2016, p. 76 for similar examples of the spoons, p. 78 for similar examples of the beakers, p. 83 for a similar example of the forks Metalsmith, vol. 38, no. 2, 2018, pp. 37-39 for similar examples of the spoons, pp. 38, 41 for similar examples of the beakers

Phillips wishes to thank Simone ten Hompel for her assistance in cataloguing the present lot.

85.

86. Gianmaria Potenza b. 1936

Illuminated low table, model no. L/60 circa 1974

Glass, coloured glass murrina 44.8 cm (17 5/8 in.) high, 38.9 cm (15 3/8 in.) diameter Executed by master glassblower Lino Tagliapietra for La Murrina, Murano, Italy.

Estimate

£2,000-3,000 $2,200-3,300 €2,300-3,400 Ω plus Buyers Premium and VAT*

Provenance

Galleria Scaletta di Vetro, Milan Acquired from the above by the present owner, 1999

Literature

La Murrina, sales catalogue, Murano, 1974, n.p.

87. Fontana Arte

Set of four rare wall lights, model no. 1911 circa 1961 Glass, brass.

Each: 41.2 x 15 x 23.8 cm (16 1/4 x 5 7/8 x 9 3/8 in.)

Manufactured by Fontana Arte, Milan, Italy.

Estimate £5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan Literature

Fontana Arte: Illuminazione, sales catalogue, Milan, 1961, p. 67

Carlo Nason b. 1935

Rare floor lamp

circa 1983

Coloured bullicante glass, brass. 173.5 cm (68 1/4 in.) high Produced by A. V. Mazzega, Murano, Italy.

Estimate

£4,000-6,000 $4,400-6,600 €4,600-6,800 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Milan Literature

A.V. Mazzega, sales catalogue, 1983, n.p. for a similar example

88.

Pomodoro 1930-2002

Unique dining table 1987

Nero Belgio, Giallo Siena and Bianco Statuario marble, bronze. 76.6 x 220.1 x 83.9 cm (30 1/8 x 86 5/8 x 33 in.)

Estimate £15,000-20,000 $16,600-22,100 €17,100-22,800 plus Buyers Premium and VAT*

Provenance

Galleria Bellora, Milan Christie’s, Paris, ‘Arts Décoratifs du 20ème Siècle’, 19 May 2005, lot 66 Acquired from the above by the present owner

Phillips wishes to thank the Archivio Giò Pomodoro for their assistance in cataloguing the present lot.

89. Giò

90. Poul Kjærholm 1929-1980

Armchair, model no. PK 12 designed circa 1962, manufactured 1967-1977 Chrome-plated steel, leather.

77.8 x 63.4 x 47.5 cm (30 5/8 x 24 7/8 x 18 3/4 in.) Manufactured by E. Kold Christensen, Copenhagen, Denmark. Side joint impressed DENMARK

Estimate

£2,000-3,000 $2,200-3,300 €2,300-3,400 plus Buyers Premium and VAT*

Provenance

Pierre Bergé & Associés, Brussels, ‘Mobilier Scandinave’, March 28, 2010, lot 149 Acquired from the above

Literature

Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 2001, pp. 110-11 Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 134-37

The present model armchair is part of the permanent collection of the Röhsska Museum in Gothenborg, Sweden.

91. Yoichi Ohira 1946-2022 ‘Pioggia d’Inverno’ vase 2000 Hand-blown glass canes, inciso surface. 17.5 cm (6 7/8 in.) high Executed by Livio Serena, master glassblower, and Giacomo Barbini, master cutter and grinder, Murano, Italy. Underside incised Yoichi Ohira/m° L. Serena/m° G. Barbini/1 / 1 unico/Friday 28 april, 2000/murano and with artist’s cipher. Estimate £6,000-8,000 $6,600-8,900 €6,800-9,100 ‡ plus Buyers Premium and VAT* Provenance Private collection, Japan Literature Barry Friedman ed., Yoichi Ohira: A Phenomenon in Glass, New York, 2002, illustrated pp. 213, 382

92. Ettore Sottsass, Jr. 1917-2007

Pair of side tables

circa 1983

Marble, painted steel. Each: 52.5 cm (20 5/8 in.) high, 50 cm (19 5/8 in.) diameter

Estimate

£3,000-5,000 $3,300-5,500 €3,400-5,700 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

Jean Pigozzi, Ettore Sottsass et al., Sottsass Associates, New York, 1988, pp. 95-97

Hans Höger, Ettore Sottsass jun.: Designer, Artist, Architect, Berlin, 1993, pp. 104-05

Rare

Painted

Sarfatti

Estimate

Provenance

Private collection, Como

from

Literature

Marco Romanelli and Sandra Severi, Gino Sarfatti: Opere Scelte 1938-1973

93. Gino

1912-1985

floor lamp, model no. 1079 circa 1971

aluminium, painted steel, chrome-plated steel, iron, rubber. 112 cm (44 1/8 in.) high Manufactured by Arteluce, Milan, Italy. Interior of shade with manufacturer’s label printed AL/MILANO ARTELUCE.

£5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Phillips, London, ‘Design’, 25 September 2008, lot 88 Acquired

the above by the present owner

, Milan, 2012, pp. 331, 455

94. Fede Cheti

Love seat circa 1951 Fabric, walnut.

Estimate

Buyers Premium

Provenance

Private collection, Milan Literature

Domus, no. 258, May 1951, n.p. Domus, no. 262, September 1951, n.p.

amount of Buyer’s Premium,

Buyer’s Premium is

and,

on the

price at

the Buyer’s

on the

For

see

the Purchase Price in the Buyer’s

or in this

*The

VAT

if applicable, Artist’s Resale Royalty payable

dependent

sale outcome.

full details

Calculating

Guide online

catalogue.

payable

hammer

a maximum rate of 26%. VAT on

Premium, where applicable, is payable at 20%.

71 x 105.8 x 67.9 cm (27 7/8 x 41 5/8 x 26 3/4 in.)

£4,000-6,000 $4,400-6,600 €4,600-6,800 Ω plus

and VAT*

95. Tomaso Buzzi 1900-1981

Chandelier, model no. 5202 circa 1933

Incamiciato lattimo glass and cordonato lattimo glass with applied gold leaf, brass. 128 x 75.6 x 75.6 cm (50 3/8 x 29 3/4 x 29 3/4 in.) Produced by Venini & C., Murano, Italy.

Estimate £12,000-18,000 $13,300-19,900 €13,700-20,500 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Rome

Thence by descent to the present owner

Literature

Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921–1986, Milan, 2000, p. 259

Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, Turin, 2007, pl. 157

Marino Barovier and Carla Sonego, Tomaso Buzzi alla Venini, Milan, 2014, p. 413

Marino Barovier and Carla Sonego, Venini: Luce 19211985, exh. cat., Le Stanze del Vetro, Venice, 2022, p. 520

Paolo Buffa

Table circa 1940

Oak, oak-veneered wood. 76 cm (29 7/8 in.) high, 119.8 cm (47 1/8 in.) diameter Executed by Quarti, Milan, Italy. Together with a certificate from the Paolo Buffa Archive.

Estimate

£5,000-7,000 $5,500-7,800 €5,700-8,000 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

Roberto Aloi, L’Arredamento Moderno, Terza Serie, Milan, 1947, fig. 593

amount of Buyer’s

Buyer’s Premium is

the

The present model table in the dining room of an interior, circa 1947.

Photo: Roberto Aloi, L’Arredamento Moderno, Terza Serie, Milan, 1947

*The

Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue.

payable on

hammer price

a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable

20%. 96.

1903-1970

Venini

Mirror, model no. 75

1939

Coloured a treccia glass, mirrored glass, brass. 59.8 x 48.1 x 4.7 cm (23 1/2 x 18 7/8 x 1 7/8 in.) Produced by Venini & C., Murano, Italy. One bracket on reverse impressed VENINI/MURANO

Estimate

€4,600-5,700

Provenance

Private collection, Milan Literature

Anna Venini Diaz de Santillana, Venini Catalogue

Raisonné 1921-1986, Milan, 2000, p. 242

Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, Turin, 2007, pl. 44C

97.

circa

£4,000-5,000 $4,400-5,500

‡ plus Buyers Premium and VAT*

Effortless Cohesion in a Bedroom

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

This Milanese commission for a headboard with integrated bedside tables, picture frame and drawer unit, was undertaken in the late 1950s. Yet the concept was born in 1951 when Ponti achieved great notoriety for his Hotel Bedroom at the 9th Triennale in Milan. His contribution to that experimental exhibition led to a string of private bedroom commissions through the 1950s, all the way to the present lot and wall-mounted unit with shelves (Lot 99).

There are even earlier historical precedents in Ponti’s oeuvre for this type of design. Already in the late 1940s Ponti had formulated a method of organizing and gathering items in the living room such as shelves, drawers, containers, and lighting, which came to full

realisation in the 1948 Cremaschi apartment. This is where Ponti introduced his pareti attrezzate, a furniture system he continued to design in the 1950s that can function as a storage organiser, as a partition and/or as a method to enliven the domestic environment.

In the wake of this idea came one of Ponti’s most recognisable iconic designs, the organiser headboard, which involved the strategic placement of shelves, drawer units, and reading lights. In versions developed for commercial hotel rooms many features were integrated in the bedheads: telephones, radios, light switches, and cigarette lighters. Of course, these headboard models and related bedroom furniture exhibit a wide range of Ponti’s idiosyncratic profiles, each graceful, tapering, and visually weightless.

Gio Ponti’s design for a hotel room exhibited at the 9th Triennale in Milan, 1951. Photo: Gio Ponti Archives

Some of the private commissions turned out to be more demanding than expected to satisfy the clients requirements. At least, this is we can guess when analysing the many surprising details of this circa 1955 suite. Possibly made by Fratelli Radice, who were among a group of his three preferred ebanisti together with Giordano Chiesa and Egidio Proserpio, all known for their exceedingly high quality standards.

The bedside wall unit is configured into a lengthy rectangular expanse, almost three and half metres of carefully selected walnut timbers, rhythmically studded with cantilevered units of various dimensions. Two identical sets of three elements are stacked on either side of the bed: a bedside shelf delicately balanced on a split brass leg, a thin drawer is suspended above, and on top, striking illuminated framed display nooks. This repetition on a horizontal axis is contrasted with the physical and visual weight differences in the vertical stack. Ponti further challenges this pleasant symmetry by placing a visibly heavier double drawer unit at the extreme right on the same graceful split brass leg as the feather-light shelf on the left. These tensions and juxtapositions characteristic of Baroque Architecture are Ponti’s response to some of the Modernist orthodoxy of his times.

Ponti expanded this archetype in additional pieces for the same house (one of which is Lot 99); together, they are meant to animate the side wall of the same bedroom with a visually exciting and comforting arrangement of elements open to some variations while reflecting his idiosyncratic, tectonic visual reading of reality. The four distinct parts display an elaborate scheme of symmetries and asymmetries: a solitary picture frame is paired with two thick cantilevered glass shelves mounted on walnut panels. This complex, and likewise sober object hangs above a fivepanel cabinet whose pleasing geometry is reminiscent of Ponti’s own Pirelli Tower.

Again in this group, as in most Ponti designs, there is a repetitive orchestration of contrasts and counterpoints, voids and solids, and an impressive rhythm of shadow lines. It is a perfect demonstration of his long quest for organised and satisfying interaction with practical objects in interior spaces. After decades of rethinking the bedroom suite and many different iterations, Ponti’s way of obtaining a sense of effortless cohesion from a multitude of elements and intentions comes to its ultimate result in this commission.

A parete attrezzata, a furniture system that can function as a storage organiser and method to enliven the domestic environment, circa 1953. Photo: Gio Ponti Archives An organiser headboard in Gio Ponti’s home in via Dezza, Milan. Photo: Gio Ponti Archives

98. Gio Ponti 1891-1979

Headboard with integrated bedside tables, picture frame and drawer unit circa 1955

Walnut, walnut-veneered wood, glass, brass. 99.6 x 349 x 49.5 cm (39 1/4 x 137 3/8 x 19 1/2 in.) Possibly executed by Fratelli Radice, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£12,000-18,000 $13,300-19,900 €13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan Literature

Domus, no. 289, December 1953, n.p. for a comparable example

Domus, no. 315, February 1956, n.p. for a comparable example

Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 184-87 for comparable examples

The present lot is part of the same commission as lot 99.

99. Gio Ponti 1891-1979

Wall-mounted unit and shelves with integrated picture frame circa 1955

Walnut, walnut-veneered wood, glass, brass. 96 x 146 x 51 cm (37 3/4 x 57 1/2 x 20 1/8 in.) Possibly produced by Fratelli Radice, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£5,000-7,000 $5,500-7,800 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan Literature

Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 189 for comparable examples

100. Fontana Arte

Pair of wall lights

circa 1958

Coloured glass, glass, brass. Each: 47 x 18.8 x 10.3 cm (18 1/2 x 7 3/8 x 4 in.) Manufactured by Fontana Arte, Milan, Italy.

Estimate

£5,000-7,000 $5,500-7,800 €5,700-8,000 plus Buyers Premium and VAT*

Provenance

Private Collection, Milan Literature

Vitrum: Lastre di vetro e cristallo, no. 100, February 1958, p. 41

Laura Falconi, ed., Luci e Trasparenze: Fontana Arte Millenovecentotrenta-millenovecentocinquanta, exh. cat., Galleria Babuino Novecento, Rome, 2006, pp. 57, 91

Gio Ponti 1891-1979

Low table circa 1956

Marble, walnut-veneered wood, brass. 42.8 x 149.7 x 50.2 cm (16 7/8 x 58 7/8 x 19 3/4 in.) Produced by Vittorio Bega Arredamenti, Bologna, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

Provenance

Private collection, Fregene, commissioned directly from the designer, circa 1956 Cambi, Milan, ‘Fine Design’, 20 November 2018, lot 20 Acquired from the above by the present owner

101.

£12,000-18,000 $13,300-19,900 €13,700-20,500 plus Buyers Premium and VAT*

102. Angelo Lelii 1911-1979

Nine-armed ceiling light circa 1958 Glass, brass, painted brass. 31 x 122 x 119 cm (12 1/4 x 48 x 46 7/8 in.) Manufactured by Arredoluce, Monza, Italy.

Estimate £6,000-8,000 $6,600-8,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Monza and Brianza

Literature

Alessandro Padoan, Alessandro Palmaghini and Anty Pansera, Arredoluce: Catalogo Ragionato 1943-1987, Milan, 2018, pp. 193, 314 for a similar example

The present lot has been registered in the Arredoluce Archives, Italy as number 8615942.

Gio Ponti 1891-1979

Pair of ‘Continuum’ armchairs circa 1963

Rattan, fabric.

Taller: 104 x 57 x 87 cm (40 7/8 x 22 1/2 x 34 1/4 in.)

Manufactured by Bonacina, Lurago d’Erba, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£7,000-9,000 $7,800-10,000 €8,000-10,300 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Pistoia

Literature

Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 222

Laura Falconi, ed., Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 191

Sophie Bouilhet-Dumas, Dominique Forest and Salvatore Lictira, eds., Gio Ponti: Archi-designer, Paris, 2018, pp. 14-15, 260

103.

104. Joseph-André Motte 1925-2013

Lounge chair

circa 1949

Rattan, beech, painted steel. 72.2 x 77.3 x 69.8 cm (28 3/8 x 30 3/8 x 27 1/2 in.) Produced by Rougier, France.

Estimate

£6,000-8,000 $6,600-8,900 €6,800-9,100 Ω plus Buyers Premium and VAT*

Provenance

Galerie Jean-François Foucher, Paris

Private collection, Paris, acquired from the above WA Design Gallery, Paris

Acquired from the above by the present owner

Literature

‘Le prestige du Rotin’, Art et Industrie XXVII, 1953, p. 46

‘Al “Salon des arts menagers” a Parigi’, Domus, no. 284, July 1953, p. 62

Michel Weill, ‘L’appartement subtil’, La Maison Française, no. 103, December 1956-January 1957, p. 41

Patrick Favardin, ed., Les Décorateurs des Années 50, Paris, 2002, pp. 240-41

Charlotte Perriand 1903-1999

‘Nuage’ wall-mounted shelf circa 1959 Oak-veneered wood, painted aluminium. 71 x 236.5 x 34.1 cm (27 7/8 x 93 1/8 x 13 3/8 in.)

Estimate £30,000-50,000 $33,200-55,400 €34,200-57,000

Buyers Premium and VAT*

Provenance

Private collection, France

Literature

Jacques Barsac, Charlotte Perriand: Un Art d’habiter 1903-1959, Paris, 2005, pp. 400, 403, 405, 415-17, 420, 422

Jacques Barsac, Charlotte Perriand: Complete Works, Volume 2, 1940-1955, Paris, 2015, pp. 450-51, 468-470

FranÇois Laffanour, Living with Charlotte Perriand, Paris, 2019, pp. 108, 126, 239

Charlotte Perriand: Inventing a New World, exh. cat., Fondation Louis Vuitton, Paris, 2019, pp. 313, 320, 325

105.

plus

106. Pierre Guariche 1926-1995

Pair of adjustable wall lights, model no. G5 circa 1951

Painted aluminium, brass, painted steel. Each: 79 x 12.1 x 50 cm (31 1/8 x 4 3/4 x 19 5/8 in.), as shown Produced by ARHEC, France.

Estimate

£5,000-7,000 $5,500-7,800 €5,700-8,000 plus Buyers Premium and VAT*

Provenance

Private collection, Paris Literature

Dominique Forest, ed., Mobi Boom: L’explosion du Design en France 1945-1975, exh. cat., Paris, 2010, pp. 80-81

Delphine Jacob, Lionel Blaisse, Aurélien Jeauneau, Pierre Guariche: Luminaires, Mobilier, Architecture d’intérieur, Paris, 2020, pp.51, 62

107. Hans J. Wegner 1914-2007

Pair of bar cabinets, model no. AT34 circa 1956

Teak, steel, laminated wood, oak, brass. Each: 49.2 x 49.9 x 52 cm (19 3/8 x 19 5/8 x 20 1/2 in.), closed 49.2 x 49.9 x 87 cm (19 3/8 x 19 5/8 x 34 1/4 in.), open

Produced by Andreas Tuck, Odense, Denmark.

Underside of one impressed FABRIKAT: ANDR. TUCK/ ARKITEKT: HANS J. WEGNER/DENMARK/MADE IN/ DENMARK. Underside of other impressed ANDR. TUCK/ DESIGN HANS J. WEGNER/ MADE IN DENMARK/ FURNITURE MAKERS/ DANISH/ CONTROL.

Estimate £8,000-12,000 $8,900-13,300 €9,100-13,700 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Copenhagen Literature

Johan Møller Nielsen, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, p. 60

Christian Holmsted Olesen, Wegner: Just One Good Chair, Berlin, 2018, p. 232

108. Émile-Jacques Ruhlmann 1879-1933

‘Tivo’ side chair

circa 1918

Brazilian kingwood-veneered wood, leather, ivorine. 67.8 x 38.7 x 52.1 cm (26 3/4 x 15 1/4 x 20 1/2 in.)

Estimate

£2,500-3,500 $2,800-3,900 €2,900-4,000 plus Buyers Premium and VAT*

Provenance

Galerie Anne-Sophie Duval, Paris Acquired from the above by the present owner, 1980s

Literature

Florence Camard, Ruhlmann: Master of Art Déco, New York, 1984, pp. 99, 181, 254

Emmanuel Bréon and Rosalind Pepall, eds., Ruhlmann: Un Genie de l’Art Déco, exh. cat., Musée des Années 30, Paris, 2001, p. 162

Florence Camard, Jacques-Émile Ruhlmann, New York, 2011, pp. 124, 140

The present model chair is recorded as reference numbers AR29 and NR57 in the Ruhlmann Archives at the Musée des Années Trente, Boulogne Billancourt, Paris.

∑

109. Seguso

Pair of ceiling lights

1940s

Pulegoso glass, nickel-plated brass. Each: 77.6 cm (30 1/2 in.) drop

Produced by Seguso Vetri d’Arte, Murano, Italy.

Estimate

£7,000-9,000 $7,800-10,000 €8,000-10,300 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Asti

Provenance

Literature

Private collection, Brussels Thence by descent to the present owner

Patrick Mauriès, Line Vautrin: Miroirs, Paris, 2004, p. 80

111. Jean-Michel Frank 1895-1941

Unique canapé, designed for Robert Chevalier, Épinal circa 1927

Brazilian rosewood, fabric. 95 x 149 x 86 cm (37 3/8 x 58 5/8 x 33 7/8 in.)

Produced by Chanaux & Company, Paris, France. Together with a certificate of authenticity from the Comité Jean-Michel Frank.

Estimate

£12,000-18,000 $13,300-19,900 €13,700-20,500

plus Buyers Premium and VAT*

Provenance

Robert Chevalier, Épinal

Thence by descent

Private Collection, France, circa 1970

Hôtel Drouot auction, Paris, 1984

Acquired from the above

Ferri & Associés, Paris, ‘Tableaux Anciens et Modernes, Mobilier et Objects d’art’, 4 December 2013, lot 288

Galerie Marchilhac, Paris, acquired from the above Phillips, London, ‘Important Design’, 26 April 2018, lot 34

Acquired from the above by the present owner

Literature

Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, illustrated p. 92

∑

112. Maison Desny

Vase

Chrome-plated brass, ebonised wood. 22 x 19.3 x 9.1 cm (8 5/8 x 7 5/8 x 3 5/8 in.) Manufactured by Maison Desny, Paris, France. Underside impressed with manufacturer’s mark and DESNY PARIS/MADE IN FRANCE/DEPOSE

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

Literature

Raphaèle Billé, et. al, Moderne Maharajah: Un Mécène des Années 1930, exh. cat., Musée des Arts Décoratifs, Paris, 2020, p. 92

circa 1932

Property from a Private Collection, Monaco

113. Rena Dumas and Peter Coles 1937-2009, 1955-1985

Folding armchair, from the ‘Pippa’ series designed 1986, produced circa 1991 Pearwood, leather, brass. 80 x 86.2 x 52.2 cm (31 1/2 x 33 7/8 x 20 1/2 in.)

Produced by Hermès, Paris, France. Underside of seat impressed HERMÈS/PARIS/MADE IN FRANCE

Estimate

£2,000-3,000 $2,200-3,300 €2,300-3,400 Ω plus Buyers Premium and VAT*

Literature

Chloé Braunstein-Kriegel, Rena Dumas: Une Architecture Intérieure, Paris, 2019, p. 356

Gabriella Crespi’s Universe

Gabriella Crespi’s delightful designs are iconic manifestations of her distinct style and creativity. To discover her inspiration, Phillips asked her daughter, Elisabetta Crespi, to reveal some of the ideas and the creative process behind her mother’s spellbinding objects.

Phillips: Many of Gabriella Crespi’s creations were designed as one-of-a-kind pieces. Could you tell us more about the clientele who loved and commissioned her pieces?

Elisabetta: During the 1950s, when my mother’s business began, the first clients came through word of mouth of the Milanese aristocracy who were attracted by her early work. These first pieces consisted mainly of small and refined gifts and objects for the table or desk which were always executed in refined materials. By the 1960s, her clientele was increasingly varied, from show business personalities, fashion designers, shipping families and well-known entrepreneurs. Much of her work was executed on commission, of which many were prestigious. They included several embassy headquarters, royal families and important residences around the world. I still remember when Shams Pahlavi, who used to come regularly to our showrooms in Milan and Rome, commissioned the entire ‘Rising Sun’ collection for his brother Reza Pahlavi’s summer residence in Mauritius. Our customers knew that every piece of my mother’s work was done by hand and that no two pieces would be the same. They also knew that her creations were not born following a trend and did not follow the rules of mass production, so it did not matter if the production time was much longer.

P: A diverse and unexpected combination of materials characterizes Gabriella Crespi’s creations. In particular, the ‘Yang Yin’ desk with integrated bookcase (Lot 115) perfectly exemplifies this choice. The imposing steel of the desk strikingly contrasts with the lightness of the acrylic used for the bookcase. What was the inspiration for this object?

E: The ‘Yang Yin’ series dates to 1979 and in addition to the desk-bookcase, it included a dining table, a bar cabinet, and a large block sculpture ‘Armadio’. My mother always stated that her greatest source of inspiration was the Universe, with its opposing but always complementary forces, from which every form of life originates. The entire collection was influenced by this concept and the present lot is one of the very few examples made of two very different materials that reflect my mother’s thinking very well. An example made from the same materials was exhibited in September 1982 at the Museo della Scienza e della Tecnica in Milan as part of the exhibition ‘I Plurimi di Gabriella Crespi 1970 - 1982’.

The present model dining table and large ‘Fungo’ table lamp in Gabriella Crespi’s apartment in Milan, 1978. Photos: Archivio Gabriella Crespi

P: The ‘Rising Sun’ series is one of Gabriella Crispi’s most iconic creations, of which the artist also had many pieces in her home in Milan. Could you tell us about the creative process behind this series?

E: The Sun was the great source of inspiration behind the ‘Rising Sun’ series which was executed between 1973 and 1975. Through the skilled hands of our artisans, Malacca and manao canes were almost always juxtaposed with brass details and brought to life her dining tables, defined by long rays that sprang from a central golden ‘sun’, as well as the chairs that surrounded them. There were also mushroom-shaped lamps, mirrors, screens, trays, candlesticks and smaller size objects with the same characteristics in this series. Rattan was a natural material much loved by my mother because it was strong and flexible at the same time, and because the upwards projecting canes gave her the impression of infinity. Through this material, she wanted to break the boundaries between interior and exterior, something she had always imagined as was evident in her houses. Our craftsmen executed the prototypes and the designs of this series with extreme precision until the mid-1980s. My mother then decided to pursue her spiritual path in India where she lived for almost twenty years in the foothills of the Himalayas.

P: The unconventionality of the names Gabriella Crespi chose for her furniture is another key feature of her artistic contribution. Where did the choice come from to call ‘Mehnir’ and ‘Plurimi’ two of her furniture series from which the ‘Bar Ovale’ cabinets and the 2000 coffee table?

E: The choice of names for her works or series often had a symbolic meaning for my mother. ‘Plurimi’ was the name she gave to her series of metamorphic tables created between 1970 and 1982, in which the main feature was the plurality of forms and functions. A sentence by Gorakhnat that my mother quoted in her book written following her return from India, reflects the meaning very well: ‘Plurality dances on the bosom of Unity, Matter plays in the heart of the Spirit.’ The ‘Menhir’ series takes its name from the large monolithic stones that were erected in various parts the world in different prehistoric periods. These furniture-sculptures, designed between 1976 and 1978, which could also be placed in the centre of a room, ushered in the era of free-standing furniture in contrast with the previous tradition of wall-mounted pieces.

The present model desk with integrated bookcase on display at the Museo della Scienza e della Tecnica, Milan, 1982. Photo: Archivio Gabriella Crespi

Property from a Private Collection, Monaco

114. Gabriella Crespi 1922-2017

Pair of ‘Bar Ovale’ cabinets, from the ‘Menhir’ series designed 1976, produced 1979 Brass-covered wood, plastic-laminated wood. Each: 76.9 x 60.5 x 40.4 cm (30 1/4 x 23 7/8 x 15 7/8 in.)

Numbers 46 and 47 from the production of circa 120 examples. Side of one impressed with facsimile signature Gabriella Crespi/BREV. 46 and side of other impressed with facsimile signature Gabriella Crespi/ BREV. 47. Side of each with affixed designer’s brass logo impressed with facsimile signature Gabriella Crespi and ® Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Estimate

£30,000-50,000 $33,200-55,400 €34,200-57,000 Ω plus Buyers Premium and VAT*

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 200456063.

Phillips wishes to thank the Archivio Gabriella Crespi and Elisabetta Crespi for their assistance in cataloguing lots 114-121.

115. Gabriella Crespi 1922-2017

‘Yang Yin’ adjustable desk with integrated bookcase, from the ‘Plurimi’ series circa 1979

Stainless steel covered wood, acrylic, lacquered wood, painted wood, nickel-plated brass, chrome-plated steel. 77 x 116 x 82 cm (30 3/8 x 45 5/8 x 32 1/4 in.)

Number 43 from the production of circa 70 examples. Front impressed with facsimile signature Gabriella Crespi/ BREV. 43 and with affixed designer’s brass logo impressed with facsimile signature Gabriella Crespi and ®. Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Estimate

£35,000-55,000 $38,800-60,900 €39,900-62,700 Ω plus Buyers Premium and VAT*

Literature

Patrick Favardin and Guy Bloch-Champfort, Les Décorateurs des Années 60-70, Paris, 2007, pp. 138-39 for a similar example

Gabriella Crespi, Il Segno e lo Spirito: Mobili, Plurimi, Sculture e Gioielli, exh. cat., Palazzo Reale, Milan, 2011, pp. 16, 27, 32, 79

Pierluigi Masini, Gabriella Crespi: Spirito e Materia, Arte e Design, 2018, p. 96

In the production of circa 70 examples of the present model desk, fewer than 10 examples were made in this particular combination of materials.

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200458071.

amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale

For full details see

Buyer’s Premium is payable on the hammer price at a maximum rate of 26%. VAT on the Buyer’s Premium, where applicable, is payable at 20%.

Price

*The

outcome.

Calculating the Purchase

in the Buyer’s Guide online or in this catalogue.

Property from a Private Collection, Monaco

Property from a Private Collection, Monaco

116. Gabriella Crespi 1922-2017

Large ‘Fungo’ table lamp, from the ‘Rising Sun’ series circa 1973

Malacca rattan, brass. 96.8 cm (38 1/8 in.) high, 71.4 cm (28 1/8 in.) diameter

Top of shade impressed with facsimile signature Gabriella Crespi and the designer’s logo. Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Estimate

£4,000-6,000 $4,400-6,600 €4,600-6,800 Ω plus Buyers Premium and VAT*

Literature

Patrick Favardin and Guy Bloch-Champfort, Les Décorateurs des Années 60-70, Paris, 2007, p. 143

Gabriella Crespi, Il Segno e lo Spirito: Mobili, Plurimi, Sculture e Gioielli, exh. cat., Palazzo Reale, Milan, 2011, pp. 23, 113

Pierluigi Masini, Gabriella Crespi: Spirito e Materia, Arte e Design, Bologna, 2018, pp. 16, 21, 28, 130

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 060453088G.

Property from a Private Collection, Monaco

117. Gabriella Crespi 1922-2017

Low table, model no. 687, from the ‘Rising Sun’ series circa 1975

Malacca rattan covered wood, Malacca rattan, brass. 40.7 x 85.7 x 80.2 cm (16 x 33 3/4 x 31 5/8 in.) Base of brass border impressed with facsimile signature Gabriella Crespi and BREV. Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Estimate

£4,000-6,000 $4,400-6,600 €4,600-6,800 Ω plus Buyers Premium and VAT*

Literature

Gabriella Crespi, Il Segno e lo Spirito: Mobile, Plurimi, Sculpture e Gioielli, exh. cat., Palazzo Reale, Milan, 2011, p. 113

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 060452087.

Property from a Private Collection, Monaco

118. Gabriella Crespi 1922-2017

Extendable dining table, from the ‘Rising Sun’ series circa 1975

Malacca rattan covered wood, brass. 73.8 x 216.3 x 122 cm (29 x 85 1/8 x 48 in.)

Base with affixed designer’s brass logo impressed with facsimile signature Gabriella Crespi and ®. Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Estimate £12,000-18,000 $13,300-19,900 €13,700-20,500 Ω plus Buyers Premium and VAT*

Literature

Gabriella Crespi, Il Segno e lo Spirito: Mobili, Plurimi, Sculture e Gioielli, exh. cat., Palazzo Reale, Milan, 2011, pp. 40, 89, 110, 114

Pierluigi Masini, Gabriella Crespi: Spirito e Materia, Arte e Design, Bologna, 2018, pp. 16, 244

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200455032.

Property from a Private Collection, Monaco

119. Gabriella Crespi 1922-2017

Set of eight dining chairs, from the ‘Rising Sun’ series circa 1975

Malacca rattan, vinyl.

Each: 94.5 x 48 x 56.2 cm (37 1/4 x 18 7/8 x 22 1/8 in.) Back of each with brass label incised with facsimile signature Gabriella Crespi. Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Estimate

£7,000-9,000 $7,800-10,000 €8,000-10,300 Ω plus Buyers Premium and VAT*

Literature

Patrick Favardin and Guy Bloch-Champfort, Les Décorateurs des Années 60-70, Paris, 2007, p. 142

Gabriella Crespi, Il Segno e lo Spirito: Mobile, Plurimi, Sculpture e Gioielli, exh. cat., Palazzo Reale, Milan, 2011, p. 114

Pierluigi Masini, Gabriella Crespi: Spirito e Materia, Arte e Design, Bologna, 2018, p. 130

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 220451013.

120. Gabriella Crespi 1922-2017

‘Fungo’ table lamp, from the ‘Rising Sun’ series circa 1973

Malacca rattan, brass. 70.8 cm (27 7/8 in.) high, 45.4 cm (17 7/8 in.) diameter

Top of shade impressed with facsimile signature

Gabriella Crespi and BREV. Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Estimate £3,000-5,000 $3,300-5,500 €3,400-5,700 Ω plus Buyers Premium and VAT*

Literature

Patrick Favardin and Guy Bloch-Champfort, Les décorateurs des années 60-70, Paris, 2007, p. 136 Gabriella Crespi, Il Segno e lo Spirito: Mobile, Plurimi, Sculpture e Gioielli, exh. cat., Palazzo Reale, Milan, 2011, pp. 23, 113

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 060454088P.

Property from a Private Collection, Monaco

Gabriella Crespi 1922-2017

‘2000’ extendable coffee table, from the ‘Plurimi’ series circa 1970

Stainless steel covered wood.

33.8 x 119.6 x 89.8 cm (13 1/4 x 47 1/8 x 35 3/8 in.), closed 33.8 x 200.9 x 89.8 cm (13 1/4 x 79 1/8 x 35 3/8 in.), fully extended

Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Estimate £20,000-30,000 $22,100-33,200 €22,800-34,200 Ω plus Buyers Premium and VAT*

Literature

Patrick Favardin and Guy Bloch-Champfort, Les Décorateurs des Années 60-70, Paris, 2007, p. 140 Gabriella Crespi, Il Segno e lo Spirito: Mobili, Plurimi, Sculture e Gioielli, exh. cat., Palazzo Reale, Milan, 2011, pp. 30, 63-65

Pierluigi Masini, Gabriella Crespi: Spirito e Materia, Arte e Design, Bologna, 2018, pp. 82-83

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200457000.

121.

Property from a Private Collection, Monaco

Gio Ponti 1891-1979

Coffee table

circa 1953

Walnut, glass, brass. 42.2 cm (16 5/8 in.) high, 109.8 cm (43 1/4 in.) diameter Executed by Giordano Chiesa, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£15,000-20,000 $16,600-22,100 €17,100-22,800 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Venice Literature

Marco Romanelli, Gio Ponti: A World, Milan, 2002, p. 68 Ugo La Pietra, ed., Gio Ponti: L’Arte si innamora dell’industria, New York, 2009, pp. 200-01

122.

123. Gino Sarfatti and Vittoriano Viganò 1912-1985, 1919-1996

Adjustable floor lamp, model no. 1049 circa 1951

Painted aluminium, brass, limestone. 205 cm (80 3/4 in.) high, as shown Manufactured by Arteluce, Milan, Italy. Interior of each shade with manufacturer’s paper label printed AL/ MILANO/ARTELUCE

Estimate

Provenance

Private collection, Taranto Literature

Marco Romanelli and Sandra Severi, Gino Sarfatti: Opere Scelte 1938-1973, Milan, 2012, pp. 19, 66,

£18,000-24,000 $19,900-26,600 €20,500-27,400 ‡ plus Buyers Premium and VAT*

449

Gio Ponti 1891-1979

Bench circa 1938

Birch-veneered wood, maple-veneered wood, Brazilian rosewood, fabric. 51.6 x 90.6 x 42.6 cm (20 3/8 x 35 5/8 x 16 3/4 in.) Together with a certificate of expertise from the Gio Ponti Archives.

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

Provenance

Private collection, Milan

124.

∑

Max Ingrand 1908-1969

Pair of wall lights circa 1955

Coloured glass, glass, brass.

Each: 30.5 x 10 x 53.4 cm (12 x 3 7/8 x 21 in.) Manufactured by Fontana Arte, Milan, Italy.

Estimate £10,000-15,000 $11,100-16,600 €11,400-17,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Bologna Literature

Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fig. 332

125.

Auction Buyer’s Guide

The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you. The Conditions of Sale and Authorship Warranty published on our website at https://phillips.com also govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship between Phillips, the seller and the buyer and describe the terms upon which items are bought at auction.

A) Before The Auction

Catalogues & Catalogue Entries

Our catalogues provide information on the lots for sale at the auction and are available on our website at www.phillips. com and in hard copy. Lot details can also be viewed on the Phillips App. If you would like to purchase a hard copy catalogue for a Phillips auction, please visit our website or contact us at catalogues@phillips.com.

Catalogue entries may include the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive. In some cases we may not disclose the identity of previous owners where we are not authorised to do so. Please note that all dimensions of the property set out in the catalogue entry are approximate.

Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips.com. Our specialists are available to give advice and condition reports at viewings or by appointment.

Estimates

Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Pre-sale estimates do not include the buyer’s premium or VAT.

Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction.

Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction.

Condition of Lots

Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry (including those accessed via QR Codes appearing in the catalogue) does not imply that the lot is free from faults or imperfections.

Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate

to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding.

Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Symbols Used In The Catalogue

You may see the following symbols referenced in the catalogue.

O Guaranteed Property

Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party.

♦ Third Party Guarantee

Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the thirdparty guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee.

In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the thirdparty guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor.

Disclosure of financial interest by third parties

Phillips requires third party guarantors to disclose their financial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confirm whether or not they have a financial interest in the lot.

∆ Property in which Phillips has an Ownership Interest

Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

• No Reserve

Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot

is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

∑ Endangered Species

Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import.

Ж Property Subject to US Import Tariffs

Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale.

Calculating the Total Purchase Price

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

Hammer Price Buyer’s Premium

+ + +

VAT on Buyer’s Premium and/or Hamer 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

UK Auctioneer’s Margin Scheme lots have no VAT symbol. For these lots, VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice.

Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website

♠ Artist’s Resale Royalty (ARR)

The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are re-sold for a hammer price of EUR 1,000 or more.

Lots subject to ARR are marked with the symbol ♠

The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price:

Portion of the Hammer Price (in EUROS) Royalty Rate

From 0 to 50,000 4%

From 50,000.01 to 200,000 3%

From 200,000.01 to 350,000 1%

From 350,000.01 to 500,000 0.5%

Exceeding 500,000 0.25%

The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank.

Example

To illustrate how the purchase price is calculated, please see the below example:

UK Auctioneer’s Margin Scheme lot

Hammer Price: £500,000

Buyer’s Premium including VAT @20% £153,000: Calculated as follows:

26% of first £450,000 of the hammer price = £117,000 + 21% on the balance of £50,000 = £10,500

Total BP = £127,500

VAT @ 20% on the total BP of £127,500 = £25,500

B) At The Auction

Bidding

Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and recent proof of address. We may also require that you furnish us with a bank reference.

By registering and participating in the auction, whether in person, by absentee bid, on the telephone or online, bidders represent, warrant and confirm that (i) unless otherwise expressly agreed in writing with Phillips prior to the auction, they are bidding on their own behalf and not on behalf of anyone else (ii) they will be paying the purchase price from their own funds (iii) that their participation in the auction and payment of the purchase price is lawful and shall not breach any applicable sanctions laws, and (iv) any bids placed by them , or on their behalf, are not the product of any collusive or other anti-competitive agreement and are not otherwise in breach of any applicable law, Government sanctions and other regulatory measures in force from time to time.

Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement.

In Person

To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk.

By Telephone

If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation.

We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone.

Online Bidding

If you cannot attend the auction in person, you may bid online via our live bidding platform. The digital saleroom is available on our website at https://www.phillips.com/ and is optimized to run on Google Chrome, Firefox and Microsoft Edge browsers. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders.

Absentee Bids

If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Bidding Increments

Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

UK£50 to UK£1,000 by UK£50s UK£1,000 to UK£2,000 by UK£100s UK£2,000 to UK£3,000 by UK£200s UK£3,000 to UK£5,000 by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s 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.

By registering for the Auction, bidders accept the Conditions of Sale and Authorship Warranty.

Interested Parties Announcement

In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive And Responsive Bidding;

The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further

bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

No Reserve Lots

If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

C) After The Auction

Payment

Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum.

Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment.

Alternatively, payment can be made by credit card for invoices of £30,000 or less per auction. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only).

Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes.

Collection

Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection. To collect paid for lots buyers (or their authorised representatives) must provide proof of identity.

Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect. Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment.

After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection.

Storage Charges

Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to you in the buyer information pack you will receive after the auction.

Loss or Damage

Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven (7) days following the auction.

Transport and Shipping

We will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. As a free service for buyers, Phillips will wrap purchased lots which are for hand carry only. We do not provide packing, handling or shipping services directly.

Export and Import Licenses

Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Buyers should note that the export of items offered for sale in this Auction to certain countries (including Russia and Belarus) may be prohibited pursuant to Government sanctions and other regulatory measures in force from time to time.

Endangered Species

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the

lot. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

Privacy

Our Privacy Policy is available at https://phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

Phillips’ premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third-party websites and applications.

UK Tax Guide

This Guide outlines the Value Added Tax (VAT) treatment of Lots sold in our London auctions. It covers the most common types of transactions, although other situations may arise. We offer this information solely as a courtesy. As every buyer’s situation is different, we cannot offer specific tax advice. You are advised to and are responsible for obtaining independent tax advice where necessary.

The VAT rates and conditions are correct at the time of publication but can change. If the VAT rates and conditions change between the date of publication and the auction date, the rates and conditions in force at the time of auction will apply. Where Lots move from one tax status to another following purchase, the rates and conditions in force at the time of that movement will apply.

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.

Types of Lots and their VAT Treatment

UK Auctioneer’s Margin Scheme Lots

Important Notices

Identification of Business or Trade Buyers

As of January 2010, Her Majesty’s Revenue & Customs (“HMRC”) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside the UK.

• Where the buyer is a non-EU business, Phillips requires evidence of the business status by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists.

• Where the buyer is a UK or EU VAT registered business, Phillips requires the business’s VAT registration number. These details can be scanned and emailed to us. If we do not hold this and other information which may be required, including as stated in the UK Tax Guide below, we will be unable to cancel/refund any applicable VAT.

Upholstered furniture

Lots of upholstered furniture manufactured in 1950 or after may not comply with the levels of fire resistance for domestic upholstered furniture under the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended ) (the “Regulations”).

These items are sold as decorative works of art and should not be used in your home as domestic furniture, unless they are reupholstered, re-stuffed or recovered (as appropriate) with materials complying with the Regulations. Please speak to a specialist before the sale for information on whether the lots have been recently upholstered.

Electrical and Mechanical Lots

All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

Second-hand goods qualifying for treatment under UK Auctioneer’s Margin Scheme rules have no VAT symbol and are treated as follows:

VAT Symbol Taxation basis VAT Treatment

No symbol UK Auctioneer’s 20% in lieu of Margin Scheme sale VAT on the buyer’s premium*. (The invoiced buyer’s premium will include the VAT).

*For items not normally subject to VAT (e.g. books), the rate of VAT will be 0% and no charge in lieu of VAT will be made.

Lots with Special VAT Treatment

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

VAT Symbol Taxation basis VAT Treatment

† Standard UK VAT 20% VAT charged rules on both the hammer price and buyer’s premium

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

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

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

Exporting Lots from the UK

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

VAT Symbol Taxation basis VAT which may be cancelled or refunded if Lot exported

No symbol UK Auctioneer’s UK Auctioneer’s Margin Scheme Margin Scheme

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

‡

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

Time limits Proof of export for exportation documentation required

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

Please Note:

• We cannot refund the UK VAT paid if the export documents do not comply exactly with governmental regulations.

• If the Lot is under Temporary Admission in the UK (i.e. with ‡ or , symbol) and is imported to the UK after purchase (i.e. collected by the Buyer in the UK), before then being exported, we cannot refund the UK VAT.

Local tax charges and duties in the Delivery Destination

Buyers from outside the UK should note that upon importing Lots to their final destination outside the UK, local import VAT, import duties, sales taxes and/or use taxes may be payable. Please consult your local tax advisor.

Lots under Temporary Admission being exported for repair, restoration or alteration

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

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

Please liaise with Phillips’ Shipping Department to ensure the export is handled correctly

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

Please liaise with Phillips’ Shipping Department to ensure the export is handled correctly

Cancelling UK VAT charges upon export

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

Export arrangement

Lot exported using a Phillips` authorised carrier

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

Conditions for cancellation of UK VAT charges

Buyer must at or before the time of invoicing:

• instruct a Phillips’ authorised carrier to export the Lot; and

• accept the export quotation provided by that authorised carrier

Refunding UK VAT charges following export

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

Export arrangement

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

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

Conditions for refund of UK VAT charges

• Buyer must have paid the UK VAT in full

• Lot must have been exported within the required timeframe (see Exporting from the UK above)

• Phillips’ must have received satisfactory proof of export once all export documentation and declarations have been accepted by HMRC.

• VAT to be refunded must be £50 or more per shipment

• A processing fee of £20 (plus any applicable VAT) will apply.

If you purchase a Lot which is under Temporary Admission (indicated by a ‡ or a Ω symbol) and intend to export it from the UK for repair, restoration or alteration, please notify Phillips’ Shipping Department before collection. The Lot will need to be transferred from Temporary Admission to another appropriate customs procedure to allow the repair, restoration or alteration to be carried out. The third-party carrier you appoint to handle the transport will need to liaise with Phillips’ shipping department to ensure this customs movement is correctly declared. Failure to do this may result in the UK import VAT becoming payable immediately and Phillips being unable to refund the UK VAT charged. You are advised to obtain independent advice on this prior to bidding.

Buyers wishing to hand-carry Lots

If you collect the Lot from Phillips in the UK with a view to “hand-carrying” it back to its final destination, you must pay the UK VAT in full. Phillips cannot cancel or refund the UK tax in these circumstances. Please note that with the abolition of the Tax-free shopping scheme for visitors to the UK, it is no longer possible to obtain tax refunds at UK airports upon departure.

Business buyers located outside the UK

If you are a business located outside the UK and buy a Lot in a UK sale for a business purpose, you may be able to seek repayment of certain taxes from HMRC (the UK tax authority) directly (e.g. the UK Import VAT charged on the hammer price if the purchased Lot is under Temporary Admission in the UK).

Claim forms (VAT65A) are available from the HMRC website.https://www.gov.uk. You should submit claims for refund of UK VAT to HMRC no later than six months from the end of the 12-month period ending 30 June (e.g., claims for the period 1 July 2020 to 30 June 2021 should be made no later than 31 December 2021)

UK Buyers

Phillips cannot cancel or refund any UK VAT charged on sales made to UK buyers where the Lot is collected from Phillips in London or delivered to a UK address.

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

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 including information accessed via QR Codes appearing in this catalogue, and (d) other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer.

2 Phillips as Agent

Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis.

(a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports (including those accessed via QR Codes appearing in this catalogue) as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports, including those accessed via QR Codes appearing in this catalogue, may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 Bidding at Auction

Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and recent proof of address. We may also require that you furnish us with a bank reference.

(a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips.

(b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers.

(e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges.

(f) By registering and participating in the auction, whether in person, by absentee bid, on the telephone or online, bidders represent, warrant and confirm that (i) unless otherwise expressly agreed in writing with Phillips prior to the auction, they are bidding on their own behalf and not on behalf of anyone else (ii) they will be paying the purchase price from their own funds (iii) that their participation in the auction and payment of the purchase price is lawful and shall not breach any applicable sanctions laws, and (iv) any bids placed by them , or on their behalf, are not the product of any collusive or other anti-competitive agreement and are not otherwise in breach of any applicable law, Government sanctions and other regulatory measures in force from time to time.

(g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

(h) * Premium Lots

Lots with the symbol [*] are Premium Lots. To bid on Premium Lots prospective buyers must complete and satisfy Phillips’ Premium Lot pre-registration procedure no later than 24 hours before the start of the auction session in which the Lot is offered. Premium Lot paddles will be issued to bidders who complete and satisfy the Premium Lot pre-registration procedure. The Auctioneer will only accept bids from Premium Lot paddles in respect of Premium Lots. Please contact the department organizing the auction for further details.

(i) Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

5 Conduct of the Auction

(a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller.

The reserve will not exceed the low pre-sale estimate at the time of the auction.

(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot.

(c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of

international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’.

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the ‘Purchase Price’). The buyer’s premium is 26% of the hammer price up to and including £450,000, 21% of the portion of the hammer price above £450,000 up to and including £4,500,000 and 14.5% of the portion of the hammer price above £4,500,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction.

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT.

(c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol ♠ after the estimate and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice.

(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling as follows:

(i) Payments may be made by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment.

Alternatively, payment can be made by credit card for invoices of £30,000 or less. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only).

(e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds.

Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 Collection of Property

(a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including providing information and documentation we require to satisfy our customer due diligence and verification checks for Know Your Customer compliance purposes and completing any anti-money laundering or anti-terrorism financing and sanctions checks. As soon as a buyer has satisfied all of the above conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property.

(b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, we will transfer all lots to offsite fine art storage facilities. Details will be included in the buyer information packs sent to buyers after the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Property will be collected by the buyer at the point it is released in the sale location by Phillips to the buyer or to a third-party shipper acting for the buyer. The buyer is responsible for paying any import duties and local taxes payable to import the Property to its final destination.

(d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 Failure to Collect Purchases

(a) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full.

(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 Remedies For Non-Payment

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate.

(b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies

that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon.

10 Rescission by Phillips

Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 14 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 Export, Import and Endangered Species Licences and Permits

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 Switzerland 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.

an independent appraisal certify 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.

Export, Import, Sales and/or Use Taxes

Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf, including any applicable Sales and/or Use Taxes which may be due on importing the property to the United States.

Export and Import Bans and Restrictions

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.

13 Personal Data

(a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@ phillips.com.

(b) Our Privacy Policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and

enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

(c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be filmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, filmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or filmed or appear in such recordings, please speak to a member of Phillips staff.

Your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy available at www.phillips.com.

14 Limitation of Liability

(a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 14, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips 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.

Authorship Warranty

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below.

(a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue (including descriptions accessed via QR Codes appearing in this catalogue) states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry.

(b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us.

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above.

(d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

hours before the

you indicate whether you are applying to bid as an individual or on behalf of a company.

Please

the

In-person

Absentee Bidding Telephone Bidding

individual

On behalf of a company

with this

(please

Paddle Number

30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com

• 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 identification (such as the certificate of incorporation) as well as proof of owners (including ultimate beneficial owners) and directors to verify the status of the company. This should be accompanied by an official document confirming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold.

• Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale available online at phillips.com. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

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

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 26% of the hammer price up to and including £450,000, 21% of the portion of the hammer price above £450,000 up to and including £4,500,000 and 14.5% of the portion of the hammer price above £4,500,000.

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

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

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

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

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

• Please submit your bids to the Bid Department by email to: bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045.

• Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by wire transfer, credit card (up to £30,000 per auction) using Visa, American Express, Mastercard or Union Pay (for in person transactions only) and UK debit cards.

• Lots cannot be collected until payment has cleared and all charges have been paid.

• You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013.

• By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com.

• Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

Please

by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.

Sale Title Sale Number Sale Date Title First Name Surname Company (if applicable) Account Number VAT number (if applicable) Address City State/Country Post Code Phone Mobile Email Fax Phone number to call at the time of sale (for Phone Bidding only) 1. 2. Signature Date

Please return this form by email to bidslondon@phillips.com at least 24

sale. Please read carefully the information in the right column and note that it is important that

select

type of bid you wish to make

form

select one):

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

Please complete the following section for telephone and absentee bids only Lot number Brief description Maximum pound sterling price* In Consecutive Order Absentee Bids Only * Excluding Buyer’s Premium and VAT By submitting this form you confirm your registration/bid(s) as above and accept Phillips’ Conditions of Sale as stated in the auction catalogue and on our websitestated in our catalogues and on our website.

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Sale Information

Design

Auction & Viewing Location

30 Berkeley Square London, W1J 6EX

Auction

Wednesday, 2 November 2022, 2pm

Please register to bid online, absentee or by phone.

Viewing

27 October - 2 November Monday to Saturday, 10am–6pm Sunday, 12–6pm

Sale Designation

When sending in written bids or making enquiries please refer to this sale as UK050222 or Design

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

Design Department

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

Head of Design, France, Senior International Specialist Elie Massaoutis emassaoutis@phillips.com

Senior Specialist

Sofia Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Specialist

Madalena Horta e Costa mhortaecosta@phillips.com

Head of Sale

Antonia King antonia.king@phillips.com

Cataloguer

Margherita Manca mmanca@phillips.com

Assistant to Head of Design, Europe, Research Coordinator Carlotta Pintucci cpintucci@phillips.com Administrator Sophia Garbagnati sgarbagnati@phillips.com

Senior Property Manager, Design Oliver Gottschalk ogottschalk@phillips.com

Photographers

Alex Braun Charlie Sheldon Tom Johnson Alessandro Zambianchi (External)

Client Accounting

Head of Client Accounting Richard Addington +44 20 7901 7914

Client Accounting, Director Jason King +44 20 7318 4086

Seller Accounts

Surbjit Kaur +44 20 7318 4072 Sofia Serra +44 20 7901 2940

Shipping

Andrew Kitt +44 20 7318 4047 Annaliese Clark +44 20 7318 4081 Richard Alderson +44 7919 507 631 Lucía Núñez +44 20 7901 7906

Creative Services

Chris Ward, Creative Services Manger Moira Gil, Senior Graphic Designer Grace Neighbour, Graphic Designer

Front cover

Lot 45, Claude Lalanne ‘Crocoseat’

Back cover

Lot 2, François-Xavier Lalanne ‘Brebis’, from the ‘Nouveaux Moutons’ series

Arad, R. 53, 81

Böhm, V. 52

Borsani, O. 43

Buffa, P. 5, 7, 96

Bugatti, C. 44

Buzzi, T. 10, 11, 96

Campana, F. 51

Campana, H. 51

Castiglioni, A. 68

Cheti, F. 94

Coard, M. 29

Coles, P. 113

Coper, H. 65, 69, 70, 71, 72, 73, 74, 75, 76, 77

Crespi, G. 114, 115, 116, 117, 118, 119, 120, 121

Diaz de Santillana, L. 42 Dumas, R. 113

Fontana Arte 87, 100 Frank, J.-M. 111

Gabo, N. 64 Gardella, I. 49 Guariche, P. 106

Hamanaka, K. 30 Hirai, A. 56, 58

Ingrand, M. 1, 80, 125

Jacobsen, A. 61 Judd, D. 54

Juhl, F. 59

Kjærholm, P. 90

Kuramata, S. 48

Laarman, J. 55

Lalanne, C. 45

Lalanne, F.-X. 2

Lancia, E. 47

Lelii, A. 34, 102

Maison Desny 112 Mendini, A. 37

Monesi, E. 41 Moos, P. 57, 62, 63 Motte, J.-A. 104

Nakashima, G. 84 Nason, C. 88

Ohira, Y. 91

Parisi, I. 28 Perriand, Charlotte 105 Pigott, G. 79 Poli, G. 22 De Poli, P. 22 Pomodoro, G. 89 Ponti, G. 3, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 35, 46, 47, 98, 99, 101, 103, 122, 124 Potenza, G. 86 Prouvé, J. 31, 32, 33, 38

Rie, L. 66, 67 Roggero, M.F. 9 Ruhlmann, É.-J. 108

Sakakura, J. 78 Sarfatti, G. 36, 40, 93, 123

Scarpa, T. 50 Seguso 12, 83, 109 Sottsass, Jr., E. 39, 92 Studio B.B.P.R. 6

ten Hompel, S. 85

van der Straeten, H. 82 Vautrin, L. 110 Venini 4, 8, 97 Viganò, V. 123 de Waal, E. 60

Wegner, H.J. 107

Index