Design

DE SIGN 12

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DECEMBER

2 012

NEW YORK

19/11/12 14.58

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DE SIGN 12

DECEMB ER

2 0 12

11AM

NE W YO RK

AUCTIO N

4 5 0 PARK AVENU E

VIE WING

4 5 0 WEST 1 5 TH STR E E T

LOTS 101 – 270 Viewing 450 West 15 Street 5 – 11 December

Hours Monday – Saturday 10am – 6pm Sunday 12pm – 6pm

Front Cover Maria Pergay, ‘Ring’ chair, lot 131 Inside Front Cover Ado Chale, ‘Goutte d’eau’ coffee table, lot 144 Katsuyo Aoki, Manuscript II, lot 178 (detail) Opposite Rick Owens, Pair of ‘Stag’ benches, lot 189 (detail)

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

101

EMILE-JACQUES RUHLMANN 1879-1933 Dressing table and stool, circa 1925 Dressing table: macassar ebony-veneered wood, silver-plated bronze, mirrored glass; stool: macassar ebony-veneered wood, fabric.

Dressing table: 47 5/8 x 39 7/8 x 14 7/8 in (121 x 101.5 x 38 cm) stool: 22 1/2 x 21 1/8 x 13 3/8 in (57.3 x 53.5 x 34 cm) Underside of dressing table incised with ‘Ruhlmann’ (2).

Estimate $ 5 0,0 0 0 -70,0 0 0 PROVENANCE

DeLorenzo Gallery, New York Sotheby’s, New York, ‘20th Century Works of Art & Tiffany’, December 1, 2001, lot 210 LITERATURE

Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984, p. 97 for a drawing of similar examples and pp. 256, 262 for similar examples of the stool Emmanuel Bréon, Jacques-Émile Ruhlmann: The Designer’s Archives, Paris, 2004, p. 114 for a similar stool Florence Camard, Jacques Émile Ruhlmann, New York, 2009, pp. 68, 127

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

102

JEAN ROYÈRE 1902-1981 ‘Jet D’eau’ wall light, circa 1951 Gilded metal, paper shades.

26 x 24 3/8 x 11 in (66 x 61.9 x 27.9 cm)

Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE

Galerie Patrick Seguin, Paris, 2008 LITERATURE

Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 95 for a drawing of a similar example, and p. 163 Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 201 for a similar example

The present lot is similar to an example exhibited by Royère at the 1951 Salon des arts ménagers, an annual Paris exhibition which showcased innovations in domestic living.

The present lot will be included in the forthcoming Monographie de Jean Royère by Galerie Patrick Seguin and Galerie Jacques Lacoste, Paris, December 2012.

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103

JEAN ROYÈRE 1902-1981 ‘Tréfle’ coffee table, circa 1955 Oak, veneered oak.

14 5/8 x 27 1/2 x 27 1/2 in (37 x 70 x 70 cm)

Estimate $ 2 0,0 0 0 - 5 0,0 0 0 PROVENANCE

Private collection, Lebanon Galerie Jacques Lacoste and Galerie Patrick Seguin, Paris LITERATURE

Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 65 for a similar example

The present lot will be included in the forthcoming Monographie de Jean Royère by Galerie Patrick Seguin and Galerie Jacques Lacoste, Paris, December 2012.

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104

JEAN ROYÈRE 1902-1981 Pair of ‘Tréfle’ chairs, circa 1950 Fabric, oak (2).

Each: 32 1/8 x 20 1/8 x 22 7/8 in (81.5 x 51 x 58 cm)

Estimate $18 ,0 0 0 - 2 8 ,0 0 0 PROVENANCE

Private collection, Lebanon Galerie Jacques Lacoste and Galerie Patrick Seguin, Paris LITERATURE

Mobilier et Décoration (Paris) January–February 1953, p. 3 for a similar example ‘Revue Pratique de Décoration’, Le Décor d’aujourd’hui, Paris, 1954, n. 91, p. V for a similar example Décor d’Aujourd’hui (Paris), December, 1956, p. 28 for a similar example Pierre Passebon, Jean Royère Mobilier, exh. cat., Galerie du Passage, Paris, 1993, pp. 40, 42 for a similar example Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 70, 98, 116 Catherine and Stéphane de Beyrie and Jacques Ouaiss, Jean Royère, New York, 2000, pp. 76 and 78 for similar examples Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 35, 146, 170, 211

The present lot will be included in the forthcoming Monographie de Jean Royère by Galerie Patrick Seguin and Galerie Jacques Lacoste, Paris, December 2012.

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

105

JEAN ROYÈRE 1902-1981 Pair of ‘demi-corbeille’ wall lights, circa 1948 Painted tubular metal, painted metal, paper shades (2).

Each: 22 1/4 x 30 x 16 in (56.5 x 76.2 x 40.6 cm)

Estimate $18 ,0 0 0 - 2 2,0 0 0 PROVENANCE

Sotheby’s, London, ‘20th Century Decorative Arts & Design’, April 6, 2000, lot 146 LITERATURE

Yvonne Brunhammer, Les Styles des Années 30 a 50, Paris, 1987, p. 103 Patrick Favardin, Le Style 50, Un Moment de L’Art Français, Brussels, 1987, p. 47 Jacques Lacoste, Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, p. 44-46 for similar examples Catherine and Stéphane de Beyrie and Jacques Ouaiss, Jean Royère, New York, 2000, p.33 for similar examples Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 129 and 200, and p. 286 for a similar example

Royère installed similar demi-corbeille wall lights at the French consulate in Alexandria in 1948 and the following year at the French legation in Helsinki.

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PROPERTY OF A GENTLEMAN

106

MAURICE MARINOT 1882-1960 Small dish, circa 1925 Wheel-carved and acid-etched transparent glass.

2 1/2 x 5 x 5 in (6.4 x 12.7 x 12.7 cm) Underside acid-etched with ‘Marinot’.

Estimate $ 5 ,0 0 0 -7,0 0 0 PROVENANCE

Piasa, Paris, ‘Art Nouveau Art Déco’, June 22, 2001, lot 213

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107

JACQUES ADNET 1901-1984 Pair of early club chairs, 1930s Lacquered wood, fabric (2).

Each: 29 1/2 x 31 3/8 x 39 3/8 in (74.9 x 79.7 x 100 cm)

Estimate $18 ,0 0 0 - 2 2,0 0 0 PROVENANCE

Barry Friedman, New York Sotheby’s, New York, ‘20th Century Design, The Collection of Barry Friedman, Ltd’, November 19, 1992, lot 191 LITERATURE

Alain-René Hardy & Gaëlle Millet, Jacques Adnet, Paris, 2009, p. 94 for a similar example and pp. 216-217 for his black lacquered furniture of the period

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PROPERTY OF A GENTLEMAN ∑ 108

JEAN EMILE PUIFORCAT 1887-1945 Serving Tray, circa 1925 Silver, rosewood.

1 x 9 1/2 x 9 1/2 in (2.5 x 24.1 x 24.1 cm) Underside impressed with ‘JEAN E. PUIFORCAT’, ‘E / P’ and an illegible mark.

Estimate $7,000- 9,0 0 0 PROVENANCE

Galerie Vallois, Paris Karl Lagerfeld, Paris Sotheby’s, Paris, ‘Collection of Karl Lagerfeld Arts Décoratifs Du XXe Siècle’, May 15, 2003, lot 199

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION ∑ 109

JEAN DESPRÉS 1889-1980 Tureen, 1930s Silver-plated metal, rosewood.

3 7/8 x 11 1/8 x 8 7/8 in (10 x 28.2 x 22.5 cm) Underside incised with ‘J Després’.

Estimate $10,0 0 0 -15 ,0 0 0 LITERATURE

Melissa Gabardi, Jean Després: Jeweler, Maker and Designer of the Machine Age, London, 2009, p. 193 for a technical drawing PROVENANCE

Christie’s, New York, ‘Important 20th Century Decorative Art & Design’, June 13, 2008, lot 175

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PROPERTY OF A GENTLEMAN ∑ 110

JACQUES ADNET 1901-1984 Cabinet, circa 1932 Mirrored glass, brass, chrome-plated metal, brass, rosewood-veneered wood, mahogany.

34 1/4 x 47 1/4 x 12 7/8 in (87 x 120 x 32.7 cm)

Estimate $ 2 0,0 0 0 - 3 0,0 0 0 LITERATURE

Art et Décoration (Paris), 1932, n.p.

Alain-René Hardy and Gaëlle Millet, Jacques Adnet, Paris, 2009, p. 203

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111

PIERRE CHAREAU 1883-1950 Stool, circa 1923 Mahogany and mahogany-veneered wood.

15 1/8 x 20 x 13 1/4 in (38.4 x 50.8 x 33.7 cm)

Estimate $15 ,0 0 0 - 2 0,0 0 0 LITERATURE

Mark Vellay and Kenneth Frampton, Pierre Chareau: Architecte-Mueblier 1883-1950, Paris, 1984, p. 318 for a similar example Brian Brice Taylor, Pierre Chareau, Designer and Architect, Berlin, 1998, p. 42, and pp. 68, 80 for a similar example

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

112

DAUM and LOUIS MAJORELLE 1859-1926 Large ‘marble glass’ vase, circa 1920-1922 Handblown colored glass , gold leaf inclusions, patinated wrought iron.

5 in (12.7 cm) high, 10 in (25.4 cm) diameter Glass produced by Daum, France and base produced by Louis Majorelle, France.

Underside of glass signed with ‘L. Majorelle’ and ‘Daum ‡ Nancy’.

Estimate $ 3 ,0 0 0 - 5 ,0 0 0 LITERATURE

Alastair Duncan, Louis Majorelle, Master of Art Nouveau Design, New York, 1991, p. 134, figs. 103-04 for similar examples

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113

JEAN BESNARD and ARY JEAN LEON BITTER 1889-1958, 1883-1973 Pair of large covered vases, circa 1930 Glazed earthenware.

Each: 27 3/8 in (69.5 cm) high Each incised with ‘Jean Besnard’ (2).

Estimate $ 3 0,0 0 0 - 5 0,0 0 0 PROVENANCE

Maurice Philbois, Paris Thence by descent

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114

PAUL DUPRÉ-LAFON 1900-1971 Wardrobe, 1930s Parchment-covered wood, mirrored glass, wood, brass.

77 x 24 x 79 in (195.6 x 61 x 200.7 cm)

Estimate $ 4 0,0 0 0 - 6 0,0 0 0 PROVENANCE

DeLorenzo Gallery, New York LITERATURE

Thierry Couvrat Desvergnes, Dupré-Lafon: décorateur des millionaires, Paris, 1990, p. 145 for a similar example of the doors

This work has been authenticated by the legal successors of Paul Dupré-Lafon.

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

115

JEAN LAMBERT-RUCKI 1888-1967 ‘Tête cubiste’, 1921 Oak, walnut, mahogany.

22 3/4 in (57.8 cm) high Base incised with ‘1921’.

Estimate $10,0 0 0 -15 ,0 0 0 PROVENANCE

Private American collection Thence by descent, circa 1982 LITERATURE

Jacques de Vos, Marc-André Ruan, Jean-Pierre Tortil, Jean Lambert-Rucki 1888-1967, Paris, 1988, p. 15 for a similar example

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116

ANDRÉ SORNAY 1902-2000 Stool, 1930s Mahogany, hide.

17 3/4 in (45 cm) high, 12 3/4 in (32.5 cm) diameter Incised with ‘SORNAY’.

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE

Chenu-Scrive-Bérard, Lyon, ‘da Majarolle à Sornay’, October 27, 2003, lot 333

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117

118

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

117

MAURICE DAURAT (1880-1969)

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

118

MAURICE DAURAT (1880-1969)

Centerpiece, circa 1927

Tureen, circa 1929-1932

Hammered pewter.

Pewter.

3 1/2 in (9 cm) high, 11 in (28 cm) diameter

3 7/8 in (10 cm) high, 10 5/8 in (27 cm) diameter

Underside incised with ‘No 3102/Maurice Daurat’.

Underside impressed with artist’s rounded monogram ‘MD’ and with ‘M. DAURAT’.

Estimate $ 6 ,0 0 0 - 8 ,0 0 0

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

LITERATURE

LITERATURE

Catherine Baumgartner, Maurice Daurat : Orfèvre-sculpteur Art Déco, Paris, 2009, p. 89

Catherine Baumgartner, Maurice Daurat : Orfèvre-sculpteur Art Déco, Paris, 2009, p. 102 for a similar example

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PROPERTY FROM THE COLLECTION OF WENDY COOK

119

LUCIE RIE 1902-1995

The present lot was a wedding gift from Sybil Burton, Richard Burton’s

Cylindrical bulb bowl, 1962

then wife, to the satirist Peter Cook and Wendy Cook on the occasion of

Stoneware, white pitted and flowing glaze, manganese elements in the body

their wedding in New York in 1963. This lot is being sold together with a

creating a brown speckle.

handwritten letter of provenance and a book by Wendy Cook, So Farewell

4 3/8 in (11 cm) high, 9 1/4 in (23.5 cm) diameter Impressed with artist’s seal.

Then Peter Cook, with photographs of the wedding and Sybil Burton.

Estimate $ 6 ,0 0 0 - 9,0 0 0 LITERATURE

John Houston and David Cripps, Lucie Rie, London, 1981, p. 82, fig. 163 for a similar example

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120

EMILE-JACQUES RUHLMANN 1879-1933 Side chair, circa 1925 Mahogany, fabric.

32 3/4 x 16 3/4 x 21 1/2 in (83.2 x 42.5 x 54.6 cm) Underside branded with ‘Ruhlmann’.

Estimate $ 8 ,0 0 0 -12,0 0 0 LITERATURE

Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984, pp. 92, 125, 149, 254 for a similar example Emmanuel Bréon, Jacques-Émile Ruhlmann: The Designer’s Archives, Book one: Furniture, Paris, 2004, p. 47 for a similar example Florence Camard, Jacques-Émile Ruhlmann, New York, 2011, p. 207 for a similar example

The present model side chair, with its cabriole legs and thick cushioned seat, is very similar to the ‘Drouant’ chair (Ref. 1 NR), which Ruhlmann designed in 1924 for the dining room of the Drouant restaurant in Paris.

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121

122

PROPERTY OF A GENTLEMAN

121

JEAN BESNARD 1889-1958

PROPERTY OF A GENTLEMAN

122

JEAN BESNARD 1883-1973

Footed bowl, circa 1931

Footed dish, circa 1931

Earthenware, white crawling glaze.

Earthenware, white crawling glaze.

3 3/8 (8.6 cm) high, 11 7/8 in (30.2 cm) diameter

4 5/8 x 19 1/2 x 16 1/8 in (11.7 x 49.5 x 41 cm)

Incised with ‘jB/FRANCE’.

Painted with artist’s monogram and ‘FRANCE’.

Estimate $ 3 ,0 0 0 - 5 ,0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

PROVENANCE

PROVENANCE

Tajan, Paris, ‘Arts Décoratifs Du 20e Siècle’, June 28, 2005, lot 197

Tajan, Paris, ‘Arts Décoratifs Du 20e Siècle’, June 23, 2005, lot 42

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PROPERTY OF A GENTLEMAN

123

JEAN BESNARD 1883-1973 Bowl, 1931 Earthenware, white crawling glaze.

3 3/4 in (9.5 cm) high, 11 in (27.9 cm) diameter Incised with ‘jean/Besnard/1931’.

Estimate $ 3 ,0 0 0 - 5 ,0 0 0

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124

JACQUES ADNET 1901-1984 Pair of armchairs, circa 1960 Leather-covered metal, fabric, brass (2).

Each: 30 3/8 x 25 7/8 x 29 1/2 in (77.3 x 66 x 75 cm)

Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE

Private collection, France

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

125

JEAN ROYÈRE 1902-1981 Set of three ‘Hirondelle’ wall lights, circa 1953 Painted metal, painted tubular metal, brass, paper shades.

Two-armed: 22 5/8 x 17 3/4 x 7 7/8 in (57.5 x 45.1 x 20 cm); three-armed: 22 5/8 x 18 3/8 x 12 1/2 in (57.5 x 46.7 x 31.8 cm); five-armed: 36 1/4 x 28 x 15 in (92.1 x 71.1 x 38.1 cm) Comprising a two-armed, a three-armed and a five-armed wall light (3).

Estimate $ 4 0,0 0 0 - 6 0,0 0 0 PROVENANCE

Phillips de Pury & Company, New York, ‘Design & Design Art’, December 14, 2006 lot 81 Galerie Patrick Seguin, Paris, 2008 LITERATURE

Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, p. 48-49 for the three-armed model Jean Royère, Décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p.20 for the three-armed model, and p. 60 for the three and five-armed examples Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 192-193 for the three-armed model

Jean Royère presented the five-arm model of ‘Hirondelle’ at the 1953 Salon des arts ménagers, an annual Paris exhibition which showcased innovations in domestic living.

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

126

JEAN ROYÈRE 1902-1981 Set of four ‘croisillon’ side chairs, circa 1947 Painted tubular metal, painted metal, painted wood, fabric (4).

Each: 31 7/8 x 18 1/2 x 18 7/8 in (81.2 x 47 x 47.8 cm)

Estimate $ 2 0, 0 0 0 - 3 0,0 0 0 PROVENANCE

DeLorenzo Gallery, New York, 2002 LITERATURE

Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 120, 123

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127

128

127

LINE VAUTRIN 1913-1997

128

LINE VAUTRIN 1913-1997

‘Mer’ box, 1965

‘Mythe du Serpent’ box, circa 1965

Silvered bronze, mother-of-pearl, mirrored glass.

Gilt bronze, mother-of-pearl, cork.

5/8 x 3 3/8 x 2 1/4 in (1.6 x 8.6 x 5.7 cm)

1 3/4 in (4.4 cm) high, 4 1/4 in (10.8 cm) diameter

Underside engraved with ‘Line Vautrin’.

Underside impressed with ‘LINE/VAUTRIN’.

Estimate $ 6 ,0 0 0 - 8 ,0 0 0

Estimate $ 8 , 0 0 0 -10, 0 0 0

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129

130

129

LINE VAUTRIN 1913-1997

130

LINE VAUTRIN 1913-1997

‘De la Poudre et des Bals’ box, circa 1960

‘Dame à la Licorne’ box, circa 1955

Gilt bronze, cork.

Gilt bronze.

1 1/8 x 7 x 2 1/8 in (3 x 17.9 x 5.3 cm)

1 1/8 x 7 1/8 x 2 1/2 in (3 x 18.1 x 6.5 cm)

Underside impressed with ‘LINE/VAUTRIN’.

Underside impressed with ‘LINE/VAUTRIN’.

Estimate $ 8 ,0 0 0 -10,0 0 0

Estimate $ 8 , 0 0 0 -10,0 0 0 LITERATURE

Line Vautrin and Patrick Mauriès, Line Vautrin: Miroirs, Paris, 2004, p. 11

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131

MARIA PERGAY b. 1930 ‘Ring’ chair, circa 1968 Stainless steel.

32 x 28 x 23 in (81.3 x 71.1 x 58.4 cm) Produced by Design Steel, France.

Together with a certificate of authenticity from Maria Pergay.

Estimate $ 3 5 ,0 0 0 - 4 5 ,0 0 0 LITERATURE

‘Societé de Création et de Diffusion de Meubles Contemporains’, Design Steel, cat., Paris, ref. no. 030 for a drawing Suzanne Demisch, Maria Pergay: Between Ideas and Design, Verona, 2006, front and back covers pp. 28, 36-37, 82-83, 141, 143 Adam Lindemann, Collecting Design, Cologne, 2010, p. 87 Suzanne Demisch and Stephane Danant, Maria Pergay: Complete Works 1957-2010, Bologna, 2011, pl. 24-25

Among her earliest designs in stainless steel, Maria Pergay’s ‘Ring’ chair comprises three concentric rings of stainless steel above four legs. As Suzanne Demisch has mentioned, Pergay was inspired to create her iconic chair while peeling an orange.

“If my design stays the course, if my vision stays the course, it’s because the metal guides it. It’s the metal that gives it this strength.”

MARIA PERGAY

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70788

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132

MARIA PERGAY b. 1930 Cocktail table, 1970s Brushed stainless steel, mirrored glass.

14 x 43 1/8 x 43 1/8 in (35.6 x 109.5 x 109.5 cm) Produced by Design Steel, France.

Estimate $15 ,0 0 0 - 2 0,0 0 0 LITERATURE

‘Societé de Création et de Diffusion de Meubles Contemporains’, Design Steel, cat., Paris, ref. no. 025 for a drawing Suzanne Demisch, Maria Pergay: Between Ideas and Design, Verona, 2006, p. 142 Suzanne Demisch and Stephane Danant, Maria Pergay: Complete Works 1957-2010, Bologna, 2011, pl. 18

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¨

133

SAMUEL MARX 1885-1965 Set of four side chairs, circa 1950 Ash, acrylic, printed vinyl (4).

Each: 30 3/4 x 17 1/4 x 21 in (78.1 x 43.8 x 53.3 cm)

Estimate $7,0 0 0 - 9,0 0 0 LITERATURE

Liz O’Brien, Ultra Modern: Samuel Marx Architect, Designer, Art Collector, New York, 2007, pp. 86, 200 for similar examples

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134

FRANK LLOYD WRIGHT 1869-1959 Bedroom desk, designed for the J.A. Sweeton House, Cherry Hill, New Jersey, circa 1950 Redwood-veneered plywood.

32 1/8 x 44 7/8 x 23 15/16 in (81.6 x 114 x 60.8 cm) Together with a photocopy of Wright’s drawings for the Sweeton house.

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE

Sweeton House, Cherry Hill, New Jersey Private collection, Ohio Wright, Chicago,’Modern + Contemporary Design’, March 28, 2006, lot 279 LITERATURE

Bruce Brooks Pfeiffer, Frank Lloyd Wright Monograph 1942-1950, Vol. 7, Tokyo, 1988, pp. 305-07

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135

K.E.M. WEBER 1889-1963 ‘Airline’ armchair, from the projection room, Walt Disney Studios, Burbank, 1934-1935 Birch, ash, vinyl, leather, chrome-plated metal.

30 7/8 x 24 5/8 x 31 1/8 in (78.5 x 62.5 x 79 cm) Manufactured by Airline Chair Company, U.S.A. Underside of arm with inventory paper label ‘WALT DISNEY PRODUCTIONS/2400 ALAMEDA AVE./NO. 3793/ BURBANK, CALIFORNIA’.

Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE

Walt Disney Studios, Burbank, California Mark McDonald, New York, May 31, 2005 LITERATURE

David Gebhard and Harriette Von Breton, K.E.M. Weber: The Moderne in Southern California 1920-1941, Santa Barbara, 1976, p. 82 Lisa Phillips and David Hanks, et. al., High Styles: Twentieth-Century American Design, exh. cat., Whitney Museum of American Art, New York, 1985, p. 121 J. Stewart Johnson, American Modern 1925-1940: Design for a New Age, New York, 2000, pp. 139, 175 Charlotte Benton, Tim Benton and Ghislaine Wood, Art Deco 1910-1939, exh. cat., The Victoria and Albert Museum, London, 2004, p. 360

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136

Attributed to JEAN PROUVÉ 1901-1964 Large pair of doors, circa 1930-1939 Iron, glass (2).

One: 130 1/4 x 28 3/4 x 3 1/4 in (330.8 x 73 x 8.3 cm); the other: 130 1/4 x 33 1/2 x 2 3/4 in (330.8 x 85.1 x 7 cm)

Estimate $ 2 5 ,0 0 0 - 3 5 ,0 0 0 PROVENANCE

Phillips de Pury & Company, New York, ‘Design and Design Art’, December 14, 2006, lot 40 LITERATURE

Peter Sulzer, Jean Prouvé: Œuvre Complète, Vol. 1: 1917-1933, Basel, 1999, pp. 192-93 for similar examples

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

137

MAXIME OLD 1910-1991 Pair of armchairs, 1953-1954 Sycamore, fabric (2).

Each: 33 7/8 x 25 1/4 x 25 1/4 in (86 x 64 x 64 cm)

Estimate $7,0 0 0 - 9,0 0 0 PROVENANCE

Amy Perlin Antiques, Bridgehampton, 2007 LITERATURE

Yves Badetz, Maxime Old: architecte-decorateur, Paris, 2000, pp. 202, 205

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138

CARLO ZAULI 1926-2002 ‘Sphere’, circa 1980 Stoneware, white Zauli glaze.

10 1/4 in (26 cm) high Incised with ‘Zauli’.

Estimate $ 4,0 0 0 - 6 ,0 0 0 PROVENANCE

Garth Clark Gallery, New York, 2004 LITERATURE

Garth Clark ed, Carlo Zauli, Garth Clark Gallery, New York, 2004, illustrated p. 37

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139

140

139

ANGELO MANGIAROTTI 1921-2012

140

ANGELO MANGIAROTTI 1921-2012

Tazza, 1960s

Footed bowl, 1962

Cast and polished bronze.

Cast and polished bronze.

3 1/2 in (9 cm) high, 16 3/4 in (42.6 cm) diameter

4 1/4 in (10.8 cm) high, 13 7/8 in (35.1 cm) diameter

Manufactured by Bernini, Italy. Underside cast with ‘BERNINI ITALY’

Manufactured by Bernini, Italy. Underside cast with ‘MANGIAROTTI’.

and ‘MANGIAROTTI’.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Estimate $ 2, 5 0 0 - 3 , 5 0 0 LITERATURE

Enrico D. Bona, Angelo Mangiarotti: Il Processo Del Construire, Milano 1980, p. 90, fig. 273, p. 113, fig. 334 Beppe Finessi, Su Mangiarotti – Architettura, design, scultura, Milan, 2002, pp. 146-47

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¨

141

MASSIMO VIGNELLI b. 1931 Ceiling light, model no. 2049/4, circa 1964 Anodized aluminum, fabric.

20 x 17 1/8 x 17 1/8 in. (50.8 x 43.5 x 43.5 cm) Manufactured by Arteluce, Italy.

Estimate $ 5 ,0 0 0 -7,0 0 0 PROVENANCE

Galerie kreo, Paris LITERATURE

Clémence Krzentowski and Didier Krzentowski, eds., The complete designers’ lights (1950-1990) 30 years of collecting, Paris, 2012, p. 169

The present model is part of a system of ceiling lights with fringes ranging in length from the ceiling to the floor.

Phillips de Pury & Company wish to thank Massimo Vignelli for his assistance in the cataloguing of the present lot.

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142

JULES WABBES 1919-1974

143

CARLO ZAULI 1926-2002

Pair of table lamps, circa 1970

‘Column’, 1981

Bronze, synthetic vellum shades (2).

Stoneware, white Zauli glaze.

Each: 25 1/2 in (64.8 cm) high, 16 in (40.6 cm) diameter

26 3/8 in (67 cm) high Incised twice with ‘Zauli’.

Estimate $10,0 0 0 -15 ,0 0 0 Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE

Marie Ferran-Wabbes, Jules Wabbes 1919-1974: Architecte d’Intérieur,

PROVENANCE

Brussels, 2002, p. 44

Garth Clark Gallery, New York, 2004 LITERATURE

Garth Clark ed, Carlo Zauli, Garth Clark Gallery, New York, 2004, illustrated p. 27

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144

ADO CHALE b. 1928 ‘Goutte d’eau’ coffee table, circa 1970 Bronze, painted metal.

12 1/2 x 46 5/16 x 22 3/4 in (31.8 x 117.6 x 57.8 cm)

Estimate $ 2 5 ,0 0 0 - 3 5 ,0 0 0 LITERATURE

Philippe Cruysmans, Ado Chale, Brussels, n.p. for a similar example

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

145

JEAN PROUVÉ 1901-1984 Pair of ‘Swing-Jib’ wall lights, circa 1947 Painted tubular metal, painted metal, wire.

Each: 11 3/4 x 1 7/6 x 41 3/4 in (29.8 x 5.5 x 106 cm) Manufactured by Les Ateliers Jean Prouvé, France (2).

Estimate $ 2 0,0 0 0 - 3 0,0 0 0 LITERATURE

Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 196, 200, 203, 205 Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, p. 374 - 377

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146

JEAN PROUVÉ 1901-1984 Bench, designed for the Centre d’études atomiques, Marcoule, circa 1955 Painted bent sheet steel, painted tubular steel, fabric.

28 3/4 x 56 1/4 x 17 3/4 in (73 x 143 x 45 cm) Manufactured by Les Ateliers Jean Prouvé, France.

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE

Centre d’études atomiques, Marcoule, France LITERATURE

Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Vol. 1, Paris, 2007, pp. 146, 202 Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, pp. 317, 326-29

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147

PIERRE JEANNERET 1896-1967 ‘Office table’ desk, model no. PJ-BU-02-A, designed for administrative buildings, Chandigarh, circa 1957-1958 Indian rosewood, leather, aluminum.

28 1/4 x 48 x 33 in (71.8 x 121.9 x 83.8 cm)

Estimate $18 ,0 0 0 - 2 8 ,0 0 0 PROVENANCE

Administrative building, Chandigarh, India LITERATURE

Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architeture, Paris, 2010, pp. 200-01, 572

148

PIERRE JEANNERET 1896-1967 ‘Office cane’ chair, model no. PJ-SI-28-A, designed for the Architects’ office, Chandigarh, circa 1955-1956 Teak, cane.

31 7/8 x 20 1/8 x 20 7/8 in (81 x 51 x 53 cm)

Estimate $ 4,0 0 0 - 6 ,0 0 0 PROVENANCE

Chandigarh, India LITERATURE

Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret: The Indian Adventure – Design-Art-Architecture, Paris, 2010, pp. 191, 343, 562

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147 148

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

149

SERGE MOUILLE 1922-1988 Three-armed wall light, circa 1953 Painted tubular metal, painted aluminum, brass.

33 in (83.8 cm) high, 64 1/2 in (163.8 cm) wide Produced by Atelier Serge Mouille, France.

Estimate $ 3 0,0 0 0 - 5 0,0 0 0 PROVENANCE

DeLorenzo Gallery, New York, 2005 LITERATURE

Pierre Émile Pralus, Serge Mouille a French Classic, Saint Cyr au Mont d’Or, 2006, p. 162

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150

LE CORBUSIER 1887-1965 Bookshelf and blackboard, designed for the student’s rooms of the la chambres d’étudiant del la Maison du Brésil, Cité Internationale Universitaire de Paris, 1957-1959 Bookshelf: Oak-veneered wood, oak; blackboard: oak, painted cork (2).

Bookshelf: 27 1/2 x 27 5/8 x 8 5/8 in (69.9 x 70.2 x 21.9 cm); blackboard: 27 1/2 x 55 x 4 1/2 in (69.9 x 139.7 x 11.4 cm)

Estimate $ 3 ,0 0 0 - 5 ,0 0 0 PROVENANCE

Maison du Brésil, Cité Internationale Universitaire de Paris Galerie Downtown, Paris Private collection, New York LITERATURE

Françoise Choay, `Vous montre le Pavillon du Brésil que Le Corbusier vient d’achever à la Cité Universitaire de Paris’, L’Oeil, September 1959, pp. 54-59 W. Boesiger, ed., Le Corbusier et son atelier 35 rue de Sèvres, Œuvre Complète 1957-1965, New York, 1990, pp. 192-99 Elisabeth Vedrenne, Le Corbusier: Mémoire de Style, Paris, 1998, pp. 66-67 `Le Corbu à La Cité U.’, L’Oeil, November 1998, pp. 70-75 Elisabeth Vedrenne, Le Corbusier, Paris, 1999, pp. 66-67

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151

CHARLOTTE PERRIAND 1903-1999 Set of four three-legged stools, for the l’Equipement de la Maison series, designed 1949 Pine.

Each: 15 1/4 in (38.7 cm) high, 12 3/4 in (32.4 cm) diameter Manufactured by BCB, France (4).

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 LITERATURE

Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, p. 243, pl. 47 Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005, p. 335, fig. 24 for a BCB prospectus, pp. 392, 400, 405, 456

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PROPERTY FROM A PRIVATE CALIFORNIA COLLECTOR

152

PIERRE JEANNERET 1896-1967 Bookcase with adjustable shelves, model no. PJ-R-26-A, designed for the University Library, Chandigarh, circa 1961-1962 Teak-veneered wood, teak, aluminum.

82 1/8 x 66 7/8 x 15 in (208.5 x 170 x 38.2 cm)

Estimate $10 0,0 0 0 -12 0,0 0 0 PROVENANCE

University Library, Chandigarh, India Artcurial – Briest – Poulain – F. Tajan, Paris, ‘Modern Design for Living: Prouvé – Perriand – Le Corbusier – Jeanneret’, April 15, 2008, lot 42 LITERATURE

Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret: The Indian Adventure – Design-Art-Architecture, Paris, 2010, pp. 377 detail, 378, 596

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153

LE CORBUSIER and BALKRISHNA DOSHI 1887-1965, b. 1927 Rare table, designed for the Institute of Indology, Ahmedabad, circa 1960 Teak, teak-veneered wood, painted tubular metal, painted metal.

28 3/8 x 42 1/8 x 42 1/8 in (72 x 107 x 107 cm)

Estimate $ 6 ,0 0 0 -10,0 0 0 PROVENANCE

Institute of Indology, Ahmedabad, India LITERATURE

Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret: The Indian Adventure – Design-Art-Architecture, Paris, 2010, p. 609 for a similar example

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154

JEAN PROUVÉ 1901-1984 Bed, model no. 102, designed for the Lycée Fabert, Metz, circa 1936 Painted bent sheet steel, oak, fabric.

25 3/4 x 93 1/4 x 36 1/4 in (65.5 x 236.7 x 92 cm) Manufactured by Les Ateliers Jean Prouvé, France.

Estimate $ 2 8 ,0 0 0 - 3 5 ,0 0 0 LITERATURE

Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, p. 124 Peter Sulzer, Jean Prouvé: Œuvre Complète, Vol. 2: 1934–1944, Basel, 2000, pp. 110-111, figs. 534.1,1 – 534.1,5 for drawings, specification sheets and period illustrations Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, pp. 354, 361

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

155

SERGE MOUILLE 1922-1988 Wall light, circa 1960 Painted aluminum, brass, painted steel.

23 x 34 1/4 x 8 7/8 in (58.4 x 87 x 22.5 cm) Manufactured by Atelier Serge Mouille and editioned by Steph Simon, France.

Estimate $ 3 ,0 0 0 - 4,0 0 0 PROVENANCE

Tajan, Paris, ‘Design’, Paris, May 17, 2004, lot 39 LITERATURE

Pierre Émile Pralus, Serge Mouille, A French Classic, Saint Cyr au Mont d’Or, 2006, p. 168 for a similar example

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156

PIERRE JEANNERET 1896-1967 ‘Public bench’, model no. PJ-SI-37-B, designed for the High Court, Chandigarh, circa 1959-1960 Teak, hide.

33 1/2 x 55 1/2 x 23 5/8 in (85 x 141 x 60 cm)

Estimate $ 5 ,0 0 0 - 8 ,0 0 0 PROVENANCE

High Court, Chandigarh, India LITERATURE

Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architecture, Paris, 2010, pp. 162-63, 566

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157

JEAN PROUVÉ 1901-1984 Coat rack, designed for Cité Technique, Cachan, 1955 Painted bent sheet steel, painted tubular aluminum, oak, painted chipboard.

Together with twelve painted metal coat hangers.

58 7/8 x 83 3/8 x 22 5/8 in (149.7 x 211.7 x 57.6 cm) Manufactured by Les Ateliers Jean Prouvé, France.

Estimate $ 2 0,0 0 0 - 3 5 ,0 0 0 PROVENANCE

Centre National d’Enseignement, Cité Technique, Cachan. France LITERATURE

Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, p. 463

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158

LE CORBUSIER and PIERRE JEANNERET 1887-1965, 1896-1967 Pair of ‘Advocate and Press’ armchairs, model no. LC/PJ-SI-41-A, designed for the High Court, Chandigarh, circa 1955-1956 Teak, hide (2).

Each: 35 x 24 7/8 x 27 1/8 in (89 x 63.3 x 69 cm)

Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE

High Court, Chandigarh, India LITERATURE

Le Corbusier, My Work, London, 1960, p. 241 Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architeture, Paris, 2010, pp. 168-169, 567

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159

JEAN PROUVÉ 1901-1984 ‘Cité’ table, model no. 500, designed for the Bourse Maritime, Paris, 1953 Painted tubular steel, bent sheet steel, oak.

28 1/2 x 58 7/8 x 20 7/8 in (72.4 x 149.8 x 52.9 cm) Manufactured by Les Ateliers Jean Prouvé, France.

Estimate $ 4 ,0 0 0 - 6 ,0 0 0 PROVENANCE

Bourse Maritime, Paris LITERATURE

Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005, p. 232, fig. 1221.3 Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, pp. 404, 412-13

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160

JEAN PROUVÉ 1901-1984 ‘Métropole’ chair, model no. 306, circa 1952 Painted bent metal, painted tubular metal, vinyl, aluminum, rubber.

31 1/4 x 16 1/2 x 18 1/2 in (79.5 x 42 x 47 cm) Manufactured by Les Ateliers Jean Prouvé, France.

Estimate $ 4,0 0 0 - 8 ,0 0 0 LITERATURE

Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, pp. 235, 267

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

161

SERGE MOUILLE 1922-1988 Set of four wall lights, circa 1960 Painted aluminum, painted tubular metal, brass.

Each: 21 x 8 1/4 x 5 1/2 in (53.3 x 21 x 14 cm) Manufactured by Atelier Serge Mouille, France (4).

Estimate $ 8 ,0 0 0 -12,0 0 0 LITERATURE

Pierre Émile Pralus, Serge Mouille, A French Classic, Saint Cyr au Mont d’Or, 2006, p. 169

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162

JEAN PROUVÉ 1901-1984 ‘Cité’ table, model no. 20, circa 1933 Painted bent sheet steel, painted tubular steel, oak, aluminum.

28 7/8 x 39 1/4 x 27 1/2 in (73.4 x 99.7 x 70 cm) Manufactured by Les Ateliers Jean Prouvé, France.

Estimate $ 8 ,0 0 0 -12,0 0 0 LITERATURE

Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, p. 131 for a similar example Peter Sulzer, Jean Prouvé: Œuvre Complète, Vol. 1: 1917-1933, Basel, 2000, p. 204, fig. 258.2, p. 206 fig. 158.2,1 Peter Sulzer, Jean Prouvé: Œuvre Complète, Vol. 2: 1934-1944, Basel, 2000, p. 39, fig. 283.2 Peter Sulzer, Jean Prouvé: Œuvre Complète, Vol. 3: 1944-1954, Basel, 2005, p. 233, fig. 1221.2,1 Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 404, 410, 412 for drawings

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163

LE CORBUSIER and PIERRE JEANNERET 1887-1965, 1896-1967 ‘Judges’ high-back armchair, model no. LC/PJ-SI-43-A, designed for the High Court, Chandigarh, circa 1955-1956 Teak, hide.

48 7/8 x 27 7/8 x 27 1/2 in (124 x 71 x 70 cm)

Estimate $ 6 ,0 0 0 - 9,0 0 0 PROVENANCE

High Court, Chandigarh, India LITERATURE

Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret: The Indian Adventure – Design-Art-Architecture, Paris, 2010, pp. 174-77, 567

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164

PIERRE JEANNERET 1896-1967

165

PIERRE JEANNERET 1896-1967

‘Easy’ armchair, model no. PJ-SI-29-A, designed for Administrative buildings,

‘Easy’ armchair, model no. PJ-SI-29-A, designed for Administrative buildings,

Chandigarh, circa 1955-1956

Chandigarh, circa 1955-1956

Teak, cane.

Teak, cane.

27 3/8 x 21 5/8 x 27 3/4 in (69.4 x 55 x 70.4 cm)

27 1/2 x 20 7/8 x 27 7/8 in (69.8 x 53.3 x 70.7 cm)

Estimate $ 5 ,0 0 0 - 8 ,0 0 0

Estimate $ 5 , 0 0 0 - 8 , 0 0 0

PROVENANCE

PROVENANCE

Administrative building, Chandigarh, India

Administrative building, Chandigarh, India

LITERATURE

LITERATURE

Norma Evenson, Chandigarh, Los Angeles, 1966, pls. 82-83

Norma Evenson, Chandigarh, Los Angeles, 1966, pls. 82-83

Sarbjit Bahga and Surinder Bahga, Le Corbusier and Pierre Jeanneret: Footprints on the

Sarbjit Bahga and Surinder Bahga, Le Corbusier and Pierre Jeanneret: Footprints on the

Sands of Indian Architecture, New Delhi, 2000, p. 258

Sands of Indian Architecture, New Delhi, 2000, p. 258

Kiran Joshi, ed., Corbusier’s Concrete: Challenges Of Conserving Modern Heritage, New

Kiran Joshi, ed., Corbusier’s Concrete: Challenges Of Conserving Modern Heritage, New

Delhi, 2005 pp. 158-59

Delhi, 2005 pp. 158-59

Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret: The Indian

Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret: The Indian

Adventure – Design-Art-Architecture, Paris, 2010, pp. 342-43, 352-55, 375, 563

Adventure – Design-Art-Architecture, Paris, 2010, pp. 342-43, 352-55, 375, 563

164

165

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166

GEORGE NAKASHIMA 1905-1990 Wall-mounted cabinet, circa 1958 American black walnut, Pandanus cloth.

14 1/4 x 47 7/8 x 13 1/4 in (36.1 x 121.7 x 33.6 cm) Underside signed in red crayon ‘Krosnick’.

Estimate $ 8 ,0 0 0 -10,0 0 0 PROVENANCE

Dr. Arthur and Evelyn Krosnick, Bucks County, Pennsylvania Phillips de Pury & Company, New York, ‘Design’, December 13, 2007, lot 50 LITERATURE

George Nakashima, The Soul of a Tree, A Woodworker’s Reflections, Tokyo, 1981, p. 178 for a similar example Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 174 for a similar example

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Design_NY_Dec12_Lot02_62-117.indd 89

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Design_NY_Dec12_Lot02_62-117.indd 90

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167

KAKUREZAKI RYUICHI b. 1950 Dish, 2010 Stoneware, marble-type ash glaze.

5 x 33 1/2 x 15 1/2 in (12.7 x 85.1 x 39.4 cm) Incised with artist’s mark. Together with a signed box.

Estimate $ 5 ,0 0 0 -7,0 0 0

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168

GEORGE NAKASHIMA 1905-1990 ‘Conoid Bench with Back’, 1976 American black walnut, hickory, two East Indian rosewood butterfly keys.

29 3/4 × 85 × 40 1/2 in (75.6 × 215.9 × 102.9 cm) Together with a copy of the original order card from the George Nakashima studio.

Estimate $ 3 0,0 0 0 - 4 0,0 0 0 PROVENANCE

Margaret and William Hahn, Annapolis, Maryland LITERATURE

George Nakashima, The Soul of a Tree, A Woodworker’s Reflections, Tokyo, 1981, p. 151 for a drawing Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 157 for a similar example Steven Beyer, George Nakashima and the Modernist Moment, exh. cat., James A. Michener Museum, Doylestown, 2001, p. 35 for a similar example Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 173, 176 for similar examples Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 132 for a similar example

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George Nakashima’s ‘Conoid’ line of furniture was introduced in 1961 and named after the ‘Conoid’ studio at Nakashima’s workshop in New Hope, Pennsylvania. The studio’s curved vault and open space inspired a need for more flexibility and expansion in Nakashima’s own designs.

In the ‘Conoid Bench with Back’, Nakashima frees himself from his previous bench designs and their Windsor predecessors by providing a lower seat and an overhanging portion of a single wide slab to act as an integrated end table. Each bench is uniquely designed around the shape and graining of a single slab. The placement of the hickory spindles, different for each bench, follows neither the line of the traditional Windsor crest rail, nor that of the free-edge walnut slab, and exhibits Nakashima’s extraordinary sensibility for proportion.

LAYOUT/RETOUCHING NOTE

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169

LUCIE RIE 1902-1995 Small bowl, circa 1979 Porcelain, gray glaze, pale rim, pink inlaid and blue bands.

2 1/2 in (6.4 cm) high, 4 1/4 in (10.7 cm) diameter Impressed artist’s seal.

Estimate $ 3 ,0 0 0 - 4,0 0 0 PROVENANCE

Purchased directly from the artist LITERATURE

John Houston and David Cripps, Lucie Rie, London, 1981, p. 87, fig. 199 for a similar example

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170

IIZUKA ROKANSAI 1890-1958 ‘Fuku-fukuro’ (Lucky bag), a fower basket, circa 1940 Bamboo, laquered bamboo stem holder.

9 1/2 in (24 cm) high, 9 1/2 in (24 cm) diameter Incised with artist’s marks. Together with signed wooden box.

Estimate $ 8 , 0 0 0 -10,0 0 0 LITERATURE

Iizuka Rokansai: Master of Modern Bamboo Crafts, exh. cat., Tochigi Prefectural Museum of Fine Arts, 1989, n.p. for similar examples

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171

TAKASHI IKURA 1962 ‘Where Shadow Meets Form 2009-04’, 2009 Semi-porcelain.

7 x 5 3/8 x 5 1/4 in (17.8 x 13.7 x 13.4 cm) Together with original signed wooden box.

Estimate $ 4 ,0 0 0 - 6 ,0 0 0 EXHIBITED

‘Art Crafting Towards the Future’, 21st Century Museum of Contemporary, Kanazawa, April 28 - August 31, 2012 LITERATURE

Art Crafting Towards the Future, exh. cat., 21st Century Museum of Contemporary, Kanazawa, 2012, illustrated p. 40

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172

GEORGE NAKASHIMA 1905-1990 Early ‘Minguren II’ end table, 1968-1969 American black walnut, two East Indian rosewood butterfly keys.

20 7/8 x 32 1/4 x 28 1/2 in (53.3 x 81.8 x 72.5 cm) Underside signed in black marker with ‘LOVELAND’. Together with a copy of the original order card from the George Nakashima Studio.

Estimate $ 8 , 0 0 0 -12, 0 0 0 PROVENANCE

Tom Loveland, Governor’s Island, New York LITERATURE

George Nakashima, The Soul of a Tree, A Woodworker’s Reflections, Tokyo, 1981, pp. 19091 for a similar example Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 131 for a similar example

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173

AKIO NIISATO AND TATSUO MIYAJIMA b. 1977, b. 1957 ‘Bowl for light’, 2011 Glazed porcelain.

5 3/8 in (13.5 cm) high, 6 3/4 in (17 cm) diameter Incised with artist’s marks. Together with original signed wooden box.

Estimate $ 3 , 5 0 0 - 4, 5 0 0 EXHIBITED

‘Revalue Nippon Project’, Ibaraki Ceramic Art Museum, Kasama, 2011

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174

TAIZO KURODA b. 1946 Tall-foot plate with crack, 2008 Unglazed porcelain.

7 3/4 in (19.8 cm) high, 15 3/8 in (39 cm) wide Incised with ‘Taizo/08’ and artist’s mark. Together with the original signed wooden box.

Estimate $7, 0 0 0 -10,0 0 0 LITERATURE

Philip Jodidio, Taizo Kuroda, New York, 2009, p. 34 for a similar example

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175

SHINOBU KAWASE b. 1950 ‘Soro’ bowl, 2010 Porcelain, celadon glaze.

5 1/2 in (14 cm) high, 12 7/8 in (32.8 cm) wide Together with original signed wooden box.

Estimate $ 5 ,0 0 0 -7,0 0 0 EXHIBITED

‘Ambient Green Flow – The Emergence and Rise of East Asian Celadon’, New Taipei City Yingge Ceramics Museum, 2011 LITERATURE

Ambient Green Flow – The Emergence and Rise of East Asian Celadon, exh. cat., New Taipei City Yingge Ceramics Museum, 2011, illustrated p. 162

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176

SUEHARU FUKAMI b. 1947 ‘Sei’, circa 1996 Porcelain, Seihakuji celadon glaze, walnut base.

30 5/8 x 30 3/8 x 7/8 in (77.8 x 77 x 2.5 cm); pedestal: 8 5/8 x 8 5/8 in (21.9 x 21.9 cm) Incised under glaze with ‘1 / 10S. Fukami’. Together with signed wooden box.

Estimate $10, 0 0 0 -14,0 0 0 LITERATURE

“Fukami Sueharu,” L’Toh’, vol. 81, July 25, 1993, illustrated n.p.

White porcelain and Celadon, exh. cat., Ibaraki Ceramic Art Museum catalogue, no.

96, 2003, illustrated n.p.

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177

TAKASHI IKURA 1962 ‘Where Shadow Meets Form 2012-03’, 2012 Semi-porcelain.

6 3/4 x 6 1/2 x 6 1/2 in (17 x 16.4 x 16.5 cm) Together with original signed wooden box.

Estimate $ 4,0 0 0 - 6 ,0 0 0 EXHIBITED

‘Art Crafting Towards the Future’, 21st Century Museum of Contemporary Art, Kanazawa, April 28 - August, 31, 2012

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178

KATSUYO AOKI b. 1972 ‘Manuscript II’, 2011 Cast and carved porcelain, glaze.

67 x 18 1/2 x 7 in (170.2 x 47 x 17.8 cm) Together with a certificate of authenticity from Roentgenwerke AG.

Estimate $12,0 0 0 -16 ,0 0 0 PROVENANCE

Roentgenwerke AG, Tokyo EXHIBITED

‘Art Crafting Towards the Future’, 21st Century Museum of Contemporary, Kanazawa, April 28 - August 31, 2012

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179

FRANÇOIS-XAVIER LALANNE 1927-2008 ‘Brebis’, circa 1993 Epoxy stone, bronze.

35 x 39 5/8 x 15 3/8 in (89 x 100.5 x 39 cm) Produced by Landowski Fondeur, France. Number 48 from the edition of 250.

Head impressed with ‘48 / 250 fxl LALANNE’ and right-facing leg impressed ‘L’.

Estimate $ 8 0,0 0 0 -10 0,0 0 0 PROVENANCE

Private collection, Switzerland Artcurial, (Paris) `Art Contemporain’ June 8, 2006, lot 344 LITERATURE

Daniel Marchessau, Les Lalanne, Paris, 1998, pp. 37, 57, 115, and 146 Daniel Abadie, Lalanne(s), Paris, 2008, pp. 186-91, 322, 325, 335 Les Lalanne at Fairchild, exh. cat., Paul Kasmin Gallery, New York, 2010, pp. 5-10 Les Lalanne, exh. cat., Museé des Arts Décoratifs, Paris, 2010, pp. 142-43 Paul Kasmin, Claude & François-Xavier Lalanne: Art/Work/Life, New York, 2012, throughout

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180

ANDRÉ DUBREUIL b. 1951 Unique stool, 1986 Concrete reinforcement steel rods.

27 1/4 x 39 1/8 x 17 7/8 in (69.3 x 99.3 x 45.7 cm)

Estimate $12,0 0 0 -15 ,0 0 0 PROVENANCE

Collection of the artist, Bassett Road, London, 1986 Collection of the artist, Beethoven Street, London Celia Lyttelton, London LITERATURE

Cut and Shut: The History of Creative Salvage, London, 2012, illustrated p. 120

André Dubreuil defines his work as “Super Classical” (Cut and Shut: The History of Creative Salvage, London, 2012, p. 120), which is borne out in his practice (and even by him naming his dog after Emile-Jacques Ruhlmann). Dubreuil moved to London in 1969 and the present stool, which was one of Dubreuil’s earliest pieces, was part of the artist’s collection when he lived on Bassett Road and then Beethoven Street, London. He later gifted it to the artist Celia Lyttelton. Dubreuil prefers to work in three dimensions. He produces little on paper, eschewing drafts, and works freehand by sculpting the pieces in space. He has described working with concrete reinforcement rods: “I did love those concrete rods. It was like drawing, but in three dimensions. It’s amazing how you get volume” (ibid.). In 1992, Dubreuil left London for the Dordogne where he continues to live and work.

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PROPERTY FROM THE COLLECTION OF SARA AND DAVID LIEBERMAN

181

OLGA DE AMARAL b. 1932 ‘Umbra 4’, 1996 Painted fabric, silver leaf, acrylic, mounted on board.

61 3/8 x 20 1/8 in (156 x 51 cm) Signed on the verso in black pen with ‘834 c/“UMBRA 4”/Olga de Amaral/1996’.

Estimate $16 ,0 0 0 - 24 ,0 0 0 PROVENANCE

Bellas Artes, Santa Fe, New Mexico, July 29, 1997

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PROPERTY FROM THE COLLECTION OF SARA AND DAVID LIEBERMAN

182

GORDON BALDWIN b. 1932 ‘Reach 1’, ‘Tall Articulated 1’ and ‘Tall Articulated 2’, a grouping, 1998 Earthenware, matte and shiny black glazes.

Tallest: 47 1/4 in (120 cm) high Two painted with ‘GB 98’ (3).

Estimate $18 ,0 0 0 - 24 ,0 0 0 PROVENANCE

Barrett Marsden Gallery, London, June 1999 EXHIBITED

‘Shared Passion: Sara and David Lieberman Collection of Contemporary Ceramics and Craft’, ASU Art Museum - Nelson Fine Arts Center, Tempe, February 8 - May 18, 2003 Barrett Marsden Gallery, London, 11 June - 24 July, 1999

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PROPERTY FROM THE COLLECTION OF SARA AND DAVID LIEBERMAN

183

JOHN MCQUEEN b. 1943 ‘Fundamentalism’, 1995 White pine bark, waxed string.

24 in (61 cm) high

Estimate $ 5 ,0 0 0 -7,0 0 0 PROVENANCE

Perimeter Gallery, Chicago

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PROPERTY FROM THE COLLECTION OF SARA AND DAVID LIEBERMAN

184

SHEILA HICKS b. 1934 ‘Magnetic Love Affair’, 1998 Fabric (2).

Each: 13 in (33 cm) high

Estimate $10,0 0 0 -14,0 0 0 PROVENANCE

Brown Grotta Arts, SOFA Chicago, April 1998 EXHIBITED

Brown Grotta Arts, SOFA Chicago, April 1998

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PROPERTY FROM THE COLLECTION OF SARA AND DAVID LIEBERMAN

185

YASUHISA KOHYAMA b. 1936 ‘Ceramic 4’, 1998 Stoneware, Shigaraki clay with ash glazes.

19 x 17 x 4 1/4 in (48.3 x 43.2 x 10.8 cm) Incised with artist’s mark.

Estimate $ 6 ,0 0 0 - 9,0 0 0 PROVENANCE

Brown Grotta Arts, SOFA, Chicago, April 1998 EXHIBITED

Brown Grotta Arts, SOFA, Chicago, April 1998 LITERATURE

Joe Earle, Contemporary Clay: Japanese Ceramics for the New Century, Boston, 2005, front cover, p. 50 for a similar example

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PROPERTY FROM THE COLLECTION OF SARA AND DAVID LIEBERMAN

186

RUTH DUCKWORTH 1919-2009 ‘Untitled’, model no. 5591097, 1994 Porcelain, glaze.

33 1/4 x 6 1/2 x 9 1/4 in (84.5 x 16.5 x 23.5 cm) Marked in pen with ‘5591097’.

Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE

Bellas Artes, Santa Fe, New Mexico, August 16, 2000 EXHIBITED

‘Ruth Duckworth – New Work’, Bellas Artes Gallery, 2000 ‘Shared Passion: Sara and David Lieberman Collection of Contemporary Ceramics and Craft’, ASU Art Museum, Nelson Fine Arts Center, Tempe, February 8–May 18, 2003 LITERATURE

Jo Lauria and Tony Birks, Ruth Duckworth Modernist Sculptor, exh. cat., Museum of Arts and Design, New York, 2005, illustrated p. 143, pl. 147

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PROPERTY FROM THE COLLECTION OF SARA AND DAVID LIEBERMAN

187

FERNE JACOBS b. 1942 ‘Shin’, 1996 Coiled waxed linen thread.

24 x 20 x 10 in (61 x 50.8 x 25.4 cm)

Estimate $ 6 ,0 0 0 - 9,0 0 0 PROVENANCE

Hand and the Spirit Gallery, Scottsdale, Arizona EXHIBITED

‘Intertwined: Contemporary Baskets from the Sara and David Lieberman Collection’, ASU Art Museum - Nelson Fine Arts Center, Arizona State University, Tempe, December 10 , 2005 - April 1, 2006 LITERATURE

Intertwined: Contemporary Baskets from the Sara and David Lieberman Collection, exh. cat., ASU Art Museum - Nelson Fine Arts Center, Arizona State University, Tempe, 2005, illustrated p. 28

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PROPERTY FROM THE COLLECTION OF SARA AND DAVID LIEBERMAN

188

NICHOLAS RENA b. 1963 ‘All Other Routes’, 2003 Press-molded earthenware, painted and polished.

7 1/2 x 22 1/4 x 10 in (19.1 x 56.5 x 25.4 cm)

Estimate $ 5 ,0 0 0 -7,0 0 0 PROVENANCE

Barrett Marsden Gallery, London, October 2003 EXHIBITED

‘Transit Space’, Barrett Marsden Gallery, October 24 - November 22, 2003

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189

RICK OWENS b. 1962 Pair of ‘Stag’ benches, circa 2006 Stained plywood, stained wood, fallow deer antlers.

One bench: 53 1/2 x 44 1/4 x 28 1/2 in (135.9 x 112.4 x 72.4 cm); other bench: 49 5/8 x 43 x 28 1/4 in (126 x 109.2 x 71.8 cm) Produced by Rick Owens, France. Number 4 from the edition of 20 pairs. Each bench with metal plaque with facsimile signature ‘Rick Owens’ and ‘4 / 20’ (2).

Estimate $ 2 0,0 0 0 - 2 5 ,0 0 0 PROVENANCE

Jousse Entreprise, Paris, 2007 Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 143 for a similar example Carol Kino, `Feigning Domesticity,’ Cultured, Summer 2012, p. 71 for a similar example

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190

MARC NEWSON b. 1963 Pair of ‘Wicker’ chairs, designed 1988 Wicker, powder-coated aluminum, chrome-plated aluminum.

Each: 29 1/2 x 26 3/8 x 34 1/4 in (75 x 67 x 87 cm) Manufactured by Idée, Japan. Each leg with manufacturer’s decal ‘IDÉE’ (2).

Estimate $ 4,0 0 0 - 6 ,0 0 0 LITERATURE

Alice Rawsthorn, Marc Newson, London, 1999, p. 60 Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 164-165 Domus (Milan), no. 773, December 1991, p. 83

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191

MARCEL WANDERS b. 1963 ‘Crochet’ chair, 2006 Crocheted fiber, epoxy resin.

22 x 47 1/4 x 49 1/4 in (56 x 120 x 125 cm) Number 12 from the edition of 20. Underside with locket impressed with ‘12 / 20’.

Estimate $ 3 0,0 0 0 - 4 0,0 0 0 LITERATURE

‘Tutto Wanders’, Flair, March 2007, front cover ‘The Doily Show: This Just In: Space-Age Seating. No Joke’, The New York Times Style Magazine, April 2007, New York, p. 54 Josephine Minutillo, ‘The Performance Artist’, Whitewall, Summer 2007, p. 134 Modern Magazine, Spring 2012, front cover, p. 130

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192

TOM DIXON b. 1959 Prototype chaise longue, 1988 Fabric, steel.

51 3/4 x 60 x 23 1/4 in (131.4 x 152.4 x 59.1 cm)

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE

Commissioned directly from the artist, 1988

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“I always start out doing drawings and when I like something and the form keeps coming back to me, even if it’s something ugly or a little bit deviant, my inner voice says I have to do it. So I say, ‘Let’s make it.’”

JOEP VAN LIESHOUT

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193

ATELIER VAN LIESHOUT ‘Bodytable’, 2005-2006 Reinforced fiberglass.

29 1/2 x 137 3/4 x 90 in (74.9 x 349.9 x 228.6 cm) Produced by Atelier Van Lieshout, the Netherlands.

From the production of one blue and one green table.

Estimate $ 2 5 ,0 0 0 - 3 5 ,0 0 0

The ‘Bodytable’ was designed for two different dining establishments in the Netherlands: the restaurant of the Boijmans Van Beuningen Museum and the cafeteria of the KOW Architects office. In both instances, the ‘Bodytable’ was implemented in order to enhance communication. The irregular shape of the table was designed so people would sit closer to each other, and thus be more likely to start a conversation.

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194

FERNANDO and HUMBERTO CAMPANA b. 1961, b. 1953 Mixed ‘Banquete’ chair, circa 2002 Stuffed toy animals, brushed tubular steel.

38 x 43 x 37 in (96.5 x 109.2 x 94 cm) Manufactured by Estudio Campana, Brazil. Number 32 from the edition of 150 plus five artist’s proofs and three prototypes. One animal embroidered with ‘Campana N. 32’.

Estimate $18 ,0 0 0 - 2 2,0 0 0 PROVENANCE

Private collection, Santa Monica Phillips de Pury & Company, New York, ‘Design’, June 3, 2009, lot 98 LITERATURE

Campana Brothers, Complete Works (So Far), New York, 2010, pp. 186-87, 266

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195

PHILIP MICHAEL WOLFSON b. 1958 Prototype ‘FloorDance O’ table, from the ‘Origami’ series, 2011 Folded and painted aluminum, glass.

18 1/8 in (46 cm) high, 53 1/8 in (135 cm) diameter Prototype from the edition of 8.

Estimate $ 8 ,0 0 0 -12,0 0 0 EXHIBITED

Themes and Variations Gallery, London, 2011 LITERATURE

Modern Magazine, Spring 2011, p. 72

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196

RALPH BACERRA b. 1938 Large turquoise bowl, 2005 Porcelain, glaze.

11 1/4 in (28.6 cm) high, 22 1/8 in (56.2 cm) diameter Incised under the glaze with ‘Bacerra/2005’.

Estimate $ 6 ,0 0 0 - 9,0 0 0 PROVENANCE

Frank Lloyd Gallery, Santa Monica EXHIBITED

‘Ralph Bacerra: A survey of recent work’, Frank Lloyd Gallery, Santa Monica, February 11 - March 11, 2006

“I’ve never really thought of my work in post-modern terms. But I suppose in many ways it fits the definition. My pieces are based on traditional ideas and engage in certain cultural appropriations— in form, in design, in glaze choices. However, my work is not postmodern in the sense that I am not making any statements— social, political, conceptual, even intellectual. There’s no meaning or metaphor. I’m committed more to the idea of pure beauty. The finished piece should be like an ornament, exquisitely beautiful.”

– Ralph Bacerra

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197

ETTORE SOTTSASS JR. b. 1917-2007 Vase, circa 1977 Colored glass.

7 7/8 in (20 cm) high, 9 1/2 in (24 cm) diameter Manufactured by Vistosi, Italy. Manufacturer’s paper labels with ‘Made in Italy’ and ‘vistosi/Murano’.

Estimate $ 3 ,0 0 0 - 4,0 0 0 LITERATURE

Electa, Vetri Murano Oggi, Milan, 1981, p. 116 Ronald T. Labaco, Ettore Sottsass: Architect and Designer, London, 1996, p. 77 for a similar example

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198

ELIZABETH GAROUSTE and MATTIA BONETTI b. 1949, b. 1953 Unique dining table, 1992 Wenge, gold leaf, painted wood, MDF, painted metal.

29 3/4 x 93 1/4 x 51 in (75.6 x 236.9 x 129.5 cm) Produced by Galerie Néotù, France.

Together with the original artists’ rendering and presentation material.

Estimate $7,0 0 0 - 9,0 0 0 PROVENANCE

Private collection, Dawson Place, London LITERATURE

Vogue (London), July 1995, pp. 130-135 Alex Buck and Alex Vogt et al., Elizabeth Garouste & Mattia Bonetti, Frankfurt , 1996, p. 112 Pierre Staudenmeyer, Nadia Croquet and Laurent Le Bon et al., Elizabeth Garouste & Mattia Bonetti, Paris, 1998, p. 24 Chloé Braunstein-Kriegel and Éric Germain, Les années Staudenmeyer, 25 ans de design en France, Paris, 2009, p. 366 and 368 for drawings

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199

POUL KJÆRHOLM 1929–1980 Pair of lounge chairs, model no. PK 0, designed 1952, executed 1997 Painted and laminated beech.

Each: 26 7/8 x 26 x 24 3/4 in (68.3 x 66 x 62.9 cm) Manufactured by Fritz Hansen, Denmark. Numbers 469 and 470 from the edition of 600 plus eight prototypes. Underside of one with manufacturer’s metal label ‘PK0 POUL KJÆRHOLM/469/Fritz Hansen/1872-1997/MADE IN DENMARK’ and the other ‘PK0 POUL KJÆRHOLM/470/Fritz Hansen/1872-1997/MADE IN DENMARK’ (2).

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 LITERATURE

Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 299 Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, Poul Kjærholm, Copenhagen, 1999, pp. 13, 173, p. 11 for a drawing Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 36-39

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200

TAPIO WIRKKALA 1915–1985 ‘Jäävuori’ (Iceberg) vase, model no. 3794, 1961 Still-mold blown crystal glass.

8 1/4 in (21 cm) high, 14 1/8 in (36 cm) wide Manufactured by Iittala, Finland. Underside incised with ‘TAPIO WIRKKALA 3794’ and rim egraved with ‘AURAN PANIMO OY’ (PLOUGH BREWERY LTD) and ‘ILMARI KATAJA 17. 9. 1961’.

Estimate $ 8 ,0 0 0 -12,0 0 0 LITERATURE

Domus (Milan), no. 256, March 1951, n.p. for similar examples Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala - eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, p. 307 for a similar example

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201

KAARE KLINT 1888–1954 ‘Propeller’ folding stool, model no. 8783, designed 1930, executed circa 1965 Stained ash, leather, brass.

16 5/8 x 22 3/4 x 19 1/4 in (42.2 x 57.8 x 48.9 cm) Produced by Rud. Rasmussen Snedkerier A/S, Denmark. Underside with two paper labels ‘RUD. RASMUSSENS/SNEDKERIER/KØBENHAVN/DANMARK’ and artist’s monogram.

Estimate $ 3 ,0 0 0 - 5 ,0 0 0 PROVENANCE

Vance Trimble, New York LITERATURE

Rigmor Anderson, Kaare Klint møbler, Copenhagen, 1979, p. 47 Erik Zahle, ed., A Treasury of Scandinavian Design, New York, 1961, p. 117, fig. 77 Grete Jalk, Dansk Møbelkunst gennem 40 aar, Vol. 4 1957-1966, Copenhagen, 1987, p. 214, fig. 1, 283, fig. 1-2 Frederik Sieck, Contemporary Danish Furniture Design – a short illustrated review, Copenhagen, 1990, pp. 34, 152

The present model stool was exhibited at both the 1962 and 1964 Copenhagen Cabinetmakers’ Guild Exhibitions at the Kunstindustrinuseet.

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202

VILHELM LAURITZEN 1894–1984 Sofa, designed for the National Broadcasting Building, Copenhagen, 1936-1941 Cuban mahogany, leather, brass.

31 7/8 x 64 5/8 x 28 3/8 in (81 x 164 x 72 cm) Produced by Rud. Rasmussen Snedkerier A/S, Denmark.

Estimate $ 2 0,0 0 0 - 3 0,0 0 0 PROVENANCE

National Broadcasting Building, Copenhagen, Denmark

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203

AXEL JOHANN SALTO 1889-1961 Vase, 1949 Stoneware, Sung glazes.

11 3/4 in (30 cm) high, 9 7/8 in (25 cm) diameter Produced by Royal Copenhagen, Denmark. Crown and ‘ROYAL COPENHAGEN DENMARK’ stamp in green under the glaze with painted blue wave mark, incised in the body ‘G80’ and ‘Salto’.

Estimate $ 3 0,0 0 0 - 4 0,0 0 0

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204

POUL KJÆRHOLM 1929–1980 Pair of low chairs, model no. PK 22, circa 1956 Cane, matte chrome-plated steel.

Each: 29 x 25 x 24 in (73.7 x 63.5 x 61 cm) Manufactured by E. Kold Christensen, Denmark. Each frame impressed with manufacturer’s mark (2).

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 LITERATURE

Frederik Sieck, Contemporary Danish Furniture Design – a short illustrated review, Copenhagen, 1990, p. 146 Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 1999, pp. 84-85, 175, 180 Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 72-77 Arne Karlsen, Danish Furniture Design: in the 20th Century, Vol. 2, Copenhagen, 2007, pp. 71, 196-97

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205

205

In the style of LINA BO BARDI 1914-1992 Lounge chair, circa 1950 Fabric, fiberglass, painted metal.

29 x 28 1/4 x 29 1/4 in (73.7 x 71.8 x 74.3 cm)

Estimate $ 5 ,0 0 0 -7,0 0 0 PROVENANCE

Form & Function, New York

206

206

CHARLES and RAY EAMES 1907-1978, 1912-1988 Pair of ‘DCM’ (Dining Chair Metal) chairs, designed 1946 Ash-laminated plywood, chrome-plated steel, rubber.

Each: 29 3/4 x 19 3/8 x 21 in (75.6 x 49.2 x 53.3 cm) Manufactured by The Herman Miller Furniture Company, USA. Underside of each with manufacturer’s paper labels `DESIGN BY CHARLES EAMES/HERMAN MILLER ZEELAND, MICH.’ and patent specifications (2).

Estimate $1,0 0 0 -1, 5 0 0

LITERATURE

John Neuhart, Marilyn Neuhart and Ray Eames, Eames Design: The Work of the Office of Charles and Ray Eames, New York, 1989, pp. 74-75 The Work of Charles and Ray Eames: A Legacy of Invention, exh. cat., Library of Congress and Vitra Design Museum, New York, 1997, pp. 22, 26, 64, 141

PROVENANCE

Pat Kirkham, Charles and Ray Eames: Designers of the Twentieth Century, Cambridge, 1998,

DeLorenzo Gallery, New York, 2004

pp. 153, 161, 172, 189, 196, 224-227, 245, 273, 368

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207

TAPIO WIRKKALA 1915–1985

208

TAPIO WIRKKALA 1915–1985

‘Leaf’ dish, circa 1951

‘Leaf’ dish, circa 1951

Laminated-birch plywood.

Laminated-birch plywood.

1 1/2 x 6 7/8 x 5 1/4 in (3.7 x 17.6 x 13.2 cm)

1 5/8 x 11 3/8 x 9 1/8 in (4.1 x 29 x 23.3 cm)

Produced by Martti Lindqvist, Finland. Underside incised with ‘W’.

Produced by Martti Lindqvist, Finland. Underside incised with ‘W’.

Estimate $ 4 ,0 0 0 - 6 ,0 0 0

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

LITERATURE

LITERATURE

Edgar Kaufmann Jr, “The Wonderworks of Tapio Wirkkala”, Interiors, November 1951, p. 95

Edgar Kaufmann Jr, “The Wonderworks of Tapio Wirkkala”, Interiors, November 1951, p. 95

for similar examples

for similar examples

Domus (Milan), vol. 259, 1951, p. 18 for similar examples

Domus (Milan), vol. 259, 1951, p. 18 for similar examples

Domus (Milan), vol. 266, January 1952, masthead, pp. 18, 44 for similar examples

Domus (Milan), vol. 266, January 1952, masthead, pp. 18, 44 for similar examples

‘Forms in Glass and Plywood’, Arts & Architecture, July 1953, pp. 20-21 for similar examples

‘Forms in Glass and Plywood’, Arts & Architecture, July 1953, pp. 20-21 for similar examples

Marianne Aav and Nina Stritzler Levine, eds., Finnish Modern Design: Utopian Ideals and

Marianne Aav and Nina Stritzler Levine, eds., Finnish Modern Design: Utopian Ideals and

Everyday Realities, 1930-1997, New York, 1998, p. 247 for similar examples

Everyday Realities, 1930-1997, New York, 1998, p. 247 for similar examples

Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala - eye,

Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala - eye,

hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, pp. 224, 252, fig.

hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, pp. 224, 252, fig.

435, p. 262, fig. 455 for similar examples

435, p. 262, fig. 455 for similar examples

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209

DAN JOHNSON b. 1938 ‘Gazelle’ dining table, circa 1955 Patinated bronze, travertine.

29 x 84 x 37 3/4 in (73.7 x 213.4 x 95.9 cm) Produced by Dan Johnson Studio, USA/Italy.

Estimate $15 ,0 0 0 - 2 0,0 0 0

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210

DAN JOHNSON b. 1938 Set of four ‘Gazelle’ armchairs, model no. 20B, circa 1958 Patinated bronze, cane.

Each: 31 1/4 x 19 x 17 1/2 in (79.4 x 48.3 x 44.5 cm) Produced by Dan Johnson Studio, USA/Italy (4).

Estimate $10,0 0 0 -15 ,0 0 0 LITERATURE

Cara Greenberg, Mid-Century Modern: Furniture of the 1950s, New York, 1984, p. 52 Paola Antonelli, et al., Sitting on the Edge: Modernist Design from the Collection of Michael and Gabrielle Boyd, exh. cat., San Francisco Museum of Modern Art, 1998, pl. 91 for a similar example

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

211

BIRGER KAIPIAINEN 1915-1988 Large platter, 1970s Stoneware, glaze pearls in relief.

1 7/8 x 15 5/8 x 12 3/4 in (5 x 39.7 x 32.3 cm) Produced by Arabia, Finland. Underside incised ‘KAIPIAINEN/ARABIA’.

Estimate $7,0 0 0 - 9,0 0 0 PROVENANCE

Sotheby’s, New York, ‘Ariane Dandois: European Furniture, Paintings & Asian Art’, October 26, 2007, lot 753

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PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

212

BIRGER KAIPIAINEN 1915-1988 Large charger, 1976 Stoneware, glaze pearls in relief.

2 x 19 7/8 x 16 3/4 in (5.2 x 50.4 x 42.7 cm) Produced by Arabia, Finland. Underside incised ‘KAIPIAINEN/ARABIA’ and marked ‘LahjottiSTK/Aararammassa/Kafulauraih-/Lolilaisundsso/9.8.1976.’.

Estimate $ 8 , 0 0 0 -12, 0 0 0 PROVENANCE

Sotheby’s, New York, ‘Ariane Dandois: European Furniture, Paintings & Asian Art’, October 26, 2007, lot 756

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

213

Swedish Bedroom Set Three-piece bedroom set, circa 1956 Mahogany-veneered wood, mahogany, glass.

Chest of drawers: 33 7/8 x 44 5/8 x 23 7/8 in (86.2 x 113.2 x 60.5 cm); each side drawer unit: 22 7/8 x 26 1/2 x 17 1/8 in (58.2 x 67.3 x 43.5 cm) Comprising two side drawer units and one chest of drawers. Reverse of each unit stamped with ‘MADE IN SWEDEN/FACTORY NO 24’ (3).

Estimate $ 5 ,0 0 0 -7,0 0 0

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214

POUL HENNINGSEN 1894–1967 Ten-armed ‘Bombardement’ ceiling light, type 1/1 shades, circa 1933 Amber glass shades, patinated tubular brass, patinated brass, Bakelite.

32 5/8 in (83 cm) drop, 28 3/8 in (72 cm) diameter Manufactured by Louis Poulsen, Denmark. Each light fixture embossed with ‘PH lamp’ and ‘Patented’.

Estimate $ 2 0,0 0 0 - 2 5 ,0 0 0 LITERATURE

Tina Jørstian and Poul Erik Munk Nielsen, eds, Light Years Ahead, The Story of the PH Lamp, Copenhagen, 1994, p. 201 for a similar example

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215

POUL HENNINGSEN 1894–1967 ‘Miniature’ table lamp, type 2/2 shades, circa 1931 Opaque glass shades, patinated tubular brass, patinated metal, Bakelite.

15 7/8 in (40.5 cm) high Manufactured by Louis Poulsen, Denmark.

Estimate $ 3 ,0 0 0 - 5 ,0 0 0 LITERATURE

Tina Jørstian and Poul Eric Munk Nielsen, eds., Light Years Ahead, The Story of the PH Lamp, Copenhagen, 1994, p. 164

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216

TAPIO WIRKKALA 1915–1985 Handcrafted bread dish, designed 1959, excuted 1965 Silver.

1 3/4 x 9 5/8 x 9 5/8 in (4.4 x 24.6 x 24.6 cm) Handmade to order by Kultakeskus Oy, Finland. Underside marked with Finnish assay mark, ‘916H’, Hämeenlinna town mark, ‘M7’, impressed with ‘KASITYO’ (handcrafted) and incised ‘W’.

Estimate $ 3 ,0 0 0 - 5 ,0 0 0 LITERATURE

Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala – eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, p. 364

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217

TAPIO WIRKKALA 1915–1985 Handcrafted tray, model no. TW 99, designed 1955, executed 1960 Silver, Jacaranda.

1 3/4 x 9 7/8 x 16 3/8 in (4.3 x 25 x 41.5 cm) Handmade to order by Kultakeskus Oy, Finland. Underside marked with Finnish assay mark, ‘916H’, Hämeenlinna town mark, ‘G7’, ‘KASITYO’ (handcrafted), incised ‘W’ and engraved ‘JK/17. 9. 1961’.

Estimate $ 4 ,0 0 0 - 6 ,0 0 0 LITERATURE

Roberto Aloi, L’Arredamento Moderno, Modern Furnishing, Milan, 1964, p. 45 Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala - eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, p. 362

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GIO PONTI, GIANFRANCO FRATTINI, AND CARLO DE CARLI THREE RARE CHAIRS WITH FABRIC DESIGNS BY MAURO REGGIANI, ENZO MORELLI, AND RENATO BIROLLI, 1955 LOTS 218-220

218

GIO PONTI and MAURO REGGIANI 1891-1979, 1897-1980 Rare ‘Distex’ armchair, model no. 807, circa 1958 Printed fabric, fabric, tubular brass, brass.

31 7/8 x 30 1/8 x 40 1/2 in (81 x 76.5 x 103 cm) Manufactured by Cassina, Italy. Seat with printed signature ‘M Reggiani’.

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

Estimate $14,0 0 0 - 2 2,0 0 0 EXHIBITED

Circolo della stampa, Milan, 1958 LITERATURE

Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 160 for a similar example Irene de Guttry and Maria Paola Maino, Il mobile italiano degli anni ’40 e ’50, RomaBari, 1992, p. 41 for a similar example Ugo La Pietra, ed., Gio Ponti, New York, 1996, pp. 226, 229, 233-234, 251-252 for similar examples

Gio Ponti always had close connections with the world of contemporary art,

those of Pompeo Borra, Remo Brindisi, Bruno Calvani, Bruno Cassinari,

and especially with Milanese art and artists. He also had a unique sensitivity

Cristoforo De Amicis, Mino Maccari, Enzo Pagani, Enrico Paulucci, Mauro

to the formal potentials that could be tapped by combining old and new

Reggiani, and Leonardo Sgroppa, were among the artists.

technologies, especially as these affected the use of synthetic materials. The ‘Distex’ (nylon) chair of 1955 with an imprinted pattern designed by the Como

In contrast to the Ponti chair, the pattern on the Frattini piece, designed

artist Mauro Reggiani marks the confluence of these two tendencies. The

by Enzo Morelli, is less abstract. It is a vaguely floral design, fusing deep

nylon fabric used was produced by Carlo Monchetti of Legnano. The chair’s

red, off-green and orange/yellow. The chair itself is more compact and

somewhat distended profile, recalling that of a contracted chaise longue, is

has brass studs marking the points of structural support; the overall

inflected by the effect of mass evident in the back and seat. Ample curves

language--taut dynamic form offset by fuller curves--is typical of Frattini’s

and a fuller, more robust profile mark the area around the projecting front

design approach in general, even if the note of tectonic ingenuity visible

of the seat, whose bulge stands in sharp contrast to, even as it effectively

in the inverted v-shaped supports stands out for its dramatic quality.

framed by, the brass supports which flank it and the slight cantilever of

These supports enable a diagonal pitch in the seat which makes for added

the black armrests. The dynamic geometric pattern, combining a broken

comfort in relation to the well-supported curve of the back.

hexagonal figure in sharp black outline with superimposed color fields and linear elements, features muted hues of salmon, light blue, yellow and tan.

The chair by Carlo De Carli is a red nylon armchair whose back has a

This scheme establishes a vivid counterpoint with the rich black lacquer of

figural floral design in green, red and yellow created by the artist Renato

the armrests. With characteristic brio, in this work Ponti balances abstraction

Birolli. Of the three chairs it is the least abstract and in some ways the

and figuration in a way that translates this particular moment within

most conventional. It might be called the most “feminine” because of its

modernist art and design into a new aesthetic contribution to the décor of the

elegant expressive curves and delicacy of point support on brass legs,

interior. The signature M. Reggiani is clearly visible on the bottom of the seat.

the back two of which are slightly angled. The lively design provides an effective foil for what is the bulkiest of the three pieces. All of these

The chair was part of a commission attesting to the historic collaboration

works, and the spirit of collaboration they exemplify, belong to a postwar

between important figures in the world of architecture, design and

ambient in which figures like Rogers and Ponti, above all, responded

art, and presented to the public in an exhibition curated jointly by Pier

to Le Corbusier’s call for a new synthesis of the arts at this time, giving

Giacomo Castiglioni (younger brother of Achille) and Alberto Rosselli

an Italian, and specifically Milanese inflection to the modern dialogue

at Milan’s Circolo della Stampa in 1958. Besides works by Ponti himself,

between art, industry, and design.

the contributions of Osvaldo Borsani, Carlo De Carli, Pier Giacomo Castiglioni, Enrico Perressuti, Ernesto Nathan Rogers, Alberto Rosselli,

P. Campiglio, “Ponti and the Artists,” Domus 91 (2009), 9ff.

and Marco Zanuso, were presented among the architects/designers, and

Anonymous, “Tessuti di nailon [sic] su bozzetti di pittori,” Domus 346 (1958).

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219

CARLO DE CARLI and ENZO MORELLI 1910-1999, 1896-1976 Rare armchair, circa 1958 Printed fabric, fabric, tubular brass, painted metal.

29 3/8 x 31 1/2 x 30 3/4 in (74.5 x 80 x 78.1 cm) Signed twice with printed signature ‘morelli’.

Estimate $ 3 ,0 0 0 - 4,0 0 0 EXHIBITED

Circolo della stampa, Milan, 1958

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220

GIANFRANCO FRATTINI and RENATO BIROLLI 1926-2004, 1905-1959 Demountable armchair, circa 1958 Printed fabric, painted and bent plywood, painted wood, chrome-plated metal.

29 3/8 x 29 3/4 x 29 1/2 in (74.5 x 75.7 x 75 cm) Manufactured by Cassina, Italy.

Estimate $ 3 ,0 0 0 - 4,0 0 0 EXHIBITED

Circolo della Stampa, Milan, 1958 LITERATURE

Charlotte and Peter Fiell, eds., Decorative Art 50s, Cologne, 2000, p. 198

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221

FULVIO BIANCONI 1915-1996 Large fasce ritorte vase, circa 1951 Handblown glass with transparent colored ribbons.

8 1/4 in (21.1 cm) high, 5 7/8 in (14.8 cm) diameter Manufactured by Venini, Italy. Underside acid-etched with ‘venini/italia’ and partial manufacturer’s paper label ‘MURANO’.

Estimate $ 8 ,0 0 0 -12,0 0 0 LITERATURE

Rossana Bossaglia, I Vetri di Fulvio Bianconi, Turin, 1993, pl. 57

DESIGN_NEW_p172.indd 172

10/12/12 17.04

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222

GIO PONTI 1891-1979 Unique center table, designed for the Trunfio House, Milan, 1954 Mahogany-veneered wood, hand-printed fabric, brass, painted metal, glass.

32 3/8 in (82.3 cm) high, 43 1/4 in (110 cm) diameter Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate $ 4 5 ,0 0 0 - 5 5 ,0 0 0 PROVENANCE

Trunfio House, Milan

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223

ICO PARISI 1916-1996 Rare ‘Egg’ chair, model no. 813, circa 1954 Fabric, tubular brass, brass.

31 1/4 x 32 1/8 x 31 1/2 in (79.5 x 81.5 x 80 cm) Manufactured by Cassina, Italy.

Estimate $ 4,0 0 0 - 6 ,0 0 0 LITERATURE

Domus (Milan), no. 292, March 1954, p. 66 Domus (Milan), no. 314, January 1956, n.p.

Domus (Milan), no. 325, December 1956, p. 26 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 77 Flaminio Gualdoni, ed., Ico Parisi & architecture, exh. cat., Galleria Civica, Bologna, 1990, p. 208

The present model was exhibited at the X Triennale, Milan, 1954

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224

GINO SARFATTI 1912-1985 Rare floor lamp, model no. B01012, circa 1946-1951 Painted metal, tubular brass, brass, marble.

80 3/4 in (205 cm) high Manufactured by Arteluce, Italy.

Estimate $10,0 0 0 -15 ,0 0 0 LITERATURE

L’Arredamento Moderno, quarta serie, Milan, 1955, fig. 200 Roberto Aloi, L’Arredamento Moderno, quarta serie, Milan, 1955, fig. 200 Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 467 Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights (1950-1990) 30 Years of Collecting, Paris, 2012, p. 23

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225

ICO PARISI 1916-1996 Pair of armchairs, model no. 865, circa 1955 Fabric, painted tubular metal.

Each: 29 1/2 x 32 5/8 x 27 1/2 in (75 x 83 x 70 cm) Manufactured by Cassina, Italy (2).

Estimate $14,0 0 0 -18 ,0 0 0 LITERATURE

Domus (Milan), no. 339, February 1958, pp. 48-49 Domus (Milan), no. 342, May 1958, p. 31

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226

ICO PARISI 1916-1996 Sofa, model no. 865, circa 1955 Fabric, painted tubular metal.

29 1/2 x 95 1/4 x 27 1/2 in (75 x 242 x 70 cm) Manufactured by Cassina, Italy.

Estimate $15 ,0 0 0 - 2 0,0 0 0 LITERATURE

Domus (Milan), no. 336, November 1957, pp. 40-41 Domus (Milan), no. 339, February 1958 p. 48 Domus (Milan), no. 342, May 1958, p. 31 Casas Y Jardines, no. 291, 1958 La rivista dell’arredamento, May 1960, for an advertisement Flaminio Gualdoni, ed., Ico Parisi and architecture, Bologna, 1990, p. 209

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PROPERTY OF A GENTLEMAN

227

FONTANA ARTE Mirror, model no. 1928, circa 1956 Mirrored glass, colored mirrored glass, painted metal.

20 1/8 x 20 1/8 x 1 1/2 in (51.1 x 51.1 x 3.8 cm) Manufactured by Fontana Arte, Italy.

Estimate $ 8 ,0 0 0 -12,0 0 0 LITERATURE

Fontana Arte, Archive img. no. 3260, illustrated

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228

ICO PARISI 1916-1996 Unique bookcase, designed for the Casa Introzzi, Como, circa 1958 Walnut, walnut-veneered plywood, painted metal, painted tubular metal.

107 1/2 x 85 x 16 7/8 in (273 x 216 x 42.9 cm)

Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE

Casa Introzzi, Como, Italy

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PROPERTY FROM A CALIFORNIA COLLECTOR

229

ANGELO LELII Adjustable counter-balance floor lamp, circa 1955 Painted aluminum, painted tubular metal, tubular brass, marble.

68 1/8 in (173 cm) high Manufactured by Arredoluce, Italy.

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE

Wright, Chicago, ‘Important Design’, December 14, 2010, lot 165

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230

CARLO SCARPA 1906–1978 Seashell, model no. 1359, circa 1945 Transparent sapphire and ruby glass with iridized surface.

2 1/4 x 9 5/8 x 9 in (5.7 x 24.4 x 22.9 cm) Manufactured by Venini, Italy. Underside acid-etched with ‘venini/murano/ITALIA’.

Estimate $ 5 ,0 0 0 -7,0 0 0 LITERATURE

Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-1970, Munich, 1997, p. 82, fig. 49 Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, pp. 186-87, 224 for similar examples Marino Barovier, ed., Venetian glass: The Nancy Olnick and Giorgio Spanu Collection, New York, 2000, p. 107, fig. 76, p. 276 for similar examples Marino Barovier, ed., Carlo Scarpa Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, Milan, 2012 pp. 450-61

Carlo Scarpa presented his conchiglie (seashells) at the XXIII Venice Biennale in 1942. They included heavily iridized transparent colored glass dishes, vases, and decorative objects inspired by the sea.

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231

PIERO FORNASETTI and CARLO ALBERTO BORDOGNA 1913-1998, 1913-1988 Unique wall-mounted bookcase designed for the Ferraro apartment, Turin, 1953-1954 Walnut, painted wood, lithographic transfer-printed wood, brass.

114 1/8 x 17 3/4 x 60 1/8 in (290 x 45 x 152.6 cm) Together with certificates of authenticity from Barnaba Fornasetti and Chiara Bordogna Neirotti.

Estimate $10,0 0 0 -15 ,0 0 0 PROVENANCE

Ferraro apartment, Corso Montevecchio, Turin, 1953 LITERATURE

Chiara Bordogna Neirotti, Alessandro De Magistris, Paolo Mauro Sudano, 65 Anni di Architettura, Turin, 2001, p. 65 for the Ferraro apartment

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232

Attributed to PIETRO CHIESA 1892-1948 Table lamp, circa 1956 Opaque glass, clear glass, painted aluminum, brass.

19 1/4 in (49 cm) high, 14 1/8 in (36 cm) diameter

Estimate $ 4 ,0 0 0 - 6 ,0 0 0 LITERATURE

Andrea Branzi and Michele De Lucchi, eds., Il Design Italiano Degli Anni ’50, Milan, 1985, p. 230, fig. 793 for a similar example Laura Falconi, Fontana Arte, Una Storia Trasparente, Milan, 1998, p. 109 for a similar example

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233

GIO PONTI 1891-1979 Rare desk, circa 1937 Painted wood.

29 1/2 x 39 3/8 x 24 5/8 in (75 x 100 x 62.5 cm) Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate $ 3 0,0 0 0 - 4 0,0 0 0 LITERATURE

Franco Grigioni, Arredamento, Milan, 1956, fig. 510 Irene de Guttry and Maria Paola Maino, Il mobile dĂŠco italiano, Roma-Bari, 1988, p. 222, fig. 40 Laura Falconi, Gio Ponti: Interni, Oggetti, Disegni 1920-1976, Milan, 2004, p. 113

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234

CARLO SCARPA 1906–1978 ‘Bollicine’ vase, model no. 3636, circa 1932-1936 Jade green bubble glass with gold leaf inclusions.

3 3/8 x 10 5/8 x 4 in (8.7 x 27 x 10.2 cm) Manufactured by Venini, Italy. Underside acid-etched with ‘venini/murano’.

Estimate $ 4 ,0 0 0 - 6 ,0 0 0 PROVENANCE

Ruth Hine, New York LITERATURE

‘Sommersi 1934–1936’, Venini: Catologo Blu, Murano, pl. 36, model no. 3636 Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, pp. 110-11, 205 for similar examples Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 240, pl. 36, model no. 3636 Franco Deboni, Venini Glass, Its history, artists and techniques, Vol. 1, Milan, 2007, n.p., pl. 36, model no. 3636 Marino Barovier, ed., Carlo Scarpa Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, Milan, 2012, pp. 104-119 for the technique, p. 142 for the model

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235

MAX INGRAND 1908-1969 Coffee table, circa 1960 Glass, painted brass, brass.

15 1/2 x 47 1/8 x 19 3/8 in (39.5 x 119.8 x 49.1 cm) Manufactured by Fontana Arte, Italy.

Estimate $18 ,0 0 0 - 24 ,0 0 0 LITERATURE

Charlotte and Peter Fiell, eds., Decorative Art 60s, Cologne, 2000, p. 191

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236

GUGLIELMO ULRICH 1904-1977 Desk, circa 1950 Walnut-veneered wood, walnut, brass.

31 1/2 x 30 3/8 x 55 1/4 in (80 x 77 x 140.4 cm) Together with a copy of a letter of authenticity from Pierconrado Ulrich.

Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE

Bernd Goeckler Antiques, New York, 2008

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237

CARLO SCARPA 1906–1978 Seashell, model no. 1359, circa 1945 Transparent sapphire and ruby glass with iridized surface.

2 1/4 x 9 3/4 x 8 5/8 in (5.6 x 24.7 x 22 cm) Manufactured by Venini, Italy. Underside acid-etched with ‘veninni/murano/ ITALIA’.

Estimate $ 5 ,0 0 0 -7,0 0 0 LITERATURE

Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-1970, Munich, 1997, p. 82, fig. 49 Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, pp. 186-87, 224, for similar examples Marino Barovier, ed., Venetian glass: The Nancy Olnick and Giorgio Spanu Collection, NewYork, 2000, p. 107, fig. 76 for similar examples Marino Barovier, ed., Carlo Scarpa Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, Milan, 2012, pp. 450-461

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Copyright Midshipcentury 2012 Design_NY_Dec12_Lot04_176-239.indd 192

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GIO PONTI: WORKS FROM THE ‘AUGUSTUS’ OCEAN LINER LOTS 238-244

The ‘Augustus’ transatlantic ocean liner following its re-comissioning as the ‘Philippine’.

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A cross-section of the M/N Passeggeri ‘Augustus’ depicting lots 238 and 239 in the First Class Ballroom on the right-hand page.

he 1950s were the heyday of the luxury liner, and the Italian luxury

T

rarely occurred, and often only when ships that were decommissioned

liner is no exception. Before the rise of a viable commercial

were retrofitted.2 With the assistance of Nino Zoncada, a designer of naval

airline industry towards the end of the 50s and early 60s, ocean

interiors and furnishings, between 1948 and 1953 Ponti created some of the

liners were the chief, and in many cases the only, means of international

most memorable interior ensembles for ocean liners ever made. Among

transportation—a fact often obscured by the advances in modern air

these was the Augustus, a liner built by the Navigazione Generale Italiana

travel which relegated the ocean liner to a niche market in the tourist

as early as 1922–28, and refurbished by Ponti in the mid-1950s.3

industry. Indeed, in the immediate postwar period it is due to the ocean liner’s wide popularity that its efflorescence as a vehicle for important

With his characteristic flair and versatility, Ponti, with Zoncada’s assistance,

design of interiors, furnishings and lighting, and for a coordination of a

created an interior for the Augustus meticulously coordinated in its

great number of arts and crafts, was virtually guaranteed. Gio Ponti played

materials, palette, fittings, lighting, and detailing. These elements were

a decisive role in this development that has frequently been overlooked in

combined to produce an ensemble in the true sense of the word, and, along

the extensive literature on this architect and designer.

with that, an effect of restrained luxury, all the more grand for its inventiveness. Never content with the repetition of overfamiliar formulae,

Given its key role in international travel and tourism, Ponti appreciated the

Ponti created everything anew from top to bottom, in accordance with his

ocean liner as a means of representing the image of Italian design abroad.

will to organize a total interior, so that when trying to characterize the

As no other Italian architect did, he understood that these great vessels,

interior and its design components one might even speak of a kind of naval

“with their intercontinental voyages, could become emblems of Italian art

“Gesamtkunstwerk.” Each piece stands on its own in terms of formal

and culture, traveling the world as permanent exhibition-architectures for

integrity, exquisite craftsmanship and solidity of construction; yet none falls

arts and crafts.”1 Ponti’s ideal was the coordination at all scales of every

outside Ponti’s ideals of synthetic coherence, spatial integration, and

element of the interior architecture and design of a ship—one that very

functional efficiency.

1. P. Campiglio, ‘Ponti’s Museum Ships,’ in G. Celant, ed., Espressioni di Gio Ponti, Milan, 2010, p. 54. On Ponti’s designs for ocean liners, see now the comprehensive treatment in P. Piccione, Gio Ponti Le Navi. Il Progetto degli interni navali 1948–1953, Milan, 2007; U. La Pietra,Gio Ponti, Milan, 1995, p. 216; G. Roccella, Gio Ponti: Master of Lightness, Hong Kong and London, pp. 41–43; L. Falconi, Gio Ponti: Interni Oggetti Disegni 1920–1976, Milan, 2005, p. 71. For Ponti’s own views on the importance of the design of ocean liners, see G. Ponti, ‘Recenti interni di nave. Arredamento di Nino Zoncada,’ Domus, 228, September 1948, pp. 58–61.

2. Campiglio, ‘Ponti’s Museum Ships,’ 2010, pp. 54–55.

3. Piccione, Gio Ponti Le Navi, 2007, p. 13.

4. Ponti designed the interiors of eight large ships, five of which were full-fledged ocean liners, between 1948 and 1953. In addition to the ones just mentioned, there were also the Victoria, Oceania and Africa (not liners, but smaller “motonavi”), and finally, the ill-fated Andrea Doria, which went down off the coast of Nantucket on July 25, 1956, struck by the MS Stockholm, in one of the worst naval disasters in American history. For detailed analysis of Ponti’s contributions to these vessels, see Piccione, Gio Ponti Le Navi, 2007.

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In the interior design of the Augustus, one notices the studied contrast, not

also in yellow Formica and walnut, fills out the lot. Both the serving tables

excluding complementarity, that Ponti introduced between the individual

and the dining room tables had large brass cylinders inflecting the midpoints

pieces. The upholstered armchairs, which have their original gold velvet

of their pedestals, forming a dynamic chevron-like pattern.

plush intact, offered a powerful counterpoint to the dining room chairs that revealed a high degree of their elegant walnut construction against the red

Light fixtures on the ceilings of the dining room, partly recessed plafonieres,

velvet upholstery of their seats and backs. The dining chairs, of which 12 are

were ordered in a single row picking up the rhythm of the pilotis, around

extant and included in the lot, are significant in that they represent an earlier,

which the dining chairs and tables were arranged in syncopated fashion.

heavier version of the Superleggera type, finally perfected in 1957, whose

The entire ensemble was evenly lit by the plafonieres, which had tinted

wide dissemination would make Ponti one of the most famous designers in

glass and brass circular disks that diffused a warm light over the scene.

the world. These chairs differ from the Superleggera not only in their bulky

The overall effect was one of discreet luxuriousness enhanced on the

construction and impression of solidity; they also feature a prominent

one hand by the grand proportions of the space and on the other by the

projection of the seat and an approximately square support system in profile

select materials and their air of comfort. In all of these respects, alongside

unlike the Superleggera. Like many of Ponti’s chairs and tables from the

the other luxury liners Ponti designed in the same period with diverse

1920s onwards, however, they exhibit characteristic tapered supports with

collaborators including Gustavo Pulitzer, Lucio Fontana, Fausto Melotti,

elegant brass shoes. The armchairs were arranged in pairs around tables

and Piero Fornasetti—such ships as the Conte Biancamano, Conte Rosso,

with circular tops in yellow Formica which were echoed by walnut circular

Conte Grande, and Giulio Cesare—the Augustus exemplified Ponti’s

bases, thereby constituting the ensemble of the first class Salone della

desire for total synthesis without forfeiting any of his attention to craft and

Festa, which had plush curtains of the same gold color and a large oval

detail.4 In this way Augustus represented Italy as well as, and probably in

recessed ceiling whose lighting scheme featured a subtly placed, off-center

many cases better than her diplomatic staff abroad, in line with Ponti’s

design based on a constellation reminiscent of the Big Dipper. As for the

suggestion that these grand liners were Italy’s ambassadors of luxury,

dining tables, which were made of mahogany, they had circular bases and

comfort, and efficiency, comparable in every way to the Cunard liners, the

rectangular tops with slightly raised adjustable rims, made of oak, to prevent

famed Hamburg-Amerika Linie, and the Elizabeth II, except for sheer size.

plates from slipping during rough seas. Some of these tables had two pedestals, others just one. Around each of these tables, which originally filled the dining room, were arranged four of the wooden chairs. A third set of smaller serving tables, similar in form and materials to the circular tables,

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Dr. Daniel Sherer Assistant Professor of Architecture (Adjunct) at Columbia University Graduate School of Architecture, and Visiting Professor, Politecnico di Milano

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238

GIO PONTI 1891-1979 Pair of rare armchairs, designed for the First Class Ballroom of the ‘Augustus’ transatlantic ocean liner, 1950 Fabric, teak (2).

Each: 28 3/4 x 25 5/8 x 27 3/4 in (73 x 65 x 70.5 cm) Manufactured by Cassina, Italy Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE

‘Augustus’ transatlantic ocean liner, Italy, 1950 LITERATURE

Paolo Piccione, Gio Ponti Le Navi: il progetto degli interni navali 1948-1953, Milan, 2007,

First Class Ballroom of the ‘Augustus’ Ocean Liner, circa 1952, depicting examples of the present model.

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© Gio Ponti Le Navi, Paolo Piccione, Idea Books, Milan, 2007

p. 33, fig. 41

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239

GIO PONTI 1891-1979 Pair of rare armchairs, designed for the First Class Ballroom of the ‘Augustus’ transatlantic ocean liner, 1950 Fabric, teak (2).

Each: 28 3/4 x 25 5/8 x 27 3/4 in (73 x 65 x 70.5 cm) Manufactured by Cassina, Italy Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE

‘Augustus’ transatlantic ocean liner, Italy, 1950 LITERATURE

Paolo Piccione, Gio Ponti Le Navi: il progetto degli interni navali 1948-1953, Milan, 2007, p. 33, fig. 41

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240

GIO PONTI 1891-1979 Small side table, designed for the First Class Ballroom of the ‘Augustus’ transatlantic ocean liner, 1950 Plastic-laminated wood, mahogany-veneered wood, mahogany, aluminum, cast metal, painted metal.

22 1/2 in (57 cm) high, 23 5/8 in (60 cm) diameter Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate $ 4,0 0 0 - 6 ,0 0 0 PROVENANCE

‘Augustus’ transatlantic ocean liner, Italy, 1950 LITERATURE

Paolo Piccione, Gio Ponti Le Navi: il progetto degli interni navali 1948-1953, Milan, 2007, p. 33, fig. 41

241

GIO PONTI 1891-1979 Side table, designed for the First Class Ballroom of the ‘Augustus’ transatlantic ocean liner, 1950 Plastic-laminated wood, mahogany-veneered wood, mahogany, aluminum, cast metal, painted metal.

22 7/8 in (58 cm) high, 27 3/8 in (69.6 cm) diameter Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate $ 5 ,0 0 0 -7,0 0 0 PROVENANCE

‘Augustus’ transatlantic ocean liner, Italy, 1950 LITERATURE

Paolo Piccione, Gio Ponti Le Navi: il progetto degli interni navali 1948-1953, Milan, 2007, p. 33, fig. 41

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242

GIO PONTI 1891-1979 Table with adjustable edge, designed for the ‘Augustus’ transatlantic ocean liner, 1950 Mahogany-veneered wood, oak, brass.

30 3/4 x 55 1/8 x 32 5/8 in (78.2 x 140.1 x 82.8 cm) Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate $ 4 ,0 0 0 - 6 ,0 0 0 PROVENANCE

‘Augustus’ transatlantic ocean liner, Italy, 1950

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243

GIO PONTI 1891-1979 Table with adjustable edge, designed for the ‘Augustus’ transatlantic ocean liner, 1950 Mahogany-veneered wood, oak, brass.

31 1/2 x 55 1/4 x 32 1/2 in (80 x 140.3 x 82.7 cm) Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE

‘Augustus’ transatlantic ocean liner, Italy, 1950

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244

GIO PONTI 1891-1979 Set of twelve dining chairs, designed for the ‘Augustus’ transatlantic ocean liner, 1950 Stained teak, fabric, brass (12).

Each: 31 1/2 x 21 1/8 x 20 5/8 in (80 x 53.7 x 52.5 cm) Manufactured by Cassina, Italy Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate $ 2 0, 0 0 0 - 3 0,0 0 0 PROVENANCE

‘Augustus’ transatlantic ocean liner, Italy, 1950

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245

CARLO SCARPA 1906–1978 Mirror, circa 1937 Battuto glass, mirrored glass, brass.

16 3/8 x 14 1/4 x 3 3/8 in (41.6 x 36.3 x 8.7 cm) Manufactured by Venini, Italy. Reverse with manufacturer’s paper label ‘VENINI S. A. - MURANO - ‘, brass hanger impressed ‘VENINI/MURANO’ and three of the four corner fixtures are impressed with ‘0’, ‘12’ and ‘10’ respectively.

Estimate $10,0 0 0 -15 ,0 0 0 LITERATURE

Franco Deboni, Venini Glass, Turin, 1996, pl. 117 for a similar example

The present lot appears as model number 30 on plate 43 of Venini’s Catalogo Blu.

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246

PIERO FORNASETTI 1913-1988 ‘Palladiana’ chest of drawers, 1950s Lithographic transfer-printed wood, painted metal, painted wood, brass.

32 3/4 x 39 1/2 x 21 3/4 in (83.3 x 100.2 x 55.2 cm) Interior of top drawer with plastic roundel impressed logo and ‘FORNASETTI/ MILANO’. Together with a certificate of authenticity from the Fornasetti Archive.

Estimate $ 3 5 ,0 0 0 - 4 5 ,0 0 0 LITERATURE

Patrick Mauriès, Fornasetti: Designer of Dreams, London, 1991, p. 104 Piero Fornasetti, Barnaba Fornasetti, Mariuccia Casadio, et. al., Fornasetti: The Complete Universe, New York, 2010, p. 380

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247

ANGELO LELII Six-armed ceiling light, circa 1958 Brass, opaque glass shades.

7 7/8 in (20 cm) drop, 77 1/2 in (197 cm) wide Manufactured by Arredoluce, Italy.

Estimate $10,0 0 0 -15 ,0 0 0 LITERATURE

Mitchel Owens, ‘A Peaceable Kingdom’, Architectural Digest, March 2011, p. 171 for a similar example Muriel Brandolini, The World of Muriel Brandolini, New York, 2011, p. 79 for a similar example

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248

FULVIO BIANCONI 1915-1996 ‘Fasce orizzontali’ vase, circa 1953-1956 Clear and colored glass.

16 3/4 in (42.6 cm) high, 8 5/8 in (22 cm) diameter Manufactured by Venini, Italy. Underside acid-etched with ‘venini/italia’.

Estimate $7,0 0 0 - 9,0 0 0 LITERATURE

Domus (Milan), no. 314, January 1956, p. 45 for similar examples Rossana Bossiaglia, I Vetri di Fulvio Bianconi, Turin, 1993, pl. 65 Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-1970, Munich, 1997, p. 116, fig. 91, p. 276, cat. 91 for similar examples Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 300 Marino Barovier, ed., Venetian glass: The Nancy Olnick and Giorgio Spanu Collection , New York, 2000, p. 122, fig. 90 for a similar example Marc Heiremans, Murano Glass: Themes and Variations (1910-1970), Stuttgart, 2002, p. 138, for a period fig.

Franco Deboni, Venini Glass, catalogue 1921-2007, Vol. 2, Milan, 2007, pl. 199

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249

MAX INGRAND 1908-1969 Rare table lamp with integrated vase, circa 1957 Fruitwood, colored mirrored glass, tubular brass, brass, interior clear glass well, painted metal, fabric shade.

24 1/4 x 20 1/8 x 13 3/8 in (61.5 x 51 x 34 cm) including shade Manufactured by Fontana Arte, Italy. Manufacturer’s paper label with ‘VETRI d’ARTE FONTANA/FONTANA/MILANO’ and underside impressed ‘FX’.

Estimate $15 ,0 0 0 - 2 0,0 0 0 LITERATURE

Il libro dell’arredamento, Milan, 1957, p. 24

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250

ALFREDO BARBINI 1912-2007 ‘Vetro pesante’ footed vase, circa 1962 Clear glass with cased orange-red glass.

10 x 8 7/8 x 3 3/4 in (25.5 x 22.5 x 9.5 cm) Manufactured by Venini, Italy.

Estimate $7,0 0 0 - 9,0 0 0 LITERATURE

Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-1970, Munich, 1997, p. 246, cat. 252 Marino Barovier, ed., Venetian glass: The Nancy Olnick and Giorgio Spanu Collection, New York, 2000, p. 164, fig. 133, p. 229, fig. 133 for similar examples

Design_NY_Dec12_Lot04_176-239.indd 214

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251

CARLO SCARPA 1906–1978 ‘Spirale’ carafe and six glasses, from table set model no. 186, circa 1936 Transparent uncolored and aquamarine glass.

Carafe: 11 in (28 cm) high, 4 7/8 in (12.5 cm) diameter; each glass: 2 1/2 in (6.4 cm) high, 2 1/8 in (5.4 cm) diameter Manufactured by Venini, Italy. Underside of carafe acid-etched with ‘venini/murano’ and underside of 5 glasses ‘venini/murano/MADE IN/ITALY’ (7).

Estimate $ 4,0 0 0 - 6 ,0 0 0 LITERATURE

‘Con Base Corroso, A Fascie 1931–1936’, Venini: Catologo Blu, Murano, pl. 212, model no. 186 Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-1970, Munich, 1997, fig.

25, p. 63 Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, fig. 137, p. 213 Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921–1986, Milan, 2000, p. 248, pl. 212, model no. 186 Franco Deboni, Venini Glass, catalogue 1921-2007, Vol. 2, Milan, 2007, pl. 70 Marino Barovier, ed., Carlo Scarpa Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, Milan, 2012, p. 244

Gio Ponti presented Carlo Scarpa’s spirale table set model no. 186, which included similar examples to the present lot, at the VI Milan Triennale in 1936.

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252

OSVALDO BORSANI and ARNALDO POMODORO 1911-1985, b. 1926 Bed, circa 1958 Brass, tubular brass, bronze, painted metal, leather, wool.

47 1/4 x 67 1/8 x 84 3/4 in (120 x 170.5 x 215.3 cm) Frame manufactured by Arredamento Borsani, Italy; together with a new mattress and bolster fabricated by Kvadrat Tonus, Denmark, and ordered on the occasion of this auction.

Estimate $12,0 0 0 -18 ,0 0 0 LITERATURE

Roberto Aloi, L’Arredamento Moderno, Milan, 1964, p. 295 for a similar example

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253

TYRA LUNDGREN 1897-1979 Pair of leaf-shaped bowls, model no. 2042, circa 1937 Colored glass.

Each: 2 3/4 x 11 1/2 x 6 3/4 in (7 x 29.3 x 17.3 cm) Manufactured by Venini, Italy. Underside of each acid-etched with ‘venini/murano/ MADE IN/ITALY’ (2).

Estimate $ 5 ,0 0 0 -7,0 0 0 LITERATURE

‘Pesanti Corrosi Sommersi 1937’, Venini: Catologo Blu, Murano, pl. 45, model no. 2642 Franco Deboni, Murano ‘900, Milan, 1996, p. 273, pl. 189 for a similar example Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-1970, Munich, 1997, p. 85, fig. 53 for a similar example Franco Deboni, Venini Glass, Its history, artists and techniques, Vol. 1, Milan, 2007, n.p., pl.

45, model no. 2642 Franco Deboni, Venini Glass, catalogue 1921-2007, Vol. 2, Milan, 2007, pl. 60 for a similar example

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254

GIO PONTI 1891-1979 Rare set of four side chairs, 1950s Ebonized wood, fabric (4).

Each: 32 5/8 x 17 3/4 x 20 1/4 in (83 x 45 x 51.5 cm) Manufactured by Cassina and retailed by Altamira, Italy.

Estimate $7,0 0 0 - 9,0 0 0 LITERATURE

Ugo la Pietra Ed., Gio Ponti, New York, 1996, p. 205

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PROPERTY FROM A CALIFORNIA COLLECTOR

255

GIO PONTI 1891-1979 Wall light, circa 1960 Brass, painted brass, painted metal.

15 3/4 x 15 3/4 x 4 3/8 in (40 x 40 x 11 cm) Manufactured by Arredoluce, Italy. Reverse with manufacturer’s paper label ‘MADE IN ITALY/ARREDOLUCE MONZA’.

Estimate $10,0 0 0 -12,0 0 0 PROVENANCE

Phillips de Pury & Company, London, ‘Design’, April 24, 2008, lot 125 LITERATURE

Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2004, p. 185 Alberto Bassi, Italian Lighting Design: 1945-2000, Milan, 2004, p. 83 Ugo La Pietra,ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 329, fig. 687, p. 331. fig. 693

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256

MAX INGRAND 1908-1969 Rare serving trolley, circa 1950 Colored glass, brass, painted brass, brass-plated metal, rubber.

27 1/2 x 22 1/4 x 27 1/2 in (70 x 56.6 x 70 cm) Manufactured by Fontana Arte, Italy.

Estimate $7,0 0 0 - 9,0 0 0 LITERATURE

E. Paoli, Specchiere e specchi, quaderni vitrum, no. 8, n.p.

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257

MAX INGRAND 1908-1969 Pair of floor lamps, model no. 2198, circa 1954 Brass, painted wood, pearwood, frosted glass, painted tubular metal.

Each: 70 1/2 in (179.1 cm), 18 1/4 in (46.4 cm) diameter including shade Manufactured by Fontana Arte, Italy (2).

Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE

Phillips de Pury & Company, London, ‘Design’, April 24, 2008, lot 119 (for one of the floor lamps) LITERATURE

Laura Falconi, Fontana Arte Una Storia Transparente, Milan, 1998, p. 216, fig. 128

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258

LUIGI CACCIA DOMINIONI b. 1913 Dining table, circa 1950 Walnut, walnut-veneered wood, brass.

29 3/8 in (74.5 cm) high, 47 1/4 in (120 cm) diameter

Estimate $12,0 0 0 -18 ,0 0 0 LITERATURE

Domus (Milan), no. 178, October 1942, front cover pp. 426-27 for a similar example

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259

FRANCO ALBINI 1905-1977 Early desk, model no. TL22 and drawer unit, circa 1959 Desk: walnut-veneered wood, walnut; drawer unit: walnut-veneered wood, walnut, padauk, brass.

Desk: 29 x 77 3/4 x 40 3/8 in (73.7 x 197.4 x 102.5 cm ); drawer unit: 28 1/4 x 18 1/8 x 26 5/8 in (71.8 x 46 x 67.6 cm) Manufactured by Poggi, Italy (2).

Estimate $10,0 0 0 -15 ,0 0 0 LITERATURE

Carlo Bestetti, Forme Nuove Italia, Rome, 1962, p. 69 Irene de Guttry and Maria Paola Maino, Il Mobile Deco Italiano, Roma-Bari, 1992, p. 229, fig. 3 Franco Albini & Franca Helg Design, exh. cat., Fragile, Milan, 2009, n.p. for the desk

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260

PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

260

FRANCO ALBINI 1905-1977 Dining table, model no. TL3, circa 1951 Teak-veneered wood, walnut, painted metal.

29 in (73.7 cm) high, 41 1/4 in (104.9 cm) diameter

261

Manufactured by Poggi, Italy.

Estimate $10,0 0 0 -15 ,0 0 0 PROVENANCE

Wright, Chicago, ‘Design Series’, May 22, 2007, lot 622 LITERATURE

Domus (Milan), vol. 3, no. 234, 1949, p. 24 for a similar example Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 67 for a similar example

PROPERTY OF FROM IMPORTANT NEW YORK COLLECTION

261

UNKNOWN DESIGNER Five-armed table lamp, circa 1954 Painted aluminum, brass-plated metal, glass.

22 in (56 cm) high

Estimate $ 3 ,0 0 0 - 5 ,0 0 0 PROVENANCE

Wright, Chicago, ’Modern Design: Including Important Italian Design’, March 28, 2004, lot 132 Michael Werner Gallery, New York

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262

MAX INGRAND 1908-1969 Pair of table lamps, model no. 2157, circa 1958 Opaque glass, brass, brass-plated metal.

Each: 28 1/4 in (71.8 cm) high, 13 1/4 in (33.7 cm) diameter Manufactured by Fontana Arte, Italy (2).

Estimate $12,0 0 0 -18 ,0 0 0 LITERATURE

Fontana Arte, Archive img. no. 10, illustrated

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263

FONTANA ARTE Large table lamp, circa 1950 Opaque glass, clear textured glass, tubular brass, brass.

26 7/8 in (68.3 cm) high, 19 1/2 in (49.5 cm) diameter Manufactured by Fontana Arte, Italy.

Estimate $ 6 ,0 0 0 - 8 ,0 0 0 LITERATURE

Sergio Montefusco, Fontana Arte: repertorio 1933 - 1943 immagini dell’epoca, p. 119 for a similar example

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264

ANGELO LELII Floor lamp, 1950s Brass, tubular brass, bronze, painted brass.

73 in (185.4 cm) fully extended Manufactured by Arredoluce, Italy.

Estimate $ 4,0 0 0 - 6 ,0 0 0

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

265

VITTORIO PARIGI and NANI PRINA b. 1937, b. 1938 ‘Scrittoio Orix’ office set, circa 1970 Plastic, chrome-plated tubular metal, glass.

Desk: 32 5/8 x 40 7/8 x 25 1/4 in (83 x 104 x 64 cm); chair: 25 5/8 x 18 7/8 x 19 1/4 in (65 x 48 x 49 cm); shelf: 11 1/2 x 31 5/8 x 10 5/8 in (29.2 x 80.3 x 27 cm) Comprising desk with adjustable lamp, shelving unit and chair. Manufactured by Molteni & Co., Italy. Underside of desk with manufacturer’s paper label ‘Molteni & C./20034 Giussano-Milano/design V. PARIGI N. PRINA/Scrittoio ORIX’ (3).

Estimate $ 3 ,0 0 0 - 5 ,0 0 0 PROVENANCE

C.J. Peters, New York, 2008

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266

NANDA VIGO b. 1938 Pair of ‘Utopia’ table lamps, circa 1970 Chrome-plated metal, fluorescent bulbs.

Each: 20 1/8 x 19 5/8 x 3 1/8 in (51 x 50 x 8 cm) Manufactured by Arredoluce, Italy (2).

Estimate $ 8 ,0 0 0 -12,0 0 0 LITERATURE

Emilio Ambasz, Italy: The New Domestic Landscape: Achievements and Problems of Italian Design, exh. cat., The Museum of Modern Art, New York, 1972, p. 58 Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973: il nuovo design italiano, Turin, 2002, fig. 47 Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 2: 1960 to Present, Cologne, 2005, p. 219 Clémence and Didier Krzentowski, The Complete Designers’ Lights (1950-1990), Zurich, 2012, p. 260

This model was included in the seminal exhibition ‘Italy: The New Domestic Landscape: Achievements and Problems of Italian Design’ at The Museum of Modern Art, New York, May 26 - September 11, 1972.

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267

IGNAZIO GARDELLA 1905-1999 Floor lamp, circa 1950 Opaque glass, painted tubular metal, tubular brass, painted metal, marble.

68 1/8 in (173 cm) high Manufactured by Azucena, Italy.

Estimate $ 3 ,0 0 0 - 5 ,0 0 0

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268

MELCHIORRE BEGA 1898-1976 Pair of large wall lights, designed for the hall of the Central Station, Milan, circa 1959 Tubular acrylic shades, painted metal.

Each: 59 1/2 x 16 1/2 x 33 1/2 in (151 x 42 x 85 cm) Manufactured by Stilnovo, Italy. Together with a letter of authenticity from Vittorio Bega (2).

Estimate $10,0 0 0 -15 ,0 0 0

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PROPERTY FROM A CALIFORNIA COLLECTOR

269

ANGELO MANGIAROTTI 1921-2012 ‘Loico’ bookcase, circa 1970 Carrara marble.

Produced by Skipper, Italy.

59 1/8 x 85 x 13 1/2 in (150.2 x 215.9 x 34.3 cm)

Estimate $10,0 0 0 -15 ,0 0 0 PROVENANCE

Phillips de Pury & Company, New York, ‘Design’, December 13, 2007, lot 213

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270

GINO SARFATTI 1912-1985 Pair of wall or ceiling lights, circa 1971 Spun aluminum, painted metal.

Each: 18 1/2 in (47 cm) diameter Manufactured by Arteluce, Italy.

Wall mount of each with manufacturer’s paper label ‘AL/MILANO/ARTELUCE’ (2).

Estimate $ 4,0 0 0 - 6 ,0 0 0 LITERATURE

Clémence and Didier Krzentowski, The Complete Designers’ Lights (1950-1990), Zurich, 2012, p. 272

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INDEX

Adnet, J. 107, 110, 124

Old, M. 137

Albini, F. 259, 260

Owens, R. 189

Aoki, K. 178 Parigi, V. 265

Atelier Van Lieshout 193

Parisi, I. 223, 225, 226, 228 Bacerra, R. 196

Pergay, M. 131, 132

Baldwin, G. 182

Perriand, C. 151 Pomodoro, A. 252

Barbini, A. 250 Bega, M. 268

Fontana Arte 227, 263

Ponti, G. 218, 222, 233, 238, 239, 240, 241, 242, 243, 244,

Besnard, J. 113, 121, 122, 123

Fornasetti, P. 231, 246

254, 255

Bianconi, F. 221, 248

Frattini, G. 220

Prina, N. 265

Birolli, R. 220

Fukami, S. 176

Prouvé, J. 136, 145, 146, 154, 157, 159, 160, 162 Puiforcat, J. E. 108

Bitter, A. J. L. 113 Bo Bardi, L. 205

Gardella, I. 267

Bordogna, C. A. 231

Garouste, E. 198

Rena, N. 188 Reggiani, M. 218

Bonetti, M. 198 Henningsen, P. 214, 215

Rie, L. 119, 169

Hicks, S. 184

Rokansai, I. 170

Campana, H. 194

Ikura, T. 171, 177

Ruhlmann, E-J. 101, 120

Chale, A. 144

Ingrand, M. 235, 249, 256, 257, 262

Ryuichi, K. 167

Jacobs, F. 187

Salto, A. J. 203

Jeanneret, P. 147, 148, 152, 156, 158, 163, 164, 165

Sarfatti, G. 224, 270

Borsani, O. 252

Royère, J. 102, 103, 104, 105, 125, 126

Campana, F. 194

Chareau, P. 111 Chiesa, P. 232 Daum 112

Johnson, D. 209, 210

Scarpa, C. 230, 234, 237, 245, 251 Sornay, A. 116

Daurat, M. 117, 118 De Amaral, O. 181

Kaipiainen, B. 211, 212

De Carli, C. 219

Kawase, S. 175

Després, J. 109

Kjærholm, P. 199, 204

Dixon, T. 192

Klint, K. 201

Dominioni, L. C. 258

Kohyama, Y. 185

Vautrin, L. 127, 128, 129, 130

Doshi, B. 153

Kuroda, T. 174

Vignelli, M. 141

Sottsass Jr., E. 197 Ulrich, G. 236

Vigo, N. 266

Dubreuil, A. 180 Duckworth, R. 186

Lalanne, F-X. 179

Dupré-Lafon, P. 114

Lambert-Rucki, J. 115

Wabbes, J. 142

Lauritzen, V. 202

Wanders, M. 191

Eames, C. 206

Le Corbusier 150, 153, 158, 163

Weber, K.E.M. 135

Eames, R. 206

Lelii, A. 229, 247, 264

Wirkkala, T. 200, 207, 208, 216, 217

Lundgren, T. 253

Wolfson, P. M. 195 Wright, F. L. 134

Majorelle, L. 112 Mangiarotti, A. 139, 140, 269

Zauli, C. 138, 143

Marinot, M. 106 Marx, S. 133 McQueen, J. 183 Miyajima, T. 173 Morelli, E. 219 Mouille, S. 149, 155, 161 Nakashima, G. 166, 168, 172 Newson, M. 190 Niisato, A. 173

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DESIGN MASTERS AUCTION 11 DECEMBER 2012 4 PM

NEW YORK

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1268 Catalogues +1 212 940 1240

PHILLIPSDEPURY.COM SCOTT BURTON Prototype ‘Table for Four’ from the ‘Steel Furniture’ series, ca. 1978 Estimate $10 0,0 0 0 –150,0 0 0

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GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you.

∆ Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller.

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 de Pury & Company 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.

BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

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Ω 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.

Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale.

2 BIDDING IN THE SALE

1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

Pre-Sale 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. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only.

Catalogue Entries Phillips may print in the catalogue entry 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 and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

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 does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company 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 de Pury & Company 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.

Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

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.

Symbol Key The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration received in connection with the guarantee against the final purchase price if such party is the successful bidder.

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Bidding at Auction 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 government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins.

Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. 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 de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding 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 $1000. 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 any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company 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 any applicable taxes. 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.

Employee Bidding Employees of Phillips de Pury & Company 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.

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. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

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CONTEMPORARY ART

UNDER THE INFLUENCE AUCTION 13 DECEMBER 2012

LONDON

George O’Dell Head of Sales, London

godell@phillipsdepury.com +44 20 7381 4010 Catalogues +1 212 940 1240 | +44 20 7318 4039

PHILLIPSDEPURY.COM NINA BEIER Portrait Mode, 2011 Estimate £15,0 0 0 – 20,0 0 0

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3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding; No Reserve Lots 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. 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.

Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of seven days following the auction.

Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States 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 licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates

4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale.

Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.

upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license 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 licenses or certificates as well as any other required documentation. The denial of any required license or certificate 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. Please note that lots containing potentially regulated

Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less.

plant or animal material are marked as a convenience to our clients, but Phillips de Pury & Company does not accept liability for errors or for failing to mark lots containing protected or regulated species.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy a late collection fee of $50, an additional administrative fee of $10 per day and insurance charges of 0.1% of the Purchase Price per month on each uncollected lot.

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CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and 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 (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company 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 de Pury & Company and the seller contract with the buyer.

2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips de Pury & Company may own a lot, in which case we will act as agent for that company, or Phillips de Pury & Company 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 de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested.

Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company 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 de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate.

Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. 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 de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 BIDDING AT AUCTION (a) Phillips de Pury & Company 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 de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company 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 de Pury & Company. 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 any

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applicable sales or use taxes. 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 de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury & Company 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) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) By participating in the auction, whether in person, by absentee bid or on the telephone, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state antitrust law. (f) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company 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. (g) Employees of Phillips de Pury & Company 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 each lot is offered subject to a reserve, (a) Unless otherwise indicated by the symbol which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(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 de Pury & Company 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 de Pury & Company 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 US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates.

Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (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 and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer

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price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. Phillips de Pury & Company 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) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) 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 US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company.

Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. (e) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company 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 de Pury & Company 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 de Pury & Company 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 completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, and no later than five days after the conclusion of the auction, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 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. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) seven days after the auction. Until risk passes, Phillips de Pury & Company 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 de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, 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. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup.

8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, each lot will incur a late collection fee of $50, administrative charges of $10 per day and insurance charges of .1% of the Purchase Price per month on each uncollected lot.

We will not release purchased lots to the buyer until all such 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 de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’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 de Pury & Company 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 de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (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 de Pury & Company 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 de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’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) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company 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 de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

10 RESCISSION BY PHILLIPS de PURY & COMPANY Phillips de Pury & Company 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 de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale..

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license 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 de Pury & Company 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.

(d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

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AUTHORSHIP WARRANTY 12 CLIENT INFORMATION In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number.

13 LIMITATION OF LIABILITY (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, 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 13, none of Phillips de Pury & Company, 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 de Pury & Company 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 de Pury & Company 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 de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, 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 subparagraph (a) above, whether such loss or damage is characterized 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 de Pury & Company 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.

14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent.

Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

Phillips de Pury & Company 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 de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) there has been no material loss in value of the lot from its value had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company 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 de Pury & Company. 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 de Pury & Company 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 de Pury & Company 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 de Pury & Company 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 de Pury & Company has discretion to waive any of the foregoing requirements. (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 de Pury & Company, 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 de Pury & Company, 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.

15 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 de Pury & Company 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 de Pury & Company. (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.

16 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 laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York 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. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

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PHILLIPS de PURY & COMPANY

CHAIRMAN Simon de Pury

CHIEF EXECUTIVE OFFICER Michael McGinnis

CHIEF OPERATING OFFICER

CHIEF BUSINESS DEVELOPMENT OFFICER

Sean Cleary

Patricia G. Hambrecht

SENIOR DIRECTOR

MANAGING DIRECTOR, EUROPE

DIRECTORS

Dr. Michaela de Pury

Finn Schouenborg Dombernowsky

Olivier Vrankenne Alexander Payne Vanessa Kramer

ADVISORY BOARD Christiane zu Salm

Maria Bell

Lady Elena Foster

Janna Bullock

H.I.H. Francesca von Habsburg

Juergen Teller

Lisa Eisner

Marc Jacobs

Princess Gloria von Thurn und Taxis

Lapo Elkann

Ernest Mourmans

Jean Michel Wilmotte

Ben Elliot

Aby Rosen

Anita Zabludowicz

INTERNATIONAL SPECIALISTS Berlin Brussels

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, Senior International Specialist, Contemporary Art +32 486 43 43 44 Bérénice Chef, Specialist, Contemporary Art +32 473 12 27 06

Buenos Aires & London Brooke Metcalfe, International Specialist, Contemporary Art +44 777 551 7060 Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

Istanbul Deniz Atac, Consultant +90 533 374 1198 London Los Angeles Milan Moscow Paris

Dr. Michaela de Pury, Senior International Director, Contemporary Art +44 7500 660 868 Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Thomas Dryll, Senior Specialist, Contemporary Art +33 1 42 78 67 77 Edouard de Moussac, Specialist, Contemporary Art +33 1 42 78 67 77

Zurich

Niklaus Kuenzler, Specialist, Contemporary Art +41 79 533 90 00

WORLDWIDE OFFICES NEW YORK

NEW YORK

LONDON

450 Park Avenue, New York, NY 10022, USA

450 West 15 Street, New York, NY 10011, USA

Howick Place, London SW1P 1BB, United Kingdom

tel +1 212 940 1300 fax +1 212 940 1378

tel +1 212 940 1200 fax +1 212 924 3185

tel +44 20 7318 4010 fax +44 20 7318 4011

BERLIN

ISTANBUL

MILAN

Auguststrasse 19, 10117 Berlin, Germany

Meclisi Mebusan Caddesi, Deniz Apartmani No. 79/8

via Vincenzo Monti 26, 20123 Milan, Italy

tel +49 30 8800 1842 fax +49 30 8800 1843

Beyoglu 34427, Istanbul, Turkey

tel +39 339 478 9671

tel +90 533 3741198 MOSCOW

BRUSSELS rue Jean Baptiste Colyns 72, 1050 Brussels, Belgium

LOS ANGELES

TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia

tel +32 486 43 43 44

7285 Woodrow Wilson, Los Angeles, CA 90068, USA

tel +7 495 225 88 22 fax +7 495 225 88 87

tel +1 323 791 1771 ZURICH

GENEVA 23 quai des Bergues, 1201 Geneva, Switzerland

PARIS

Restelbergstrasse 89, 8044 Zurich, Switzerland

tel +41 22 906 80 00 fax +41 22 906 80 01

6 avenue Franklin D. Roosevelt, 75008 Paris, France

tel +41 79 533 90 00

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

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SPECIALISTS AND DEPARTMENTS CONTEMPORARY ART

DESIGN

Michael McGinnis, Chief Executive Officer

+1 212 940 1254

Alexander Payne, Director

Joseph Carlucci, International Business Director

+1 212 940 1366

and Worldwide Head, Design

+44 20 7318 4052

NEW YORK

NEW YORK Zach Miner, Head of Evening Sale

+1 212 940 1256

Alex Heminway, New York Director

+1 212 940 1268

Sarah Mudge, Head of Day Sale

+1 212 940 1259

Marcus Tremonto

+1 212 940 1268

Peter Flores, Business Director

+1 212 940 1223

Meaghan Roddy

+1 212 940 1266

Lauren Sohn

+1 212 940 1268

Corey Barr

+1 212 940 1234 LONDON

Benjamin Godsill

+1 212 940 1333

Jean-Michel Placent

+1 212 940 1263

Domenico Raimondo

+44 20 7318 4016

Amanda Stoffel

+1 212 940 1261

Ben Williams

+44 20 7318 4027

Marine Hartogs

+44 20 7318 4021

Joshua Friedman

+1 212 940 1392

Laura González

+1 212 940 1216

Marcus McDonald

+44 20 7318 4014

Viola McGowan

+1 212 940 1226

Annabelle Wills

+44 20 7318 4019

Jed Moch

+1 212 940 1301

Alexandra Raponi

+1 212 940 1292

Jonathan Winter

+1 212 940 1252

PHOTOGRAPHS Vanessa Kramer, Director

+1 212 940 1243

and Worldwide Head, Photographs LONDON Peter Sumner, Head of Evening Sale

+44 20 7318 4063

George O’Dell, Head of Day Sale

+44 20 7318 4093

Paul de Bono, Business Director

+44 20 7318 4070

Henry Allsopp

+44 20 7318 4060

NEW YORK Shlomi Rabi

+1 212 940 1246

Caroline Deck

+1 212 940 1247

Sarah Krueger

+1 212 940 1225

Matt Langton

+44 20 7318 4074

David Rimoch

+1 212 940 1245

Karen Levy

+44 20 7318 4082

Carol Ehlers, Consultant

+1 212 940 1245

Henry Highley

+44 20 7318 4061

Helen Rohwedder

+44 20 7318 4042

Larkin Erdmann

LONDON Lou Proud, Head of Photographs, London

+44 20 7318 4018

+44 20 7901 2909

Sebastien Montabonel

+44 20 7318 4025

Alexandra Bibby

+44 20 7318 4087

Tamila Kerimova

+44 20 7318 4085

Charlotte Salisbury

+44 20 7318 4058

Simon Tovey

+44 20 7318 4084

Rita Almeida Freitas

+44 20 7318 4062

Emma Lewis

+44 20 7318 4092

Laetitia Morenz

+44 20 7318 4092

MODERN AND CONTEMPORARY EDITIONS Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

PARIS Jonas Tebib, Consultant Specialist

NEW YORK Audrey Lindsey

+1 212 940 1285

Jannah Greenblatt

+1 212 940 1332

JEWELS NEW YORK Nazgol Jahan, Worldwide Director

+1 212 940 1283

Joanna Bengoa

+1 212 940 1302

Brittany Gersh

+1 212 940 1365

LONDON Robert Kennan, Head of Sale

+44 20 7318 4075

Rebecca Tooby-Desmond

+44 20 7318 4079

+33 1 42 78 67 77

PRIVATE SALES Susan Brockman

+44 20 7318 4041

EXHIBITIONS Arianna Jacobs

PRIVATE CLIENT SERVICES Philae Knight, New York

+1 212 940 1313

Meredith Ostrom, New York

+1 212 940 1323

Anna Poulsen, New York

+1 212 940 1300

Sara Tayeb-Khalifa, New York

+1 212 940 1383

Michael Berger-Sandhofer, London

+44 20 7318 4054

CLIENT DEVELOPMENT

MUSEUM SERVICES DEPARTMENT

Marya Oja, Worldwide Head

Lauren Shadford, New York

+1 212 940 1257

Cecilia Wolfson, New York

+1 212 940 1258

LONDON

NEW YORK

Isadora Tharin

Carolyn Bachman

Linda Pyke

Carly Murphy

PROPOSALS

+44 20 7318 4048

C. K. Swett, New York +1 212 940 1271

OFFICE OF THE CHAIRMAN

OFFICE OF THE CHIEF EXECUTIVE OFFICER

Mark Ferkul, New York +1 212 940 1238

Alyse Serrell, New York +1 212 940 1303

Harmony Hambly-Smith, London +44 20 7318 4099

ART AND PRODUCTION

MARKETING & COMMUNICATIONS

Mike McClafferty, Art Director NEW YORK

LONDON

NEW YORK

LONDON

Andrea Koronkiewicz, Studio Manager

Mark Hudson, Deputy Art Director

Trish Walsh, Marketing Manager

Fiona McGovern,

Orlann Capazorio, US Production Manager

Andrew Lindesay, Sub-Editor

Tiana Webb-Evans, Director of Communications

Communications and Marketing Officer

Steven Mosier, Graphic Designer

Tom Radcliffe, Production Director

Fernando Dias de Souza, Graphic Designer

Alex Godwin-Brown, Communications and Marketing Manager

Jeff Velazquez, Production Artist

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SALE INFORMATION

AUCTION

PRINCIPAL AUCTIONEER

450 PARK AVENUE NEW YORK 10022

Simon de Pury 0874341

12 December 2012, 11am AUCTIONEERS VIEWING

Sarah Mudge 1301805

450 WEST 15 STREET NEW YORK 10011

Alexander Gilkes 1308958

5 – 11 December

CK Swett 1407750

Monday – Saturday 10am–6pm Sunday 12pm–6pm

CATALOGUES Emma Miller +1 212 940 1240

SALE DESIGNATION

$35/€25/£22 at the gallery

In sending in written bids or making enquiries

catalogues@phillipsdepury.com

please refer to this sale as NY050212 or Design.

ABSENTEE AND TELEPHONE BIDS WORLDWIDE DIRECTOR

Main +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillipsdepury.com

Alexander Payne London +44 20 7318 4052

Marissa Piedra, Auction Manager +1 212 940 1304 Katherine Lukacher, Bid Clerk +1 212 940 1215

INTERNATIONAL CONSULTANT Marcus Tremonto +1 212 940 1268

CLIENT ACCOUNTING Sylvia Leitao, Client Accounting Director +1 212 940 1231

NEW YORK DIRECTOR

Buyers Accounts

Alex Heminway +1 212 940 1268

Nicole Rodriguez +1 212 940 1235 Seller Accounts

SPECIALISTS DESIGN

Barbara Doupal +1 212 940 1232

Meaghan Roddy +1 212 940 1266 Ben Williams London +44 20 7318 4027

CLIENT SERVICES

Domenico Raimondo London +44 20 7318 4026

450 Park Avenue +1 212 940 1300

Marine Hartogs London +44 20 7318 4021

450 West 15 Street +1 212 940 1200

CATALOGUER DESIGN

SHIPPING

Marcus McDonald London +44 20 7318 4095

Tova Small +1 212 940 1372

ADMINISTRATORS DESIGN Lauren Sohn +1 212 940 1268 Annabelle Wills London +44 20 7318 4019 Sofia Sayn-Wittgenstein London +44 20 7318 4023 PROPERTY MANAGERS Eric Mingus +1 212 940 1364 Oliver Gottschalk London +44 20 7318 4033 PHOTOGRAPHY Kent Pell, Byron Slater

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1-&"4& 46#.*5 :063 #*%4 50 BIDSNEWYORK@PHILLIPSDEPURY.COM 03 #: FAX +1 212 924 1749 "5 -&"45 )0634 #&'03& 5)& 4"-& Please select the type of bid you wish to make with this form (please select one):

450 Park Avenue New York 10022 PHILLIPSDEPURY.COM +1 212 9 4 0 13 0 0

ABSENTEE BID FORM TELEPHONE BID FORM Please indicate in what capacity you will be bidding (please select one):

AS A PRIVATE INDIVIDUAL ON BEHALF OF A COMPANY 4BMF 5JUMF

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5JUMF

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r COMPANY PURCHASES: If you are buying under a business entity we require a copy of government-issued identification (such as a resale certificate, corporate bank information, or the certificate of incorporation) to verify the status of the company.

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I ACCEPT THE CONDITIONS OF SALE OF PHILLIPS de PURY & COMPANY AS STATED IN OUR CATALOGUES AND ON OUR WEBSITE.

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IN-PERSON REGISTRATION FORM 5P CJE JO QFSTPO QMFBTF TVCNJU UIJT GPSN CZ FNBJM bidsnewyork@phillipsdepury.com PS GBY BU

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450 Park Avenue New York 10022 PHILLIPSDEPURY.COM +1 212 9 4 0 13 0 0

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

AS A PRIVATE INDIVIDUAL ON BEHALF OF A COMPANY

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I ACCEPT THE CONDITIONS OF SALE OF PHILLIPS de PURY & COMPANY AS STATED IN OUR CATALOGUES AND ON OUR WEBSITE.

Following Page Piero Fornasetti, ‘Palladiana’ chest of drawers, 1950s, lot 246 (detail) Inside Back Cover Gio Ponti, Unique center table, designed for the Trunfio House, Milan, 1954, lot 222 (detail) Back Cover Takashi Ikura, ‘Where Shadow Meets Form 2009-04’, 2009, lot 171

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CONTEMPORARY ART EVENING & DAY SALE

CECILY BROWN East of Eden, 1999 Estimate £ 600,000 – 800,000

AUCTION 14-15 FEBRUARY 2013 HOWICK PLACE LONDON SW1P 1BB Deadline 14 JANUARY 2013 Peter Sumner Head of Evening Sale psumner@phillipsdepury.com +44 20 7318 4063 PHILLIPSDEPURY.COM

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P H I L L I P S D E P U RY.C O M

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