Design NY June by Phillips de Pury & Co.

DESIGN JUNE

DESIGN JUNE 3 2009 N E W YO R K

WWW.PHI L L I P S D E P U RY. C O M NY050109

Front Cover Ron Arad, “Before Summer” high-backed chaise longue, 1992, Lot 93 Back Cover Ron Arad, “After Spring” low-backed chaise longue, 1992, Lot 74

2009

N E W YO R K

Front Cover Ron Arad, “Before Summer” high-backed chaise longue, 1992, Lot 93 Back Cover Ron Arad, “After Spring” low-backed chaise longue, 1992, Lot 74 Angelo Mangiarotti, Rare dining table, ca. 1961, Lot 46 (detail)

Jun Kaneko, Dango form, 1998, Lot 86 (detail)

DESIGN JUNE

2009

11am

N E W YO R K

Viewing Wednesday May 27 - Saturday May 30 10am - 6pm Sunday May 31 12pm-6pm Monday June 1 -Tuesday June 2 10am - 6pm

JEAN PROUVÉ 1901-1984 Bahut storage unit (Meuble Suspendu), ca. 1948 Painted steel, solid and laminated oak. Manufactured by Les Ateliers Jean Prouvé, France. 100 3/8 x 78 3/4 x 22 in. (255 x 200 x 55.9 cm.)

Estimate

$50,000-70,000

PROVENANCE Galerie Steph Simon, Paris; Private Collection, France; Etude

Orne, Alençon; Galerie 54, Paris; Jean Prouvé’s Prototype Maison Tropicale and Other Works, Christie’s New York, June 5, 2007, Lot 204 LITERATURE Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 116-117 for similar examples; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934-1944, Basel, 2000, p. 285, fig. 891,1 for a drawing; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 461 and 482-485 for similar examples

CHARLOTTE PERRIAND 1903-1999 Set of 20 wall lights, model no. CP1, 1980s Painted metal, plastic (20). Each: 7 x 5 x 4 3/4 in. (17.8 x 12.7 x 12.1 cm.)

Estimate

$6,000-8,000

LITERATURE Charlotte Perriand: Un Art de Vivre, exh. cat., Musée des Arts

Décoratifs, Paris, 1985, p. 52

PIERRE JEANNERET FOR LE CORBUSIER 1896-1967, 1887-1965 Rare low table, ca. 1960 Indian rosewood, wrought iron, iron. 17 3/4 in. (45.1 cm.) high, 35 1/2 in. (90.2 cm.) diameter

Estimate

$80,000-120,000

PROVENANCE Private Collection of an employee of Le Corbusier and Pierre

Jeanneret, Chanigarh; Galerie 54, Paris; Jean Prouvé’s Prototype Maison Tropicale and Other Works, Christie’s New York, June 5, 2007, Lot 242 LITERATURE “La maison de Pierre Jeanneret à Chandigarh,” Aujourd’hui: Art et

Architecture, September 1956, pp. 62 and 65; Gilles Barbey, et al., “Hommage à Pierre Jeanneret,” Werk, Bauen und Formen mit Kunststoff-Das Lebenswerk von Pierre Jeanneret, June 1968, pp. 381 and 392; Sarbjit Bahga and Surinder Bahga, Le Corbusier and Pierre Jeanneret: Footprints on the Sands of Indian Architecture, New Delhi, 2000, p. 35

There are 12 known examples of this design.

PROPERTY FROM A PRIVATE NEW YORK COLLECTION

JEAN PROUVÉ 1901-1984 Important unique two-legged demountable Center Table, “Trapèze,” for the Commissariat à l’Énergie Atomique, ca. 1958 Painted bent sheet steel, bent sheet steel, rubber, wood. Manufactured by Les Constructions Jean Prouvé, France. 30 3/4 x 96 5/8 x 36 in. (78.1 x 245.4 x 91.4 cm.)

Estimate

$150,000-200,000

PROVENANCE C. E. A., Commissariat à l’Énergie Atomique; Galerie 54, Paris LITERATURE Anthony Delorenzo, ed., Jean Prouvé / Serge Mouille, New York, 1985,

pp. 36-37 and 74-75 for a similar example; Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 88-91, 151, 156, 161, 169, 179, 187, 251 and 265 for similar examples; Laurence Allégret and Valérie Vaudou, eds., Jean Prouvé et Paris, Paris, 2001, p. 237, figs. 61 and 63 for similar examples; Penelope Rowlands, Jean Prouvé, New York, 2002, pp. 74-75 for a similar example; Jean Prouvé Connaissance des Arts, special issue, 2002, p. 48 for a similar example; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005, p. 184, fig. 1163.8 and pp. 231-232, figs. 1220.5 for similar examples; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 424-427 for similar examples; Eric Touchaleaume, Corpus des Differentes Variantes de la “Table Trapèze” de Jean Prouvé, Paris, 2007, illustrated on front cover and p. 28

This “Trapèze” table is illustrated in Peter Sulzer’s Jean Prouvé: Œuvre Complète, Volume 4: 1954-1984, Basel, 2008, on p. 14, fig. 22.

Figures © Archives Eric Touchaleaume

Pragmatic metal master Jean Prouvé built steel and aluminum furniture noted for its function, durability, and ease. His “Table Centrale,” also called “Trapèze,” reflects the rational principles first proclaimed by Le Corbusier in Towards a New Architecture (1923). Prouvé shifted load bearing from outer legs (which impede the legs) to internal supports; they more effectively transmit forces to the floor. He projected the top beyond those supports, giving the table an overall impression of lightness despite its mass. Not surprisingly Charlotte Perriand, longtime collaborator of Le Corbusier, commissioned Prouvé to build the first variation of “Trapèze,” an illuminated library table for the Maison de la Médecine, in July 1951. In that instance, two tubular steel trapezoids and a bent steel stretcher bore a solid plank designed by woodworker André Chetaille. In the late 1950s Constructions Jean Prouvé built the present table, a short two-legged version in grey-green lacquer, for the Commissariat à l’Énergie Atomique (C.E.A.), a French government-funded research organization concerned with defense and energy technologies. During the late 1940s and 1950s, Prouvé supplied a wide range of furniture for offices, conference rooms, and laboratories at C.E.A. sites in Saclay, Marcoule, Grenoble, and in Algiers.

As was frequently the case, Prouvé revisited and refined his most successful forms; throughout the 1950s he built variations of “Trapèze” tables for five confirmed locations: Maison de la Médecine (1951); Cité Université d’Antony (1954-55); Caisse Nationale de Sécurité Sociale de Paris (1954); the office of architects Lagneau et Weill (1954-55); and for the C.E.A. (1952-58), of which fifteen known examples exist in seven variations according to size, shape, color, and number of supports. Among them are demountable two- and three-legged tables with straight or curved central beams in grey-green or black lacquer. Three C.E.A. examples, including the present lot, bear circular metal plates which support their tops; the other twelve tables bear narrow projecting brackets. As Peter Sulzer has stated in Volume 4 of Jean Prouvé Œuvre Complète (2008), a recently discovered letter, dated April 1958 and written by Prouvé to C.E.A. architect Michel Luyckx, hints at a forthcoming order of “Trapèze” tables: “…So, for your laboratory and conference tables, I am proposing to you variants of the tables made for the Antony faculty, but stronger and larger models.”

GEORGES JOUVE 1910-1964 Rare double vase, 1950s Glazed stoneware. Underside incised with “JOUVE.” 13 3/8 in. (34 cm.) high

Estimate

$25,000-35,000

LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve,

Paris, 2005, p. 296

GEORGES JOUVE 1910-1964 Low table, ca. 1955 Glazed ceramic tiles, painted iron. 17 3/8 x 36 3/4 x 16 1/2 in. (44.1 x 93.3 x 41.9 cm.)

Estimate

$7,000-9,000

PROVENANCE Design, Phillips de Pury & Company, December 13, 2007, Lot 98 LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve,

Paris, 2005, pp. 219-227 for similar examples

GEORGES JOUVE 1910-1964 Table lamp, ca. 1958 Glazed stoneware, tubular brass, paper shade. Underside incised with “JOUVE.” 28 in. (71.1 cm.) high, with shade

Estimate

$10,000-15,000

LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 287-288

ALBERTO GIACOMETTI 1901-1966 Pair of table lamps, designed 1936 Bronze, fabric shades. Designed for Jean-Michel Frank and cast at a later date by Diego Giacometti. Each impressed with “A. GIACOMETTI” and artist’s mark (2). Each: 24 5/8 in. (62.5 cm.) high, with shade

Estimate

$50,000-70,000

PROVENANCE Giorgio Upiglio, Milan LITERATURE Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, p. 244;

François Baudot, Jean-Michel Frank, New York, 1999, pp. 26 and 76

JEAN ROYÈRE 1902-1981 Rare “Ours Polaire” sofa, ca. 1950 Oak, fabric. 25 x 93 x 54 in. (63.5 x 236.2 x 137.2 cm.)

Estimate

$180,000-220,000

PROVENANCE Private Collection, Lebanon LITERATURE Yvonne Brunhammer, Le Mobilier Français 1930-1960, Paris, 1997,

p. 139 for a drawing; Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, pp. 24, 40, 63 and 83-85; Jean Royère, Décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, pp. 9-10, 25, 41, 60, 63, 70-72, 76, 161, 165 and pp. 12, 115, 122-123 125 for drawings; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 45, 143, 210-211, 226-229, 231-232, 247, 266, 285, 291 and pp. 15 and 233 for drawings

After the doldrums of war, European furniture of the 1950s perked up: seats swelled; silhouettes swung out of bounds. The geometric rigors of Modernism succumbed to cants, curves, and playful biomorphs: Serge Mouille’s insect lamps, alert on spindle legs, threatened to walk away; Carlo Mollino’s sculpted chairs, pitched at dangerous angles, never sat still. In an undated graphite drawing, Mollino sketched a gazelle in flight, a telling inspiration. French designer Jean Royère added to the menagerie; his silhouettes drew inspiration from surrealism and from the natural world: “Polar Bears,” “Elephants,” “Eggs,” and “Bananas,” an unexpected bunch. Royère enlivened his furniture with playful names, robust volumes, and elaborate upholstery, as in the present lot. He first exhibited a similar canapé at “La Résidence Française,” a 1947 Paris show organized by the magazine Art et Industrie. In Jean Royère (Galerie de Beyrie, 2000), collector Michael Boyd wrote: “There is a serious sculptural content imbued—but there is a playful, even humorous side, too.” Simply put, Royère cracked a good joke. But Boyd is right, Royère modeled in the round. In the present sofa, the horizontal sweep of the frame is mimicked by a vertical one: the broad slope of the back into the arms, a continuous curve. The sofa’s shapely lines offer surprising lightness and grace—it’s no elephant in the room.

HARRY BERTOIA 1915-1978 Rare “Bush” sculpture, ca. 1965 Patinated copper. 15 1/4 in. (38.7 cm.) high

Estimate

$70,000-90,000

PROVENANCE Richard Grischy, Chadds Ford, Pennsylvania LITERATURE Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen,

2003, pp. 110-114 for similar examples

WENDELL CASTLE b. 1932 “Crescent” rocking chair, 1984 Walnut, leather. One leg carved with “W. Castle 84.” 32 3/4 in. (83.2 cm.) high

Estimate

$20,000-30,000

LITERATURE Davira S. Taragin, Edward S. Cooke Jr. and Joseph Giovanni,

Furniture by Wendell Castle, exh. cat., Detroit Institute of Arts, New York, 1989, p. 45, fig. 11; Patricia Conway, Art for Everyday: The New American Craft Movement, New York, 1990, p. 85; Arthur C. Danto, Peter T. Joseph, and Emma T. Cobb, Angel Chairs: New Works by Wendell Castle, exh. cat., Peter Joseph Gallery, New York, 1991, p. 34

PAUL EVANS 1931-1987 Wall-mounted ‘Wavy Front’ cabinet, 1964 Painted and patinated patchwork steel, sculpted steel, painted wood, slate, gilt metal. Underside of left door cast with “Paul Evans 1964.” 21 x 73 3/4 x 22 1/2 in. (53.5 x 187.3 x 57.2 cm.)

Estimate

$50,000-70,000

LITERATURE John Sollo, “Out of the Ordinary: Paul Evans and His Style,”

Modernism Magazine, Fall 1998, illustrated p. 43; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, pp. 98-99 for a similar example

VLADIMIR KAGAN b. 1927

“Tri-Symmetric” side chair, model no. 500, ca. 1960

“Tri-Symmetric” stool, model no. 504, ca. 1955

Aluminum, leather. Manufactured by Kagan-Dreyfuss, USA.

Aluminum, vinyl. Manufactured by Kagan-Dreyfuss, USA.

30 in. (76.2 cm.) high

14 in. (35.6 cm.) high

Estimate

$6,000-8,000

$5,000-7,000

LITERATURE Vladimir Kagan, The Complete Kagan: A Lifetime of Avant-Garde

PROVENANCE Michael and Gabrielle Boyd; Pioneers of American Modernism,

Design, New York, 2004, pp. 132-133

Phillips de Pury & Company, June 11, 2001, Lot 135; Design, Phillips de Pury & Company, June 7, 2006, Lot 76 EXHIBITED “Sitting on the Edge: Modernist Design from the Collection of Michael

and Gabrielle Boyd,” San Francisco Museum of Modern Art, November 20, 1998 – February 23, 1999 LITERATURE 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, illustrated pl. 82; Vladimir Kagan, The Complete Kagan/Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2004, p. 133; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 122

ARTHUR ESPENET CARPENTER 1920-2006 “Wishbone” chair, 1983 Walnut, parchment. Underside impressed with “Espenet.” 30 3/4 in. (78.1 cm.) high

Estimate

$12,000-14,000

LITERATURE Michael A. Stone, Contemporary American Woodworkers, Salt Lake

City, 1986, p. 84; Patricia Conway and Jon Jensen, Art for Everyday: the New Craft Movement, New York, 1990, p. 262; Edward S. Cooke, Jr., Gerald W.R. Ward and Kelly H. L’Ecuyer, The Maker’s Hand: American Studio Furniture 1940-1990, exh. cat., Museum of Fine Arts, Boston, 2003, p. 45; Kathleen Hannah, “A Straightforward Desire for Utility: An Interview with Furniture Maker Arthur Espenet Carpenter,” Archives of American Art Journal, no. 43, 2003, p. 33; Jo Lauria and Suzanne Baizerman, California Design: the Legacy of West Coast Craft and Style, San Francisco, 2005, p. 74; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 73

PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

RUTH DUCKWORTH b. 1919 Winged pot, 1989 Porcelain. Underside painted with “R” and “0921289.” 6 in. (15.2 cm.) high

Estimate

$6,000-8,000

PROVENANCE Garth Clark Gallery, New York LITERATURE Garth Clark, American Ceramics, 1876 to the Present, New York,

1979, p. 208 for a similar example

EDWARD WORMLEY 1907-1995 Side table, ca. 1957 Walnut, Tiffany favrile glass tiles, brass. Table manufactured by Dunbar, USA and the tiles manufactured by Louis Comfort Tiffany, USA, from the Janus collection. Underside with brass plaque impressed with “DUNBAR/BERNE, INDIANA.” 23 1/4 x 13 1/2 x 14 in. (59.1 x 34.3 x 35.6 cm.)

Estimate

$8,000-12,000

LITERATURE “Edward J. Wormley: portrait of a designer,” Interiors, November

1956, p. 100; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 224 for similar examples

PROPERTY FROM THE ESTATE OF DR. ALFRED JONES, NEW YORK

PAUL EVANS 1931-1987 Unique custom-made illuminated cabinet bar, ca. 1963 Painted sculpted and patchwork steel, perforated steel, painted and sculpted bronze, painted wood, gold leaf-covered wood, slate, painted tubular steel, electrical components, felt. 81 3/4 x 60 x 23 in. (207.6 x 152.4 x 58.4 cm.)

Estimate

$80,000-120,000

LITERATURE Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture

from High Craft to High Glam, New York, 2008, front and back covers and p. 12 for similar examples

Phillips de Pury & Company would like to thank Dorsey Reading for his assistance in cataloging this and the following lot.

Wandering through Bucks County, Pennsylvania in the early 1960s, Dr. Alfred Jones (psychologist, collector) discovered the great studio furniture makers Paul Evans and Phillip Lloyd Powell. Close collaborators, the two designers shared a showroom in the small town of New Hope, halfway between New York and Philadelphia on Old York Road. Home to the Bucks County Playhouse, New Hope enjoyed a lively traffic of visitors, actors, and artists (George Nakashima maintained a studio in the nearby woods; Grace Kelly had debuted at the Playhouse in 1949). Following his discharge from the Army Air Corps—he had flown B17s over Europe—Dr. Jones studied painting at the New School for Social Research, a progressive university in New York. Although he later earned a Ph.D. in psychology, Dr. Jones maintained a lifelong interest in the arts; he frequented galleries and was a devoted subscriber to the Metropolitan Opera and to New York City Ballet. Among his many affections, Dr. Jones indulged two sweethearts: wine and song. An avid collector of rare vintages, Dr. Jones commissioned the present lot, a commanding cabinet bar built by Evans in 1963 with the assistance of studio foreman Dorsey Reading. As design critic Julie Iovine has elaborated in her recent book Modern Americana (Rizzoli, 2008), Evans would have sketched in chalk on a wood carcass the cabinet’s many details—patchworks and perforations. Reading, a trained machinist, faithfully executed them in metal. In the present case, Evans’s alternation of pierced panels with solid, polychrome ones adds counterpoint rhythm to the bar’s folding doors. Punctures draw the eye, raised weld marks and color swatches push it back. From chamber music to jazz, Dr. Jones amassed a broad selection of vinyl, which he listened to on a D44000 Paragon, the landmark speaker system then in vogue among enthusiasts. The stereo itself was housed in a unique wall-mounted cabinet built by Powell (Lot 19). The latter’s generous use of 23-karat gold leaf corresponded to Evans’s similar treatment to the interior of the bar, which stood across the living room in Dr. Jones’s Central Park West apartment, where he had moved in 1962. As Reading has confirmed, the bar and stereo cabinets were designed by Evans and Powell respectively; they bear distinct authorship, although the commission was a joint one. Together Evans and Powell would have installed both works in Dr. Jones’s living room, where they remained in close conversation, as the designers had been, until the present day.

PROPERTY FROM THE ESTATE OF DR. ALFRED JONES, NEW YORK

PHILLIP LLOYD POWELL 1919-2008 Unique custom wall-mounted stereo cabinet, ca. 1963 Gold leaf-covered painted wood, walnut, velvet. 60 x 30 1/4 x 19 3/8 in. (152.4 x 76.8 x 49.2 cm.)

Estimate

$25,000-35,000

LITERATURE Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture

from High Craft to High Glam, New York, 2008, front and back covers and p. 101 for a similar example

HARRY BERTOIA 1915-1978 Study, for the four-panel screen at Dulles International Airport, Chantilly, VA, ca. 1963 Patinated poured bronze. 13 1/2 in. (34.3 cm.) high

Estimate

$20,000-30,000

PROVENANCE Harry Bertoia Estate LITERATURE Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen,

2003, p. 154 for another study for this project

LOTS 21-31 PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

KEN FERGUSON b. 1938 “Black Hare Platter,” 1987 Stoneware, black glaze. Underside painted with “Ferguson” script signature. 4 1/4 in. (10.8 cm.) high, 22 in. (55.9 cm.) diameter

Estimate

$2,000-3,000

PROVENANCE Esther Saks Gallery, Chicago, Illinois LITERATURE Garth Clark, American Ceramics, 1876 to the Present, New York,

1979, p. 264 for similar examples; Michael Rubin, “Ken Ferguson,” Ceramics Monthly, November 1987, illustrated p. 30

KEN FERGUSON b. 1938 Teapot #16, 1987 Stoneware, shino-type glaze. 22 3/4 in. (57.8 cm.) high

Estimate

$5,000-7,000

PROVENANCE Esther Saks Gallery, Chicago, Illinois LITERATURE Martha Drexler Lynn, Clay Today, Contemporary Ceramists and Their

Work, Los Angeles, 1990, pp. 64 and 181 for a similar example

DANIEL RHODES 1911-1989 “Small Guardian,” 1985 Wood-fired stoneware. Underside signed in marker with “A5.” 20 1/8 in. (51.1 cm.) high

Estimate

$3,000-4,000

PROVENANCE Shaw/Guido Gallery, New York

WAYNE HIGBY b. 1943 “Intangible Bay,” 1988 Raku-fired glazed earthenware. Foot impressed with artist’s seal. 10 1/2 in. (26.7 cm.) high, 16 in. (40.6 cm.) diameter

Estimate

$4,000-6,000

PROVENANCE Helen Drutt, New York and Philadelphia, Pennsylvania LITERATURE Garth Clark, American Ceramics, 1876 to the Present, New York, 1979,

pp. 221 and 272 for similar examples; Jane Adlin, Contemporary Ceramics, Selections from the Metropolitan Museum of Art, New York, 1998, p. 17 for a similar example

LAURA ANDRESON 1902-1999

Bowl, 1955

Vase, 1984

Glazed earthenware. Underside incised with “Laura Andreson” script

Glazed stoneware. Underside incised with “Laura Andreson” script

signature and “1955.”

signature and “84.”

3 1/4 in. (8.3 cm.) high, 5 1/8 in. (13 cm.) diameter

5 1/2 in. (14 cm.) high

Estimate

$2,000-3,000

PROVENANCE Garth Clark Gallery, New York LITERATURE Paul S. Donhauser, History of American Ceramics, The Studio

Potter, Dubuque, 1978, p. 226, fig. 13-32 for a similar example

$2,000-3,000

PROVENANCE Garth Clark Gallery, New York

GERTRUD AND OTTO NATZLER 1908-1971, 1908-2007 Single-stem vase, ca. 1960 Glazed earthenware. Underside signed in ink with “NATZLER” and with paper label with “M628.” 8 1/4 in. (21 cm.) high

Estimate

$4,000-6,000

PROVENANCE Mr. and Mrs. Warren H. Corning, Cleveland, Ohio LITERATURE American studio pottery, exh. cat., The Victoria and Albert Museum,

London, 1968, fig. 8 for a similar example; Form and Fire, Natzler Ceramics 19391972, exh. cat., The Renwick Gallery of the National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., 1973, p. 61, fig. 77 for a similar example

ROBERT TURNER 1913-2005 Grey form with key, ca. 1989 Glazed stoneware with cinder surface. Underside incised with “TURNER.” 11 in. (27.9 cm.) high

Estimate

$6,000-8,000

PROVENANCE Acquired directly from the artist

ROBERT TURNER 1913-2005 Vase, ca. 1989 Glazed stoneware. Underside incised with “TURNER.” 11 5/8 in. (29.5 cm.) high

Estimate

$6,000-8,000

PROVENANCE Acquired directly from the artist

PETER VOULKOS 1924-2002 “Orzo” charger, 1979 Wood-fired stoneware. Underside painted with “ORZO” and “V·O·U·L·K·O·S.” 4 7/8 in. (12.4 cm.) high, 21 1/4 in. (54 cm.) diameter

Estimate

$8,000-12,000

PROVENANCE Eric Zetterquist, New York LITERATURE Paul S. Donhauser, History of American Ceramics, The Studio

Potter, Dubuque, 1978, p. 129, fig. 11 and p. 154, fig. 11-22 for similar examples; Garth Clark and Margie Hughto, A Century of Ceramics in the United States, 18781978, New York, 1979, p. 242, fig. 294 and p. 256, fig. 323 for a similar example; Garth Clark, American Ceramics, 1876 to the Present, New York, 1979, p. 170 for a similar example; Martha Drexler Lynn, Clay Today, Contemporary Ceramists and Their Work, Los Angeles, 1990, p. 222 for a similar example

PETER VOULKOS 1924-2002 “Elephant Foot” ice bucket, 1975 Wood-fired stoneware. Underside painted with “VOULKOS/75.” 8 1/4 in. (21 cm.) high

Estimate

$5,000-7,000

PROVENANCE Yaw Gallery, Birmingham, Michigan

GEORGE NAKASHIMA 1905-1990 Free-form “Wepman” side table, 1965 Walnut. 11 3/4 x 21 x 20 in. (29.8 x 53.3 x 50.8 cm.)

Estimate

$12,000-14,000

PROVENANCE Susan Wepman Seidman, Toronto, Ontario, Canada LITERATURE Mira Nakashima, Nature, Form & Spirit: The Life and Legacy

of George Nakashima, New York, 2003, pp. 95 and 156 for similar examples

PAUL EVANS 1931-1987 ‘Patchwork’ cabinet, 1960s Painted patchwork steel, copper, pewter, sculpted steel, painted wood, slate. 32 1/4 x 42 1/8 x 22 in. (81.9 x 107 x 55.9 cm.)

Estimate

$20,000-30,000

LITERATURE Directional sales catalogue, no date, n.p., for examples of sculpted

steel, and painted and patchwork, steel, copper and pewter; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 12 for a similar example

LOTS 34-38 PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

BEATRICE WOOD 1893-1988 Bowl, 1987 Luster glazed earthenware. Underside painted with “BEATO” and signed in marker with “76B.” 5 1/4 in. (13.3 cm.) high, 12 7/8 in. (32.7 cm.) diameter

Estimate

$4,000-6,000

PROVENANCE Garth Clark Gallery, New York LITERATURE Lee Nordness, Objects:USA, New York, 1970, p. 53 for a similar

example; Garth Clark, American Ceramics, 1876 to the Present, New York, 1979, p. 115 for similar examples

BEATRICE WOOD 1893-1988 Chalice, ca. 1987 Luster glazed earthenware. Underside signed in ink with “BEATO, 23B” and “NWD193.” 11 3/4 in. (29.8 cm.) high

Estimate

$4,000-6,000

PROVENANCE Garth Clark Gallery, New York LITERATURE Lee Nordness, Objects:USA, New York, 1970, p. 53 for a similar

example; Garth Clark, American Ceramics, 1876 to the Present, New York, 1979, pp. 115 and 137 for similar examples

KAREN KARNES b. 1925 Split-foot vase, ca. 1987 Wood-fired stoneware. One side near base incised with artist’s “KK” monogram. 11 in. (27.9 cm.) high

Estimate

$3,000-4,000

PROVENANCE Acquired directly from the artist LITERATURE Martha Drexler Lynn, Clay Today, Contemporary Ceramists and Their

Work, Los Angeles, 1990, pp. 88 and 189 for a similar example

TOSHIKO TAKAEZU b. 1929 Buff pot with brown splashes, 1980s Glazed stoneware. Underside incised with artist’s “TT” monogram. 11 in. (27.9 cm.) high

Estimate

$4,000-6,000

TOSHIKO TAKAEZU b. 1929 “Moon pot #44,” ca. 1987 Glazed stoneware. Underside incised with artist’s “TT” monogram. 7 1/2 in. (19.1 cm.) high

Estimate

$2,500-3,500

PROVENANCE Perimeter Gallery, Chicago, Illinois LITERATURE Lee Nordness, Objects:USA, New York, 1970, p. 80 for a similar

example; Garth Clark, American Ceramics, 1876 to the Present, New York, 1979, p. 8 for a similar example

GEORGE NAKASHIMA 1905-1990 Monumental “Conoid” dining table, 1989 Walnut, 15 Indian rosewood keys. Underside signed in marker with “George Nakashima/Feb 28 1989.” Together with the original drawing. 73 x 290 1/8 x 135 in. (185.7 x 737.2 x 345.2 cm.)

Estimate

$150,000-200,000

PROVENANCE Phillip Roth, San Anselmo, California LITERATURE George Nakashima, The Soul of a Tree, A Woodworker's Reflections,

Tokyo, 1981, p. 185 for a drawing; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, front cover and pp. 147, 174 and 223 for similar examples

GEORGE NAKASHIMA 1905-1990 Set of eight “Conoid” dining chairs, 1989 Walnut, hickory. Underside of four chairs signed in marker with “Roth/George Nakashima/Feb 27 1989” and underside of four signed in marker with “Roth” (8). Each: 35 1/2 in. (90.2 cm.) high

Estimate

$80,000-120,000

PROVENANCE Phillip Roth, San Anselmo, California LITERATURE George Nakashima, The Soul of a Tree, A Woodworker's Reflections,

Tokyo, 1981, pp. 32, 38, 153, 167, 169, 177, 179, 183-184, 187, 191 and p. 108 for a drawing; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 155, fig. 27; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 173-175, 195, 215-216, 223 and 226-227;

JENNIFER LEE b. 1956 “Asymmetric Rust with Speckles” pot, 1986 Stoneware, integral body color. 11 1/2 in. (29.2 cm.) high

Estimate

$6,000-9,000

PROVENANCE Bonhams London, June 14, 2000, Lot 214

GIJS BAKKER b. 1942 Rare “Adam” necklace, 1987 Gold-plated brass, PVC-laminated photograph. Executed by Aldo Bakker, Florian Göttke and Rudi Sand,The Netherlands. Back of laminated element hand-signed in pen with “Adam, 1987/M10” and with artist’s signature. 11 1/8 in. (28.3 cm.) diameter

Estimate

$24,000-28,000

PROVENANCE Galerie ra, Amsterdam LITERATURE Gert Staal, Gijs Bakker, Vormgever: Solo voor een Solist,

Gravenhage, 1989, p. 38; Ida Van Zijl, Gijs Bakker and Jewelry, Stuttgart, 2005, p. 216; Alba Cappellieri and Marco Romanelli, Il Design della Gioia : Il Gioiello fra Progetto e Ornamento = Jewelry Between Design and Ornament, exh. cat., Palazzo della Triennale, Milan, 2005, p. 44

LINE VAUTRIN 1913-1997 Rare and important â&#x20AC;&#x153;Planetsâ&#x20AC;? necklace, 1950s Impressed brass, patinated brass, metal chain. 38 in. (96.5 cm.) drop, 21 in. (53.3 cm.) diameter

Estimate

$25,000-30,000

PROVENANCE Galerie Thierry Struvay, Brussels

It is believed that approximately five examples of this design were ever produced.

TAPIO WIRKKALA 1915-1985 “Hopeaku” pendant, ca. 1973 Silver. Produced by N. Westerback, Finland. Pendant impressed with “925S S7 925H NW 1B” and chain impressed with “Italy 925.” Pendant: 5 5/8 in. (14.3 cm.) drop, 4 1/2 in. (11.4 cm.) diameter

Estimate

$7,000-9,000

LITERATURE Marianne Aav, ed., Tapio Wirkkala, Eye, Hand and Thought, exh. cat.,

Museum of Art and Design, Helsinki, 2000, p. 192

ANDREA BRANZI b. 1938 Vase, 1995-1996 Acid-dipped silver, natural birch. Editioned by Argentaurum, Belgium, from the Silver and Wood collection. Number eight from an edition of 25. Side impressed with artist’s mark and “Andrea Branzi ARGENTAURUM 925 8 / 25.” 17 1/8 in. (43.5 cm.) high

Estimate

$7,000-9,000

LITERATURE Andrea Branzi, Andrea Branzi: Open Enclosures, exh. cat., Fondation

Cartier pour l’art contemporain, Paris, 2008, n.p.

ANGELO MANGIAROTTI b. 1921 Rare dining table, ca. 1961 Agate, turned bronze. Manufactured by Bernini, Italy. 26 1/2 in. (67.3 cm.) high, 59 in. (149.9 cm.) diameter

Estimate

$30,000-40,000

LITERATURE Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni

â&#x20AC;&#x2DC;40 e â&#x20AC;&#x2DC;50, Roma-Bari, 1992, p. 201, fig. 10 for similar examples; Charlotte and Peter Fiell, eds., Domus Vol. IV 1955-1959, Cologne, 2006, pp. 546-548 for similar examples

ANDREA BRANZI b. 1938 Cup, 1995-1996 Acid-dipped silver, natural birch. Editioned by Argentaurum, Belgium, from the Silver and Wood collection. Number five from an edition of 25. Side impressed with artist’s mark and “Andrea Branzi ARGENTAURUM 925 5 / 25.” 4 in. (10.2 cm.) high

Estimate

$3,500-4,000

ANGELO MANGIAROTTI b. 1921 “Incas” console, ca. 1978 Pietra serena stone. Manufactured by Skipper, Italy. 26 3/4 x 78 1/4 x 21 3/8 in. (67.9 x 198.8 x 54.3 cm.)

Estimate

$8,000-12,000

LITERATURE Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 456

for a similar example

CLAUDE LALANNE b. 1925 Rare and important set of 12 “Grains de Café” side chairs, designed 1965 Steel, brass, leather. Each chair back impressed with “CLAUDE LALANNE” and “84.” Originally designed for Olivier de La Baume (12). Each: 30 1/2 in. (77.5 cm.) high

Estimate

$180,000-220,000

LITERATURE Daniel Abadie, Lalanne(s), Paris, 2008, p. 304

In 1965 Claude Lalanne designed her “Grains de Café” or “Coffee Beans” side chairs for the office of Olivier de La Baume, director of Maison du Café, a French coffee company. The chairs accompanied a writing desk and an articulated conference table designed for the same commission by husband François-Xavier Lalanne. In 2004 the Centre Pompidou included Lalanne’s “Grains de Café” chair in its exhibition Mobilier national 19642004: 40 ans de creation. The single example illustrated in the accompanying catalog was editioned by Zol in the 1970s and produced in chrome-plated steel and black leather. Madame Lalanne has confirmed that those “Grains de Café” chairs hand built by her, as with the present lot, had coffee-colored leather cushions, as opposed to chairs made by Zol, which featured white or black leather.

Philips de Pury & Company would like to thank Claude Lalanne for her assistance in cataloging this lot.

Tendrils and vines wind across the landscape of Claude Lalanne’s jewelry, furniture, and sculpture. Her output has been a fertile one: monumental bronze apples, copper hosta chairs, branch staircases, and aluminum tables made from outsize gingko leaves. Cast fruits and vegetables punctuate her body of work (body is the operative word); for the past half century, Lalanne has grown a tender garden: fennel-hands, apple-mouths, cabbagerabbits, a surreal collection of flora and fauna whose peculiar juxtapositions accentuate nature’s motley. She’s potted; but her imagination, sweetened by humor, never stumbles into dark corners like that of Salvador Dalí or Max Ernst, her Surrealist forebears. In close collaboration with husband François-Xavier, with whom she worked until his death in 2008, Lalanne “…made constant surprise a driving force behind creativity…,” as Daniel Abadie states in his recent monograph (Lalanne(s), Paris, 2008). What is remarkable is that we should be so surprised by the facts of life on display: plants, fruits, vegetables, all that fare of which the Lalannes are so fond. Abadie states flatly, “…the Lalannes are remarkable cooks, simultaneously classic and inventive, primarily for the benefit of themselves and their friends…” The comment, in the context of culinary experimentation in France in the 1960s, is instructive for it recalls that old saw, “food is life,” and hints at a broader working method: the Lalannes combined basic ingredients—steel, brass, bronze—to ingenious effect for their own nourishment and for that of a small coterie of friends and collectors.

Olivier de La Baume, director of Maison du Café, must have been an intriguing client, for he presided over a food preparation company whose daily work was the packaging of daily roast. In 1965 François-Xavier designed both an articulated conference table and a writing desk for La Baume’s office. The desk’s hooded oval top, in the shape of a coffee bean, stood on clustered steel legs. To accompany desk and table, Claude hand built a set of side chairs, which she called “Grains de Café,” or “Coffee Beans.” The chairs comprise brass and steel frames with coffee-colored leather pads supported on clustered legs similar to desk and table (the curved elements are reminiscent of the spring steel supports of Poul Kjærholm’s famous “PK9” chair, designed in 1960). Claude shaped her backrests like stylized coffee berries whose oval forms cup two beans each, as in nature. Ranged around a room, the chairs percolate with caffeinated buoyancy.

ARDITI AND GIANNI GAMBERINI “B. T. 3” floor lamp, ca. 1971 Stainless steel, painted wood, acrylic, steel wire, magnets. Manufactured by Nucleo for Sormani, Italy. Side of base with paper label “S/nucleo/divisione della sormani s.p.a./22060 orosio – Italia.” 79 1/2 in. (201.9 cm.) high

Estimate

$5,000-7,000

LITERATURE Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973:

il nuovo design italiano, Turin, 2002, figs. 87 and 87A for similar examples

OLIVIER MOURGUE b. 1939 â&#x20AC;&#x153;Bouloumâ&#x20AC;? chaise longue, ca. 1968 Reinforced polyester, resin. Manufactured by Airbourne, France. 23 1/4 x 55 x 23 1/2 in. (59.1 x 139.7 x 59.7 cm.)

Estimate

$3,500-4,500

LITERATURE Kathryn B. Hiesinger and George H. Marcus, Landmarks of

Twentieth-Century Design: An Illustrated Handbook, New York, 1993, p. 246, fig. 320 for a similar example; Charlotte and Peter Fiell, Modern Classics, Postwar to Postmodernism, London, 2001, pp. 103 and 111

ETTORE SOTTSASS JR. 1917-2007 â&#x20AC;&#x153;Bruccoâ&#x20AC;? wall light, ca. 1970 Methacrylate, chrome-plated metal, painted metal. Manufactured by Design Centre, Italy and distributed by Poltronova, Italy. 29 5/8 x 10 1/4 x 5 in. (75.2 x 26 x 12.7 cm.)

Estimate

$4,000-6,000

LITERATURE Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973: il

nuovo design italiano, Turin, 2002, figs. 147-148; Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 2: 1960 to Present, Cologne, 2005, pp. 222-223

GABRIELLA CRESPI b. 1922 “Pyramid” table lamp, ca. 1970 Brass, acrylic. Manufactured by Crespi, Italy. Base impressed with facsimile signature and “BREV.” 25 1/2 in. (64.8 cm.) high

Estimate

$2,500-3,500

MARIA PERGAY b. 1930 Low table, 1970s Brushed and mirror-polished stainless steel, painted metal. 14 1/2 x 29 5/8 x 29 5/8 in. (36.8 x 75.2 x 75.2 cm.)

Estimate

$10,000-15,000

LITERATURE Suzanne Demisch, Maria Pergay: Between Ideas and Design,

Verona, 2006, p. 144

JACQUES CHARPENTIER b. 1933 Lounge chair, ca. 1967 Matte stainless steel, leather, painted wood. Manufactured by Uginox, France. 25 1/2 in. (64.8 cm.) high

Estimate

$8,000-12,000

LITERATURE “Designed for Art,” Metropolitan Home, October 2008, pp. 138-140

JOE COLOMBO 1930-1971 Pair of â&#x20AC;&#x153;Living Centerâ&#x20AC;? lounge chairs, ca. 1970 Leather, chrome-plated metal, plastic, plastic laminate-covered wood, brushed aluminum, painted metal. Manufactured by Rosenthal, Germany. Comprising two lounge chairs and two removable head/foot-rests (4). Each: 34 1/4 x 64 1/2 x 50 1/2 in. (87 x 163.8 x 128.3 cm.), fully extended and including headrests

Estimate

$15,000-20,000

LITERATURE Mateo Kries, Joe Colombo Inventing the Future, Weil am Rhein,

2005, pp. 88-89 and 246-247, figs. 328-331.

ETTORE SOTTSASS JR. 1917-2007 “A Fischietto” vase, model no. 592, 1962 Glazed ceramic. Produced by the Società Ceramica Toscana for Galleria Il Sestante, Italy. Underside signed in marker with “SOTTSASS/IL/SESTANTE/ 592 ITALY.” 12 3/4 in. (32.4 cm.) high

Estimate

$4,000-6,000

LITERATURE Ettore Sottsass Jr., “Ceramiche a colaggio, per la serie,” Domus,

January 1965, pp. 53-54; Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 103, fig. 402

ETTORE SOTTSASS JR. 1917-2007 “A Fischietto” vase, model no. 591, 1962 Glazed ceramic. Produced by the Società Ceramica Toscana for Galleria Il Sestante, Italy. Underside signed in marker with “SOTTSASS/IL/SESTANTE/ 591/ITALY.” 10 1/8 in. (25.7 cm.) high

Estimate

$3,000-4,000

LITERATURE Ettore Sottsass Jr., “Ceramiche a colaggio, per la serie,” Domus,

January 1965, pp. 53-54; Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 103, fig. 399

ETTORE SOTTSASS JR. 1917-2007 “A Fischietto” vase, model no. 594, 1962 Glazed ceramic. Produced by the Società Ceramica Toscana for Galleria Il Sestante, Italy. Underside signed in marker with “SOTTSASS/IL SESTANTE/ 594 ITALY.” 5 5/8 in. (14.3 cm.) high

Estimate

$4,000-6,000

LITERATURE Ettore Sottsass Jr., “Ceramiche a colaggio, per la serie,” Domus,

January 1965, pp. 54; Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 103, fig. 404

ETTORE SOTTSASS JR. 1917-2007 “Asteroid” table lamp, ca. 1968 Colored methacrylate, fluorescent tube, painted aluminum, chrome-plated metal. Manufactured by Francesconi for Design Centre, Italy and distributed by Poltronova, Italy. 28 in. (71.1 cm.) high

Estimate

$5,000-7,000

LITERATURE Emelio Ambasz, Italy: The New Domestic Landscape: Achievements

and Problems of Italian Design, exh. cat., The Museum of Modern Art, New York, 1972, p. 106; Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, p. 90; Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973: il nuovo design italiano, Turin, 2002, pl. 153; Charlotte and Peter Fiell, eds., Domus Vol. VI 1965-1969, Cologne, 2006, pp. 436 and 500 for similar examples

Estimate

$5,000-7,000

LITERATURE Please see previous lot

GINO SARFATTI 1912-1985 Pair of wall lights, 1960s Opaque glass, brass, painted tubular metal. Manufactured by Arteluce, Italy (2). Each: 15 1/4 x 15 x 12 1/2 in. (38.7 x 38.1 x 31.8 cm.)

Estimate

$10,000-15,000

LITERATURE Galerie Christine Diegoni, Gino Sarfatti, Paris, 2008, p. 90

for a similar example

LUDWIG MIES VAN DER ROHE 1886-1969 Pair of â&#x20AC;&#x153;Barcelonaâ&#x20AC;? chairs, model no. MR90, ca. 1945 Chrome-plated flat steel, leather, fabric, machine screws (2). Each: 29 in. (73.7 cm.) high

Estimate

$20,000-30,000

LITERATURE Ludwig Glaeser, Ludwig Mies van der Rohe: Furniture and Furniture

Drawings from the Design Collection and the Mies van der Rohe Archive, The Museum of Modern Art, New York, 1977, pp. 46-49; Derek E. Ostergard, ed., Bent Wood and Metal Furniture: 1850-1946, exh. cat., The American Federation of Arts, New York, 1987, pp. 292-293; Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 172; Mies van der Rohe: Architecture and Design in Stuttgart, Barcelona, Brno, exh. cat., Vitra Design Museum, Weil am Rhein, 1998, pp. 37, 41, 57-59, 69-70, 87-91, 169, 171, 176, 195 and 197

C. F. OTTO MÜLLER Adjustable ceiling light, 1930s

∆ 65

C. F. OTTO MÜLLER Pair of rare “Megaphos” ceiling lights, ca. 1930

Colored glass, clear glass, opaque glass, nickel-plated metal. Manufactured by

Opaque glass, clear glass, painted metal, nickel-plated metal. Manufactured

Sistrah-Licht GmbH, Germany. Shade stamped with “MEGAPHOS/PATENT ANG.”

by Sistrah-Licht GmbH, Germany. Each stamped twice with

26 in. (66 cm.) drop, fully extended

“MEGAPHOS/PATENT” (2). Each: 6 in. (15.2 cm.) high, 7 3/4 in. (19.7 cm.) diameter

Estimate

$4,500-5,000 Estimate

LITERATURE Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959,

Cologne, 2005, p. 320 for a similar example

$2,500-3,500

MOGENS VOLTELEN 1908-1995 “Copenhagen” chair, ca. 1936 Beech, leather. Produced by cabinetmaker Niels Vodder, Denmark. 36 1/4 in. (92.1 cm.) high

Estimate

$6,000-8,000

LITERATURE Grete Jalk, ed., Dansk Moebelkunst gennem, 40 aar, 1927-1936,

Copenhagen, 1987, p. 264; Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 77

POUL KJÆRHOLM 1929-1980 Set of six armchairs, model no. PK 11, ca. 1957 Matte chrome-plated steel, oak, original custom zebra hide upholstery. Manufactured by E. Kold Christensen, Denmark. Each impressed with manufacturer’s mark (6). Each: 26 in. (66 cm.) high

Estimate

$20,000-30,000

LITERATURE Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm,

Poul Kjærholm, Copenhagen, 1999, pp. 23, 92 and 94-95; Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 97, 99-101and 103

PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

JOHN MASON b. 1927 Plaque, 1992 Glazed stoneware. Back incised with “MASON 1-92/ ©.” 2 1/4 x 16 3/8 x 17 in. (5.7 x 41.6 x 43.2 cm.)

Estimate

$3,000-4,000

PROVENANCE Garth Clark Gallery, New York LITERATURE Martha Drexler Lynn, Clay Today, Contemporary Ceramists and Their

Work, Los Angeles, 1990, pp. 103 and 195 for an example of a similar pattern

PAAVO TYNELL 1890-1973 Floor lamp, ca. 1954 Brass, cane, silk, painted tubular metal. Manufactured by Idman Oy, Finland. 59 1/4 in. (150.5 cm.) high

Estimate

$8,000-10,000

LITERATURE Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959,

Cologne, 2005, p. 398 for a similar desk lamp

RICHARD MEIER b. 1934 “Getty–Series I,” 1995 ®

RICHARD MEIER b. 1934 “Getty–Series II,” 1995 ®

Mixografia relief print on handmade paper. Published by Mixografia, USA.

Number 20 from an edition of 30. Signed in graphite at lower left with “Richard

Meier 20 / 30” and on reverse

with “J-1.”

with “J-2.”

35 3/4 x 33 7/8 in. (90.8 x 86 cm.)

Estimate

$1,500-2,500

RICHARD MEIER b. 1934 “Getty–Series III,” 1995 ®

Mixografia relief print on handmade paper. Published by Mixografia, USA. Number 20 from an edition of 30. Signed in graphite at lower left with “Richard Meier 20 / 30” and on reverse with “J-3.” 35 3/4 x 33 7/8 in. (90.8 x 86 cm.)

Estimate

$1,500-2,500

PROCEEDS FROM THE SALE OF THIS LOT WILL BE DONATED TO THE MAKE IT RIGHT FOUNDATION, NEW ORLEANS

PHILIP MICHAEL WOLFSON b. 1958 “Genoa” desk, designed 1991, executed 2007 Acid-patinated steel, Zebrano-veneered wood, nickel-plated steel, leather, felt. Self-produced by Philip Michael Wolfson, UK. Number three from an edition of four plus two artist’s proofs. Underside signed in pen with “PM Wolfson/ 3 / 10.” Together with a certificate of authenticity from Philip Michael Wolfson which ammends the edition number. 29 3/8 x 85 x 31 1/2 in. (74.5 x 216 x 80 cm.)

Estimate

$18,000-24,000

LITERATURE Fiona and Keith Baker, 20th Century Furniture, London, 2003,

pp. 233 and 243

RON ARAD b. 1951 “After Spring” low-backed chaise longue, 1992 Mirror-polished bronze, patinated bronze, sprung steel. Produced by Ron Arad Studio, Italy. Number two from an edition of five plus three artist’s proofs. Edge of base incised with “Ron Arad 2 / 5.” 40 1/2 x 81 1/4 x 14 7/8 in. (102.9 x 206.4 x 37.8 cm.)

Estimate

$130,000-150,000

LITERATURE Deyan Sudjic, Ron Arad, London, 1999, p. 60; Matthew Collings,

Ron Arad Talks to Matthew Collings, London, 2004, pp. 222-223

ROBERT WILSON b. 1941 Rare “Zeus Chair,” 2002 Bronze, stone. Produced by John Battle, Watermill, New York, for RW Work Ltd., USA. Number two from an edition of three. Originally designed for the theatrical production T.S.E., come in under the shadow of this red rock, 1994. 45 1/4 in. (114.9 cm.) high

Estimate

$15,000-20,000

MAARTEN VAN SEVEREN 1956-2005 Set of ten “Chair No. II” chairs, ca. 2000 Aluminum, beech plywood. Manufactured by TM, Belgium (10). Each: 30 1/2 in. (77.5 cm.) high

Estimate

$6,000-8,000

LITERATURE Maarten Van Severen, Maarten Van Severen: Work, Oostkamp, 2004,

pp. 32-33, 38 and 249

MAARTEN VAN SEVEREN 1956-2005 “70%” coffee table, model no. T93, ca. 1993 Bakelite. Produced by Maarten Van Severen MEUBELEN, Belgium. 19 3/4 x 27 1/2 x 27 1/2 in. (50.2 x 69.9 x 69.9 cm.)

Estimate

$7,000-9,000

LITERATURE Maarten Van Severen, Maarten Van Severen: Work, Oostkamp, 2004, p. 251

ROBERT WILSON b. 1941 “Bessie Smith Breakfast Chair,” 1991 Lacquered oak. Editioned by RW Work Ltd., USA and Luca Dosi Delfini, The Netherlands. Number ten from an edition of 12. Underside with manufacturer’s brass plaque impressed with “RW/WORK LTD/EDITIONS DOSI DELFINI” and incised with “Breakfast Chair/1 of 12/10.” Originally designed for the theatrical production Cosmopolitan Greetings, 1988. 39 3/8 x 35 3/8 x 17 3/4 in. (100 x 89.9 x 45.1 cm.)

Estimate

$22,000-28,000

LITERATURE Trevor Fairbrother, Robert Wilson’s Vision, exh. cat., Museum of Fine

Arts, Boston, New York, 1991, p. 51

COMMITTEE CLARE PAGE AND HARRY RICHARDSON b. 1975, b. 1975 Unique “Over The Hills and Far Away” floor lamp, 2007 Tubular metal, fabric, glazed ceramic, clear and colored glass, plastic, vinyl, chrome-plated metal, wood. Produced by Committee, UK, from the Kebab series. The binoculars signed in marker with “2007/Committee and Over the Hills and Far Away” and central rod signed in marker with “Over the Hills + Far Away.” 67 in. (170.2 cm.) high

Estimate

$5,000-7,000

PROVENANCE Design 55, Auckland, New Zealand; Private Collection,

Sydney, Australia LITERATURE Icon, April 2005, p. 69 for a similar example; Sophie Lovell, Furnish:

Furniture and Interior Design for the 21st Century, Berlin, 2007, pp. 50-51 and back cover for similar examples

FERNANDO AND HUMBERTO CAMPANA b. 1961, b. 1953 “Sonia Diniz” chair, 2003 Carpet, rubber, EVA, fabric, stainless steel. Produced by Estudio Campana, Brazil. From an edition of 12 plus four artist’s proofs and two prototypes. Together with a certificate of authentcitiy from Estudio Campana. 31 in. (78.7 cm.) high

Estimate

$30,000-40,000

RON ARAD b. 1951 “Big Easy Volume 2” chair, ca. 2001 Carbon fiber, Nomex resin-impregnated paper. Produced by the Gallery Mourmans, The Netherlands. Number two from an edition of 20 plus five artist’s proofs. Side of base incised with “Ron Arad 2 / 20.” 37 3/8 in. (94.9 cm.) high

Estimate

$50,000-70,000

LITERATURE Matthew Collings, Ron Arad Talks to Matthew Collings, London, 2004,

pp. 100-101; Ron Arad, A Retrospective Exhibition 1981-2001, exh. cat., Barry Friedman Ltd., New York, 2005, pp. 81 and 102

PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

AKIO TAKAMORI b. 1950 Untitled, ca. 1999 Porcelain, painted glazes and overglazes. Back signed under glaze with “Akio.” 14 5/8 x 17 x 6 1/2 in. (37.1 x 43.2 x 16.5 cm.)

Estimate

$5,000-7,000

PROVENANCE TRAX Gallery, Berkeley, California LITERATURE Garth Clark, American Ceramics, 1876 to the Present, New York,

1979, p. 219 for similar examples; Martha Drexler Lynn, Clay Today, Contemporary Ceramists and Their Work, Los Angeles, 1990, pp. 149 and 218 for similar examples

ROBERT WILSON b. 1941 Unique “Pierre and Marie Curie” bench, 1989 Painted wood, wood. Original stage property from the theatrical production De Materie. 15 3/4 x 70 7/8 x 11 7/8 in. (40 x 180 x 30 cm.)

Estimate

$14,000-20,000

PROVENANCE De Materie, The Netherlands Opera, Amsterdam, June 1 – 17, 1989

PATRICK JOUIN b. 1967 Prototype “C1” chair, 2005 Rapid prototype stereolithography. Produced by Patrick Jouin Studio, France and Materialise.MGX, Belgium, from the Solid series. One of two prototypes for an edition of 30. 31 in. (78.7 cm.) high

Estimate

$18,000-22,000

PROVENANCE Design, Phillips de Pury & Company, December 13, 2007, Lot 234 LITERATURE Laurel Saville, Design Secrets: Furniture, Gloucester, 2006, p. 117;

Sophie Lovell, Furnish: Furniture and Interior Design for the 21st Century, Berlin, 2007, p. 192

LILIAN DAUBISSE b. 1970 “Hérisson,” 2004 Painted corrugated cardboard, polyester string, metal armature. Number two from an edition of eight plus two artist’s proofs. 64 1/4 x 39 1/2 x 23 in. (163.2 x 100.3 x 58.4 cm.)

Estimate

$20,000-30,000

PROVENANCE Arums Galerie, Paris LITERATURE Paul B. Franklin, “Lilian Daubisse at Arums,” Art in America,

March 2008, p. 180

Man personifies what he can’t apprehend: water, weather, the numen inside stone. Animals, too, are easy prey, so close to us in scale and mien. We lend them our attributes and freely borrow theirs; we say lionhearted or wise as an owl. Foreign bodies become less so when inhabited. Ancient Egyptians pulled Horus, god of sky, to earth, but they also gave him wing. Half falcon, half man, he represented the breadth of human imagination and its limits. Conversely, man has always lost himself in ritual costumes and disguises: Norse Berserkers wore bearskins into battle and fought with animal rage; Kwakiutl shamans, aided by raven masks, ascended to higher states. Ever since Zeus turned Lycaon into a wolf, shape shifters and baleful gluttons have stalked the edge of sleep and reason. They threaten to devour us—but we have conceived them. With its arched layer of fluting, corrugated cardboard cushions against hard knocks. Devoted to the material, French artist Lilian Daubisse included only cardboard in his 2007 solo show at Arums Galerie in Paris. Of the eight works, “Hérisson” (2004), or “Hedgehog,” furthered the notion of protection: hedgehogs bristle with thousands of hollow spines. “Hérisson” comprises hollow cardboard quills applied to a polyester string shell. Beyond its animal likeness, Daubisse’s hooded waistcoat references those shamanic costumes that evoke animal spirits by displaying their remains (The Russian Museum of Ethnography, for example, includes in its collection a Siberian robe with applied owl wings, squirrel pelts, and reindeer beard). Like a tutelary spirit, “Hérisson” watches over its wearer and guards his identity. Closer to home, “Hérisson” calls to mind the recent work of American artist Nick Cave, whose acclaimed “Soundsuits” stride (literally) across broad ground: sculpture, fashion, performance, and sonic art. Cave crafts his head-to-toe suits from found articles—buttons, twigs, sequins, wire. He displays them, wears them, dances in them. His suits are an extension of the wearer’s body and an escape from it. Like them, and unlike every other autonomous object in this catalog, “Hérisson” breathes when its wearer breathes. But it needn’t move in order to move us.

PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

JUN KANEKO b. 1942 Dango form, 1998 Glazed earthenware. Underside incised with “Kaneko/98.” 22 1/4 in. (56.5 cm.) high

Estimate

$10,000-14,000

PROVENANCE Sherry-Leedy Gallery, Kansas City, Missouri

XAVIER LUST b. 1969 “Archiduchaise,” 2007 Mirror-polished aluminum. Produced by Xavier Lust Studio, Belgium, in collaboration with Carpenters Workshop Gallery, UK. Number one of two artist’s proofs for an edition of 18. Underside incised with “XAVIER LUST/AP / 1.” 30 1/4 in. (76.8 cm.) high

Estimate

$20,000-30,000

LITERATURE Xavier Lust, Xavier Lust: (de)formations, Oostkamp, 2007,

pp. 57-61 and 142

An event horizon is the verge of a black hole, a point of no return from which light, matter, and radiation cannot escape. But approach is also impossible, for the horizon recedes, always out of reach. Two of Marc Newson’s early tables, “Black Hole” (1988) and “Event Horizon” (1992), directly address the designer’s abiding interest in outer space, and inner too. The partially hollow legs of each table, like funnels, are conceptual renderings of black holes. “Both my sculptural work and the production furniture have always had as much to do with what is not there as what is there—the voids, the interior spaces, the things that you don’t see” (Gagosian Gallery, 2007). Newson manifests the conundrums of the universe through earthly materials, carbon fiber and aluminum in the case of those early tables. He renders the remote vagaries of the cosmos as accessible local objects, platforms for daily life (“Black Hole” swallows pens and pennies). In the catalog accompanying Newson’s 2007 solo show at Gagosian Gallery, curator Louise Neri wrote: “Across his protean output, Newson has been preoccupied with how to achieve a maximum sense of volume with the least amount of material (or mass) possible, thereby creating space as a grand illusion of that volume.” Compact and dense, a black hole’s extreme mass creates a gravitational pull from which even light can’t escape—a heavy notion. Perversely, Newson molded his table from carbon fiber, a low-density material whose lightness adds unexpected contradiction. A single thread of carbon fiber consists of thousands of bundled filaments. Woven in a twill pattern, as in the present case, the minute warp and weft of the carbon yarn is distinct and viewable, not vast and unknowable like the woolly idea it represents. Newson doesn’t conjecture, he builds.

MARC NEWSON b. 1963 “Black Hole” table, 2005 Carbon fiber. Produced by Marc Newson, France. Number five from an edition of ten, plus two artist’s proofs and one prototype. Underside with metal roundel stamped with “MN/Black hole table/5 / 10” and signature. 28 1/2 x 97 1/4 x 40 in. (72.4 x 247 x 101.6 cm.)

Estimate

$100,000-150,000

LITERATURE Alice Rawsthorn, Marc Newson, London, 1999, pp. 38-41; Conway

Lloyd Morgan, Marc Newson, London, 2002, pp. 162-163

This carbon “Black Hole” table will be included as “MN-13CBHT22005” in the forthcoming catalogue raisonné of limited editions by Marc Newson, currently being prepared by Didier Krzentowski of Galerie Kreo, Paris.

MARC NEWSON b. 1963 Rare set of six “Komed” bar stools, from the Osman restaurant, KOMED Media Park, Cologne, 1996 Cast aluminum, fabric. Manufactured by Colber, Italy (6). Each: 31 in. (78.7 cm.) high

Estimate

$20,000-25,000

PROVENANCE Osman restaurant, KOMED Media Park, Cologne LITERATURE Alice Rawsthorn, Marc Newson, London, 1999, pp. 140-141

Along with his cantilevered “Komed” chairs, Marc Newson designed the present stools in 1996 for Osman, a brasserie in the KOMED Media Park in Cologne and one of Newson’s important restaurant commissions of the 1990s. The concentric rings of the stool’s channeled base mimic the geometry of his “Komed” light fixture, a cantilevered saucer, which he also included in the project. Osman’s round dining tables shared enlarged versions of the present stool base. “Komed” is a prime example of Newson’s preoccupation with seamlessness and fluidity. Only 15 examples of this design were produced for the restaurant.

ZAHA HADID b. 1950 “Swash” cabinet, 2006 Custom-colored lacquered polyester resin. Produced by Established & Sons, Ltd., UK, from the Seamless collection. Number two from an edition of eight. Underside with two metal roundels stamped with “Established/& Sons/British Made” and “Designed by/Zaha Hadid/Seamless / 2006/Swash 2 / 8.” 40 x 99 1/2 x 48 in. (101.6 x 252.7 x 121.9 cm.)

Estimate

$70,000-90,000

PROVENANCE Established & Sons, Ltd., London LITERATURE Seamless Zaha Hadid, exh. cat., Phillips de Pury & Company,

New York, 2006, n.p.

MAARTEN BAAS b. 1978 Set of six prototype “Clay” chairs, 2006 Painted synthetic clay, metal. Hand-made by Baas & den Herder, The Netherlands. Each chair back inset with metal lettering “BAAS” (6). Tallest: 29 in. (73.7 cm.) high

Estimate

$18,000-24,000

PROVENANCE Acquired directly from the artist at “Clay Furniture,” Superstudio

Più, Salone del Mobile, Milan EXHIBITED Salone del Mobile, Milan, 2006 LITERATURE Laurie Manfra, “Maarten Baas: Furniture Iconoclast,” American

Craft, October/November 2007, pp. 52-53; Tom Dixon, et al., eds., &Fork, New York, 2007, pp. 26-27

ROBERT WILSON b. 1941 “Nijinsky Table,” 1991 Metal wire mesh. Editioned by RW Work Ltd., USA and Luca Dosi Delfini, The Netherlands. Number three from an edition of 12. Attached with manufacturer’s brass plaque impressed with “RW/WORK LTD/EDITIONS DOSI DELFINI” and incised with “Hanging Table/3 /12.” Originally designed for the theatrical production The Life and Times of Sigmund Freud, 1969. 36 1/2 x 33 1/8 x 6 in. (92.5 x 84 x 15 cm.)

Estimate

$6,000-8,000

LITERATURE Trevor Fairbrother, Robert Wilson’s Vision, exh. cat., Museum of Fine

Arts, Boston, New York, 1991, p. 52

RON ARAD b. 1951 “Before Summer” high-backed chaise longue, 1992 Mirror-polished bronze, patinated bronze, sprung steel. Produced by Ron Arad Studio, Italy. Number four from an edition of five plus three artist’s proofs. Edge of base incised with “Ron Arad 4 / 5.” 51 1/8 x 67 x 14 7/8 in. (129.9 x 170.2 x 37.8 cm.)

Estimate

$130,000-150,000

PROVENANCE Gallery Mourmans, The Netherlands LITERATURE Marie Laure Jousset, Sir Christopher Frayling and Jonathan Safran

Foer, et al., Ron Arad No Discipline, exh. cat., Centre National d’art et de culture Georges Pampidou, Paris, 2008, p. 95

PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

ADRIAN SAXE b. 1943 Bowl and stand, 1988 Glazed porcelain, glazed earthenware. 8 in. (20.3 cm.) high

Estimate

$3,000-4,000

PROVENANCE Garth Clark Gallery, New York LITERATURE Garth Clark, American Ceramics, 1876 to the Present, New York,

1979, p. 225 for a similar example; Martha Drexler Lynn, Clay Today, Contemporary Ceramists and Their Work, Los Angeles, 1990, p. 211 for a similar example; Jane Adlin, Contemporary Ceramics, Selections from the Metropolitan Museum of Art, New York, 1998, p. 33 for a similar example

PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

ADRIAN SAXE b. 1943 “Ampersand” teapot, 1989 Glazed porcelain. Underside of one foot incised with “SAXE” and underside of the other foot impressed with “SAXE/1989.” 8 3/4 in. (22.2 cm.) high

Estimate

$3,000-4,000

PROVENANCE Garth Clark Gallery, New York

FERNANDO AND HUMBERTO CAMPANA b. 1961, b. 1953 “Multidão” chair, designed 2003, executed 2006 Rag dolls, brushed steel. Produced by Estudio Campana, Brazil. Number two from an edition of 35 plus five artist’s proofs and three prototypes. One doll embroidered with “Campana/N. 02 2006.” Together with a certificate of authenticity from Estudio Campana. 28 3/4 in. (73 cm.) high

Estimate

$25,000-30,000

PROVENANCE Design 55, Auckland, New Zealand; Private Collection,

Sydney, Australia LITERATURE Sophie Lovell, Furnish: Furniture and Interior Design for the 21st

Century, Berlin, 2007, p. 238

JASPER MORRISON b. 1959 “Plywood” desk, ca. 1988 Laminated beech plywood, plywood, MDF, brushed metal. Produced by Galerie Néotù, France. 28 x 64 x 33 1/4 in. (71.1 x 162.6 x 84.5 cm.)

Estimate

$12,000-18,000

LITERATURE Jasper Morrison, Everything but the Walls, Baden, 2002, p. 192, fig. 20

FERNANDO AND HUMBERTO CAMPANA b. 1961, b. 1953 Mixed “Banquete” chair, designed 2002, executed ca. 2003 Stuffed toy animals, tubular stainless steel. Manufactured by Estudio Campana, Brazil. Number 32 from an edition of 150 plus five artist’s proofs and three prototypes. One toy embroidered with “Campana N. 32.” 38 in. (96.5 cm.) high

Estimate

$30,000-40,000

LITERATURE “Qu’est-ce que le Design? (Aujourd’hui),” Beaux Arts Magazine,

Paris, 2004, p. 93, fig. 1 for a similar example; Sophie Lovell, Furnish: Furniture and Interior Design for the 21st Century, Berlin, 2007, p. 238

LUCIE RIE 1902-1995 Vase with flaring lip, ca. 1980 Mixed clay body creating an integral spiral of turquoise, brown and white pitted glaze. Impressed with artistâ&#x20AC;&#x2122;s seal. 12 in. (30.5 cm.) high

Estimate

$14,000-18,000

100

LUCIE RIE 1902-1995 Cylindrical vase, ca. 1965 Porcelain, pale yellow glaze over manganese inlaid into the body. Impressed with artistâ&#x20AC;&#x2122;s seal. 7 1/8 in. (18.1 cm.) high

Estimate

$6,000-9,000

PROVENANCE Art Nouveau, Art Deco and Arts & Crafts, Butterfield & Butterfield

Los Angeles, November 9, 1998, Lot 3394

101

LUCIE RIE 1902-1995 Cylindrical pot, ca. 1968 Stoneware, pitted off-white glaze over a finely fluted body. Impressed with artistâ&#x20AC;&#x2122;s seal. 7 in. (17.8 cm.) diameter

Estimate

$5,000-7,000

PROVENANCE Art Nouveau, Art Deco and Arts & Crafts, Butterfield & Butterfield

Los Angeles, November 9, 1998, Lot 3397

102

LUCIE RIE 1902-1995 Small bowl, ca. 1960 Porcelain, shiny black glaze inlaid into an unglazed band around the lip. Impressed with artist’s seal. 4 1/2 in. (11.4 cm.) diameter

Estimate

$4,000-6,000

PROVENANCE Lucie Rie / Hans Coper – Masterworks, Phillips London, June 20,

2000, Lot 13

103

LUCIE RIE 1902-1995 Flower vase, ca. 1965 Stoneware, manganese glaze, sgraffito design inside and out. The well with a cylindrical stem-holder. Impressed with artist’s seal. 8 1/4 in. (21 cm.) high

Estimate

$6,000-9,000

PROVENANCE Galerie Besson, London; Michael and Lucy Foster Collection, UK;

Lucie Rie / Hans Coper – Masterworks, Phillips London, June 20, 2000, Lot 34

104

LUCIE RIE 1902-1995 Straight-sided bowl, ca. 1977 Porcelain and stoneware mixed, white pitted glaze with unglazed band, foot and lip. Impressed with artistâ&#x20AC;&#x2122;s seal. 6 5/8 in. (16.8 cm.) diameter

Estimate

$5,000-7,000

105

LUCIE RIE 1902-1995

106

LUCIE RIE 1902-1995

Vase with flaring lip, ca. 1970

Flattened ovoid vase, ca. 1965

Stoneware, grey lightly pitted glaze over a combed body. Impressed with

Stoneware, mixed body material producing an integral blue and white spiral

artist’s seal.

beneath the pitted glaze, mineral elements in the body material producing

8 3/4 in. (22.2 cm.) high

strong brown speckles. Impressed with artist’s seal. 7 7/8 in. (20 cm.) high

Estimate

$2,000-3,000 Estimate

$7,000-9,000

PROVENANCE Contemporary Ceramics, Phillips London, December 2, 1999,

Lot 84

PROVENANCE Peter Dingley Gallery, Stratford-upon-Avon, UK; Michael and

Lucy Foster Collection, UK; Lucie Rie / Hans Coper – Masterworks, Phillips London, June 20, 2000, Lot 49

107

LUCIE RIE 1902-1995 Vase, ca. 1965 Stoneware, pitted white glaze, fluted body, squeezed oval at the lip. Impressed with artist’s seal. 7 in. (17.8 cm.) high

Estimate

$5,000-7,000

PROVENANCE Contemporary Ceramics – Swan Song of the 20th Century,

Bonhams London, June 9, 1999, Lot 183

108

LUCIE RIE 1902-1995 Water jar or “Misuzashi,” ca. 1970 Stoneware, blue, white and brown glaze inlaid into the body. Impressed with artist’s seal. 6 1/4 in. (15.9 cm.) diameter

Estimate

$5,000-7,000

PROVENANCE Lucie Rie / Hans Coper – Masterworks, Phillips London, June 20,

2000, Lot 47

This lot was a direct commission by a Japanese collector of Lucie’s work. The intention was to have a lacquer lid made for the pot and for it to be used in tea ceremony.

109

LUCIE RIE 1902-1995 Footed bowl, ca. 1980 Porcelain. Golden manganese, terracotta and turquoise glazes. Impressed with artist’s seal. 9 1/4 in. (23.5 cm.) diameter

Estimate

$8,000-12,000

PROVENANCE Michael and Lucy Foster Collection, UK; Lucie Rie / Hans Coper –

Masterworks, Phillips London, June 20, 2000, Lot 36

110

LUCIE RIE 1902-1995 Vase with fluted body, ca. 1980 Stoneware, white pitted glaze. Impressed with artist’s seal. 8 7/8 in. (22.5 cm.) high

Estimate

$5,000-7,000

PROVENANCE Lucie Rie / Hans Coper – Masterworks, Phillips London, June 20,

2000, Lot 78

111

LUCIE RIE 1902-1995 Footed bowl, ca. 1974 Porcelain, bright golden glaze, a terracotta disc in the well. Impressed with artistâ&#x20AC;&#x2122;s seal. 7 1/4 in. (18.4 cm.) diameter

Estimate

$8,000-12,000

PROVENANCE Contemporary Ceramics, Phillips London, December 2, 1999,

Lot 90; De Crespigny Family Collection

112

LUCIE RIE 1902-1995 Vase with collar, ca. 1981 Stoneware, mixed body material producing an integral blue and white spiral beneath the pitted cream glaze. Impressed with artistâ&#x20AC;&#x2122;s seal. 13 1/2 in. (34.3 cm.) high

Estimate

$12,000-18,000

PROVENANCE Contemporary Ceramics, Phillips London, October 26, 2000, Lot 124

113

LUCIE RIE 1902-1995 Byzantine-style vase, ca. 1976 Porcelain, golden manganese glaze with sgraffito inside and out. Impressed with artist’s seal. 9 3/8 in. (23.8 cm.) high

Estimate

$12,000-18,000

PROVENANCE Lucie Rie / Hans Coper – Masterworks, Phillips London, June 20,

2000, Lot 118 EXHIBITED “Lucie Rie Retrospective,” Sainsbury Centre for Visual Arts, Norwich

and The Victoria and Albert Museum, London, 1981 LITERATURE Lucie Rie, exh. cat., Sainsbury Centre for Visual Arts and The

Victoria and Albert Museum, London, 1981, catalogue no. 25 and illustrated p. 49; Tony Birks, Lucie Rie, London, 1994, illustrated pp. 195 and 203

This pot was the first example of this late design. Lucie Rie herself was delighted to have created a “new form” and made only a few others. Lucie Rie retained this ‘prototype’ pot for the remainder of her working life.

114

LUCIE RIE 1902-1995 Important tall vase with collar, 1984 Stoneware, pitted white glaze. The flaring neck squeezed to an oval at the lip. Impressed with artist’s seal. 15 1/8 in. (38.4 cm.) high

Estimate

$25,000-35,000

PROVENANCE Fischer Fine Art, London EXHIBITED “Nine Potters,” Fischer Fine Art, London, 1986, item 87 LITERATURE Tony Birks, Lucie Rie, London, 2004, illustrated p. 188

115

LUCIE RIE 1902-1995 Conical bowl, ca. 1962 Porcelain, manganese glaze, sgraffito on the exterior, inlaid on the interior, in the base of the well a large manganese disc. Impressed with artistâ&#x20AC;&#x2122;s seal. 9 3/8 in. (23.8 cm.) diameter

Estimate

$12,000-18,000

116

GIO PONTI AND PAOLO DE POLI 1891-1979, 1905-1984 Bird sculpture, 1956 Enameled metal. Underside incised with “De Poli.” 5 3/8 in. (13.7 cm.) high

Estimate

$2,800-3,500

LITERATURE Roberto Aloi, L’Arredamento Moderno, Modern Furnishing, Milan,

1964, p. 53 for similar examples; Ugo La Pietra, ed., Gio Ponti, New York, 1996, pp. 312-315 for similar examples

117

GIO PONTI 1891-1979 Coffee table, from the Giulio Cesare ocean liner, Genoa, Italy, 1950 Painted laminated wood, glass, brushed bronze. Together with a certificate of authenticity from the Gio Ponti Archives. 19 1/4 in. (48.9 cm.) high, 39 1/4 in. (99.7 cm.) diameter

Estimate

$20,000-30,000

PROVENANCE Giulio Cesare ocean liner, Genoa, Italy LITERATURE Giordano Tironi and Paolo Piccione, eds., “The Design of the Ship,”

Rassegna, December 1990, p. 58; Ugo La Pietra, ed., Gio Ponti, New York, 1996, p. 214; Paolo Piccione, Gio Ponti: Le Navi: Il Progetto Degli Interni Navali, 1948-1953, Milan, 2007, pp. 103 and 106-108

118

FONTANA ARTE Occasional table, 1950s Brass, mirrored glass. Manufactured by Fontana Arte, Italy. 20 1/4 in. (51.4 cm.) high, 10 1/2 in. (26.7 cm.) diameter

Estimate

$8,000-12,000

119

ETTORE SOTTSASS JR. 1917-2007 Rare vase, ca. 1958 Enameled metal. Produced for Galleria Il Sestante, Italy. Underside impressed with “IL SESTANTE.” 4 3/8 in. (11.1 cm.) high

Estimate

$4,000-6,000

LITERATURE Roberto Aloi, L’Arredamento Moderno, Modern Furnishing, Milan,

1964, p. 53 for similar examples

120

GINO SARFATTI

1912-1985

Important chandelier, model no. 2068, 1952 Brass, painted metal. Manufactured by Arteluce, Italy. Inside rim of one shade with manufacturer's decal “AL/MILANO/ARTELUCE.” 15 in. (38.1 cm.) drop, 44 1/4 in. (112.4 cm.) diameter

Estimate

$20,000-30,000

LITERATURE Galerie Christine Diegoni, Gino Sarfatti, Paris, 2008, pp. 24-25

121

FONTANA ARTE Mirror, 1950s Colored glass, mirrored glass, painted wood, walnut, metal. Manufactured by Fontana Arte, Italy. 43 x 19 1/4 x 3 1/2 in. (109.2 x 48.9 x 8.9 cm.)

Estimate

$6,000-8,000

LITERATURE Edoardo Paoli, Lâ&#x20AC;&#x2122;importanza dello Specchio, 1959, p. 18, fig. 40;

Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 212, fig. 101 for a similar example

122

FONTANA ARTE Rare occasional table, 1950s Glass, acid-etched glass, brushed steel. Manufactured by Fontana Arte, Italy. 16 1/2 in. (41.9 cm.) high, 33 in. (83.8 cm.) diameter

Estimate

$10,000-15,000

123

FULVIO BIANCONI 1915-1996 Important “Macchie” vase, ca. 1950 Clear and colored glass. Manufactured by Venini, Italy. Underside acid stamped with “Venini/Murano/Italia” and incised with “W58 2178.” 10 5/8 in. (27 cm.) high

Estimate

$30,000-40,000

LITERATURE Rossana Bossaglia, I Vetri di Fulvio Bianconi, Milan, 1993, fig. 33

for a similar example; Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-1970, Munich, 1997, pp. 102-103, figs. 73-74 for similar examples; Franco Deboni, Venini Glass, Milan, 2003, fig. 116 for a similar example

124

PIETRO CHIESA 1892-1948

125

GIO PONTI 1891-1979

Floor lamp, 1930s

Pair of sconces, ca. 1955

Copper, tubular copper, frosted glass. Manufactured by Fontana Arte, Italy.

Brass, frosted textured glass, painted metal. Manufactured by Arredoluce, Italy.

91 1/2 in. (232.4 cm.) high

Back of each with paper label “MADE IN ITALY/ARREDOLUCE MONZA” (2). Each: 11 1/2 x 11 1/2 x 3 1/4 in. (29.2 x 29.2 x 8.3 cm.)

Estimate

$8,000-12,000 Estimate

$5,000-7,000

LITERATURE Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923-1978, London,

1990, p. 178 for a similar form; Laura Falconi, Gio Ponti: Interni, Oggetti, Disegni 1920-1976, Milan, 2004, pp. 248 and 250 for similar forms

126

GINO LEVI MONTALCINI 1902-1974 Wall-mounted console, from the De Benedetti House, Italy, ca. 1950 Walnut over steel, glass. 37 1/2 x 91 x 17 3/4 in. (95.3 x 231.1 x 45.1 cm.)

Estimate

$40,000-60,000

PROVENANCE De Benedetti House, Italy LITERATURE Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli

Anniâ&#x20AC;&#x2122; 40 e â&#x20AC;&#x2DC;50, Roma-Bari, 1992, p. 194, fig. 8

This console was created for the De Benedetti family, owners of the Italian manufacturing company Olivetti.

127

ANGELO LELLI Twelve-arm chandelier, ca. 1970 Brass, frosted glass, colored glass murrine. Manufactured by Arredoluce, Italy and glass murrine manufactured by Venini, Italy. 26 1/4 in. (66.7 cm.) drop, 27 in. (68.6 cm.) diameter

Estimate

$3,000-5,000

128

THOMAS STEARNS 1936-2006 Rare three-shade pendant light, ca. 1960 Colored and opaque glass, brass, painted metal. Manufactured by Venini, Italy. 55 7/8 in. (141.9 cm.) drop

Estimate

$25,000-30,000

LITERATURE Fondazione Giorgio Cini, Gli Artisti Di Venini, exh. cat., Istituto

di Storia dellâ&#x20AC;&#x2122;Arte, Venice, 1996, p. 151, fig. 223 for a similar form; Franco Deboni, Venini Glass, Milan, 2003, p. 53 and fig. 170 for similar forms

Paul Evans, Unique custom-made illuminated cabinet bar, ca. 1963, Lot 18 (detail)

INDEX

Andreson, L. 25, 26 Arad, R. 74, 81, 93

Baas, M. 91 Bakker, G. 42 Bertoia, H. 10, 20 Bianconi, F. 123

Sarfatti, G. 62, 120

Branzi,A. 45, 47

Saxe,A. 94, 95 Sottsass Jr., E. 52, 57, 58, 59, 60, 61, 119

Campana, C. 80, 96, 98

Stearns,T. 128

Campana, F. 80, 96, 98 Carpenter,A. E. 15

Takaezu,T. 37, 38

Castle,W. 11

Takamori,A. 82

Charpentier, J. 55

Turner, R. 28, 29

Chiesa, P. 124

Lalanne, C. 49

Colombo, J. 56

Le Corbusier 3

Committee 79

Lee, J. 41

Van Severen, M. 76, 77

Crespi, G. 53

Lelli,A. 127

Vautrin, L. 43

Levi Montalcini, G. 126

Voltelen, M. 66

Lust, X. 87

Voulkos, P. 30, 31

Mangiarotti,A. 46, 48

Wilson, R. 75, 78, 83, 92

Mason, J. 68

Wirkkala,T. 44

Meier, R. 70, 71, 72

Wolfson, P. M. 73

Mies van der Rohe, L. 63

Wood, B. 34, 35

Ferguson, K. 21, 22

Morrison, J. 97

Wormley, E. 17

FontanaArte 118, 121, 122

Mourgue, O. 51

Daubisse, L. 85

Tynell, P. 69

de Poli, P. 116 Duckworth, R. 16

Evans, P. 12, 18, 33

Müller, C. F. O. 64, 65 Gamberini,A. 50 Gamberini, G. 50

Nakashima, G. 32, 39, 40

Giacometti,A. 8

Natzler, G. 27 Natzler, O. 27

Hadid, Z. 90

Newson, M. 88, 89

Higby,W. 24 Page, C. 79 Jeanneret, P. 3

Pergay, M. 54

Jouin, P. 84

Perriand, C. 2

Jouve, G. 5, 6, 7

Ponti, G. 116, 117, 125 Powell, P. L. 19

Kagan,V. 13, 14

Prouvé, J. 1, 4

Kaneko, J. 86 Karnes, K. 36

Rhodes, D. 23

Kjærholm, P. 67

Richardson, H. 79 Rie, L. 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115 Royère, J. 9

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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.

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.

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.

Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual 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.

MODERN & CONTEMPORARY EDITIONS AUCTION

2 JUNE 2009 2pm

NEW YORK

Viewing 27 May â&#x20AC;&#x201C; 2 June

Phillips de Pury & Company 450 West 15 Street New York Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

DONALD JUDD Untitled (New Museum Multiple), 1986 Folded aluminum and black Plexiglas multiple Estimate $20,000-30,000 CHUCK CLOSE Self Portrait, 2007 Screenprint Estimate $50,000-70,000 JASPER JOHNS The Seasons, 1989 Etching and aquatint Estimate $20,000-30,000

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 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. 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. 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. 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. We will levy removal, interest, storage and handling charges on uncollected lots. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five 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 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.

IMPORTANT NOTICE TO BUYERS OF POST-1950 FURNITURE All items of furniture included in this sale are either items not originally supplied for use in a private dwelling or are offered for sale as works of art. The items may not comply with the UK Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993) and for this reason should not be used in a private home.

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, in which case we will act in a principal capacity as a consignor, or 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 presale 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 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 $1000. 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) 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. (f) 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 (a) Unless otherwise indicated by the symbol each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.The reserve will not exceed the low pre-sale estimate at the time of the auction.

•

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reoffer 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. (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. (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 price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (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)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, 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 five 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, NewYork. 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 biweekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, NewYork, NewYork 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) five 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. (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. 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, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (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 five 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; or (viii) 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. (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. 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. 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 buyerâ&#x20AC;&#x2122;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)ThThe 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.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue 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 created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) 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. (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 buyerâ&#x20AC;&#x2122;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. (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.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.

www.phillipsdepury.com

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SPECIALIST & SERVICE DEPARTMENTS

Contemporary Art

Modern and Contemporary Editions

Michael McGinnis Worldwide Director +44 20 7318 4091

Kelly Troester Worldwide Co-Director +1 212 940 1221

Aileen Agopian Director New York +1 212 940 1255

Cary Leibowitz Worldwide Co-Director +1 212 940 1222

Anthony McNerney Head of Evening Sale London +44 20 7318 4067

Jannah Greenblatt New York +1 212 940 1332

Peter Sumner Head of Day Sale London +44 20 7318 4063

Joy Deibert New York +1 212 940 1333

Jean-Michel Placent New York +1 212 940 1263 Christina Floyd New York +1 212 940 1340

Saturday@Phillips

Timothy Malyk Head of Under the Influence New York +1 212 940 1258

Tobias Sirtl Director +44 20 7318 4095

Chin-Chin Yap New York +1 212 940 1250

Alex W. Smith New York +1 212 940 1276

Veronica Collins New York +1 212 940 1252

Anne Huntington New York +1 212 940 1210

Sarah Mudge Head of Part II New York +1 212 940 1259

Arianna Jacobs London + 44 20 7318 4054

Roxana Bruno New York +1 212 940 1229

George O’Dell London +44 20 7318 4040

Sara Davidson New York +1 212 940 1262

Steve Agin (Consultant) +1 908 475 1796

Derrick Mead New York +1 212 940 1272

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

Maria Bueno New York +1 212 940 1261 Peter Flores New York +1 212 940 1223

Chairman London

(Uli) Zhiheng Huang New York +1 212 940 1288

Rodman Primack London +44 20 7318 4017

Eugenia Ballvé New York +1 212 940 1303 Laetitia Catoir London + 44 20 7318 4064

Managing Directors

SilkeTaprogge London +44 20 7318 4012

Finn Dombernowsky London +44 20 7318 4034

Ivgenia Naiman London +44 20 7318 4071

Charlie Horne New York +1 212 940 1292

Fiona Biberstein London +44 20 7318 4013 Siobhan O’Connor London +44 20 7318 4093

Business Development

Catherine Higgs London +44 20 7318 4089

Alexander Gilkes New York +1 212 940 1398

Raphael Lepine London +44 20 7318 4078 TanyaTikhnenko London +44 20 7318 4065

Executive Assistant to Simon de Pury

Sarah Buchwald London +44 20 7318 4085

Helen Rohwedder London +44 20 7318 4042

Phillippa Willison London +44 20 7318 4070 Executive Assistant to Bernd Runge Jewelry

Johanna Frydman London +44 20 7318 4024

Nazgol Jahan Worldwide Director +1 212 940 1283 Carolin Bulgari Geneva +41 22 906 80 00

Private Sales

Carmela Manoli New York +1 212 940 1302

Christina Scheublein New York +1 212 940 1248

Heather Zises New York +1 212 940 1290 Lane Mclean London +44 20 7318 4032

Press and Public Relations

Veronica Lota Geneva +41 22 906 80 05

Ariel Childs Head London +44 20 7318 4028 Cécile Demtchenko Paris +33 1 42 78 67 77

Contemporary Jewelry Rachel Mattes New York +1 212 940 1285

Exhibitions London +44 20 7318 4023 New York +1 212 940 1301

Photographs Charlie Scheips Worldwide Director +1 212 940 1244

International Specialists and Representatives

Vanessa Kramer Head of Sale New York +1 212 940 1243

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

Kelly Padden Head of Sale London +44 20 7318 4018

Olivier Vrankenne Brussels & Paris +32 486 43 43 44

Sebastien Montabonel London +44 20 7318 4025

Leonie Moschner Paris +33 6 85 53 92 03

Alexandra Bibby London +44 20 7318 4087

Tamara Corm Paris & London +33 6 75 07 04 71

Helen Hayman London +44 20 7318 4092

Ivgenia Naiman London +44 20 7318 4071

Caroline Shea New York +1 212 940 1247

Brooke de Ocampo London +44 777 551 7060

Sarah Krueger New York +1 212 940 1245

Laura Garbarino Milan +39 339 478 9671 Eugenia Bertelè Milan +39 02 3669 5895

Design

Florence Uchida New York +1 917 902 2714

Alexander Payne Worldwide Director +44 20 7318 4052

Nadia Breuer Sopher New York & Australia +1 917 319 4741

Marcus Tremonto New York +1 212 940 1268

Mimi Won Techentin Los Angeles +1 310 600 9192

Alex Heminway Director New York +1 212 940 1269

Maya McLaughlin Los Angeles +1 323 791 1771

Tara DeWitt New York +1 212 940 1265

Tatiana Beliaeva Moscow +7 985 969 9292

Meaghan Roddy New York +1 212 940 1266

Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804

Stephanie Abraitis New York +1 212 940 1268

Lulu Al-Sabah Dubai +44 77 9518 8878

Ben Williams London +44 20 7318 4027

Lydia Limmerick Dubai +44 79 2048 1110

Domenico Raimondo London +44 20 7318 4016 Ellen Stelter London +44 20 7318 4021 Marcus McDonald London +44 20 7318 4014

SALE INFORMATION

DESIGN

Auction

Worldwide Director

Wednesday June 3 2009 at 11am

Alexander Payne New York +1 212 940 1267 London +44 20 7318 4052

Viewing & Auction Location

International Senior Specialist

450 West 15th Street New York NY 10011

Marcus Tremonto New York +1 212 940 1268

Viewing

Director New York

Wednesday May 27 - Saturday May 30 10am - 6pm

Alex Heminway New York +1 212 940 1269

Sunday May 31 12pm-6pm Monday June 1 -Tuesday June 2 10am - 6pm

Specialists Tara DeWitt New York +1 212 940 1265 Meaghan Roddy New York +1 212 940 1266

Sale Designation

Ben Williams London +44 20 7318 4027

In sending written bids or making inquiries please refer

Domenico Raimondo London +44 20 7318 4026

to this sale as NY050109 or Design.

Ellen Stelter London +44 20 7318 4021

Catalogues $60 at the Gallery / £30

Administrators

Catalogue Subscriptions

Marcus McDonald London +44 20 7318 4014

Stephanie Abraitis New York +1 212 940 1268 New York +1 212 940 1240 London +44 20 7318 4039

Property Managers

catalogues@phillipsdepury.com

Matt Tackett New York +1 212 940 1364 Oliver Gottschalk London +44 20 7318 4038

Absentee and Telephone Bids Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax

Principal Auctioneer Simon de Pury 0874341

Client Accounting Sylvia Leitao +1 212 940 1231

Auctioneers

Barbara Doupal +1 212 940 1232

Aileen Agopian 1199037

Nicole Rodriguez +1 212 940 1235

Christina L. Floyd 1238278 Sarah Mudge 1301805

Client Services +1 212 940 1200

Alexander Gilkes 1308958 Ellen Stelter UK

Shipping

Rodman Primack UK

Beth Petriello +1 212 940 1373 E-mail Addresses All Phillips de Pury & Company e-mails are first initial and Front & Back Cover Ron Arad, “Before Summer” high-backed chaise

last name @phillipsdepury.com (i.e., apayne@phillipsdepury.com)

longue, and “After Spring” low-backed chaise longue, 1992, Lots 93 and 74

www.phillipsdepury.com

Inside Front Cover Angelo Mangiarotti, Rare dining table, ca. 1961, Lot 46 (detail)

Please refer to the Guide for Prospective Buyers, Conditions of Sale and Authorship Warranty which appear in the preceding pages.

Title Page Jun Kaneko, Dango form, 1998, Lot 86 (detail) Inside Back Cover George Nakashima, Monumental “Conoid” dining table, 1989, Lot 39 (detail) Design John Morgan Studio Photography Byron Slater, Clint Blowers Selected Essays Alex Heminway

PHILLIPS de PURY & COMPANY CONTACTS

Chairman

Advisory Board

Simon de Pury

Maria Bell Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Lapo Elkann Ben Elliot

Senior Partners

Lady Elena Foster

Michael McGinnis

H.I.H. Francesca von Habsburg

Dr. Michaela Neumeister

Marc Jacobs Malcolm McLaren

Partners

Ernest Mourmans

Aileen Agopian

Aby Rosen

Sean Cleary

Christiane zu Salm

Alexander Payne

Princess Gloria von Thurn und Taxis

Rodman Primack

Jean Michel Wilmotte

Olivier Vrankenne

Anita Zabludowicz

Tiffany Wood

WORLDWIDE OFFICES

NEW YORK

MUNICH

450 West 15 Street New York NY 10011 USA

Maximiliansplatz 12a 80333 Munich Germany

+1 212 940 1200 +1 212 924 5403 fax

Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax

LONDON

BERLIN

Howick Place London SW1P 1BB United Kingdom

Auguststrasse 19 10117 Berlin Germany

+44 20 7318 4010 +44 20 7318 4011 fax

Rolf Moritz Estermann Natalia Kazmierczak +49 30 880 018 42 +49 30 880 018 43 fax

PARIS 28, rue Michel Le Comte 75003 Paris France

GENEVA

CĂŠcile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax

23, quai des Bergues 1201 Geneva Switzerland Carolin Goetze +41 22 906 80 00 +41 22 906 80 01 fax

DESIGN JUNE

DESIGN JUNE 3 2009 N E W YO R K

WWW.PHI L L I P S D E P U RY. C O M NY050109

Front Cover Ron Arad, “Before Summer” high-backed chaise longue, 1992, Lot 93 Back Cover Ron Arad, “After Spring” low-backed chaise longue, 1992, Lot 74

2009

N E W YO R K