DESIGN [catalogue]

Design

London / 26 April 2023

Design

London / 26 April 2023

Auction & Viewing Location

30 Berkeley Square London, W1J 6EX

Auction

Wednesday 26 April, 2pm

Viewing

20 April – 26 April Monday – Saturday 10am–6pm Sunday 12pm–6pm

Sale Designation

When sending in written bids or making enquiries please refer to this sale as UK050223 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

Paris

Antonia King

Head of Sale

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

New York

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

Sophia Garbagnati Administrator

+44 20 7318 4048 sgarbagnati@phillips.com

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

Cheyenne Westphal

Global Chairwoman

+44 20 7318 4044 cwestphal@phillips.com

Stephen Brooks

Chief Executive Officer

+44 0 20 7318 4046 sbrooks@phillips.com

Executives

Jonathan Crockett

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

+852 2318 2023 jcrockett@phillips.com

Jean-Paul Engelen

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

+1 212 940 1390 jpengelen@phillips.com

Hugues Joffre

Senior Advisor to the CEO

+44 207 901 7923 hjoffre@phillips.com

Arnold Lehman

Senior Advisor to the CEO

+1 212 940 1385 alehman@phillips.com

Jamie Niven

Senior Advisor to the CEO

+1 917 880 2532 jniven@phillips.com

Derek Collins

Senior Consultant to Chairman’s Office, Asia

+852 2318 2000 derekcollins@phillips.com

Deputy Chairmen & Chairwomen

Svetlana Marich

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

Cary Leibowitz

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

Scott Nussbaum

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

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

Trusts, Estates & Valuations

Americas

Jennifer Jones

Director of Trusts, Estates & Valuations

+1 212 940 1272 jjones@phillips.com

Americas

Asia

Middle East & South Asia

Laurent Taevernier

Client Liaison Coordinator

+32 32 573026 ltaevernier@phillips.com

Philae Knight

Client Advisory Director

+1 212 940 1313 pknight@phillips.com

Iori Endo

Senior Client Advisor

+44 20 7318 4039 iendo@phillips.com

Yassaman Ali

Client Advisory Director +44 20 7318 4056 yali@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

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

Americas

Cândida Sodré

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

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

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

Lauren Peterson Regional Director, Chicago-Midwest +1 310 922 2841 lauren.peterson@phillips.com

Blake Koh

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

Vivian Pfeiffer

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

Sophia Kinell Regional Representative, San Francisco +1 650 799 7931 sophia.kinell@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

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

Qing Shen

Senior Consultant, China +86 137 0111 9671 qingshen@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

Silvia Coxe Waltner

Regional Director, Seattle +1 206 604 6695 scwaltner@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. Paolo Venini 1895-1959

Large wall light

circa 1954

A canne glass, brass.

114 x 27.5 x 33.5 cm (44 7/8 x 10 7/8 x 13 1/4 in.)

Produced by Venini & C., Murano, Italy.

Estimate

£10,000-12,000 $12,300-14,800

€11,400-13,700 ‡ plus Buyers Premium and VAT*

Provenance

Venini, Via Monte Napoleone, Milan Private collection, Milan

Acquired from the above by the present owner

Exhibited

‘Venini: Luce 1921-1985’, Le Stanze del Vetro, Venice, 18 September 2022–8 January 2023

Literature

Marino Barovier and Carla Sonego, Venini Light 1921-1985, exh. cat., Le Stanze del Vetro, Venice, 2022, illustrated p. 499

2. Gio Ponti 1891-1979

Rare sofa

circa 1936

Fabric, stained beech.

75.6 x 290 x 77.5 cm (29 3/4 x 114 1/8 x 30 1/2 in.)

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

Estimate

£10,000-15,000 $12,300-18,500

€11,400-17,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

‘Una villa a tre appartamenti in Milano’, Domus, no. 111, March 1937, front cover, p. 7

The present model sofa was exhibited at the ‘Abitazione dimostrativa’ stand at the VI Milan Triennale, 1936.

The present model sofa exhibited at the VI Milan Triennale, 1936. © Gio Ponti Archives.

3. Max Ingrand 1908-1969

Coffee table

circa 1958

African mahogany-veneered wood, coloured mirrored glass. 36.9 cm (14 1/2 in.) high, 80.1 cm (31 1/2 in.) diameter

Manufactured by Fontana Arte, Milan, Italy.

Estimate

£25,000-35,000 $30,900-43,200

€28,500-39,800 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Turin

Literature

Laura Falconi, Fontana Arte: Una Storia

Trasparente, Milan, 1998, pp. 114, 214

The present model table in a period interior, 1950s.

Photo: Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998.

4. Paolo Venini 1895-1959

Pair of table lamps

1950s

Zanfirico glass, coloured pasta vitrea, glass, coloured glass, copper.

Taller: 64 x 36.5 x 36.5 cm (25 1/4 x 14 3/8 x 14 3/8 in.)

Produced by Venini & C., Murano, Italy. Base of each impressed VENINI/MURANO.

Estimate

£4,000-6,000 $4,900-7,400 €4,600-6,800 plus Buyers Premium and VAT*

Provenance Private collection, Venice Phillips, London, ‘Important Design’, 18 October 2018, lot 9 Acquired from the above by the present owner

5. Gio Ponti 1891-1979

Rare swivel desk chair

circa 1951

Fabric, chestnut, beech, brass. 95 x 64.2 x 64.7 cm (37 3/8 x 25 1/4 x 25 1/2 in.) Together with a certificate of expertise from the Gio Ponti Archives.

Estimate £5,000-7,000 $6,200-8,600 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

6. Paolo Buffa 1903-1970

Cabinet

circa 1940

Oak, oak-veneered wood.

137 x 162.9 x 48 cm (53 7/8 x 64 1/8 x 18 7/8 in.)

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

Estimate

£8,000-12,000 $9,900-14,800

€9,100-13,700 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

Roberto Aloi, L’Arredamento Moderno, Milan, 1947, pl. 291, 593

7. Carlo Scarpa 1906-1978

Floor lamp, model no. 518

circa 1942

Coloured glass, lattimo glass, brass. 184.5 cm (72 5/8 in.) high Manufactured by Venini & C., Murano, Italy.

Estimate

£15,000-20,000 $18,500-24,700

€17,100-22,800 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Brussels

Literature

Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 262

Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 178b

Ponti’s Images of Women

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

Design Consultant to the Gio Ponti Archives

With this statement, Gio Ponti makes it clear early on that he intends to include the fine arts in his industrial arts practice. Both designs have been owned by the family of Giordano Chiesa, the ebanista who originally made them and who had the opportunity to acquire them back from the Lucano family.

Throughout the 1920s, much of his energy is devoted to designing ceramics for Ginori at Doccia in Florence and San Cristoforo in Milan. This is how he began exploring an endless galaxy of womanhood along a sinuous line of inquiry: “My paintings are motivated by human testimony or by allegory”, he clamours in Aria d’ltalia, in concert with the themes and titles underpinning a deluge of exquisite imagery on fine porcelains, as seen in the series called Le mie donne, where a family of nine women were created, each carrying uncommon names: Donatella, Agata, Fabrizia, Isabella, Domitilla, Balbina, Emerenziana, Leonia, and Apollonia. They are depicted floating on clouds over ancient Roman cities. Among the Ginori pieces, we encounter every female archetype; from angels, imagined as unambiguously female in Ponti’s world, to witches, to Venus, the Madonna, Amazons and Sirens. He also never shied away from subjects that could then be seen as controversial such as La Perfida Camilla or Mea Lesbia from a semi-clandestine love series.

The four 1950s paintings on offer here are outstanding examples of Ponti’s most productive decade and belonged to his preferred ebanista, Giordano Chiesa. In these works, he drifts away from the shadow of Mario Sironi and Massimo Campigli that had influenced his work during the 1930s. Two among this group of four oil paintings were included in his 1955 ‘Accanto alla architettura’ exhibition at the Galleria del Sole, Milan. They were conceived to illuminate this interior space with bright hues punctuating the wall in affinity with Ponti’s latest furniture designs.

The four female subjects consist of two portraits, and two idealised depictions of women. These silhouette portraits have contrasting backgrounds, daylight (Lot 12) and night (Lot 11). The latter is further distinguished by an attribute - Ponti’s 1933 Torre Littoria - on the right, which could be a clue to the sitter’s identity. The other two paintings feature sensuously idealised women. The nude reclining on a bed skirted with ruffles reminiscent of glass crinolines adorning decanters and mirrors that Ponti designed for Venini in 1946 (Lot 8). The woman at her vanity is more complex with many illusions and conundrums (Lot 9). It is an oil painting in three colours; red, blue, and black on a glass support, again recalling a mirror. In the act of private self-beautification, the subject stares into the mirror but it is the artist’s gaze painting her portrait which is reflected, turning him, just as each of us viewers into voyeurs.

After Ponti founded Il Labirinto creative group, many projects emerged in its wake, beginning with Domus magazine, the Monza Biennale, and the Milan Triennale, all of which provided new opportunities to demonstrate his way of folding art into design and vice-versa. At Padua University in 1936, he painted frescoes, each stippled with imagery of women, many shrouded calling to mind Piero Della Francesca or even Arnold Bocklin. Around the same time Ponti was also probing the realm of sculpture, best achieved in a monumental 6-metre high plaster statue conceived for the Catholic Press Exhibition at the Vatican and meant to leave a lasting impression with the title ‘L’Italia cattolica’. The figure’s archaic bearing, however, seemed Pagan rather than Christian since it was crowned with a star instead of a conventional Christian halo.

“The dream of painting has accompanied me all my life”

Gio Ponti, Aria d’ltalia, Espressione di Gio Ponti, 1954

This sculpture led to further surveys of ancient Mediterranean female imagery. The grouping of actual Tanagras that Ponti installed in his display case for the 1950 Casa Ceccatto became the inspiration for both his Dame bianche and Donne uccello white plaster figurine series of 1951 for Gabbianelli. Photographic spreads published in 1930s issues of Domus, show models and friends, all women placed by Ponti in his interior settings for the purpose of animating these spaces with life and movement. Ponti even employed himself as co-editor of a 1940s Italian women’s fashion journal Bellezza, for which he created a few covers.

Towards the end of his life, Ponti returned to painting and began experimenting with the newest materials. Painting on Perspex with fast drying acrylic colours, he reprised earlier depictions of women, this time with a more reductive approach, less identifiable references to archetypes, and a more gestural, at times abstract brushwork. At the end of the 1970s, when he was in his late 80s, he would work alone, painting on Perspex sheets propped against the windows of his top floor flat on Via Dezza. As he repeated it over and over, the female form theme became a sort of mantra for him, an incantatory practice that went on, even after he had already exhausted every possible category of womanhood.

Vaso delle donne e delle architetture by Gio Ponti for Ginori, circa 1924. © Museo delle Porcellane di Doccia, Sesto Fiorentino.

Gio Ponti’s exhibition ‘Accanto alla architettura’ at the Galleria del Sole, Milan, 1955. © Archivio Domus - Editoriale Domus S.p.A.

8. Gio Ponti 1891-1979

‘Nudo di donna sul letto’

circa 1955

Oil on panel, in artist’s frame.

29.5 x 27.5 cm (11 5/8 x 10 7/8 in.)

Framed: 41.1 x 38.2 x 6 cm (16 1/8 x 15 x 2 3/8 in.)

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

Estimate £5,000-7,000 $6,200-8,600

€5,700-8,000 ‡ ♠ 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 present painting was exhibited in Gio Ponti’s exhibition ‘Accanto alla architettura’ at the Galleria del Sole, Milan, in 1955.

Property from a Milanese Estate

9. Gio Ponti 1891-1979

‘Donna allo specchio’

circa 1950

Painted and reverse-painted glass, mounted on card. 27.9 x 19.9 cm (10 7/8 x 7 7/8 in.)

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

Estimate £4,000-6,000 $4,900-7,400

€4,600-6,800 ‡ ♠

plus Buyers Premium and VAT, ARR applies*

Provenance Giordano Chiesa, Milan

Thence by descent to the present owner

Property from a Milanese Estate

10. Gio Ponti 1891-1979

Pair of rare slip chairs

circa 1954

Walnut-veneered wood, sapele-veneered wood, beech, fabric, brass.

Each: 77 x 54.8 x 73 cm (30 3/8 x 21 5/8 x 28 3/4 in.)

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

Estimate £15,000-20,000 $18,500-24,700 €17,100-22,800 ‡ plus Buyers Premium and VAT*

Provenance

Giordano Chiesa, Milan

Thence by descent to the present owner

Property from a Milanese Estate

11. Gio Ponti 1891-1979

‘Profilo di donna su sfondo industriale’

circa 1955

Oil on board.

22.1 x 17.2 cm (8 3/4 x 6 3/4 in.)

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

Estimate £4,000-6,000 $4,900-7,400

€4,600-6,800 ‡ ♠ 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 present painting was exhibited in Gio Ponti’s exhibition ‘Accanto alla architettura’ at the Galleria del Sole, Milan, in 1955.

Property from a Milanese Estate

12. Gio Ponti 1891-1979

‘Profilo di donna su sfondo giallo’

circa 1955

Oil on panel, in artist’s frame.

36.9 x 25.2 cm (14 1/2 x 9 7/8 in.)

Framed: 47.2 x 36.4 x 6.5 cm (18 5/8 x 14 3/8 x 2 1/2 in.)

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

Estimate

£4,000-6,000 $4,900-7,400

€4,600-6,800 ‡ ♠ 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. 20

The present painting was exhibited in Gio Ponti’s exhibition ‘Accanto alla architettura’ at the Galleria del Sole, Milan, in 1955.

A Ponti Concert of Forms The Casa di Fantasia Desk and Coffee table

By Brian Kish, Curator and Specialist in 20th Century Italian Architecture and Design Consultant to the Gio Ponti Archives

The present desk and coffee table are unique examples from Gio Ponti’s Casa Lucano, also known as Casa di Fantasia, of 1951. Both designs have been owned by the family of Giordano Chiesa, the ebanista who originally made them and who had the opportunity to acquire them back from the Lucano family. Both table and desk are Pontian studies in contrasting types of cantilevered forms. The desk catches the eye with a commanding asymmetrical form, weighed by a bold cantilever on the right side and two canted legs tapering at their extremities in a seductive tectonic resolution. Ponti suspended his bank of drawers, a rectangular box with rounded corners, just underneath this top surface but with a gap to lighten its bulk, which is further anchored into a long horizontal crossbar. It also allows for the top surface to serve the practical purpose of accommodating semi-hidden desk materials. To balance the piece, Ponti placed a narrower bank of drawers on the left side as an opposite to the kinetic, almost Baroque play of stability and instability on the left. The piece was originally installed diagonally in a corner of the library study. The wall behind it alternated between the same radica ferrarese as the vertical surfaces of the desk, Piero Fornasetti’s laminates of trompe l’oeil books, and a billowing fabric curtain printed with an array of pages from 19th century books.

A comparable surge of optical movement permeates the design of the smaller rectangular coffee table. It too has a cantilevered thrust, but projects frontward as if ready to interact with the living room sofa and a pair of armchairs. The profile view shows how the two flat surfaces, glass tabletop and lower shelf, are masterfully conjoined with arm and leg into a single form along a serpentine line that ends in a brass sabot in the front. Meanwhile the two smaller back legs are almost invisible under the opaque wood plane, which turns the table into a half-suspended object ready to scurry across the room.

The present model desk in a period image of Casa di Fantasia, 1950s. © Gio Ponti Archives.

This all concurs to lend this domestic object an anthropomorphic quality, in tune with the magical overtones permeating the apartment. Both works were outstanding within the scope of this complex private commission for the Lucano house where Ponti combined rigor and seduction to interpret a Metaphysical/Surrealist idiom. This proved to be his ultimate effort in exploring elusive realms of fantasy for the enjoyment of an enlightened Milanese patron.

Never missing an opportunity to further evolve his ideas, Ponti later altered both the desk and coffee table into more practical public commissions. Dispensing with the burled walnut veneers meant to sublimate and dematerialise the structure of these objects, Ponti turned to solid wood timbers in either walnut, oak or elmwood, and brought the form back into focus. He conferred tectonic clarity to their outline with few modifications. The coffee table found placement in some of the smaller waiting rooms throughout the second Montecatini Office building of 1951 in Milan. It was also included in a selection of furniture for the Joseph Singer New York showroom, for which a promotional photo demonstrates the table half suspended effect achieved by the unusual placement of the smaller back legs. It is also in New York that a final iteration of the desk found its way into the Altamira showroom of 1953. By then Ponti had decided to remove the narrower bank of drawers on the left to obtain a lighter structure. Yet he chose to retain the playful, variable-width tapering band rising above the writing surface to frame it on two sides. It should then come as no surprise that Ponti singled out this piece by presenting four photos of it in his midcareer survey publication of 1954 Espressione di Gio Ponti, to proclaim his satisfaction with one of his most important design achievements. In his own words, “This is my masterpiece. I call it my show horse: I mean it is a piece of furniture that is very simple but not formally inert”. No doubt he would have expressed a similar opinion on his cantilevered coffee table.

Here on offer we have the first iterations of the desk and table, artfully crafted by their maker, Giordano Chiesa; both are graced with subtle details not found in the later production. This explains why Chiesa himself sought to acquire them back, so convinced was he of his own achievement in this collaboration with Ponti.

The present model coffee table in a period image of Casa di Fantasia, 1950s. © Gio Ponti Archives.

Period photographs of Casa di Fantasia published in Domus, no. 270, May 1952. © Archivio Domus - Editoriale Domus S.p.A.

13. Gio Ponti 1891-1979

Desk from Casa di Fantasia, Milan

circa 1951

Burr walnut-veneered wood, glass, brass. 83 x 166 x 69 cm (32 5/8 x 65 3/8 x 27 1/8 in.)

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

Estimate

£80,000-120,000 $98,800-148,000 €91,000-137,000 ‡ plus Buyers Premium and VAT*

Provenance

Lucano family, Milan Giordano Chiesa, Milan, acquired from the above Thence by descent to the present owner

Literature Chiesa Arredamenti, sales catalogue, 1950s, illustrated n.p. Gio Ponti, ‘Casa di fantasia’, Domus, no. 270, May 1952, illustrated p. 34

14. Gio Ponti 1891-1979

Coffee table from Casa di Fantasia, Milan

circa 1951

Burr walnut-veneered wood, glass, brass. 40.6 x 89.3 x 49 cm (15 7/8 x 35 1/8 x 19 1/4 in.)

Executed by Giordano Chiesa, Milan, Italy. Underside of glass top acid-etched PROTEX

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

Estimate

£40,000-60,000 $49,400-74,100

€45,500-68,300 ‡ plus Buyers Premium and VAT*

Provenance

Lucano family, Milan

Giordano Chiesa, Milan, acquired from the above Thence by descent to the present owner

Literature

Gio Ponti, ‘Casa di fantasia’, Domus, no. 270, May 1952, illustrated pp. 28, 33

15. Gio Ponti 1891-1979

Two rare lidded boxes, model nos. 853 S and 848 S circa 1930

Biscuit porcelain with gilding.

Left: 27.8 cm (10 7/8 in.) high, 19.6 cm (7 3/4 in.) diameter

Right: 19 cm (7 1/2 in.) high, 15.8 cm (6 1/4 in.) diameter

Manufactured by Manifattura Richard-Ginori di Doccia, Florence, Italy. Underside of each with manufacturer’s mark DOCCIA. Each box together with a certificate of expertise from the Gio Ponti Archives.

Estimate £8,000-12,000 $9,900-14,800 €9,100-13,700 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Florence

Literature

Società Ceramica Richard-Ginori: Ceramiche Moderne d’Arte, sales catalogue, Florence, 1930, p. 78

The present models were exhibited at the IV Milan Triennale, 1930.

Phillips wishes to thank Dr. Oliva Rucellai for her assistance in cataloguing the present lot.

16. Gio Ponti 1891-1979

Pair of armchairs

circa 1932

Chrome-plated steel, vinyl. Each: 76.2 x 50 x 40.9 cm (30 x 19 5/8 x 16 1/8 in.) Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£6,000-8,000 $7,400-9,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

With its restrained form and pure aesthetic, the present table is a notable example of the transformative design project led by the Italian architects Mario Asnago (1896-1981) and Claudio Vender (1904-1986) in the early decades of the twentieth century. Following their studies at the Accademia di Belle Arti di Bologna, Asnago and Vender first established the Studio Asnago-Vender Architetti on the Via Cappuccio in Milan in the 1920s. It was during the ensuing period that the pair began to spearhead an experimental, rationalist vision through their building and furniture designs, primarily for private clients and retail spaces in Milan and beyond.

The model offered here was originally designed and executed for the Architettura attuale e la tradizione italiana display at the VI Milan Triennale in 1936. The present version is exceptionally rare, as one of the few original examples produced immediately following the Triennale in 1937. A brass plate on the base is impressed with the number ‘XVI’, placing it in the sixteenth year of the Fascist era, or the period between 28 October 1937 and October 27, 1938. The positive response to some of the earliest versions of the model, including this one, would lead the studio to reproduce it in various forms for specific clients. Eventually, a different version was serially produced between 1983 and 2020.

Visually and conceptually, this table is an unusually early example of the facets of modern design that were to become prevalent in the post-war period. The structure distinctly evokes the principles of pure rationalism in its uniformity and rigidity. Tubular legs of steel are arranged and welded together in a minimal geometric order, complete with the original white enamel paintwork. The construction is further supported by a framework of two X shapes that laterally intersect it down the middle; a signature motif often found in Asnago-Vender designs. The transparent glass tabletop is equally understated, complementing the sleek lightness and simplicity of the structure to accentuate the sense of spaciousness that it brings to the room.

The present model table exhibited at the ‘Architettura attuale e la tradizione italiana’ stand at the VI Milan Triennale in 1936. Photo Crimella. © Triennale Milano – Archivi.

17. Mario Asnago and Claudio Vender

1896-1981, 1904-1986

Rare table

circa 1937

Painted steel, glass.

76 x 290 x 80 cm (29 7/8 x 114 1/8 x 31 1/2 in.)

Base with brass label impressed XVI. Together with a certificate of authenticity from the Archivio Asnago Vender Architetti.

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 ‡ plus Buyers Premium and VAT*

Literature Ornella Selvafolta, ed., Rassegna, no. 4: Il Disegno del Mobile Razionale in Italia 1928/1948, October 1980, pp. 4, 75

The present model table was exhibited at the ‘Architettura Attuale e la Tradizione Italiana’ stand at the VI Milan Triennale, 1936.

18. Studio B.B.P.R.

Ceiling light

circa 1954

Tessuto glass, brass.

156 cm (61 3/8 in.) drop

Manufactured by Venini & C., Murano, Italy.

Estimate £6,000-8,000 $7,400-9,900

€6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Galleria Forum, Naples

Acquired from the above by the current owner

Literature

Jean François Grunfeld and Marie-Laure Jousset, Lumières, je pense à vous, exh. cat., Centre de Création Industrielle, Paris, 1985, p. 126

Marino Barovier and Carla Sonego, Venini Light

1921-1985, exh. cat., Le Stanze del Vetro, Venice, 2022, p. 500

19. Studio B.B.P.R.

Rare centre table circa 1940 Marble, oak, oak-veneered wood, brass. 75.5 cm (29 3/4 in.) high, 124 cm (48 7/8 in.) diameter

Estimate

£11,000-18,000 $13,600-22,200 €12,500-20,500 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Turin

Literature

‘Mobili ed inquadrature di B.B.P.’ Domus, no. 162, June 1941, pp. 22, 26-27

Luigi Claudio Olivieri, Illuminazione della Casa, Quaderni Domus no. 5, Milan, 1946, p. 31

‘Casa intorno a un camino. Studio architetti

B.B.P.R.’, Domus, no. 258, May 1951, p 16

20. Gio Ponti 1891-1979

Wall-mounted shelves and magazine racks from Casa Lucano, Sanremo

circa 1951

Oak-veneered wood, painted wood. 124.8 x 260.8 x 33.4 cm (49 1/8 x 102 5/8 x 13 1/8 in.)

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

Estimate

£18,000-24,000 $22,200-29,600

€20,500-27,300 ‡ plus Buyers Premium and VAT*

Provenance

Lucano family, Sanremo

Finarte, Milan, ‘Arti Decorative del Novecento’, 29 May 1989, lot 243

Private collection, Milan, acquired from the above

Acquired from the above by the present owner

21. Toni Zuccheri 1937-2008

Ceiling light, model no. 807.1, from the ‘Trofei’ series circa 1966

Stracciato lattimo a rilievi glass, chrome-plated metal.

97.5 x 63 x 40 cm (38 3/8 x 24 3/4 x 15 3/4 in.)

Produced by Venini & C., Murano, Italy. Metal structure impressed venini s.a.s./Murano/MADE IN ITALY.

Estimate £6,000-8,000 $7,400-9,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Rome

Acquired from the above by the present owner

Literature Venini: Lighting Catalogue, sales catalogue, 1966, n.p.

Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, Turin, 2007, p. 252

22. Giovanni Ferrabini 1909-1969

Console table

circa 1957

Painted iron, glass.

87.1 x 229.1 x 63.6 cm (34 1/4 x 90 1/4 x 25 in.)

Base with metal label with facsimile signature

Giovanni Ferrabini

Estimate

£4,000-6,000 $4,900-7,400

€4,600-6,800 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

‘Il “Securit” nell’architettura’, Domus, no. 333, August 1957, p. 57 for a similar example

Andrea Branzi and Michele De Lucchi, eds., Il Design Italiano degli Anni ’50, Milan, 1985, p. 58 for a similar example

23. Gio Ponti 1891-1979

Set of four armchairs

circa 1937 Fabric, stained beech. Each: 81 x 68.5 x 75.5 cm (31 7/8 x 26 7/8 x 29 3/4 in.) Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£10,000-15,000 $12,300-18,500

€11,400-17,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

Domus, no. 111, March 1937, front cover, pp. 5, 7-8, 23, 25

Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 112 for a similar example

The present model armchairs published on the front cover of Domus, no. 111, 1937. © Archivio Domus – Editoriale Domus S.p.A.

24. Carlo Mollino 1905-1973

Unique pair of wall-mounted bedside tables from Casa Orengo, Turin

circa 1949

Maple, glass, painted steel, brass. Each: 12.7 x 48.3 x 35.6 cm (5 x 19 x 14 in.)

Executed by Apelli & Varesio, Turin, Italy. One glass shelf acid-etched VITREX.

Estimate

£50,000-70,000 $61,700-86,400

€56,900-79,700 ‡ plus Buyers Premium and VAT*

Provenance

Marquis Vladi Orengo, Turin, circa 1949

Acquired from the above

Phillips, London, ‘Design’, 26 September 2013, lot 147

Acquired from the above by the present owner

Literature

‘Casa verso la collina’, Domus, no. 265, December 1951, pp. 16-22 for images of the commission

‘The baroque spirit in a modern house’, Interiors, no. 112, December 1952, pp. 88-91 for images of the commission

Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino, New York, 2006, illustrated pp. 194, 225

The present lot is registered in the archive of the Museo Casa Mollino, Turin, as number CM 400.

25. Gio Ponti 1891-1979

Pair of chairs

circa 1935

Walnut, gilt wood, fabric, brass. Each: 84.1 x 39.3 x 47.2 cm (33 1/8 x 15 1/2 x 18 5/8 in.)

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

Estimate

£6,000-8,000 $7,400-9,900

€6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

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

Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 107 for a similar example

26. Seguso

Set of three ceiling lights

1950s

Glass, iridescent lattimo glass, brass.

Each: 144 cm (56 3/4 in.) drop, 35.3 cm (13 7/8 in.) diameter

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

Estimate £20,000-30,000 $24,700-37,000 €22,800-34,100 ‡

plus Buyers Premium and VAT*

Provenance

Private collection, Veneto

François-Xavier Lalanne 1927-2008

‘Mouton de Pierre’ and ‘Mouton Transhumant’ designed 1979 and 1988, executed 1993 Epoxy stone, patinated bronze. Mouton de Pierre: 85 x 91.5 x 39.7 cm (33 1/2 x 36 x 15 5/8 in.)

Mouton Transhumant: 89.3 x 102.3 x 38.4 cm (35 1/8 x 40 1/4 x 15 1/8 in.)

Number 2 from 30 artist’s proofs and number 45 from an edition of 250 respectively. Side of Mouton de Pierre head impressed 2/30. Back of Mouton Transhumant head impressed 45/250 fxl LALANNE. Underside of each incised LALANNE 93

Estimate

£250,000-350,000 $309,000-432,000 €285,000-398,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Guy Pieters Gallery, Sint-Martens-Latem

Acquired from the above by the present owner, 1993

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, pp. 66, 84-85, 181, 192, 254-55

28. Pierre Guariche 1926-1995

‘G1’ adjustable wall light

circa 1952

Painted aluminium, painted steel, brass. 100 x 180 x 43.5 cm (39 3/8 x 70 7/8 x 17 1/8 in.)

Manufactured by Disderot, Paris, France.

Estimate

£5,000-7,000 $6,200-8,600

€5,700-8,000 ‡ plus Buyers Premium and VAT*

Literature

Jean François Grunfeld and Marie-Laure Jousset, Lumières, je pense à vous, exh. cat., Centre de Création Industrielle, Paris, 1985, p. 164

Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights (1950-1990), Paris, 2012, pp. 58-59

Lionel Blaisse, Delphine Jacob and Aurélien

Jeauneau, Pierre Guariche: Luminaires, Mobilier, Architecture d’Intérieur, Paris, 2020, pp. 48-49

29. Jean Prouvé 1901-1984

Low table, model no. 402

circa 1952

Oak, painted steel.

35.5 cm (13 7/8 in.) high, 80 cm (31 1/2 in.) diameter Manufactured by Les Ateliers Jean Prouvé, Nancy, France.

Estimate

£15,000-20,000 $18,500-24,700

€17,100-22,800 plus Buyers Premium and VAT*

Provenance

Mr. S., acquired directly from Les Ateliers Jean Prouvé Thence by descent

Artcurial, Paris, ‘Art Déco/Design’, 31 May 2021, lot 36 Acquired from the above by the present owner

Literature

Laurence Allégret and Valérie Vaudou, eds., Jean Prouvé et Paris, Paris, 2001, p. 264

Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 152

Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Volume 1, Paris, 2007, pp. 29, 105, 112, 126, 136, 157

30. Jean Royère 1902-1981

Sofa

circa 1962 Oak, fabric. 84.7 x 211 x 280.7 cm (33 3/8 x 83 1/8 x 110 1/2 in.)

Estimate £40,000-60,000 $49,400-74,100

€45,500-68,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Private collection, Beirut, 1960s

Mr. De Saint Martin Beyrie, Beirut, acquired from the above Acquired from the above by the present owner, 2021

Literature

A variant of the present model sofa is documented in the Jean Royère archives at the Musée des Arts Décoratifs, Paris, under drawing number 50.382.

31. Charlotte Perriand 1903-1999

Side table, designed for the Hôtel de France, Conakry

circa 1953

Stained beech, aluminium, okoume.

70.1 x 74.9 x 75 cm (27 5/8 x 29 1/2 x 29 1/2 in.)

Estimate

£3,000-5,000 $3,700-6,200

€3,400-5,700 Ω plus Buyers Premium and VAT*

Provenance

Christie’s, Paris, ‘Design’, 25 May 2022, lot 21 Acquired from the above by the present owner

Literature Jacques Barsac, Charlotte Perriand: Complete Works, Volume 2: 1940-1955, Paris, 2015, pp. 341, 343, 347

32. Jean Prouvé 1901-1984

Pivoting ‘Potence’ wall light circa 1947

Painted steel.

30 x 3.6 x 154.5 cm (11 3/4 x 1 3/8 x 60 7/8 in.)

Produced by Les Ateliers Jean Prouvé, France.

Estimate

£12,000-18,000 $14,800-22,200 €13,700-20,500 plus Buyers Premium and VAT*

Provenance

Private collection, France Sotheby’s, Paris, ‘Design’, 19 May 2017, lot 82 Acquired from the above by the present owner

Literature

Peter Sulzer, Jean Prouvé: Œuvre Complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 168-69 for similar examples

Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Volume 2, Paris, 2007, pp. 371, 374-75 for similar examples

33. Georges Jouve 1910-1964

Chalice

circa 1955

Glazed earthenware. 25.2 cm (9 7/8 in.) high, 13 cm (5 1/8 in.) diameter

Underside incised with artist’s cipher, JOUVE and M

Estimate

£2,000-3,000 $2,500-3,700

€2,300-3,400 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Paris

Literature

Michel Faré, Georges Jouve Céramiste, Paris, 1965, p. 71 for a similar example

Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 157, 287 for similar examples

34. Charlotte Perriand 1903-1999

Pair of high ‘Berger’ stools circa 1960 Oak.

Each: 40 cm (15 3/4 in.) high, 32.5 cm (12 3/4 in.) diameter

Estimate £8,000-12,000 $9,900-14,800 €9,100-13,700 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Paris

Literature

Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, p. 192 for similar examples

Élisabeth Védrenne, Charlotte Perriand, Paris, 2005, p. 52 for a similar example

François Laffanour et al., Living with Charlotte Perriand, Paris, 2019, throughout for similar examples

35. Gino Sarfatti 1912-1985

Adjustable wall light

circa 1951

Painted aluminium, painted brass, painted steel, brass. 125 x 53 x 184 cm (49 1/4 x 20 7/8 x 72 1/2 in.), as shown

Manufactured by Arteluce, Milan, Italy.

Estimate £10,000-15,000 $12,300-18,500 €11,400-17,100 plus Buyers Premium and VAT*

Provenance

Private collection, Savona Gifted by the above to the present owner

Literature

Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, p. 404 for a similar example

36. Charlotte Perriand 1903-1999

High ‘Berger’ stool circa 1960

Ebonised wood.

45.5 cm (17 7/8 in.) high, 32.5 cm (12 3/4 in.) diameter

Estimate

£4,000-6,000 $4,900-7,400 €4,600-6,800 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Paris

Literature

Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, p. 192 for similar examples

Élisabeth Védrenne, Charlotte Perriand, Paris, 2005, p. 52 for a similar example

François Laffanour et al., Living with Charlotte Perriand, Paris, 2019, throughout for similar examples

37. Jean Royère 1902-1981

Set of four chairs

circa 1945

Limed oak, fabric. Each: 74.5 x 48 x 47 cm (29 3/8 x 18 7/8 x 18 1/2 in.)

Estimate £18,000-24,000 $22,200-29,600 €20,500-27,300 ‡ plus Buyers Premium and VAT*

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

Literature

Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 176 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 1, Paris, 2012, p. 54 Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2017, p. 82 Jean Royère, Ligne, Forme, Couleur, exh. cat., Galerie Jacques Lacoste, Paris, 2022, pp. 69, 122

38. Serge Mouille 1922-1988

Three-armed wall light

circa 1955

Painted steel, painted aluminium, brass. 145 x 140 x 87 cm (57 1/8 x 55 1/8 x 34 1/4 in.)

Manufactured by Atelier Serge Mouille, Paris, France.

Estimate

£12,000-15,000 $14,800-18,500 €13,700-17,100 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Switzerland

Acquired from the above by the present owner

Literature

Pierre-Émile Pralus, Serge Mouille: A French Classic, Saint-Cyr-au-Mont-d’Or, 2006, pp. 66, 122, 162

François-Xavier Lalanne

‘Grand Bouquetin’, 1999

By Guy Boyer, Editor of Connaissance des

Arts

The ‘Grand Bouquetin’ is an important and integral part of FrançoisXavier Lalanne’s fantastical bestiary, which was conceived in the 1960s. The ensuing life-long oeuvre now places François-Xavier Lalanne amongst the most important animaliers in the Western World since the Middle Ages, following in the steps of the greatest masters who over the years have used the imagery of animals to convey subliminal messages in their work to the viewer.

The Genesis: Le mouton du Petit Prince?

In 1966, when François-Xavier Lalanne designed his first sheep, could the sentence written by Saint Exupéry some twenty-two years earlier, “S’il te plait, dessine-moi un mouton”, expressed by the “extraordinary little fellow” that was the Little Prince, have been on his mind? The narrator of that tale, who only knows how to draw snakes, sketches a sheep but outlines it badly. He then redraws it with ram horns but ultimately designs a crate containing a tiny sheep. This last drawing fully satisfies the Little Prince who imagines the box to contain the animal of his dreams. This classic story of a sheep that removes baobab tree shoots invading the planet can be seen to fittingly characterise FrançoisXavier Lalanne’s surrealist spirit. The artist was close to the animal sculptor François Pompon and an admirer of Constantin Brâncuși. In his own oeuvre, Lalanne emulated the simplified lines and polished surfaces of the former along with the tension of forms and the link between object and space of the latter.

In the mid-1960s, François-Xavier Lalanne imagined a herd of twenty-four sheep which function as stools when apart and form a long bench when united. These hieratic animals covered in dense wool oscillate between their status as a utilitarian object and a sculpture. As art critic Daniel Abadie aptly explains in his book Lalanne(s), “François-Xavier Lalanne’s proposed title – ‘Pour Polyphème’- clearly underlined that the artist’s intention

for these works was, under the guise of sheep, to smuggle a wolf into the sheepfold of the self-righteous political painting themes that pervaded the Salon de la Jeune Peinture at that time”. Indeed, this sheep-bench conceals the ewes, which allow Odysseus and his companions to flee from the blind cyclops’ cave. They symbolised the return of figurative art, which challenged the contemporary advocates of abstraction and invaded the interiors and gardens of collectors. They can also be found in the Lycée d’enseignement professionnel at Agen-Foulayronnes, in the ethnography room of the Musée de la Vallée in Barcelonnette, at the Château de Chenonceau, in the park of Trianon and the Folie de Bagatelle.

The ‘Grand Bouquetin’: A mythical animal joins Lalanne’s ark

Over time, François-Xavier Lalanne continued to bring an entire family of animals to life. The epoxy stone ‘Mouton de Pierre’ emerged in 1979 and the ‘Mouton Transhumant’ in 1988. These sheep later morphed into an alpine ibex with ringed horns. Developing this theme further, he also imagined a great alpine ibex, the ‘Grand Bouquetin’ in 1999, in patinated or gilded bronze. The body of this extraordinary example is gracefully elongated In another elegant iteration, its head is mirrored on the opposite side of the body to support the glass top of a console table.  The present ‘Grand Bouquetin’ stands out for its dynamic silhouette with an impressive head turned backwards and curved horns extending forwards. Its pricked ears and finely outlined almondshaped eyes are reminiscent of Egyptian profiles. The nostrils are subtly delineated, its mouth is represented by a simple horizontal line and its profile ends in an amusing goatee, jutting out like a comma. The rest of the body is defined and rounded like a pommel horse, ending with a small tail atop the hind legs. Nimble legs recall the animal’s ability to leap in the mountains, leaning his hooves on the slightest protrusion. This agile ibex recalls the German Steinbock, the Occitan boc, and the steady-footed mountain goat.

Contemporary, yet anchored in tradition

Lalanne’s representation, however, is far from naturalistic. The artist chooses not to show the horn’s growth lines, which typically reveal the age of an adult male. He concentrates instead on their nodules which punctuate the two formidable scimitars. While a lightly hatched surface suggests the texture of the ibex’s fur, here Lalanne refrains from referencing the coat’s colours, unlike in the representation of his dark-spotted leopard. Reminiscent of his master, the sculptor Pompon, he conveys the ‘Grand Bouquetin’s character thanks to striking details which places it definitively in the long litany of creatures that punctuate the history of art and are as much a symbol of sacrifice as they are reassuring and playful images: the Lamb of God enthroned at the centre of the polyptych by the Van Eyck brothers (1432), Youth with a Ram by Caravaggio (1602), the sacrificed lamb of Zurbaran’s Agnus Dei (1635-1640), followed by the more true-to-life sheep of Jean-François Millet’s Shepherdess (1863) and those of the Pyrenees by Rosa Bonheur (1864), ending with the allegories of war with Picasso’s Goat’s skull on the Table (1945) and the poignant sheep in formaldehyde by Damien Hirst (1995). Throughout his career, François-Xavier Lalanne, independently or together with his wife Claude, created a true menagerie which includes fish and birds as well as mammals of all kinds. A rabbit with a fish tail, a minotaur, a gorilla, a boar-topiary, a formidable cow. This collective bestiary features characters fit for a fantastical tale. The ‘Grand Bouquetin’, who briskly turns his head as if surprised by an unexpected sound can thus stand on par with the March Hare and the Cheshire Cat from Alice in Wonderland.

Phillips wishes to thank Guy Boyer, Editor of Connaissance des Arts, for his contribution to this catalogue.

Caravaggio, St John the Baptist (Youth with Ram), 1602, The Capitoline Museums, Rome. © Scala, Florence.

39. François-Xavier Lalanne 1927-2008

‘Grand Bouquetin’

1999

Patinated bronze. 100.7 x 135 x 26.8 cm (39 5/8 x 53 1/8 x 10 1/2 in.)

Produced by Fonderie d’Art Bocquel, GrainvilleYmauville, France. Number 1 from the edition of 8. Proper right front hoof impressed 1/8 and incised fxL. Proper back left hoof incised with foundry mark bocquel Fd.

Estimate

£500,000-700,000 $617,000-864,000

€569,000-797,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

François-Xavier and Claude Lalanne, Ury Acquired from the above by the present owner, 2008

Literature

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

40. Barovier & Toso (Co.)

Set of four wall lights

1950s

Reticello glass, copper.

Each: 15 x 38 x 44.5 cm (5 7/8 x 14 7/8 x 17 1/2 in.)

Produced by Barovier & Toso, Murano, Italy.

Estimate

£10,000-15,000 $12,300-18,500 €11,400-17,100 Ω plus Buyers Premium and VAT*

Provenance Private collection, Veneto

41. Jean Royère 1902-1981

Pair of armchairs circa 1962 Oak, fabric.

Each: 91.3 x 57.2 x 69 cm (35 7/8 x 22 1/2 x 27 1/8 in.)

Estimate £25,000-35,000 $30,900-43,200 €28,500-39,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Private collection, Beirut, 1960s Mr. De Saint Martin Beyrie, Beirut, acquired from the above Acquired from the above by the present owner, 2021

Literature

A variant of the present model armchair is documented in the Jean Royère archives at the Musée des Arts Décoratifs, Paris, under drawing number 9.727.

42. Michel Dufet 1888 - 1985

Table with three stools

circa 1933

Nickel-plated brass, glass, fabric.

Table: 64.5 cm (25 3/8 in.) high, 60.9 cm (23 7/8 in.)

diameter

Each stool: 41.7 x 44.4 x 24.3 cm (16 3/8 x 17 1/2 x 9 5/8 in.)

Underside of stools impressed MADE IN FRANCE

Estimate

£4,000-6,000 $4,900-7,400

€4,600-6,800 plus Buyers Premium and VAT*

Literature

L’Art dans la Maison, June 1934, n.p. Bourdelle/Dufet, exh. cat., Tokyo Metropolitan Teien Art Museum, Tokyo, 1987, p. 146

43. Wolfers Frères

Canteen with flatware service for 12 circa 1949 Silver, stainless steel. Largest utensil: 32.8 cm (12 7/8 in.) long Manufactured by Wolfers Frères, Brussels, Belgium. Reverse of each handle impressed with LS monogram. Each piece excluding grape scissors impressed with fineness mark A835 and silversmith’s mark. Blades of each dinner knife, dessert knife, fruit knife and grape scissors impressed INOXYDABLE Comprising 12 dinner forks, knives and spoons, 12 lobster forks, 12 dessert forks, knives and

spoons, 12 fruit forks and knives, 12 pastry forks, 12 teaspoons, coffee spoons, mocha spoons and ice cream spoons, 2 butter knives, and 12 service pieces (182).

Estimate

£3,000-5,000 $3,700-6,200 €3,400-5,700 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Belgium, commissioned directly from the manufacturer, circa 1949

Thence by descent to the present owner

Widely heralded as one of the most prominent designers of the Art Deco movement, Paul Dupré-Lafon (1900-1971) has long been known for the refinement of his work. After completing his studies in painting at the École des Beaux-Arts de Marseille, Dupré-Lafon began his career as an interior designer in Paris. It was here that he quickly earned himself a reputation among an elite set of clientele for whom he designed the interiors of private residences and hotels; a prestigious duty that was to define his career over a span of five decades.

The six lots offered here were commissioned directly from DupréLafon, and the works are remarkable given that it is rare for a comprehensive collection of this sort to come to market. In his granddaughter Laure Tinel’s words, Dupré-Lafon always had the specificity of each client and space in mind; ‘practically all this furniture and or objects were designed and made for very specific interiors’. Indeed, this consideration is evident throughout this collection, in that there is a certain stylistic unity that is achieved through the material and structural motifs of each piece.

All six lots are imbued with Dupré-Lafon’s skill and aesthetic innovation. His designs are characterised by their eclecticism, simplicity, and detail; harmoniously marrying the ornamental luxury of Art Deco design with the functional aspects of midcentury modernism. While he was committed to producing clean lines and geometric forms, his designs were often executed in lavish materials such as leather, metal and rare wood. The present dining table (Lot 44) and the console (Lot 46) display a similar design. Here, Dupré-Lafon cultivates a striking, monumental spatial presence using powerful forms complete with splendid materials. In both works, strong curved legs of African mahogany seamlessly support travertine tabletops.

Dupré-Lafon created this material contrast with the tactile experience of the user in mind. As Laure Tinel puts it: “In the work of Paul Dupré Lafon the ‘touch’ is essential... so there is always the notion of cold (stone - metal) and hot (wood - leather)”.

The materiality and structure of the dining table is complemented by the set of ten armchairs (Lot 45). The legs and arms of each are executed in warm African mahogany, expertly cut into sinuous curves, and complete with a subtly striped fabric upholstery and brass nail heads. In their configuration, these chairs possess a clear sensitivity towards the expressive effects of both positive and negative space.

Punctuating this notion are the pair of wall-mounted wall lights (Lot 47) executed in painted steel, brass and paper. The lights are comprised of curved volumes and simple lines, which are exquisitely arranged into lattice designs. The works have an aerodynamic quality, illustrating Dupré-Lafon’s sensitivity towards the spatial power of minimal, geometric forms. As Tinel describes, “there is always ‘air’ in his creations”.

Also on offer is an elegant coffee table (Lot 49), which is comprised of sumptuous patinated metal, bronze and marble. The geometric, angular forms of the legs are complete by the detailed design that extends around the perimeter of the tabletop. Similar considerations are evident in a pair of side tables (Lot 48) with tapered legs. While composed of minimal proportions and volumes, the tables are executed in oak with detailed accents in leather, brass and painted steel. Throughout the works, Dupré-Lafon achieves a sense of splendor through a balance of utility, spatial presence and material opulence.

The residence for which these furnishings were commissioned, circa 1955.

The present dining table, armchairs, console and wall lights in the interior it was commissioned for, circa 1955.

44. Paul Dupré-Lafon 1900-1971

Dining table

circa 1955

Travertine, African mahogany, brass.

74.8 x 200.9 x 100.9 cm (29 1/2 x 79 1/8 x 39 3/4 in.)

Estimate £50,000-70,000 $61,700-86,400 €56,900-79,700 Ω plus Buyers Premium and VAT*

Provenance

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

Thence by descent to the present owner

This lot has been authenticated by the designer’s rightsholder.

45. Paul Dupré-Lafon 1900-1971

Set of ten armchairs

circa 1955

African mahogany, fabric, brass nailheads. Each: 88 x 62.5 x 56.2 cm (34 5/8 x 24 5/8 x 22 1/8 in.)

Estimate £5,000-7,000 $6,200-8,600 €5,700-8,000 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Belgium, commissioned directly from the designer, circa 1955 Thence by descent to the present owner

Literature

Thierry Couvrat Desvergnes, Dupré-Lafon, Décorateur des Millionaires, Paris, 1990, p. 190

This lot has been authenticated by the designer’s rightsholder.

46. Paul Dupré-Lafon 1900-1971

Console circa 1955

Travertine, African mahogany, brass.

76 x 239 x 36.5 cm (29 7/8 x 94 1/8 x 14 3/8 in.)

Estimate £12,000-18,000 $14,800-22,200 €13,700-20,500 Ω plus Buyers Premium and VAT*

Provenance

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

Thence by descent to the present owner

This lot has been authenticated by the designer’s rightsholder.

47. Paul Dupré-Lafon 1900-1971

Pair of wall lights

designed circa 1949, produced circa 1955

Painted steel, brass, paper.

Each: 20 x 20 x 31 cm (7 7/8 x 7 7/8 x 12 1/4 in.)

Estimate

£20,000-30,000 $24,700-37,000 €22,800-34,100 ‡ plus Buyers Premium and VAT*

Provenance

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

Thence by descent to the present owner

Literature

‘La lumière: premier élément d’ambiance’, Art et Décoration, no. 8, January-March 1948, p. 21

Thierry Couvrat Desvergnes, Dupré-Lafon, Décorateur des Millionaires, Paris, 1990, pp. 78, 147, 153, 165

This lot has been authenticated by the designer’s rightsholder.

48. Paul Dupré-Lafon 1900-1971

Pair of bedside tables

circa 1955

Travertine, oak, leather-covered wood, painted steel, brass.

Each: 62.1 x 41.1 x 51.2 cm (23 5/8 x 16 1/8 x 20 1/8 in.)

Estimate

£6,000-8,000 $7,400-9,900

€6,800-9,100 Ω plus Buyers Premium and VAT*

Provenance

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

Thence by descent to the present owner

This lot has been authenticated by the designer’s rightsholder.

The present bedside tables in the interior they were commissioned for, circa 1955.

49. Paul Dupré-Lafon 1900-1971

Coffee table

designed circa 1949, produced circa 1955

Patinated steel, marble, bronze.

37 x 97.5 x 69 cm (145/8 x 383/8 x 271/8 in.)

Estimate £30,000-50,000 $37,000-61,700 €34,100-56,900 ‡ plus Buyers Premium and VAT*

Provenance

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

Thence by descent to the present owner

Literature

Art et Décoration, no. 15, October-December

1949, p. 41

Thierry Couvrat Desvergnes, Dupré-Lafon, Décorateur des Millionaires, Paris, 1990, p. 185

This lot has been authenticated by the designer’s rightsholder.

The present coffee table in the interior it was commissioned for, circa 1955.

50. Gino Sarfatti 1912-1985

Floor lamp, model no. 1063

circa 1954

Painted steel.

215.5 x 39.1 x 45 cm (84 7/8 x 15 3/8 x 17 3/4 in.)

Manufactured by Arteluce, Milan, Italy. Underside of base with label printed MADE IN ITALY

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 Ω plus Buyers Premium and VAT*

Provenance

Phillips, London, ‘Design’, 25 May 2011, lot 90

Acquired from the above by the present owner

Literature

Frederic Leibovitz ed., Gino Sarfatti, Paris, 2008, pp. 44-45, 145-46, 151, 154

Marco Romanelli and Sandra Severi, Gino Sarfatti: Opere Scelte 1938-1973, Milan, 2012, p. 452

Gino Sarfatti: Il Design della Luce / Designing Light, exh. cat., Triennale Design Museum, Milan, 2012, p. 90

Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights (1950-1990), Paris, 2012, p. 93

51. Gilbert Poillerat 1902-1988

Unique wall-mounted sideboard

circa 1960

Patinated brass, nickel-plated metal, lacquered metal, brass.

53.0 x 179.0 x 37.5 cm (20⅞ x 70½ x 14¾ in.) Together with a copy of the original invoice.

Estimate

£20,000-30,000 $24,700-37,000 €22,800-34,100 ‡ plus Buyers Premium and VAT*

Provenance

Mr R., Neuilly-sur-Seine, commissioned directly from the designer, circa 1960

The present sideboard was a unique commission for Mr and Mrs R.’s Parisian interior, designed by the French decorator Jean-René Prou. Prompted by Prou’s distinctly elegant flair, acclaimed French designer Gilbert Poillerat devised a radically different furnishing. Veering from his usual ornamented language, he created this exceptionally crafted piece of metalwork, with a starker modern form and striking front details, to sit alongside other outstanding works of art and design in the elegant home it was made for.

52. Ronan and Erwan Bouroullec

b. 1971, b. 1976

‘Bells’ large ceiling light

2004

Painted copper, painted aluminium. 78.5 cm (29 7/8 in.) drop, 61 cm (23 3/4 in.) diameter

Produced by Galerie kreo, Paris. Number 3 from the edition of 8 plus two artist’s proofs and two prototypes. Interior bulb fixture impressed № 3/8.2004.R+E BOUROULLEC

Estimate £10,000-15,000 $12,300-18,500 €11,400-17,100 plus Buyers Premium and VAT*

Provenance

Galerie kreo, Paris Acquired from the above by the present owner, 2008

Literature Sophie Lovell, Furnish: Furniture and Interior Design for the 21st Century, Berlin, 2007, p. 226 for a similar example

Ronan and Erwan Bouroullec: Bivouac, exh. cat., Centre Pompidou-Metz, Metz, 2012, n.p. Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designer’s Lights II, Zürich, 2014, p. 366 for a similar example

53. Marc Newson b. 1963

‘Nickel chair’

2006 ‘Grown’ nickel.

90.2 x 55.2 x 48.3 cm (35 1/2 x 21 3/4 x 19 in.)

Produced by Marc Newson for Gagosian Gallery, New York. Number 10 from the edition of 10 plus 2 artist’s proofs. Underside with metal label impressed Nickel chair 10/10 and with artist’s facsimile signature.

Estimate £25,000-35,000 $30,900-43,200

€28,500-39,800 ‡ plus Buyers Premium and VAT*

Provenance

Gagosian Gallery, New York

Acquired from the above by the present owner, 2014

Literature

Louise Neri, ed., Marc Newson, exh. cat., Gagosian Gallery, New York, 2007, pp. 52-54

The present chair is made from ‘grown’ nickel, referring to the process by which the chair was made: it was electroformed, where a form or plug is put into an electrolytic bath, and the metal form then ‘grows’ around it, atom by atom. This both ensures structural integrity and allows the chair to be strong, thin and perfectly seamless.

Phillips wishes to thank Marc Newson Studio for their assistance in cataloguing the present lot.

Property from the Jean Puiforcat Family Collection

54. Jean Puiforcat 1887-1945

Vanity case circa 1943 Silver, mirrored glass.

2.2 x 19.5 x 12.5 cm (0 7/8 x 7 5/8 x 4 7/8 in.)

Interior edge impressed MADE IN MEXICO JEAN PUIFORCAT STERLING

Estimate £3,000-5,000 $3,700-6,200 €3,400-5,700 Ω plus Buyers Premium and VAT*

Provenance Jean Puiforcat, Paris

Thence by descent to the present owner

Literature Rene Herbst, Jean Puiforcat: Orfèvre Sculpteur, Paris, 1951, n.p.

The present lot was designed by Jean Puiforcat for his wife, Martha.

Property from the Jean Puiforcat Family Collection

55. Jean Puiforcat 1887-1945

Tureen

1937-1945 Silver, white onyx.

19 cm (7 1/2 in.) high, 24.9 cm (9 3/4 in.) diameter

Executed by Jean Puiforcat. Side of base impressed STERLING JEAN PUIFORCAT MADE IN/MEXICO and with silversmith’s mark. Side of lid impressed with French Minerva head hallmark and silversmith’s mark.

Estimate £15,000-25,000 $18,500-30,900 €17,100-28,500 ‡ plus Buyers Premium and VAT*

Provenance Jean Puiforcat, Paris

Thence by descent to the present owner

Literature

Françoise de Bonneville, Jean Puiforcat, Paris, 1986, p. 94

Property from the Jean Puiforcat Family Collection

56. Jean Puiforcat 1887-1945

Vase circa 1925 Silver.

13 cm (5 1/8 in.) high, 13 cm (5 1/8 in.) diameter Side incised JEAN E. PUIFORCAT. Lip impressed with Minerva head French hallmark and silversmith’s mark.

Estimate £800-1,200 $990-1,500 €910-1,400 Ω plus Buyers Premium and VAT*

Provenance Jean Puiforcat, Paris

Thence by descent to the present owner

Literature

Lisa Schlansker Kolosek, The Invention of Chic: Thérèse Bonney and Paris Moderne, London, 2002, p. 152 for a larger version of the model

A larger version of the present model vase, France, 1925-35. Smithsonian Libraries, Washington, D.C., Thérèse Bonney photographs, © The Regents of the University of California, The Bancroft Library, University of California, Berkeley. This work is made available under a Creative Commons Attribution 4.0 license.

Property from the Jean Puiforcat Family Collection

57. Jean Puiforcat 1887-1945

Tankard

circa 1943

Silver, Brazilian rosewood, crystal. 12 x 11.5 x 15.5 cm (4 3/4 x 4 1/2 x 6 1/8 in.)

Executed by Jean Puiforcat. Side of base impressed with silversmith mark and MADE IN MEXICO JEAN PUIFORCAT STERLING JEAN PUIFORCAT

Estimate £3,000-5,000 $3,700-6,200 €3,400-5,700 ‡ plus Buyers Premium and VAT*

Provenance Jean Puiforcat, Paris

Thence by descent to the present owner

Literature

Rene Herbst, Jean Puiforcat: Orfèvre Sculpteur, Paris, 1951, n.p.

The present tankard was made by Jean Puiforcat for his personal use.

58. Deborah Thomas b. 1956

Unique ceiling light 2003 Glass, coloured glass, steel wire. 87 cm (34 1/4 in.) drop

Estimate £7,000-9,000 $8,600-11,100

€8,000-10,200 plus Buyers Premium and VAT*

Provenance

Commissioned directly from the artist by the present owner, 2003

Phillips wishes to thank Deborah Thomas for her assistance in cataloguing the present lot.

59. Rick Owens b. 1961

‘Stag’ chair

2007

Stained plywood, moose antler.

138.5 x 65.5 x 87.5 cm (54 1/2 x 25 3/4 x 34 1/2 in.)

Produced by Rick Owens, France. Number 8 from the edition of 20 plus four artist’s proofs. Side with inset painted wood label impressed with facsimile signature Rick Owens and 8/20 R

Estimate

£10,000-15,000 $12,300-18,500

€11,400-17,100

plus Buyers Premium and VAT*

Literature

Michèle Lamy, Rick Owens Furniture, New York, 2017, pp. 129-31, 132-33 for similar examples

The ‘Chippendale’ chair, belonging to a series of works created by the American architects Robert Venturi (1925-2018) and Denise Scott Brown (b. 1931), perfectly encapsulates the ethos of postmodern design: transcending categorisation through a playful reworking of historical idioms. The model is part of Venturi and Scott Brown’s collaboration with the furniture manufacturer Knoll, which began in the late 1970s and led to the design of nine historically inspired chairs, along with three tables, a sofa, and a set of surface patterns. In his 1978 proposal for the furniture series, Venturi described his impetus for the project; “What I propose is chairs, tables and bureaus, that adapt a series of historical styles involving wit, variety, and industrial process”.

The model was designed and named after Thomas Chippendale, the eighteenth-century English cabinetmaker who produced works in the richly ornamental Rococo style. Here, Venturi and Scott Brown borrowed motifs from Chippendale’s original Rococo chair but used modern materials and manufacturing processes to simplify and abstract the initial form. The chair echoes its traditional counterpart in the elegantly carved ‘Chippendale ears’, which describes the two pieces that flare out to the sides of the crest rail. Perspective is central to the design, with the ornamental cut-outs of the backrest only visible when it is viewed from the front. From the side, the true minimal shape of the piece becomes apparent, revealing the flatness of the ornamentation in what Venturi likens to “a building with a false façade”.

The present ‘Chippendale’ chair holds a particular significance given that it was originally belonged to Marion Bolton-Stroud, who established The Fabric Workshop in Philadelphia in 1977 to host artist residencies. Visiting practitioners, including Venturi, were encouraged to develop their work without rules or limits, and it was here that Bolton-Stroud became an influential figure in Venturi’s career.

By assessing its formal execution, it can be inferred that this chair is a rare prototype of the ‘Chippendale’ model, diverging from that which was officially produced in several respects. The chair also provides a valuable insight into the experimental process by which Venturi and Scott Brown approached their designs. The curvature of the front legs differs from the production version, in which they are flatter; an adaptation that was likely made to accommodate Knoll’s production cost requirements. Materially, the present example is also different given that the legs are executed in ply, while the production version has plastic legs.

The laminate pattern is perhaps the most idiosyncratic design feature of the chair, in that it was never used in its serial production. The production variants were typically executed in Venturi and Scott Brown’s own surface patterns. The ‘Bacterio’ print of the present example, composed of repeating blue curlicue shapes, can be traced to a series of patterns designed by Ettore Sottsass, Jr. for the Italian plastic laminate manufacturer Abet Laminati in the 1960s and 1970s. Sottsass began by experimenting with plastic laminate patterns in his sculptural ‘Superboxes’; prototype cabinets which were never produced for consumption. Influenced by the built environment, Sottsass designed his patterns by stylising the textures of found objects and buildings. He created the ‘Bacterio’ print, for instance, by abstracting the wall surface of a Buddhist temple in Madurai, India. The Laminate patterns went on to be used in various works by the Memphis Group, the Italian design collective founded by Sottsass in the 1980s. At the time that the present chair was executed, Sottsass had also begun collaborating with Knoll. It is likely this connection, as well as the quintessentially contemporary appearance of the pattern, that prompted Venturi and Scott Brown to use it as a test material in the design of this striking chair.

Side and front elevations by Robert Venturi for the ‘Chippendale’ chair, 1980. © Venturi, Scott Brown and Associates.

60. Robert Venturi and Denise Scott Brown

1925-2018 and b. 1931

Prototype ‘Chippendale’ chair

circa 1983

Plastic laminate-covered plywood, fabric.

94.6 x 58.8 x 58.9 cm (37 1/4 x 23 1/8 x 23 1/4 in.)

Manufactured by Knoll International, Inc., New York. ‘Bacterio’ pattern designed by Ettore Sottsass, Jr. for Abet Laminati, Bra, Italy.

Estimate £4,000-6,000 $4,900-7,400

€4,600-6,800 plus Buyers Premium and VAT*

Provenance

Estate of Marion Boulton Stroud, Philadelphia Wright, Chicago, ‘Design’, 22 March 2018, lot 236 Acquired from the above by the present owner

Literature

Michael Collins and Andreas Papadakēs, Post-Modern Design, New York, 1989, pp. 102, 110, 112 for similar examples

David B. Brownlee, David G. DeLong, and Kathryn B. Hiesinger, Out of the Ordinary: Robert Venturi, Denise Scott Brown and Associates, exh. cat., Philadelphia Museum of Art, Philadelphia, 2001, pp. 201, 209 for similar examples

Nancy Schiffer, Knoll Home & Office Furniture, Atglen, Pennsylvania, 2006, p. 164 for a similar example

Judith Gura, Post-Modern Design Complete, New York, 2017, p. 24 for a similar example

61. Maarten Baas b. 1978

Side table, from the ‘Clay’ series

2019

Industrial pigmented clay-covered steel. 55.5 x 47.1 x 46.5 cm (21 7/8 x 18 1/2 x 18 1/4 in.)

Underside inscribed Maarten/2019 and one leg with inset metal lettering BASS

Estimate

£1,500-2,000 $1,900-2,500 €1,700-2,300 plus Buyers Premium and VAT*

Atelier Van Lieshout

‘Prick Lamp Thin (Black)’

circa 2004

Foam, reinforced fiberglass. 145 cm (57 1/8 in.) high Produced by Atelier Van Lieshout, the Netherlands. Number 5 from the edition of 6. Underside with paper label incised with artist’s signature, 6/5, printed AVL and impressed 001609

Estimate £4,000-6,000 $4,900-7,400 €4,600-6,800 plus Buyers Premium and VAT*

Literature Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 171 for a similar example

63. Donald Judd 1928-1994

‘Library Table’

designed 1982, fabricated 2003 Pine.

76.5 x 223.7 x 112 cm (30 1/8 x 88 1/8 x 44 1/8 in.)

Fabricated by Wood & Plywood Furniture, New York, USA. Underside impressed Judd 2003 © LT CP 420 WPF.

Estimate

£8,000-12,000 $9,900-14,800

€9,100-13,700 plus Buyers Premium and VAT*

Provenance

Estate of Donald Judd

Private collection

Wright, Chicago, ‘Art + Design’, 27 February 2014, lot 135

Acquired from the above by the present owner

Literature

Donald Judd Furniture: Retrospective, exh. cat., Museum Boymans Van Beuningen, Rotterdam, 1993, p. 40

64. Pierre Patout 1879-1965

Double-sided bookcase from the bibliothèque municipale, Tours

circa 1957

Oak, oak-veneered wood, Brazilian mahogany, painted steel.

200.5 x 179.1 x 83.1 cm (78 7/8 x 70 1/2 x 32 3/4 in.)

Estimate

£3,000-5,000 $3,700-6,200

€3,400-5,700 Ω plus Buyers Premium and VAT*

Provenance

Bibliothèque Municipale, Tours

Piasa, Paris, ‘Vente du mobililer de la bibliothèque municipale de Tours

réalisé par Pierre Patout et les frères

Dorian’, 19 May 2012

Acquired from the above

Sotheby’s, Paris, ‘Important Design’, 17 December 2020, lot 72 Acquired from the above by the present owner

In 1957, the pioneering architect Pierre Patout was commissioned to rebuild the public library of the city of Tours on the banks of the river Loire, after its original building had been burnt down by the Germans in 1940. Together with fellow architects Charles and Jean Dorian, he designed the exterior as well as furnishings for the interior spaces, including the present double-sided bookcase which was used as room divider and shelving unit for books. Patout was one of the major figures of the Art Deco movement and a key proponent of Streamline Moderne design. His works include the design of the main entrance and the Pavillion d’un Collecteur at the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925, and the interiors of the ocean liner Normandie and other French transatlantic liners in the 1930s.

65. Gino Sarfatti 1912-1985

Ceiling light, model no. 2047 B

circa 1950

Acrylic, painted brass, brass. 129.6 cm (51 in.) drop

Manufactured by Arteluce, Milan, Italy.

Estimate £5,000-7,000 $6,200-8,600 €5,700-8,000 plus Buyers Premium and VAT*

Provenance

Private collection, Savona

Gifted by the above to the present owner

Literature

Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, p. 466

Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights (1950-1990), Paris, 2012, p. 44

66. Gio Ponti 1891-1979

‘Distex’ armchair, model no. 811

circa 1956

Painted wood, fabric, rubber webbing. 88 x 70.8 x 90.2 cm (34 5/8 x 27 7/8 x 35 1/2 in.)

Manufactured by Cassina, Meda, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature Pier Carlo Santini, Gli Anni del Design Italiano, Ritratto di Cesare Cassina, Milano, 1981, p. 109

67. Carlo Bugatti 1855-1940

Centrepiece

circa 1902

Brass.

32.2 x 49 x 46 cm (12 5/8 x 19 1/4 x 18 1/8 in.)

Top section stamped twice MARCA DEPOSITATA/ BUGATTI CARLO. Bottom section further stamped MARCA DEPOSITATA/BUGATTI CARLO

Estimate £6,000-8,000 $7,400-9,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

68. Gio Ponti 1891-1979

Wardrobe

circa 1954

Stained poplar, stained poplar-veneered wood, fabric-covered wood, enamelled metal, plastic, brass.

189.2 x 240.9 x 58.6 cm (74 1/2 x 94 7/8 x 23 1/8 in.)

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

Estimate

£7,000-9,000 $8,600-11,100 €8,000-10,200 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Pavia

69. Gio Ponti 1891-1979

Two beds

circa 1954

Painted veneered wood, birch-veneered wood, glass.

Left: 95 x 209 x 100 cm (37 3/8 x 82 1/4 x 39 3/8 in.)

95 x 247.4 x 138.4 cm (37 3/8 x 97 3/8 x 54 1/2 in.), including including fold away table

Right: 96 x 209 x 159 cm (37 3/4 x 82 1/4 x 62 5/8 in.) Together with a certificate of expertise from the Gio Ponti Archives.

Estimate £4,000-6,000 $4,900-7,400 €4,600-6,800 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Pavia

70. Ettore Sottsass, Jr. 1917-2007

Fruit bowl, model no. ‘Y10’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

17.2 x 24.9 x 24.5 cm (6 3/4 x 9 3/4 x 9 5/8 in.)

Underside inscribed SOTTSASS/Y / 10.

Estimate

£3,000-5,000 $3,700-6,200

€3,400-5,700 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

Fulvio Ferrari, Ettore Sottsass: Tutta la Ceramica, Turin, 1996, p. 168

Milco Carboni, Ettore Sottsass Jr. ’60-’70, Orléans, 2006, p. 163

Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 145

Ivan Mietton, Sottsass: Poltronova 19581975, Paris, 2021, p. 199

71. Ettore Sottsass, Jr. 1917-2007

Vase, model no. ‘Y19’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

30.3 x 33.3 x 10.3 cm (11 7/8 x 13 1/8 x 4 in.)

Underside inscribed SOTTSASS/Y / 19

Estimate

£3,000-5,000 $3,700-6,200

€3,400-5,700 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

Fulvio Ferrari, Ettore Sottsass: Tutta la Ceramica, Turin, 1996, p. 170

Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 147

Ivan Mietton, Sottsass: Poltronova 1958-1975, Paris, 2021, p. 199

72. Ettore Sottsass, Jr. 1917-2007

Vase, model no. ‘Y36’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

35 x 22 x 14.5 cm (13 3/4 x 8 5/8 x 5 3/4 in.)

Underside inscribed SOTTSASS/Y / 36

Estimate

£3,000-5,000 $3,700-6,200

€3,400-5,700 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

‘Ettore Sottsass Ceramiche dal 1955 al 1970’, Domus, no. 749, May 1993, p. 73

Fulvio Ferrari, Ettore Sottsass: Tutta la Ceramica, Turin, 1996, p. 177

Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 152

Ivan Mietton, Sottsass: Poltronova

1958-1975, Paris, 2021, p. 199

73. Ettore Sottsass, Jr. 1917-2007

Lidded box, model no. ‘Y25’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

21.3 x 13.8 x 13.4 cm (8 3/8 x 5 3/8 x 5 1/4 in.)

underside inscribed SOTTSASS/Y / 25

Estimate

£3,000-5,000 $3,700-6,200

€3,400-5,700 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 170

Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 147

Ivan Mietton, Sottsass: Poltronova

1958-1975, Paris, 2021, p. 199

74. Ettore Sottsass, Jr. 1917-2007

Fruit bowl, model no. ‘Y11’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

23.4 x 27 x 27.3 cm (9 1/4 x 10 5/8 x 10 3/4 in.)

Underside inscribed SOTTSASS/Y / 11

Estimate

£2,500-3,500 $3,100-4,300

€2,800-4,000 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

Fulvio Ferrari, Ettore Sottsass:

Tutta la Ceramica, Turin, 1996, p. 168

Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 145

Ivan Mietton, Sottsass: Poltronova

1958-1975, Paris, 2021, p. 199

Vase, model no. ‘Y30’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

20.6 x 28.5 x 20.4 cm (8 1/8 x 11 1/4 x 8 in.)

Underside inscribed SOTTSASS/Y / 30

Estimate

£2,500-3,500 $3,100-4,300

€2,800-4,000 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

‘Ettore Sottsass Ceramiche dal 1955 al 1970’, Domus, no. 749, May 1993, p. 73

Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 149

Vase, model no. ‘Y16’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

27.7 x 17.6 x 17.6 cm (10 7/8 x 6 7/8 x 6 7/8 in.)

Underside inscribed SOTTSASS/Y / 16

Estimate

£3,000-5,000 $3,700-6,200

€3,400-5,700 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, p. 139

Hans Höger, Ettore Sottsass jun.: Designer, Artist, Architect, Berlin, 1993, p. 176

Fulvio Ferrari, Ettore Sottsass: Tutta la Ceramica, Turin, 1996, p. 169

Milco Carboni, Ettore Sottsass Jr.

’60-’70, Orléans, 2006, p. 162

Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 146

Ivan Mietton, Sottsass: Poltronova 19581975, Paris, 2021, p. 199

75. Ettore Sottsass, Jr. 1917-2007

76. Ettore Sottsass, Jr. 1917-2007

77. Ettore Sottsass, Jr. 1917-2007

Vase, model no. ‘Y39’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

45.7 x 23.3 x 23.1 cm (17 7/8 x 9 1/8 x 9 1/8 in.)

Underside inscribed SOTTSASS/Y / 39

Estimate

£4,000-6,000 $4,900-7,400

€4,600-6,800 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

Hans Höger, Ettore Sottsass jun.: Designer, Artist, Architect, Berlin, 1993, p. 176

Fulvio Ferrari, Ettore Sottsass: Tutta la Ceramica, Turin, 1996, p. 177

Milco Carboni, Ettore Sottsass Jr. ’60-’70, Orléans, 2006, p. 160

Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 152

78. Ettore Sottsass, Jr. 1917-2007

Vase, model no. ‘Y37’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

42.1 x 25 x 26.5 cm (16 5/8 x 9 7/8 x 10 3/8 in.)

Underside inscribed SOTTSASS/Y / 37, mostly faded.

Estimate

£4,000-6,000 $4,900-7,400

€4,600-6,800 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, p. 138-39

Hans Höger, Ettore Sottsass jun.: Designer, Artist, Architect, Berlin, 1993, p. 175

Fulvio Ferrari, Ettore Sottsass: Tutta la Ceramica, Turin, 1996, p. 176

Milco Carboni, Ettore Sottsass Jr. ’60-’70, Orléans, 2006, p. 159

Ivan Mietton, Sottsass: Poltronova 1958-1975, Paris, 2021, p. 199

79. Ettore Sottsass, Jr. 1917-2007

Vase, model no. ‘Y21’, from the ‘Yantra di Terracotta’ series

circa 1969

Glazed earthenware.

23.6 x 23.5 x 18.6 cm (9 1/4 x 9 1/4 x 7 3/8 in.)

Underside inscribed SOTTSASS/Y / 21

Estimate

£3,000-5,000 $3,700-6,200

€3,400-5,700 plus Buyers Premium and VAT*

Provenance

Acquired directly from the artist by the present owner, circa 1971

Literature

Fulvio Ferrari, Ettore Sottsass

Tutta la Ceramica, Turin, 1996, p. 170

Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 147

Ivan Mietton, Sottsass: Poltronova 1958-1975, Paris, 2021, p. 199

80. Bauhaus Tischlerei-Werkstatt

Cabinet, commissioned by the Brauner family, Saxony

circa 1927

Painted wood, painted beech-veneered plywood, pine, glass, nickel-plated brass, brass.

178.3 x 180.1 x 65.3 cm (70 1/4 x 70 7/8 x 25 3/4 in.)

Executed by the Marcel Breuer carpentry workshop, Dessau, Germany. Reverse of unit stamped bauhaus dessau tischlerei and inscribed Brauner Halle/Kopernikusstrasse 5, sliding glass door metal fixture impressed ZIEHL/Tür una/ Torbeschlag and patent mark D.R.G.M.

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 plus Buyers Premium and VAT*

Provenance

Brauner family, Saxony Phillips, London, ‘Design’, 24 September 2014, lot 227 Acquired from the above by the present owner

Literature

Christopher Wilk, Marcel Breuer

Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, p. 60 for a similar example

Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Berlin, 1994, pp. 82-83 for a similar example

Bauhaus Furniture, A Legend Reviewed, exh. cat., Bauhaus-Archiv Museum für Gestaltung, Berlin, 2002, pp. 177, 191, 207 for a similar example

81. Ettore Sottsass, Jr. 1917-2007

Vase, model no. 388-B

circa 1958

Glazed earthenware, chamotte. 33.9 cm (13 3/8 in.) high Manufactured by Bitossi, Montelupo Fiorentino for Galleria Il Sestante, Milan, Italy. Underside inscribed 388/IL SESTANTE/SOTTSASS/ITALY

Estimate

£10,000-15,000 $12,300-18,500

€11,400-17,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

‘Ettore Sottsass: Ceramiche dal 1955 al 1970’, Domus, no. 749, May 1993, p. 68 Fulvio Ferrari, Ettore Sottsass: Tutta la Ceramica, Turin, 1996, p. 90

82. Franco Albini and Franca Helg

1905-1977, 1920-1989

Set of 12 ‘Luisina’ dining chairs, model no. SD 9

circa 1959

Teak, vinyl, painted steel.

Each: 79 x 43.5 x 53.3 cm (31 1/8 x 17 1/8 x 20 7/8 in.)

Manufactured by Poggi, Pavia, Italy.

Estimate

£8,000-12,000 $9,900-14,800

€9,100-13,700 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

Giuliana Gramigna, 1950/1980 Repertorio: Immagini e Contributi per una Storia dell’Arredo Italiano, Milan, 1985, p. 133

Stephen Lee ed., Franco Albini: Architecture and Design 1934-1977, New York, 1990, p. 89 Carlo Olmo, Franco Albini: La Sostanza della Forma, exh. cat., Instituto Italiano di Cultura, Paris, 2016, p. 129 for a similar example

83. Ettore Sottsass, Jr. 1917-2007

Pair of flower holders

circa 1950 Stained birch, copper. Each: 48.7 cm (19 1/8 in.) high

Retailed by Home, Turin, Italy. Front of one flower holder with remnants of retailer’s label printed HOME

Estimate

£6,000-8,000 $7,400-9,900 €6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Turin

Literature

‘I vasi di Sottsass jr.’, Domus, no. 279, February 1953, p. 38

84. Gio Ponti 1891-1979

‘Dattilo’ desk, designed for the Vetrocoke offices, Milan

circa 1939

Glass, oak, nickel-plated brass, rubber-covered metal.

70.2 x 77.3 x 40.3 cm (27 5/8 x 30 3/8 x 15 7/8 in.)

Each glass pane acid-etched VITREX

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

Estimate £5,000-7,000 $6,200-8,600 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Turin

Literature

‘Il cristallo negli uffici’, Domus, no. 135, March 1939, p. 47

Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 120

85. Ettore Sottsass, Jr. 1917-2007

Set of six rare lights

circa 1956

Coloured acrylic, brass, painted brass. Each: 28 x 28 x 22 cm (11 x 11 x 8 5/8 in.)

Manufactured by Arredoluce, Milan, Italy.

Estimate

£18,000-22,000 $22,200-27,200

€20,500-25,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Como

Cambi, Milan, ‘Fine Design’, 2 December 2020, lot 71

Acquired from the above by the present owner

Literature

Giuliana Gramigna, Repertorio del Design Italiano 1950/1980, Milan, 1985, p. 115 for a similar example

Andrea Branzi and Michele De Lucchi, eds., Il Design Italiano degli Anni ’50, Milan, 1985, p. 222 for a similar example

Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights (1950-1990), Paris, 2012, p. 114 for a similar example

Barbara Radice, Ettore Sottsass: There is a Planet, exh. cat., Triennale Design Museum, Milan, 2017, p. 24 for a similar example

The lights in the present lot have been registered in the Arredoluce Archives, Milan, as numbers 1360558, 5455919, 6804100, 5319467, 7639463, 4014273.

86. Alvar Aalto 1898-1976

Large folding screen circa 1935

Pine.

200 x 250 x 1 cm (78 3/4 x 98 3/8 x 0 3/8 in.), fully extended

Produced by O.y. Huonekalu-ja Rakennustyötehdas A.b. for Artek, Finland.

Estimate

£5,000-7,000 $6,200-8,600 €5,700-8,000 plus Buyers Premium and VAT*

Provenance

Phillips, London, ‘Nordic Design’, 24 September 2014, lot 112

Acquired from the above by the present owner

Literature

Pirkko Tuukkanen, ed., Alvar Aalto Designer, Vammala, 2002, p. 85

Thomas Kellein, ed., Alvar & Aino Aalto: Design Collection Bischofberger, exh. cat., Kunsthalle Bielefeld, Zürich, 2005, pp. 102-03 for a similar example

Sandra Dachs, Patricia de Muga, and Laura García, Alvar Aalto Objects and Furniture Design, Barcelona, 2007, p. 122 for a similar example

87. John Ward 1938-2023

Large disc pot circa 2002

Stoneware, white and ochre glazes with a radiating banded design.

41.5 x 33.5 x 16.5 cm (16 3/8 x 13 1/4 x 6 1/2 in.)

Underside impressed with artist’s seal.

Estimate

£4,000-6,000 $4,900-7,400 €4,600-6,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Courcoux & Courcoux, Stockbridge Acquired from the above by the present owner, circa 2003

Literature

Emma Crichton-Miller, The Pottery of John Ward, London, 2022, pp. 78-79 for a similar example

88. Bernard Leach 1887-1979

Bottle vase

circa 1967

Stoneware with engraved design of trees in a mountainous landscape, beneath an ash glaze. 19.6 cm (7 3/4 in.) high

Underside impressed with artist’s personal and Leach pottery seals. Together with the original drawing and invoice.

Estimate

£1,500-2,000 $1,900-2,500 €1,700-2,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Acquired directly from the artist, St Ives, and gifted to the present owner, 1967

Literature

Carol Hogben, The Art of Bernard Leach, London, 1978, p. 93 for a similar example

Tony Birks and Cornelia Wingfield Digby, Bernard Leach, Hamada & their Circle: from the Wingfield Digby Collection, Yeovil, 1992, p. 51 for a similar example

A drawing of the present bottle vase by Bernard Leach, circa 1967.

89. Max Ingrand 1908-1969

Adjustable floor lamp, model no. 2214

circa 1962

Painted iron, nickel-plated metal, glass. 169.1 cm (66 5/8 in.) maximum height

Manufactured by Fontana Arte, Milan, Italy.

Estimate

£7,000-9,000 $8,600-11,100

€8,000-10,200 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature Quaderni Fontana Arte 4, sales catalogue, Milan, 1962, n.p.

90. Paul Evans 1931-1987

Table, model no. PE-46

1969

Painted and patinated steel, bronze, glass. 71 cm (27 7/8 in.) high, 122.1 cm (48 1/8 in.) diameter Produced by Paul Evans Studio for Directional Furniture Company, New York. One leg welded PE 69

Estimate

£6,000-8,000 $7,400-9,900

€6,800-9,100 plus Buyers Premium and VAT*

Provenance

Todd Merill Studio, New York

Acquired from the above by the present owner, 2010

Literature

Jeffrey Head, Paul Evans: Designer & Sculptor, Pennsylvania, 2012, p. 74 for a similar example

91. Paul Evans 1931-1987

‘Deep Relief’ wall-mounted cabinet, model no. PE-19

1971

Painted and patinated steel, bronze, cleft slate, mirrored glass, glass.

44 x 122.8 x 38.1 cm (17 3/8 x 48 3/8 x 15 in.)

Produced by Paul Evans Studio, New Hope, Pennsylvania, for Directional Furniture Company, New York. Underside of one door welded Paul Evans 71 S

Estimate

£10,000-15,000 $12,300-18,500

€11,400-17,100 plus Buyers Premium and VAT*

Provenance

Todd Merill Studio, New York Acquired from the above by the present owner, 2010

Literature

Jeffrey Head, Paul Evans: Designer & Sculptor, Pennsylvania, 2012, p. 79 for a similar example

92. Lucie Rie 1902-1995

Conical bowl

circa 1974

Porcelain with manganese glaze, radiating inlaid and sgraffito design.

10 cm (3 7/8 in.) high, 22.1 cm (8 3/4 in.) diameter

Underside impressed with artist’s seal. Together with a copy of the original invoice.

Estimate

£20,000-30,000 $24,700-37,000 €22,800-34,100 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Private collection, Aix-en-Provence, acquired directly from the artist, London, 1976

Thence by descent to the present owner, 1978

Literature

Lucie Rie - Hans Coper: Keramik, exh. cat., Museum für Kunst und Gewerbe, Hamburg, 1972, p. 11 for a similar example

John Houston, ed., Lucie Rie: A Survey of Her Life and Work, exh. cat., The Victoria and Albert Museum, London, 1981, p. 88 for a similar example

Margot Coatts, ed., Lucie Rie & Hans CoperPotters in Parallel, exh. cat., Barbican Art Gallery, London, 1997, p. 114 for a similar example

Andrew Nairne and Eliza Spindel, eds., Lucie Rie: The Adventure of Pottery, exh. cat., Kettle’s Yard, Cambridge, 2023, front cover, p. 98 for a similar example

93. Lucie Rie 1902-1995

Conical bowl

circa 1990

Porcelain, golden bronze glaze, a ring of terracotta with sgraffito design in the well. 6.5 cm (2 1/2 in.) high, 20.4 cm (8 in.) diameter Underside impressed with artist’s seal.

Estimate £15,000-20,000 $18,500-24,700 €17,100-22,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Private collection, Israel, gifted by the artist, circa 1985

Thence by descent to the present owner

Literature

Tony Birks, Lucie Rie, Catrine, 2009, p. 197 for a similar example

94. Lucie Rie 1902-1995

Conical bowl

circa 1972

Porcelain, pale green glaze with a feathered manganese rim.

10 cm (3 7/8 in.) high, 22.7 cm (8 7/8 in.) diameter

Underside impressed with artist’s seal. Together with a copy of the original invoice.

Estimate £5,000-7,000 $6,200-8,600

€5,700-8,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Private collection, Aix-en-Provence, acquired directly from the artist, London, 1976

Thence by descent to the present owner, 1978

Literature

John Houston, ed., Lucie Rie: A Survey of Her Life and Work, exh. cat., The Victoria and Albert Museum, London, 1981, p. 81 for a similar example

95. Lucie Rie 1902-1995

Footed bowl

circa 1980

Porcelain, pure matt white glaze with a golden manganese rim.

9.6 cm (3 3/4 in.) high, 11.6 cm (4 5/8 in.) diameter Underside impressed with artist’s seal.

Estimate £20,000-30,000 $24,700-37,000 €22,800-34,100 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Acquired directly from the artist and gifted to the present owner, circa 1980

Literature

Lucie Rie, Hans Coper, and their Pupils: A Selection of Contemporary Ceramics illustrating their Influence, exh. cat., Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, 1990, p. 29 for a similar example

Tony Birks, Lucie Rie, Yeovil, 1994, pp. 201, 221 for similar examples

Invitation to Hans Coper’s first solo show, Primavera Gallery, Sloane Street, London, 1958.

The present pot photographed by Bill Ismay at Hans Coper’s first solo show, Primavera Gallery, Sloane Street, London, 1958. © The Estate of W.A. Ismay/York Museums Trust.

96. Hans Coper 1920-1981

Important early pot

circa 1952

Stoneware, layered manganese glaze and white slip with a carved design, beneath a clear glaze. 26.5 cm (10 3/8 in.) high, 31.9 cm (12 1/2 in.) diameter Underside impressed with artist’s seal.

Estimate

£150,000-200,000 $185,000-247,000

€171,000-228,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Primavera Gallery, Sloane Street, London, 1958

Lucie Rie, London

Jane Coper, Frome, 1995

Private collection, London, 1996

Private collection, United States

Exhibited

‘Stoneware Pots by Hans Coper’, Primavera Gallery, Sloane Street, London, 6-19 May 1958

‘Hans Coper 1920-1981’, Sainsbury Centre for Visual Arts, Norwich, 20 September–11 December 1983, item 7; Hetjens Museum, Düsseldorf, JanuaryMarch 1984; Museum Boijmans Van Beuningen, Rotterdam, March-May 1984; Serpentine Gallery, London, 7 June-15 July 1984

97. Hans Coper 1920-1981

Early large vase

circa 1952

Stoneware with manganese glaze, the body with incised and inlaid design, the interior with a manganese glaze.

32 cm (12 5/8 in.) high, 22.8 cm (8 7/8 in.) diameter Underside impressed with artist’s seal.

Estimate

£15,000-20,000 $18,500-24,700

€17,100-22,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Georg Bunzl, London, 1950s

Thence by descent

Literature

Andrew Nairne and Eliza Spindel, eds., Lucie Rie: The Adventure of Pottery, exh. cat., Kettle’s Yard, Cambridge, 2023, p. 176 for a similar example

Hans Coper and Henry Moore The Essentials of Form

By David Whiting

Hans Coper’s monumental bottle looked particularly at home in Henry Moore’s sitting room at Hoglands. After all Coper and Moore shared a Modernist language that derived much from their mutual admiration for some of the earliest sculpture, from Neolithic objects to Cycladic figures and pots, from Minoan Cretan jugs to Ancient Egyptian statues and the tribal art of sub-Saharan Africa. What both artists showed was a remarkable ability to distil time-honoured forms into an abstracted expressiveness of their own, and to refine and develop their ideas, about materiality and evolving shapes, over years and decades. Whether we are looking at Moore’s evolution, say, of the reclining figure or Coper’s obsession with the physical and metaphorical significance of the standing vessel, specifically here the bottle, what was clear was that both potter and sculptor were first and foremost students of the museums (notably the British Museum), where both learnt so much about the expressive power of the archaic and the archetypal.

Harry Fischer (1903-1977), the inimitable co-founder of Moore’s agents, Marlborough Fine Art, knew how much Moore admired Coper’s work, and he commissioned this bottle as a Christmas present for the sculptor1. It was one of the earliest in a series of bottles of various size and shape which Coper continued to refine through the 1960s and into the early 1970s. As well as bottles that could, like Moore’s, stand from the floor, Coper worked on more articulated narrower variations with flatter shoulders and

barrel-like cylindrical sections which he began making in the later 1950s (with taller versions produced later). Moore’s pot was part of an initial group of more curvaceous ‘milk bottle’ forms, worked on through 1958-9, generally architectural in scale, but increased here in size and more assured, less tentative, than those illustrated in Birks2. It is visually very resolved with its more emphasised ‘disc’ lip, its fuller curved belly and more pronounced throwing indentation towards the base. It is clearly the most direct prototype for the large bottles with discs produced a decade on, two important examples of which, from 1972, were recently sold by Phillips3

The period in which this bottle was made was particularly significant for Coper, playing as he did with a number of different structural ideas that would mature in the years ahead. At this time, he was still working in Lucie Rie’s studio at Albion Mews, experimenting too with various cylindrical waisted forms, some of which were exhibited at Henry Rothschild’s gallery Primavera in May 1958, Coper’s first one-person show in England. That exhibition also included an abstractly decorated sgraffito manganese jar from 1952, offered in this sale, and of fine and unusual globular type (Lot 96). Work for the Primavera show had threatened to overcrowd Rie’s studio, and precipitated Coper’s move to more spacious facilities at the newly founded arts community at Digswell, in Hertfordshire, in early 1959.

1 David Whiting, ‘Coper at Coventry: Hans Coper and the Coventry Cathedral Candlesticks’, Studio Pottery, April/May 1996, p 23. Harry Fischer went on to found Fischer Fine Art in 1972, where he continued to exhibit Moore’s work.

2 Tony Birks, Hans Coper, revised edition, Marston House, 2005, p 103

3 Phillips in association with Maak, London, ‘The Art of Fire; Selections from the John P. Driscoll Collection’, 10 November 2021, lot 10 and Phillips, London, ‘Design’, 2 November 2022, lot 77

Henry Moore in his studio c.1959, with a selection of the flints he collected.Photo: © The Lewinski Archive at Chatsworth. All Rights Reserved 2023 / Bridgeman Images. Courtesy Henry Moore Archive.

Coper was naturally very aware of the experimental ferment in 1950s British art, a time of anxiety with all the damage, uncertainty and alienation of the post-war landscape, and which artists reacted to with sculpture described in 1952 by the critic Herbert Read as the “iconography of despair, of defiance… the geometry of fear”. Henry Moore responded in his own way with the powerful helmet and warrior pieces of that decade, and sculptors like Eduardo Paolozzi, Kenneth Armitage and William Turnbull also produced work with a pronounced totemic quality, art that was figurative or alluded to the figure. But if Coper’s references were more oblique, he was clearly as indebted to the upright human form, and the sentinel, often anthropomorphic presence of his pots was just as haunting, particularly when seen in the atmospheric studio groups photographed by his wife, Jane Gate. He greatly admired these qualities (as well as the hieratic, almost timeless aspects) in the work of Brâncuși and Giacometti, whose sculpture was a considerable influence on the potter. And it can be argued that if Moore was essentially, in his great reclining figures, the exponent of resting horizontality, so Coper’s preoccupation was with a more taut verticality, each artist deeply indebted to archetypes from early history.

Both Moore and Coper embraced modern architecture, working with it in many of their public commissions. Coper’s sculptural approach and acute sense of colour and scale was ideal for buildings, best exemplified in the major commission to design the Coventry Cathedral candlesticks in 1962. These six tall monolithic structures, thrown in giant sections, were direct descendants of Moore’s bottle and the narrower ‘barrel’ versions started earlier in this period. They were closely connected in shape and conception, the candlesticks narrowing to the kind of more pronounced disc first seen on Moore’s bottle, but here deepened to form a cup for each candle. Like the bottle, the glazes and slips added texture and character to the coarse face of the clay, an almost stone-like effect which emphasised a sense, not of decoration, but of bold sculptural mass, demonstrating Coper’s skill in making work as an integral part of a larger structure. The vessel owned and very much used by Henry Moore (notice the bulrushes in the photograph) exemplified Coper’s ability to produce ceramics for a more intimate modern space and environment too, and here, like the candlesticks, there is that architectural quality of ritual, enduring in its apparent simplicity. This very significant piece unites two masters of their mediums, both of whom understood sculptural essence, and just how humanely a made object can extend our sensory experience.

Left image: The present lot in the sitting room of Henry Moore’s home, Hoglands, with artworks and natural objects from his collection on display. Photo: Prudence Cuming Associates.

Right image: Henry Moore in his sitting room, Christmas Day 1970. Photo: Errol Jackson. Courtesy Henry Moore Archive.

An Important Hans Coper from the Henry Moore Family Collection

98. Hans Coper 1920-1981

Monumental bottle with disc top circa 1959

Stoneware, layered porcelain slips and engobes over a textured body, the neck, lip and interior with a manganese glaze. 66.5 cm (26 1/8 in.) high

Front of foot impressed with artist’s seal.

Estimate

£120,000-180,000 $148,000-222,000

€137,000-205,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Harry Fischer, commissioned directly from the artist, circa 1959

Henry Moore collection, gifted from the above

Literature

Timothée Trimm, Henry Moore Intime, exh. cat., Didier Imbert Fine Arts, Paris, 1992, illustrated p. 10 David Mitchinson, Hoglands: The Home of Henry and Irina Moore, Aldershot, 2007, illustrated pp. 89, 97, 169

Three bottle forms made in 1958, 45-50cm high, exhibited in Ceramics International 1959, Syracuse, USA.

Photo: Jane Coper.

99. Hans Coper 1920-1981

Composite form with vertical impressions circa 1972

Stoneware, layered porcelain slips and engobes over a textured body, the lip and interior with a manganese glaze.

27.5 cm (10 7/8 in.) high

Underside impressed with artist’s seal.

Estimate

£40,000-60,000 $49,400-74,100

€45,500-68,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Rolf Overberg, Osnabrück, Germany

Thence by descent to the present owner, 1993

Literature

Lucie Rie, Hans Coper, and their Pupils: A Selection of Contemporary Ceramics illustrating their Influence, exh. cat., Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, 1990, p. 13 for a similar example

Tony Birks, Hans Coper, Yeovil, 2013, pp. 67, 201 for similar examples

100. Hans Coper 1920-1981

Large ovoid vase with vertical impressions circa 1972

Stoneware, layered porcelain slips and engobes over a textured body, the lip and interior with a manganese glaze. 30.7 cm (12 1/8 in.) high

Underside impressed with artist’s seal. Together with a copy of the original invoice.

Estimate

£80,000-120,000 $98,800-148,000 €91,000-137,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance

Private collection, Paris, acquired directly from the artist, Frome, 1974

Thence by descent to the present owners, 1978

Literature

Tony Birks, Hans Coper, London, 2013, pp. 72, 206, 211 for similar examples

Arne Jacobsen 1902-1971

‘Swan’ swivel armchair from the SAS Royal Hotel, Copenhagen

circa 1957

Leather, brass plated aluminium, steel, rubber. 74.5 x 79.5 x 68.5 cm (29 3/8 x 31 1/4 x 26 7/8 in.)

Manufactured by Fritz Hansen, Copenhagen, Denmark. Underside stamped FH. Underside of one leg impressed 13 and with crown symbol.

Estimate

£6,000-8,000 $7,400-9,900

€6,800-9,100

plus Buyers Premium and VAT*

Provenance

SAS Royal Hotel, Copenhagen

Acquired from the above, 1983

Kunst & Design, Krefeld, ‘Auction 9’, 7 May 2002, lot 569

Acquired from the above by the present owner

Literature

Poul Hvidberg-Hansen, Fritz Hansen 1872-1997: Danish Furniture Design Through 125 Years, Kolding, 1997, pp. 30-33

Carsten Thau and Kjeld Vindum, Jacobsen, Copenhagen, 2001, pp. 138, 142, 182-83, 469-70, 478-79, 489, 511-14, 530

A leading figure in Danish modernism, Arne Jacobsen (1902-1971) was a pioneer of the aesthetics that are now key signifiers of postwar Scandinavian design. His virtuosity is not to be found in one sole architectural or design work, but rather in the variety of his oeuvre. Jacobsen’s approach towards his architectural designs would often permeate his designs for furniture, flatware and other items, fostering a sense of continuity and totality between his works.

The present ‘Swan’ armchair is one of the first editions of the widely celebrated model designed by Jacobsen, which has been produced by Fritz Hansen in various styles since 1958. Designed for the lobby of the SAS Royal hotel in Copenhagen in 1957, the site-specific piece helped to convey an image of understated elegance for the SAS company, which had formed in the early 1950s after the merging of three Scandinavian airlines.

This version of the chair is especially rare, in that it features the original rich brown leather upholstery supported by a swiveling four-legged base of brass plated aluminium, while most of the other ‘Swan’ chairs from the commission were executed in polished aluminium. Here, the fine handling of the materials elevates the piece as a true work of art. The chair remains faithful to its name, with its sleek form resembling a swan taking flight. At the time of its creation, the chair garnered attention for the innovative lightness of its fiberglass reinforced plastic shell. The organic curves of the backrest and wings also contribute to the weightless character of the work, cultivating an effortless dynamism that has cemented it as an iconic example of Scandinavian functionality and simplicity.

102. Gino Sarfatti 1912-1985

Set of eight adjustable lights, model no. 586/s

circa 1962

Painted aluminium.

Each: 22 x 20.8 x 18.5 cm (8 5/8 x 8 1/4 x 7 1/4 in.)

Manufactured by Arteluce, Milan, Italy.

Interior of four shades with manufacturer’s paper label printed AL/MILANO/ARTELUCE.

Estimate £7,000-9,000 $8,600-11,100 €8,000-10,200 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature

Marco Romanelli and Sandra Severi, Gino Sarfatti: Opere Scelte 1938-1973, Milan, 2012, p. 488

103. Ico Parisi 1916-1996

Wall-mounted console

circa 1949

Indian rosewood-veneered wood, ebonised wood. 80 x 112.5 x 31.5 cm (31 1/2 x 44 1/4 x 12 3/8 in.)

Manufactured by Fratelli Rizzi, Capiago Intimiano, Italy or ArteCasa, Cantù, Italy. Together with a certificate of authenticity from the Archivio del Design di Ico Parisi.

Estimate

£5,000-7,000 $6,200-8,600

€5,700-8,000

plus Buyers Premium and VAT*

Provenance

Caira Mandaglio, London

Acquired from the above by the present owner, 2015

Literature

Franco Grigioni, Arredamento, Mobili, Ambienti, Milan, 1956, no. 48

Giuliana Gramigna, Repertorio del Design Italiano 1950-2000 per L’Arredamento Domestico, Volume 1, Turin, 2003, p. 21

Irene de Guttry, Il Mobile Italiano degli Anni ‘40 e ‘50, Rome, 2010, p. 217

Roberta Lietti, Ico Parisi Design: Catalogo Ragionato 1936-1960, Milan, 2017, pp. 201, 308-09

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

A period picture of the present model wall-mounted console, circa 1949. © Courtesy Archivio del Design di Ico Parisi, Como.

104. Fulvio Bianconi 1915-1996

‘Venezia’ figure, model no. 2999

circa 1949

Zanfirico and a canne glass, coloured glass, glass. 24.7 cm (9 3/4 in.) high

Produce by Venini & C., Murano, Italy. Underside acid-etched venini/murano/ITALIA

Estimate

£3,000-5,000

$3,700-6,200

€3,400-5,700 plus Buyers Premium and VAT*

Provenance

Private collection, Helsinki, acquired in Venice, circa 1960

Literature

Anna Venini Diaz de Santillana, Venini, Catalogue Raisonné 1921-1986, Milan, 2000, Catalogo Rosso, no. 999, p 274 Marino Barovier with Carla Sonego, eds., Fulvio Bianconi alla Venini, exh. cat., Fondazione Giorgio Cini, Venice, 2015, p. 381

The present model figure was exhibited at the IX Milan Triennale, 1951.

105. Gio Ponti 1891-1979

‘Diamond’ flatware service for 10 circa 1958

Precious metal, stainless steel. Largest utensil: 27 cm (10 5/8 in.) long

Manufactured by Reed & Barton, Taunton, Massachusetts. Reverse of each solid-handled piece impressed Reed & Barton/STERLING

Blades of each hollow-handled piece impressed REED & BARTON/MIRRORSTELE/STERLING

HANDLE. Comprising 10 dinner forks, 11 dinner knives, 10 dessert forks, 12 dessert spoons, 10 butter knives, 10 teaspoons, 1 serving spoon, 1 cake server (67).

Estimate

£5,000-7,000 $6,200-8,600 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, San Francisco Thence by descent to the present owner

Literature

‘Nice Weather for Parties’, Vogue, 15 April, 1958, pp. 118-19

Jewel Stern, Modernism in American Silver: 20th Century Design, exh. cat., Dallas Museum of Art, Dallas, 2005, p. 245 for a drawing and an advertisement

William P. Hood and Jewel Stern, ‘The Diamond Pattern by Reed & Barton’, Silver Magazine, May-June 2007, cover, pp. 2, 14, 17-18, 20-22

Sophie Bouilhet-Dumas, Dominique Forest, and Salvatore Lictira, eds., Gio Ponti: Archi-designer, Paris, 2018, p. 136

106. Edvard Kindt-Larsen and Tove Kindt-Larsen 1901-1982, 1906-1994

Sofa circa 1956

Teak, fabric.

85.6 x 201.4 x 76.8 cm (33 3/4 x 79 1/4 x 30 1/4 in.)

Executed by master cabinetmaker Thorald Madsen, Copenhagen, Denmark. Underside with metal label printed THORALD MADSENS/ Snedkeri/København and impressed 1269

Estimate £10,000-15,000 $12,300-18,500 €11,400-17,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Copenhagen Acquired from the above by the present owner

Literature ‘Snedkerlaugets utstilling 1956’, Dansk Kunsthaandværk, no. 29, August-September 1956, p. 157 Grete Jalk, ed., Dansk Møbelkunst Gennem 40 Aar, Volume 3: 1947-1956, 1987, p. 377 Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 47

The present model sofa was exhibited at the Copenhagen Cabinetmakers’ Guild Exhibition, Kunstindustrimuseet, 20 September-7 October 1956, stand 7.

107. Sir Edwin Lutyens 1869-1944

‘Cardinal’s hat’ ceiling light, designed for the Campion Hall chapel, Oxford

circa 1935

Coloured glass, painted steel, passementerie. 61 cm (24 in.) drop, 47 cm (18 1/2 in.) diameter Interior of ceiling rose impressed MADE IN ENGLAND

Estimate £15,000-20,000 $18,500-24,700 €17,100-22,800

plus Buyers Premium and VAT*

Literature

Colin Amery et al., Lutyens: The Work of the English Architect Sir Edwin Lutyens, exh. cat., Hayward Gallery, London, 1981, p. 146 for a similar example

Elizabeth Wilhide, Sir Edwin Lutyens: Designing in the English Tradition, London, 2000, p. 84 for a similar example

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

108. Børge Mogensen 1914-1972

Set of ten rare dining chairs

circa 1950

Ash, teak-veneered wood, leather. Each: 74.3 x 51 x 53.3 cm (29 1/4 x 20 1/8 x 20 7/8 in.)

Executed by master cabinetmaker Ludvig Pontoppidan, Copenhagen, Denmark.

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance

Klassik, Copenhagen

Acquired from the above by the present owner, circa 1991

Literature Grete Jalk, ed., Dansk Møbelkunst Gennem 40 Aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 153

The present model chairs were exhibited at the Copenhagen Cabinetmakers’ Guild Exhibition, Kunstindustrimuseet, 1950, stand 14.

The present model chairs at the Copenhagen Cabinetmakers’ Guild Exhibition, 1950. Grete Jalk, ed., Dansk Møbelkunst Gennem 40 Aar, Volume 3: 1947-1956, Copenhagen, 1987

Børge Mogensen 1914-1972

Rare dining table

circa 1950 Teak, ash.

68.7 x 260.5 x 128.4 cm (27 x 102 1/2 x 50 1/2 in.)

Executed by master cabinetmaker Ludvig Pontoppidan, Copenhagen, Denmark.

Estimate

£25,000-35,000 $30,900-43,200

€28,500-39,800 ‡ plus Buyers Premium and VAT*

Provenance

Klassik, Copenhagen, Denmark

Acquired from the above by the present owner, circa 1991

Literature

Grete Jalk, ed., Dansk Møbelkunst Gennem 40 Aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 153

The present model chairs were exhibited at the Copenhagen Cabinetmakers’ Guild Exhibition, Kunstindustrimuseet, 1950, stand 14.

Highly prolific and practical in his approach, the Danish designer Børge Mogensen (1914-1972) began his career as an apprentice cabinetmaker. It was during his studies at the Academy of Arts in Copenhagen that Mogensen met and began to collaborate with the architect Kaare Klint (1888-1954), who was to become an important mentor. Informed by Klint’s scientific design philosophy, Mogensen rejected extraneous decoration in his furniture designs, instead championing proportional harmony, ideal dimensions, clarity, and functionality.

In 1950 Mogensen collaborated with the cabinetmaker Ludvig Pontoppidan to create a set of furniture, which was then exhibited at the Copenhagen Cabinetmakers’ Guild, held at the Kunstindustrimuseet in Copenhagen. The furniture on display included the present model; a rare dining table comprised of a four-legged base arranged in a cross with a long elliptical tabletop. The piece has a sculptural strength resulting from the exactitude of its workmanship, as well as the coherence of its form. The table was originally accompanied by a set of chairs, which were also executed by Pontoppidan to echo the table in their design, consisting of backrests and seats with curved edges and more angular legs. Both the present table and chairs were executed in teak and ash, which was expertly crafted and minimally treated to reveal a clear respect for the truth of the material. Writing for the Nationaltidende at the time of its exhibition, Poul P. praised the understated innovation of the design; “he has made a conference or dining room according to completely new principles. The beautiful wood has been sanded and oiled, nothing else.”

The present model table at the Copenhagen Cabinetmakers’ Guild Exhibition, 1950. Grete Jalk, ed., Dansk Møbelkunst Gennem 40 Aar, Volume 3: 1947-1956, Copenhagen, 1987

110. Serge Mouille 1922-1988

Pair of ‘Cachan’ wall lights

circa 1957

Painted aluminium.

Each: 20.7 x 28.8 x 26.9 cm (8 1/8 x 11 3/8 x 10 5/8 in.)

Manufactured by Atelier Serge Mouille, Paris, France.

Estimate

£6,000-8,000 $7,400-9,900 €6,800-9,100 plus Buyers Premium and VAT*

Literature

Pierre-Émile Pralus, Serge Mouille: A French Classic, Saint-Cyr-au Mont-d’Or, 2006, p. 181

The present model wall lights were designed and produced for the bedrooms of a Young Workers’ Center in Cachan, France.

111. Fritz Hansen

Pair of armchairs, model no. 1669

1940s

Sheepskin, stained beech.

Each: 76.4 x 78.2 x 75.5 cm (30 1/8 x 30 3/4 x 29 3/4 in.)

Manufactured by Fritz Hansen, Copenhagen, Denmark.

Estimate

£8,000-12,000 $9,900-14,800 €9,100-13,700 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Copenhagen

Literature

Fritz Hansen, sales catalogue, Copenhagen, 1942, pp. 17, 19 for a similar example

Frits Schlegel 1896-1965

Pair of unique side tables

circa 1949

Brazilian rosewood-veneered wood, Brazilian rosewood.

Each: 54 x 63.8 x 44 cm (21 1/4 x 25 1/8 x 17 3/8 in.)

Estimate

£1,800-2,400 $2,200-3,000 €2,000-2,700 Ω plus Buyers Premium and VAT*

Provenance

Erik Nyegaard, Strandvejen, Denmark, commissioned directly from the designer, circa 1949

The Danish architect Frits Schlegel (1896-1965) operated on all scales, often designing both the outer structures and the interior furnishings of his many prestigious commissions. As such, it is no wonder that many of his projects are widely considered works of total design, or Gesamkunstwerke. Whether created for private clients or a public context, Schlegel’s work had a characteristic understated quality, as well as a true sensitivity towards site and location. Throughout his career, he supplanted notions of monumentality and historicism with his own interpretation of functionalism. This focus is evident throughout his oeuvre, which includes structures in the Copenhagen Zoo, the Tivoli Concert Hall, numerous private villas as well as a range of furniture and lighting. His distinct style was a combined result of his classical architectural training, his visionary approach to materials and construction methods, as well as his unwavering dedication to his craft.

The side tables offered here were originally commissioned by Erik Nyegaard, a prominent member of the Danish resistance movement during the Second World War. Following the end of the conflict, Nyegaard sought the expertise of Schlegel for the design of his new villa located in Strandvejen, which is a coastal suburb of Copenhagen. After a series of proposals, the design was completed in 1947 and executed in 1949. In the design of the structure, Schlegel was careful to incorporate mostly regional, site-specific materials as well as elements of the Danish building tradition. However, the project is also a testament to Schlegel’s sensitivity towards international trends in design, with eclectic references to broader trends in Modernism, Prairie-style architecture, and the Arts and Crafts movement. The delicate interior furnishings from the Nyegaard villa present a pleasing contrast to his use of strong concrete forms in the structure itself. While simplistic and small in scale, the side tables offered here are carefully crafted to include clear, minimal proportions. They are materially rich; expertly cut out of a warm-toned Brazilian rosewood to evoke motifs from traditional furniture. The collection of furniture from the Nyegaard villa presents a brilliant example of Schlegel’s consistent attention to both elegance and function in his designs.

113. Paolo Venini 1895-1959

Mirror

circa 1950

Mirrored glass, iridescent coloured glass. 100 x 65.5 x 7.8 cm (39 3/8 x 25 3/4 x 3 1/8 in.)

Produced by Venini & C., Murano, Italy.

Estimate

£7,000-9,000 $8,600-11,100

€8,000-10,200 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Rome

Literature

Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, Turin, 2007, p. 29

A portrait of Paolo Venini in Fondamenta Vetrai, Murano, 1950.

Photo: John Phillips.

114. Pietro Chiesa 1892-1948

Table lamp

circa 1942 Glass, brass, ebonised wood.

52.1 x 55.3 x 55.3 cm (20 1/2 x 21 3/4 x 21 3/4 in.)

Manufactured by Fontana Arte, Milan, Italy. Top of shade impressed with manufacturer’s mark F/X/MILANO, partially faded.

Estimate

£4,000-6,000 $4,900-7,400

€4,600-6,800 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature

‘Lampade di domani e di una volta’, Domus, no. 174, June 1942, p. 242 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, p. 74

115. Hans J. Wegner 1914 - 2007

Two folding chairs, model no. 512 circa 1949

Oak, cane, brass.

76 x 61 x 73 cm (29 7/8 x 24 x 28 3/4 in.)

Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside of each impressed with cabinetmaker’s mark and JOHANNES HANSEN/COPENHAGEN/DENMARK

Together with two hanging hooks.

Estimate £4,000-6,000 $4,900-7,400 €4,600-6,800 plus Buyers Premium and VAT*

Provenance

Piasa, Paris, ‘Design Scandinave’, 29 October 2013, lot 297

Acquired from the above by the present owner

Literature

Johan Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, pp. 48, 52, 85

Jens Bernsen, Hans J Wegner: Om Design, exh. cat., Dansk Design Center, Copenhagen, 1995, pp. 15, 38-39, 77

Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 110

Dansk Møbel Kunst, Hans J. Wegner, Copenhagen, 2007, pp. 22-23

Christian Holmsted Olesen, Wegner: Just One Good Chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 52, 183

116. Gio Ponti 1891-1979

Daybed

circa 1966

Sapele laminate, fabric, leather, painted steel, rubber, brass.

58 x 201.2 x 86 cm (22 7/8 x 79 1/4 x 33 7/8 in.)

Manufactured by Italbed, Pistoia, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£7,000-9,000 $8,600-11,100

€8,000-10,200 plus Buyers Premium and VAT*

Provenance

Private collection, Savona

Literature

‘Le immagini piu’ significative della prima Eurodomus’, Domus, no. 440, July 1966, n.p. for a similar example

117.

Alvar Aalto 1898-1976

Cabinet

circa 1940

Birch, birch-veneered plywood, painted wood.

106.3 x 70.8 x 40.9 cm (41 7/8 x 27 7/8 x 16 1/8 in.)

Produced by Artek, Helsinki, Finland.

Estimate £3,000-5,000 $3,700-6,200 €3,400-5,700 plus Buyers Premium and VAT*

Literature

Finmar: Furniture of the Future for the Home of To-day, sales catalogue, London, 1939, p. 37 for a similar example

118. Hans J. Wegner 1914-2007

Extendable dining table, model no. 567

circa 1952

Teak, oak.

71.6 x 178.4 x 131.2 cm (28 1/4 x 70 1/4 x 51 5/8 in.)

71.6 x 370.7 x 131.2 cm (28 1/4 x 145 7/8 x 51 5/8 in.), fully extended

Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside with metal label impressed JOHANNES HANSEN/ CABINET MAKER/COPENHAGEN-DENMARK/ DESIGN: H.J.WEGNER

Estimate

£8,000-12,000 $9,900-14,800

€9,100-13,700 Ω plus Buyers Premium and VAT*

Provenance

Private collection, Copenhagen

Literature

Johan Møller Nielsen, Wegner: En Dansk Møbelkunstner, Copenhagen, 1965, p. 105 Grete Jalk, Dansk Møbelkunst Gennem 40 Aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 213

The present model table was exhibited at the Copenhagen Cabinetmakers’ Guild, Kunstindustrimuseet, 26 September–12 October 1952, stand 23.

119. Angelo Lelii 1911-1979

Rare chandelier

circa 1960

Nickel-plated brass, glass. 138.2 x 103 x 111.5 cm (54 3/8 x 40 1/2 x 43 7/8 in.) Manufactured by Arredoluce, Monza, Italy.

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Carate Brianza

The present lot has been registered in the Arredoluce Archives, Milan, as number 4135031.

120. Gio Ponti 1891-1979

Pair of wall lights

circa 1930 Brass.

Each: 45 x 6 x 9.5 cm (17 3/4 x 2 3/8 x 3 3/4 in.)

Manufactured by Luigi Fontana & C., Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate £5,000-7,000 $6,200-8,600 €5,700-8,000 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Milan

121. Gabriella Crespi 1922-2017

‘Bar Ovale’ cabinet, from the ‘Menhir’ series circa 1976

Brass-covered wood, plastic-laminated wood. 79.7 x 59.8 x 39.7 cm (31 3/8 x 23 1/2 x 15 5/8 in.)

Number 12 from the production of circa 120 examples. Side impressed with facsimile signature Gabriella Crespi/BREV 12 and with affixed designer’s brass logo impressed with facsimile signature Gabriella Crespi ®. Together with a certificate of authenticity from the Archivio Gabriella Crespi.

Estimate

£15,000-20,000 $18,500-24,700 €17,100-22,800 ‡ plus Buyers Premium and VAT*

Provenance

Rolf Wirth, Herrliberg, Switzerland

Thence by descent

Acquired from the above by the present owner

Literature

Rosaria Zucconi and Doriana Torriero, ‘Fuga nel Tempo’, Elle Decor Italia, April 2015, p. 294

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200476063.

122. Gabriella Crespi 1922-2017

Pair of ‘Scultura’ low tables, from the ‘Plurimi’ series

circa 1976

Brass-covered wood.

Each: 41.5 x 80.1 x 60.8 cm (16 3/8 x 31 1/2 x 23 7/8 in.), closed; 41.5 x 91 x 71.3 cm (163/8 x 357/8 x 281/8 in.), open Numbers 159 and 160 from the production of circa 300 examples. Side of one impressed with facsimile signature Gabriella Crespi/BREV. 160 and side of other impressed with facsimile signature Gabriella Crespi/ BREV. 159. 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

£25,000-30,000 $30,900-37,000 €28,50034,100 ‡ plus Buyers Premium and VAT*

Provenance

Rolf Wirth, Herrliberg, Switzerland

Thence by descent

Acquired from the above by the present owner

Literature

Gabriella Crespi, Il Segno e lo Spirito: Mobili, Plurimi, Sculture e Gioielli, exh. cat., Palazzo Reale, Milan, 2011, p. 67

Pierluigi Masini, Gabriella Crespi: Spirito e Materia, Arte e Design, Bologna, 2018, p. 88

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200477006P/O.

123. Guglielmo Ulrich 1904-1977

Rare sofa from Casa Lanfranconi, Bergamo

circa 1934

Fabric, brushed and stained oak-veneered wood. 74 x 238.4 x 106.6 cm (29 1/8 x 93 7/8 x 41 7/8 in.)

Produced by Ar.Ca., Milan, Italy. Underside impressed with producer’s mark and 46344

Estimate

£8,000-12,000 $9,900-14,800 €9,100-13,700 ‡

plus Buyers Premium and VAT*

Provenance

Lanfranconi family, Bergamo

Thence by descent to the present owner

Literature

Luca Scacchetti, Guglielmo Ulrich: 1904-1977, Milan, 2009, p. 397 for a comparable armchair version of the model

124. Guglielmo Ulrich 1904-1977

Rare bench from Casa Lanfranconi, Bergamo

circa 1934

Leather, brushed and stained oak-veneered wood.

38.1 x 200.8 x 49.8 cm (15 x 79 x 19 5/8 in.)

Produced by Ar.Ca., Milan, Italy. Underside impressed with producer’s mark and 46345

Estimate

£15,000-20,000 $18,500-24,700

€17,100-22,800 ‡ plus Buyers Premium and VAT*

Provenance

Lanfranconi family, Bergamo

Thence by descent to the present owner

Literature

Luca Scacchetti, Guglielmo Ulrich: 1904-1977, Milan, 2009, p. 256

A watercolour of the present bench by Guglielmo Ulrich, 1934.

Luca Scacchetti, Guglielmo Ulrich: 1904-1977, Milan, 2009.

125. Carlo Scarpa 1906-1978

Ceiling light, model no. 5417

circa 1931

Reticello glass, brass.

81 cm (31 7/8 in.) drop, 47 cm (18 1/2 in.) diameter

Produced by Venini & C., Murano, Italy.

Estimate

£8,000-12,000 $9,900-14,800

€9,100-13,700 ‡ 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. 256 for similar examples

Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 138

Marino Barovier and Carla Sonego, Venini Light 1921-1985, exh. cat., Le Stanze del Vetro, Milan, 2022, pp. 154, 155, 522 for similar examples

126. Gio Ponti 1891-1979

Coffee table

circa 1937

Elm, elm-veneered wood, glass. 39.8 cm (15 5/8 in.) high, 79.7 cm (31 3/8 in.) diameter

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

Estimate £15,000-20,000 $18,500-24,700 €17,100-22,800 ‡

plus Buyers Premium and VAT*

Provenance

Private collection, Brescia

Literature

‘Una villa a tre appartamenti in Milano’, Domus, no. 111, March 1937, p. 7 for a similar example

127. Gio Ponti 1891-1979

Early armchair

circa 1928

Cherry, rush.

109.7 x 74.8 x 87.7 cm (43 1/4 x 29 1/2 x 34 1/2 in.)

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

Estimate

£6,000-8,000 $7,400-9,900

€6,800-9,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

Domus, no. 12, 1928, p. 87 for a similar example

Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 44 for a similar example

A drawing of a similar model armchair published in Domus, no. 12, 1928.

© Archivio Domus – Editoriale Domus S.p.A.

128. Piero Fornasetti 1913-1988

‘Pisces’ and ‘Aries’ ceiling lights from the ‘Zodiaci’ series

circa 1957

Transfer-printed painted aluminium, brass. Each: 64.5 cm (25 5/8 in.) drop, 99.5 cm (39 1/8 in.)

diameter

Estimate

£7,000-9,000 $8,600-11,100

€8,000-10,200 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Sanremo

Literature

Barnaba Fornasetti, ed., Fornasetti: The Complete Universe, New York, 2010, p. 494-95 for a similar example

129. Gio Ponti 1891-1979

Centre table

circa 1927

Walnut, walnut-veneered wood, brass. 80.2 x 153 x 153 cm (31 5/8 x 60 1/4 x 60 1/4 in.) Possibly executed for Il Labirinto, Italy. Together with a certificate of expertise from the Gio Ponti Archives.

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature

Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2010, p. 47 for a comparable design

130. Franco Albini 1905-1977

Pair of ‘Fiorenza’ armchairs, model no. 432 designed circa 1940, produced circa 1948 Cherry, fabric.

Each: 85.5 x 63.5 x 82 cm (33 5/8 x 25 x 32 1/4 in.)

Manufactured by Cassina, Meda, Italy.

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Turin

Literature

Irene de Guttry and Maria Paola Maino, Il Mobile Italiano degli Anni ‘40 e ‘50, Bari, 1992, p. 75 Giampiero Bosoni and Federico Bucci, Il Design e gli Interni di Franco Albini, Milan, 2016, p. 100 Giovanna Vitali, ed., Franco Albini: La Continuità di un Segno, Milan, 2017, pp. 108-11

131. Carlo Scarpa 1906-1978

Large ceiling light, model no. 5258

circa 1931

Reticello glass, brass, brass-plated aluminium. 125 cm (49 1/4 in.) drop, 45.5 cm (17 7/8 in.) diameter

Produced by Venini & C., Murano, Italy.

Estimate £6,000-8,000 $7,400-9,900 €6,800-9,100 ‡

plus Buyers Premium and VAT*

Provenance

Private collection, Veneto

Literature

Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 142

Paolo Buffa 1903-1970

Occasional table

circa 1952

Cherry with Brazilian-rosewood inlay, Peruvian onyx.

57 cm (22 1/2 in.) high, 79 cm (31 1/8 in.) diameter

Executed by Serafino Arrighi, Cantù, Italy. Together with a certificate of expertise from the Paolo Buffa Archive.

Estimate

£4,000-6,000 $4,900-7,400 €4,600-6,800 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Cantù.

Literature

Michele Marelli, Aurelio Porro and Alfio Terraneo, eds., Paolo Buffa a Cantù, Cantù, 2022, p. 28

133. Max Ingrand 1908-1969

Large ceiling light

circa 1955

Glass, coloured glass, painted aluminium, brass. 26.5 cm (10 3/8 in.) drop, 92.3 cm (36 3/8 in.) diameter

Manufactured by Fontana Arte, Milan, Italy.

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

Literature

Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, pl. 318

134. Gio Ponti 1891-1979

Armchair

circa 1937

Walnut, walnut-veneered wood, painted iron. 80 x 54.3 x 57 cm (31 1/2 x 21 3/8 x 22 1/2 in.)

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

Estimate £3,000-5,000 $3,700-6,200 €3,400-5,700 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Milan

135. Gio Ponti 1891-1979

Low table

circa 1947 Birch, glass. 49.2 x 76.1 x 40.2 cm (19 3/8 x 29 7/8 x 15 7/8 in.)

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

Estimate £3,000-5,000 $3,700-6,200 €3,400-5,700 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Milan

136. Carlo Scarpa 1906-1978

Rare floor lamp, model no. 527

circa 1942

Coloured sommerso a bollicine glass with gold leaf inclusions, brass, paper shade. 170.8 cm (67 1/4 in.) high

Produced by Venini & C., Murano, Italy.

Estimate

£18,000-24,000 $22,200-29,600 €20,500-27,300 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Feltre

Literature

Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 262 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 178A

137. Paolo Buffa 1903-1970

Drinks cabinet

circa 1938

Brazilian kingwood-veneered wood, brass, mirrored glass, glass.

119 x 126 x 40.8 cm (46 7/8 x 49 5/8 x 16 1/8 in.)

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

Estimate

£10,000-15,000 $12,300-18,500

€11,400-17,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Forlì

Literature

Roberto Aloi, L’Arredamento Moderno, Milan, 1945, pl. 396 for a similar example

Irene de Guttry and Maria Paola Maino, Il Mobile Déco Italiano 1920-1940, Bari, 1988, p. 105 for a similar example

Irene de Guttry and Maria Paola Maino, Il Mobile Italiano degli Anni ‘40 e ‘50, Bari, 1992, pp. 116-17 for a similar example

Roberto Rizzi, I Mobili di Paolo Buffa, exh. cat., Mostra Internazionale dell’Arredamento, Cantù, 2001, p. 35 for a similar example

138. Vittorio Zecchin 1878-1947

Twelve-armed chandelier

circa 1925

Coloured glass, aluminium.

138 cm (54 3/8 in.) drop

Produced by M.V.M. Cappellin & C., Murano, Italy. Bottom hemisphere acid-etched with producer’s mark, partially faded.

Estimate

£10,000-15,000 $12,300-18,500

€11,400-17,100 ‡ plus Buyers Premium and VAT*

Provenance

Private collection, Florence

Literature

Marino Barovier and Carla Sonego, eds., Vittorio Zecchin: Transparent Glass for Cappellin and Venini, Milan, 2017, p. 466 for a similar example

139. Gio Ponti 1891-1979

Centre table

circa 1938

Brazilian rosewood-veneered wood, walnut, reverse-etched mirrored glass.

74.3 cm (29 1/4 in.) high, 126.6 cm (49 7/8 in.) diameter

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

Estimate

£18,000-24,000 $22,200-29,600

€20,500-27,300 ‡ plus Buyers Premium and VAT*

Provenance Private collection, Forlì

140. Fausto Melotti 1901-1986

Group of 145 tiles, model ‘FA’

circa 1964

Glazed earthenware.

Each: 25 x 25 x 1.4 cm (9 7/8 x 9 7/8 x 0 1/2 in.)

Produced by Ceramica Melotti, Milan, Italy. Underside of each impressed Ceramica/Melotti/ Milano Italy.

Estimate

£12,000-18,000 $14,800-22,200

€13,700-20,500 Ω plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature

Ceramica Melotti, sales catalogue, Milan, circa 1960

Antonella Commellato and Marta Melotti, eds., Fausto Melotti: L’Opera in Ceramica, exh. cat., Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Milan, 2003, p. 449

UK Auction Buyer’s Guide

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

A) Before The Auction Catalogues & Catalogue Entries

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

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

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

Estimates

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

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

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

Condition of Lots

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

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

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

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

Symbols Used In The Catalogue

You may see the following symbols referenced in the catalogue.

O Guaranteed Property

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

♦ Third Party Guarantee

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

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

Disclosure of financial interest by third parties

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

∆ Property in which Phillips has an Ownership Interest

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

• No Reserve

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

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

∑ Endangered Species

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

Ж Property Subject to US Import Tariffs

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

Calculating the Total Purchase Price

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

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

+ + +

Hammer Price Buyer’s Premium 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:

• 27% on the portion of the hammer price up to and including £800,000; and

• 21% on the portion of the hammer price above £800,000 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 32.4%, 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: £1,000,000

Buyer’s Premium including VAT is calculated as follows: 27% of first £800,000 of the hammer price = £216,000 + 21% on the balance of £200,000 = £42,000

Total BP = £258,000

VAT @ 20% on the total BP of £258,000 = £51,600

TOTAL Buyer’s Premium plus VAT = £309,600.

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.

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.

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

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

Ω 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.

Time limits Proof of export for exportation documentation required

Please Note:

• We cannot refund the UK VAT paid if the export documents do not comply exactly with governmental regulations.

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

Ω Lot under 20% import VAT on Temporary the hammer price

Admission and 20% in lieu of

(High rate) VAT on the buyer’s premium

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

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

• If the Lot is under Temporary Admission in the UK (i.e. with ‡ or Ω, 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

Cancelling UK VAT charges upon export

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

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.

UK Conditions of Sale

Effective from 1 March 2023

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, UK 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 onestep 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 27% of the hammer price up to and including £800,000, 21% of the portion of the hammer price above £800,000 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 thirdparty shipper acting for the buyer. The buyer is responsible for paying any import duties and local taxes payable to import the Property to its final destination.

(d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 Failure to Collect Purchases

(a) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full.

(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 Remedies For Non-Payment

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies:

(i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit;

(iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and Buyer’s Premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and Buyer’s Premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate.

(b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies

that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon.

10 Rescission by Phillips

Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 14 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 Export, Import and Endangered Species Licences and Permits

Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the UK or to import it into another country.

Items containing Endangered Species material

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 exporting 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 the continent of origin and confirmation the object is more than 100 years old.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must

provide documented evidence of the species identification and age of an object in order to demonstrate that the item qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot.

It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species.

Export, Import, Sales and/or Use Taxes

Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf, including any applicable Sales and/or Use Taxes which may be due on importing the property to the United States.

Export and Import Bans and Restrictions

Buyers should note that the export of items offered for sale in this Auction to certain countries (including Russia and Belarus) may be prohibited pursuant to Government sanctions and other regulatory measures in force from time to time. Please contact the department organising the auction for further details.

12. US Imports Customs Tariffs

Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany.

Phillips will mark with a symbol lots which may be subject to additional US import tariffs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips does not accept liability for errors including failing to mark lots accurately or for the absence of any marking.

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.

Please return this form by email to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying to bid as an individual or on behalf of a company.

Please select the type of bid you wish to make with this form (please select one):

In-person

Absentee Bidding

Telephone Bidding

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

As a private individual

On behalf of a company

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: 27% of the hammer price up to and including £800,000, 21% of the portion of the hammer price above £800,000 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.

Preferred Bidding Language (for Phone Bidding only)

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

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

• Please submit your bids to the Bid Department by email to: bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045.

• Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by wire transfer, credit card (up to £30,000 per auction) using Visa, American Express, Mastercard or Union Pay (for in person transactions only) and UK debit cards.

• Lots cannot be collected until payment has cleared and all charges have been paid.

• You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013.

• By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com.

• Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and VAT

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

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

Sale Information

Design

Auction & Viewing Location

30 Berkeley Square London, W1J 6EX

Auction

Wednesday, 26 April 2023, 2pm

Please register to bid online, absentee or by phone.

Viewing

20 April – 26 April

Monday – Saturday 10am–6pm Sunday 12–6pm

Sale Designation

When sending in written bids or making enquiries please refer to this sale as UK050223 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

Alessandro Zambianchi (External)

Louis Blancard / ArtDigital Studio (External)

Vieri Tomaselli (External)

Videographer

Clay Fisher

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

Rebecca Gathercole +44 20 7318 4025

Buyer Accounts

Heather Welham +44 20 7901 2982

Shipping

Andrew Kitt +44 20 7318 4047

Annaliese Clark +44 20 7318 4081

Richard Alderson +44 7919 507 631

Ortensia Molla +44 7884 561 595

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 39, François-Xavier Lalanne

‘Grand Bouquetin’

Back cover

Lot 138, Vittorio Zecchin

Twelve-armed chandelier

Aalto, A. 86, 117

Albini, F. 82, 130

Asnago, M. 17

Atelier Van Lieshout 62

Baas, M. 61

Barovier & Toso (Co.) 40

Bauhaus Tischlerei-Werkstatt 80

Bianconi, F. 104

Bouroullec, E. 52

Bouroullec, R. 52

Brown, D. S. 60

Buffa, P. 6, 132, 137

Bugatti, C. 67

Chiesa, P. 114

Coper, H. 96, 97, 98, 99, 100

Crespi, G. 121, 122

Dufet, M. 42

Evans, P. 90, 91

Ferrabini, G. 22

Fornasetti, P. 128

Guariche, P. 28

Hansen, F. 111

Helg, F. 82

Ingrand, M. 3, 89, 133

Jacobsen, A. 101

Jouve, G. 33

Sottsass, Jr., E. 70, 71, 72, 73, 74, 75, 76, 77, 78, 81, 83, 85

Judd, D. 63

Kindt-Larsen, E. 106

Kindt-Larsen, T. 106

Lafon, P. 44, 45, 46, 47, 48, 49

Lalanne, F.-X. 27, 39

Leach, B. 88

Lelii, A. 119

Lutyens, E. 107

Melotti, F. 140

Mogensen, B. 108, 109

Mollino, C. 24

Mouille, S. 38, 110

Newson, M. 53

Owens, R. 59

Parisi, I. 103

Patout, P. 64

Perriand, C. 31, 34, 36

Poillerat, G. 51

Ponti, G. 2, 5, 8, 9, 10, 11, 12, 13, 14, 15, 16, 20, 23, 25, 66, 68, 69, 84, 105, 116, 120, 126, 127, 129, 134, 135, 139

Prouvé, J. 29, 32

Puiforcat, J. 54, 55, 56, 57

Rie, L. 92, 93, 94, 95

Royère, J. 30, 37, 41

Sarfatti, G. 35, 50, 65, 102

Scarpa, C. 7, 125, 131, 136

Schlegel, F. 112

Seguso 26

Studio B.B.P.R. 18, 19

Thomas, D. 58

Ulrich, G. 123, 124

Vender, C. 17

Venini, P. 1, 4, 113

Venturi, R. 60

Ward, J. 87

Wegner, H.J. 115, 118

Wolfers Frères 43

Zecchin, V. 138

Zuccheri, T. 21