Design by Phillips de Pury & Co.

DE SIGN 26

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APRIL

2 012

LONDON

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DE SIGN 26

APRIL

2 0 12

4 PM

LONDON

LOTS 1 – 211

Viewing Thursday 19 April, 10am – 6pm Friday 20 April, 10am – 6pm Saturday 21 April, 10am – 6pm Sunday 22 April, 12pm – 6pm Monday 23 April, 10am – 6pm Tuesday 24 April, 10am – 6pm Wednesday 25 April, 10am – 6pm Thursday 26 April, 10am – 4pm

Front cover Jean Royère, ‘Sphere’ Coffee Table, circa 1939, lot 52 (detail) Back cover Diego Giacometti, Important ‘Bibliothèque au Mexique’, circa 1966, lot 6 Inside front cover Lucio Fontana and Osvaldo Borsani, Rare coffee table, 1952, lot 186 (detail) Inside back cover Alessandro Mendini, Early ‘Poltrona Di Proust’, circa 1978, lot 114 (detail) Opposite Jean Dunand, Folding Screen, circa 1925, lot 5 (detail)

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KOLOMAN MOSER

1868 –1918

Ceiling light, circa 1905 Opaque and coloured glass, clear glass, patinated copper, brass. Variable drop, 15 cm (5 7/8 in) diameter Executed by Elias Bakalowits Söhne, Austria.

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

LITERATURE Werner Fenz, Koloman Moser, Brussels, 1984, similar example on p. 191

Rudolf Leopold and Gerd Pichler, eds., Koloman Moser 1868–1918, exh. cat., Leopold Museum, Vienna, 2007, similar example on p. 208

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DIEGO GIACOMETTI

1902 –1985

‘L’autruche’, circa 1977 Patinated bronze, ostrich egg. 50.5 cm (19 7/8 in) high Underside of tail impressed with ‘DIEGO’.

Estimate £40,000 –50,000 $63,500 –79,300 €47,900 –59,900

♠‡

PROVENANCE Private collection, Paris

Galerie Vallois, Paris Walter Hass, Zurich Phillips de Pury & Luxembourg, New York LITERATURE Daniel Marchesseau, Diego Giacometti, Paris, 1986, p. 124

Françoise Francisi, Diego Giacometti: Catalogue de l’oeuvre, Volume I, Paris, 1986, n.p. François Baudot, Diego Giacometti, Paris, 1998, p. 25 Christian Boutonnet and Rafael Ortiz, Diego Giacometti, Paris, 2003, p. 95

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JEAN DUNAND

1877 –1942

Small footed vase, circa 1920 Lacquered copper. 10.5 cm (4 1/8 in) high, 9.3 cm (3 5/8 in) diameter Underside impressed with ‘JD/8•’.

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

PROVENANCE Andy Warhol, New York

Sotheby’s, New York, ‘Art Nouveau and Art Deco: The Andy Warhol Collection’, 23 April 1988, lot 312 LITERATURE Jean Dunand, Jean Goulden, exh. cat., Galerie du Luxembourg, Paris, 1973, similar example on p. 61 fig. 26

Anthony Delorenzo, Jean Dunand, New York, 1985, similar example on p. 136 Felix Marcilhac, Jean Dunand: His Life and Works, New York, 1990, similar example on p. 306 fig. 1005

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Actual size

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Two examples of the present model in situ, the Nelson Rockefeller residence, New York

PROPERTY OF A GENTLEMEN

JEAN-MICHEL FRANK

1895 –1941

Important side table with drawer, designed for the Nelson Rockefeller residence, New York, 1939 Giltwood, marble. 68.5 cm (26 7/8 in) high, 44 cm (17 3/8 in) diameter Produced by Chanaux & Co, France. Interior drawer unit impressed with ‘CHANAUX&CO MADE IN FRANCE J.M.FRANK 20361’ and the underside of the drawer is stamped with ‘MADE IN FRANCE’.

Estimate £20,000 –30,000 $31,700 – 47,600 €24,000 –36,000 PROVENANCE Nelson Rockefeller, 810 Park Avenue, New York, thence by descent LITERATURE William S Liebermann, The Nelson A. Rockefeller Collection Masterpieces of Modern Art, London, 1981, illustrated front cover

Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, illustrated on p. 45 Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank, Paris, 2006, illustrated on p. 185, similar example on p. 234

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JEAN DUNAND

1877 –1942

Folding screen, circa 1925 Lacquered wood. 125.4 × 153.2 × 1.3 cm (49 3/8 × 60 5/16 × 1/2 in) fully extended Lower left corner incised with ‘JEAN DUNAND’.

Estimate £30,000 – 40,000 $47,600 – 63,500 €36,000 – 47,900

♠Ω

PROVENANCE Galerie Georges Petit, Paris, circa 1927

Sotheby’s, Monaco, ‘Arts Décoratifs du XXe Siècle’, 17 March 1985, lot 319 Anthony Delorenzo, New York EXHIBITED Salon des Artistes Décorateurs, Paris, 1927

Galerie Georges Petit, Paris, 1927, no. 9 LITERATURE Anthony Delorenzo, Jean Dunand, New York, 1985, similar examples on pp. 15, 18, 21

Félix Marcilhac, Jean Dunand: His Life and Works, London, 1991, illustrated on p. 206 fig. 44

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“These objects bridge other worlds…The armature and imagery is rustic, yet they also have the majesty of furniture from the medieval and ancient worlds. These objects are functional, yet they retain their identity as sculpture. While they are used, they carry on with their own secret, independent lives.” MICHAEL BRENSON

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

DIEGO GIACOMETTI

1902 –1985

Important ‘Bibliothèque au Mexique’, circa 1966 Patinated bronze, clear glass. 183.5 × 144.1 × 37.5 cm (72 1/4 × 56 3/4 × 14 3/4 in) Back left-facing upright incised with ‘Diego X’. Together with a certificate of authenticity from James Lord.

Estimate £300,000 – 400,000 $476,000 – 635,000 €359,000 – 479,000

♠Ω

PROVENANCE L’Arc en Seine, Paris LITERATURE Daniel Marchesseau, Diego Giacometti, Paris, 1986, p. 74

Christian Boutonnet and Rafael Ortiz, Diego Giacometti, Paris, 2003, pp. 60–61

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∆

JOSEF HOFFMANN

1870 –1956

Rare cigarette box, circa 1910 Faux shagreen, lacquered wood, brass. 13.3 × 18.4 × 19.7 cm (5 1/4 × 7 1/4 × 7 3/4 in) fully extended Produced by the Wiener Werkstätte, Austria.

Estimate £3,000 –5,000 $4,800 –7,900 €3,600 – 6,000

♠

LITERATURE Christian Brandstätter, Wonderful Wiener Werkstätte: Design in Vienna 1903–1932, Vienna, 2003, p. 366

Peter Noever, ed., Yearning for Beauty: The Wiener Werkstätte and the Stoclet House, Ostfildern-Ruit, 2006, similar example on p. 252 cat. MI 23

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∑

RAYMOND SUBES

1891–1970

Pair of stools, 1930s Rosewood-veneered wood, chrome-plated metal, leather. Each: 43.5 × 55 × 32.5 cm (17 1/8 × 21 5/8 × 12 3/4 in) Together with a copy of the authenticity letter from Galerie Makassar (2).

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠

PROVENANCE Galerie Makassar, Paris, 7 September 1998

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Desk with chair enclosed

JACQUES ADNET

1901–1984

Rare integrated desk and chair, circa 1935 Desk: lacquered wood, chrome-plated metal; chair: lacquered wood, chrome-plated metal, leather. Desk: 75.5 × 150 × 69 cm (29 3/4 × 59 × 27 1/8 in); chair: 72 × 47.5 × 48 cm (28 3/8 × 18 3/4 × 18 7/8 in) Together with a copy of the authenticity letter from Galerie Makassar (2).

Estimate £15,000 –20,000 $23,800 –31,700 €18,000 –24,000

♠

PROVENANCE Galerie Makassar, Paris, 15 December 1998 LITERATURE Alain-René Hardy and Gaëlle Millet, Jacques Adnet, Paris, 2009, similar example of the desk on p. 216

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EMILE-JACQUES RUHLMANN

1879 –1933

Monumental uplighter, 1933 Porcelain, glaze, limed oak. 49 cm (19 1/4 in) high, 40 cm (15 3/4 in) diameter Manufactured by Sèvres, France. Interior with manufacturer’s decal ‘SEVRES/MANUFACTURE/NATIONAL/FRANCE’ and incised under the glaze with ‘11.10.33 PD’.

Estimate £15,000 –20,000 $23,800 –31,700 €18,000 –24,000 LITERATURE Florence Camard, Ruhlmann, Paris, 1983, similar example on p. 300

Emmanuel Breón and Rosalind Pepall, eds., Ruhlmann: Genius of Art Deco, New York, 2004, similar examples on pp. 110, 113, 115, 117

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OBJECT NUMBER LOT NUMBER

MAKER

Birth Death

Description, Circa Medium. Dimensions Sig Edt Man.

Estimate £Low Estimate–High Estimate £Low Estimate $–High Estimate $ Low Estimate €–High Estimate €

Estimate Symbols Lot

Symbols PROVENANCE Provenance EXHIBITED Exhibited LITERATURE Literature

Essay

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Original Aubusson upholstery (detail) accompanying the present chairs.

EMILE-JACQUES RUHLMANN

1879 –1933

Pair of ‘Drouant’ armchairs, model no. 101 NR, circa 1925 Macassar ebony, silvered bronze, fabric (2). Each: 85.1 × 56.2 × 62.2 cm (33 1/2 × 22 1/8 × 24 1/2 in) Together with original Aubusson tapestry upholstery designed by Emile Gaudissart.

Estimate £60,000 – 80,000 $95,200 –127,000 €71,900 –95,900

PROVENANCE Sotheby’s, Monaco, ‘Arts Décoratifs Styles 1900 et 1925’, 6 March 1983 (part of a larger suite), lot 134

Sotheby’s, ‘20th Century Decorative Arts & Design’, London, 3 July 2002, lot 34 Private collection, New York EXHIBITED ‘Ruhlmann’, Galerie Francine et Thierry Couvrat Desvergnes, Paris, 11 June– 15 September 1985

Ruhlmann designed the present model armchair and a similar side

‘Art Deco 1910–1939’, Victoria and Albert Museum, London, 27 March–20 July 2003

chair in 1924 for Drouant, a popular bistro at 18 rue Gaillon in Paris.

‘Art Deco 1910–1939’, Royal Ontario Museum, Toronto, 20 September 2003–4 January 2004

The following year he exhibited his ‘Drouant’ chairs upholstered in

‘Art Deco 1910–1939’, California Palace of the Legion of Honor, San Francisco, 13 March–5 July 2004

silk damask in the Grand Salon of the Pavillon du Collectionneur at

‘Art Deco 1910–1939’, Museum of Fine Arts Boston, 22 August 2004–9 January 2005 ‘Art Deco 1910–1939’, National Gallery of Victoria, Australia, 2008, 28 June–5 October 2008 LITERATURE Art Deco 1910–1939, exh. cat.,Victoria and Albert Museum, London, 2003, illustrated on p. 151

Art Deco 1910–1939, exh. cat., National Gallery of Victoria, Australia, 2008, illustrated on p. 96

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the Exposition Internationale des Arts Décoratifs, Paris. An adjacent related suite of furniture – a bench, a settee, and an armchair – were covered with a floral Aubusson tapestry (similar to that accompanying the present lot) designed by the artist, architect and sculptor Emile Gaudissard, who also designed the Salon’s immense circular carpet.

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PROPERTY OF AN ENGLISH COLLECTOR

EMILE-JACQUES RUHLMANN

1879 –1933

Desk with articulated lamp, 1932 Lacquered wood, chrome-plated bronze. Desk: 77.2 × 172 × 80 cm (30 3/8 × 67 3/4 × 31 1/2 in) fully extended; lamp: 61 × 35 cm (24 × 13 3/4 in) Underside of desk top impressed with ‘1932 Ruhlmann B EXP no. 2’. Ruhlmann archive number 1519.

Estimate £220,000 –280,000 $349,000 – 444,000 €264,000 –336,000

†

PROVENANCE Galerie Vallois, Paris, 1990

Claude and Simone Dray, Paris Christie’s, Paris, ‘Art Déco: Collection Claude et Simone Dray’, 8 June 2006, lot 245 Galerie Vallois, Paris, 2006 LITERATURE Florence Camard, Ruhlmann: Master of Art Deco, New York, 1983, similar example on pp. 76–77, 120, 162, 165, 166, 169, 201

Emmanuel Breon and Rosalind Pepall, Ruhlmann: Genius of Art Deco, Paris, 2004, p. 39, similar example on p. 150, drawing of a similar example on p. 227

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“The greatest simplicity is the most difficult art” EMILE-JACQUES RUHLMANN

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PROPERTY FROM AN AMERICAN COLLECTION

JEAN DUNAND

1877 –1942

Small ovoid vase, circa 1925 Lacquered metal, eggshell. 13.7 cm (5 3/8 in) high, 9.2 cm (3 5/8 in) diameter Underside painted with ‘JEAN DUNAND’.

Estimate £25,000 –35,000 $39,700 –55,500 €30,000 – 41,900

♠Ω

PROVENANCE Anthony Delorenzo, New York LITERATURE Felix Marcilhac, Jean Dunand: His Life and Works, London, 1991, similar example on p. 307 fig. 1016

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66695

Actual size

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

EMILE-JACQUES RUHLMANN

1879 –1933

Pair of ‘Hydravion’ armchairs, circa 1923 Macassar ebony, silvered bronze, leather. Each: 64 × 64 × 73 cm (25 1/4 × 25 1/4 × 28 3/4 in) Underside of each branded with ‘Ruhlmann’ (2).

Estimate £120,000 –180,000 $190,000 –286,000 €144,000 –216,000

PROVENANCE Private collection, Switzerland

Phillips de Pury & Company, New York, ‘20–21st Century Design Art’, 10 June 2004, lot 45 DeLorenzo Gallery, New York, 2004 LITERATURE René Chavance, ‘L’art décoratif contemporain au Pavillon de Marsan’, Art et Décoration, 1923, vol. 1, p. 114

‘Du fumoir au cabinet de travail par la bibliothèque’, L’Art Vivant, 1926, p. 668 Florence Camard, Ruhlmann, Paris, 1983, pp. 33, 80, 134, 202

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Alternative view

PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

EMILE-JACQUES RUHLMANN

1879 –1933

Pair of revolving ‘Tournicol’ side tables, model no. 1009 AR, late 1920s Macassar ebony, silvered bronze. Each: 60.3 × 40.6 × 45.7 cm (23 3/4 × 16 × 18 in) Underside of one branded with ‘Ruhlmann’ (2).

Estimate £70,000 –90,000 $111,000 –143,000 €83,900 –108,000

PROVENANCE DeLorenzo Gallery, New York

William A. McCarty Cooper Christie’s, New York, ‘Important Furniture, Silver, Books and Decorative Arts from the Collection of William A. McCarty Cooper’, 25 January 1992, lot 162 Private collection, Switzerland Christie’s, New York, ‘Important 20th-Century Decorative Arts’, 15 June 2004, lot 140 DeLorenzo Gallery, New York LITERATURE Florence Camard, Ruhlmann, Paris, 1983, for a drawing of similar examples on p. 180 Emmanuel Bréon and Rosalind Pepall, eds., Ruhlmann: Genius of Art Deco, Paris, 2004, for a drawing of a similar example on p. 255

Each of the present nightstands comprises three dummy drawers on one side and a single drawer above a recess on the other. A nonce word, ‘Tournicol’ derives from the French verb tourner (to revolve). It also suggests tournesol (sunflower) which tracks the sun as it rises and sets, as might a revolving bedside table under a waking hand.

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JEAN DUNAND

1877 –1942

Compote, circa 1912 Hammered patinated metal. 12.7 cm (5 in) high, 21 cm (8 1/4 in) diameter Underside incised with ‘JEAN DUNAND’.

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800

♠Ω

LITERATURE Félix Marcilhac, Jean Dunand: His Life and Works, London, 1991, similar example on p. 269 fig. 625, p. 270 fig. 626

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JEAN DUNAND

1877 –1942

Lidded box, circa 1925 Lacquered oroide inlaid with mother-of-pearl and eggshell. 5.7 cm (2 1/4 in) high, 12.1 cm (4 3/4 in) diameter Underside stamped with ‘JEAN DUNAND’.

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠Ω

LITERATURE Felix Marcilhac, Jean Dunand: His Life and Works, New York, 1991, similar examples on p. 277, fig. 714 and p. 313, fig. 1053

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LUCIE RIE

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LUCIE RIE

1902 –1995

LUCIE RIE

1902 –1995

Very rare pot, from the ‘Vienna Period’, circa 1936

Early squared vase, 1947

Earthenware, pale cream pitted glaze.

Earthenware, flowing green and brown glazes.

10.7 cm (4 1/4 in) high

17.5 cm (6 7/8 in) high

Painted with ‘L.R.G. WIEN’.

Impressed with artist’s seal.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Collection of the artist, Vienna, 1938

Collection of the artist, London, 1938 Bonhams, London, ‘Dame Lucie Rie: Sale of a Lifetime’, 17 April 1997, lot 10

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

EXHIBITED ‘Lucie Rie-A Retrospective’, The National Art Centre, Tokyo, Japan, 28 April–21 June 2010, then travelled to: The Mashiko Museum of Ceramic Art, Tochigi Prefecture, Japan, (7 August–26 September 2010), MOA Museum of Art, Shizuoka Prefecture, Japan (9 October–1 December 2010), The Museum of Oriental Ceramics, Osaka, Japan (11 December–13 February 2011), Paramita Museum, Mie Prefecture, Japan (26 February–

In September 1938 Lucie Rie “arrived in London bringing with her a

17 April 2011), and Hagi Uragami Museum, Yamaguchi Prefecture, Japan (29 April–

small collection of her Viennese Pots in a suitcase, many of which

26 June 2011)

cracked in transit” (Frankel, Modern Pots – Hans Coper, Lucie Rie &

LITERATURE Lucie Rie – A Retrospective, exh. cat., The National Museum of Modern Art, Tokyo, 2010, illustrated on p. 66 item 20

their Contemporaries, London, 2000, p. 70). This is one of those prized possessions brought with her from Vienna. Since graduating from the Kunstgewerbeschule in 1926 and prior to her arrival in the UK, Rie had enjoyed an increasingly international recognition for her unashamedly modern ceramics. These austere pieces were influenced by the materiality of the Modernist architecture and design that was emerging in central Europe at that time and rejected the decorative style of her tutor Michael Powolny. She received the Gold Medal at the Brussels exhibition in 1935 and another Gold Medal at the Milan Triennale in 1936. In 1937, Josef Hoffman had built a glass-walled corridor at the Austrian Pavilion at the Paris International Exhibition to display 70 of Lucie’s pots.

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LUCIE RIE

1902 –1995

LUCIE RIE

1902 –1995

Small vase, circa 1974

Small vase with flaring lip, 1972

Stoneware, ‘dolomite’ glaze.

Mixed clays thrown together to produce an integral spiral beneath the white glaze.

17 cm (6 3/4 in) high

Impressed with artist’s seal.

14.6 cm (5 3/4 in) high

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠‡

EXHIBITED

‘Lucie Rie – Tadek Beutlich, an exhibit of English Craft Arts’, International Design Center, Minnesota, 21 October 1972

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LUCIE RIE

1902 –1995

Bowl, circa 1980 Porcelain, manganese glaze with radiating sgraffito and inlaid designs repeated inside and out. 23 cm (9 in) diameter Impressed with artist’s seal.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Fischer Fine Arts, London

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LUCIE RIE

1902 –1995

Bowl, circa 1976 Porcelain, manganese glaze with bands of sgraffito and inlaid grid designs repeated inside and out. 24.5 cm (9 5/8 in) diameter Impressed with artist’s seal.

Estimate £16,000 –24,000 $25,400 –38,100 €19,200 –28,800

♠

PROVENANCE Fischer Fine Arts, London

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LUCIE RIE

1902 –1995

‘Knitted’ bowl, circa 1984 Stoneware, light grey glaze over a radiating design inlaid into the body. 24.8 cm (9 3/4 in) diameter Impressed with artist’s seal.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Bonhams, London, ‘Contemporary Ceramics’, 1 December 1994, lot 272

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THE HAWLE Y COLLECTION

“We were guided by a shared belief that above all else each piece needed to stand alone as an object of beauty; further explanation was simply not necessary …”

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LUCIE RIE

1902 –1995

Pure white bowl with golden rim, circa 1976 Porcelain, glossy white and golden manganese glazes. 14.6 cm (5 3/4 in) diameter Impressed with artist’s seal.

Estimate £12,000 –16,000 $19,000 –25,400 €14,400 –19,200

♠‡

PROVENANCE Bonhams, London, ‘Contemporary Ceramics’, 19 June 1991, lot 103 EXHIBITED ‘Lucie Rie and Hans Coper: Masterworks by two British Potters’, The Metropolitan Museum of Art, New York, 15 November 1994–21 May 1995, item R32 LITERATURE Lucie Rie and Hans Coper: Masterworks by Two British Potters, exh. cat., The Metropolitan Museum of Art, New York, 1994, illustrated back cover

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LUCIE RIE

1902 –1995

Unique bottle, circa 1970 Porcelain, pale green glaze over a squared body with raised dots. 23.6 cm (9 1/4 in) high Impressed with artist’s seal. Together with a copy of the purchase invoice from Bonhams Auctioneers.

Estimate £15,000 –20,000 $23,800 –31,700 €18,000 –24,000

♠‡

PROVENANCE Peter Dingley Gallery, Stratford-upon-Avon, Warwickshire

Rollo and Marion Ballantyne collection Bonhams, London, ‘Contemporary Ceramics’, 22 June 1995, lot 93 LITERATURE Lucie Rie and Hans Coper: Masterworks by Two British Potters, exh. cat., The Metropolitan Museum of Art, New York, 1994, a similar vase on p. 11

Tony Birks, Lucie Rie, Yeovil, 1999, a similar vase on p. 216

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LUCIE RIE

1902 –1995

Small oval bowl, circa 1959 Porcelain, yellow, manganese, white and turquoise glazes. 14.6 cm (5 3/4 in) diameter Impressed with artist’s seal.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠‡

LITERATURE John Houston and David Cripps, Lucie Rie: A survey of her life and work, London, 1981, similar example on p. 75 fig. 111

Tony Birks, Lucie Rie, Yeovil, 1999, similar example on p. 98

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LUCIE RIE

1902 –1995

Footed bowl, circa 1982 Porcelain, pale green and golden manganese glazes, with a strong speckle throughout. 15.5 cm (6 1/8 in) diameter Impressed with artist’s seal. Together with a copy of the purchase invoice from Bonhams Auctioneers.

Estimate £14,000 –18,000 $22,200 –28,600 €16,800 –21,600

♠‡

PROVENANCE Bonhams, London, ‘Contemporary Ceramics’, 26 March 1992, lot 221 EXHIBITED ‘Lucie Rie and Hans Coper: Masterworks by Two British Potters’, The Metropolitan Museum of Art, New York, 15 November 1994–21 May 1995, item R32 LITERATURE Lucie Rie and Hans Coper: Masterworks by Two British Potters, exh. cat., The Metropolitan Museum of Art, New York, 1994, illustrated on p. 8

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LUCIE RIE

1902 –1995

Large footed bowl, circa 1968 Stoneware, pure white lightly pitted glaze. 32.5 cm (12 3/4 in) diameter, 16.8 cm (6 5/8 in) high Impressed with artist’s seal.

Estimate £16,000 –24,000 $25,400 –38,100 €19,200 –28,800

♠‡

PROVENANCE Laurens Coper Collection, London

Cyril Frankel, London LITERATURE Issey Miyake meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo and Museum of Oriental Ceramics, Osaka, 1989, similar example on p. 29

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LUCIE RIE

1902 –1995

Rare large flower vase, circa 1968 Mixed clays thrown together to produce an integral blue and white spiral beneath the glaze. 24.7 cm (9 3/4 in) high Impressed with artist’s seal.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠‡

PROVENANCE Bonhams, London, ‘Contemporary Ceramics’, 5 April 1995, lot 258

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LUCIE RIE

1902 –1995

Vase with flaring lip, circa 1980 Mixed clays thrown together producing an integral grey, green and turquoise spiral in the heavily pitted glaze. 31 cm (12 1/4 in) high Impressed with artist’s seal. Together with a copy of the purchase invoice from Galerie Besson.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠‡

PROVENANCE Galerie Besson, London, 1990 EXHIBITED ‘Lucie Rie’, Galerie Besson, London, June–July 1990, no. 11 LITERATURE Lucie Rie – A Retrospective, exh. cat., The National Museum of Modern Art, Tokyo, similar example on p. 245 item 186

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LUCIE RIE

1902 –1995

Bulb bowl, circa 1960 Stoneware, white felspathic glaze with strong manganese streaks coming through from the body. 20 cm (7 7/8 in) diameter Impressed with artist’s seal.

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠‡

PROVENANCE Charmian Young

Galerie Besson, London LITERATURE Tony Birks, Lucie Rie, Yeovil, 1999, illustrated on p. 110

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LUCIE RIE

1902 –1995

Large bowl, circa 1986 Stoneware, matt white glaze with pitting and bubbles. 35 cm (13 3/4 in) diameter Impressed with artist’s seal.

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠‡

PROVENANCE Galerie Besson, London, 1988 EXHIBITED ‘Lucie Rie’, Galerie Besson, London, April–June 1988

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LUCIE RIE

1902 –1995

Vase, circa 1980 Mixed clays thrown together producing an integral blue and pink spiral in the heavily pitted glaze. 31.8 cm (12 1/2 in) high Impressed with artist’s seal.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠‡

PROVENANCE Galerie Besson, London

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LUCIE RIE

1902 –1995

Small bowl with inlaid design, circa 1960 Porcelain, cream glaze with manganese lip and impressed circles inlaid with glaze. 12.5 cm (4 7/8 in) diameter Impressed with artist’s seal.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠‡

PROVENANCE Michael and Lucy Foster Collection, purchased directly from Lucie Rie, Albion Mews Studio, London, 1965

Phillips Auctioneers, London, ‘Lucie Rie and Hans Coper – Masterworks’, 20 June 2000, lot 27 LITERATURE Margot Coatts, ed., Lucie Rie & Hans Coper. Potters in Parallel, exh. cat., Barbican Art Gallery, London, 1997, p. 61 for a comparable bowl

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LUCIE RIE

1902 –1995

Bottle with flaring lip, 1977 Porcelain, manganese glaze with a band of sgraffito around the shoulder and on the lip. 24 cm (9 1/2 in) high Impressed with artist’s seal. Together with a copy of the purchase invoice from Galerie Besson.

Estimate £6,000 –9,000 $9,500 –14,300 €7,200 –10,800

♠‡

PROVENANCE Fischer Fine Arts, London, 1984

Galerie Besson, London, March 1990 EXHIBITED ‘Lucie Rie and Hans Coper’, Fischer Fine Arts, London, 1984, item 104 LITERATURE John Houston and David Cripps, Lucie Rie: a survey of her life and work, London, 1981, similar example on p. 84 item 174

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LUCIE RIE

1902 –1995

Dish with inlaid design, circa 1958 Stoneware, mottled grey and rust glazes, the rim inlaid with a white radiating design repeated on the underside. 25.8 cm (10 1/8 in) diameter Impressed with artist’s seal. Together with a copy of the purchase invoice from Bonhams Auctioneers.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠‡

PROVENANCE Bonhams, London, ‘Contemporary Ceramics’, 12 November 1992, lot 440

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LUCIE RIE

1902 –1995

Early rounded bowl with inlay, circa 1952 Stoneware, white delicately pitted glaze blending to a broad band of ochre over inlaid white lines and a manganese lip. Impressed with artist’s seal. Together with a copy of the purchase invoice from Galerie Besson. 19.5 cm (7 5/8 in) diameter

Estimate £2,500 –3,500 $4,000 –5,600 €3,000 – 4,200

♠‡

PROVENANCE Galerie Besson, London, 1990 EXHIBITED ‘Lucie Rie’, Galerie Besson, London, 5 June–20 July 1990

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LUCIE RIE

1902 –1995

Footed bowl with inlaid lines, circa 1980 Porcelain, matt white glaze over a design of parallel pairs of lines inlaid in blue repeated inside and out. 25.2 cm (9 7/8 in) diameter Impressed with artist’s seal. Together with a copy of the purchase invoice from the Graham Gallery.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠‡

PROVENANCE Lucie Rie, Albion Mews Studio, London

Graham Gallery, New York, 1989 LITERATURE Tony Birks, Lucie Rie, Yeovil, 1999, front cover, similar example on p. 151

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LUCIE RIE

1902 –1995

Squared pot with enclosed rim, circa 1965 Stoneware, pale blue-green pitted glaze with a manganese speckle. 18.6 cm (7 3/8 in) high Impressed with artist’s seal. Together with a copy of the purchase invoice from Galerie Besson.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠‡

EXHIBITED ‘Lucie Rie’, Crafts Council, London, 30 January–5 April 1992

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LUCIE RIE

1902 –1995

Large ‘Knitted’ bowl, circa 1985 Stoneware, thrown and squeezed to an oval, incised and inlaid designs repeated inside and out beneath a blue-grey glaze. 29 cm (11 3/8 in) diameter Impressed artist’s seal. Together with a copy of the purchase invoice from the Graham Gallery.

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠‡

PROVENANCE Graham Gallery, New York, 1990

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LUCIE RIE

1902 –1995

Rare oval bowl, circa 1980 Stoneware, white pitted glaze with manganese speckle. 15.8 cm (6 1/4 in) high, 24.7 cm (9 3/4 in) width Impressed with artist’s seal. Together with a copy of the purchase invoice from Bonhams Auctioneers.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠‡

PROVENANCE Bonhams, London, ‘Contemporary Ceramics’, 14 November 1990, lot 182 LITERATURE Issey Miyake meets Lucie Rie, Tokyo, 1989, similar bowls on pp. 16–17

Fukiko Yokoyama and Shigeru Akimoto, Hyakumi Saisai, Tokyo, 1999, a similar bowl on p. 75

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HANS COPER

1920 –1981

Spherical pot with disc top, 1965 Stoneware, layered white porcelain slips and engobes over a body with textured designs, the neck and lip with a manganese glaze. 26 cm (10 1/4 in) high Impressed with artist’s seal.

Estimate £10,000 –14,000 $15,900 –22,200 €12,000 –16,800

♠

PROVENANCE Coper family collection, London EXHIBITED ‘Hans Coper Retrospective: Innovation in 20th-Century Ceramics’, The Museum of Ceramic Art, Hyogo, 12 September–29 November, then travelled to: The Shigaraki Ceramic Cultural Park, Museum of Contemporary Ceramic Art, Shiga (13 March–17 June 2010), Panasonic Electric Works, Shiodome Museum, Tokyo (26 June–5 September 2010), Museum of Modern Ceramic Art, Gifu (18 September–23 November 2010), Iwate Museum of Art, Iwate (4 December 2010–13 February 2011), and Shizuoka City Museum of Art, Shizuoka (9 April–26 June 2011) LITERATURE Maya Nishi, ed., Hans Coper Retrospective: Innovation in 20th-Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, illustrated on p. 79 fig. 39 and p. 176

Tony Birks, Hans Coper, Yeovil, 2005, p. 60 for an image of a similar example in the Hammersmith workshop

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JEAN ROYÈRE

1902 –1981

Armchair, circa 1934–35 Fabric, oak. 85 × 96 × 95 cm (33 1/2 × 37 3/4 × 37 3/8 in)

Estimate £30,000 – 45,000 $47,600 –71,400 €36,000 –53,900

♠

PROVENANCE Private collection, Paris LITERATURE Mobilier et Décoration (Paris), May 1937, similar example on p. 139

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

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The present model armachair in Mobilier et Décoration, 1937

Courtesy of Galerie Jacques Lacoste & Galerie Patrick Seguin, Paris

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JEAN ROYÈRE

1902 –1981

Armchair, circa 1934–35 Fabric, oak. 85 × 96 × 95 cm (33 1/2 × 37 3/4 × 37 3/8 in)

Estimate £30,000 – 45,000 $47,600 –71,400 €36,000 –53,900

♠

PROVENANCE Private collection, Paris LITERATURE Mobilier et Décoration (Paris), May 1937, similar example on p. 139

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

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

JEAN ROYÈRE

1902 –1981

‘Mille Pattes’ standard lamp, circa 1951 Painted metal, brass, paper shade. 172.7 cm (68 in) high, 69.2 cm (27 1/4 in) diameter

Estimate £40,000 –50,000 $63,500 –79,300 €47,900 –59,900

♠Ω

PROVENANCE Galerie Patrick Seguin, Paris, 2008 LITERATURE Gilbert Poillerat, ed., Ferronnerie d’aujourd’hui, Paris, 1951, pl. 20

Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 163

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ALEXANDRE NOLL

1890 –1970

Shallow bowl, circa 1960 Macassar ebony. 3 × 37 × 17.5 cm (1 1/8 × 14 5/8 × 6 7/8 in) Underside incised with ‘NOLL’.

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠

LITERATURE Olivier Jean-Elie and Pierre Passebon, Alexandre Noll, Paris, 1999, similar example on p. 56

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JEAN ROYÈRE

1902 –1981

Pair of ÔTr•fleÕ bridge armchairs, circa 1953 Mahogany, fabric (2). Each: 83.5 × 57 × 50 cm (32 7/8 × 22 1/2 × 19 5/8 in)

Estimate £20,000 –35,000 $31,700 –55,500 €24,000 – 41,900

♠

LITERATURE Mobilier et DŽcoration (Paris) January–February 1953, p. 3

‘Revue Pratique de Décoration’, Le DŽcor dÕaujourdÕhui, Paris, 1954, n. 91, p. v DŽcor dÕAujourdÕhui (Paris), 1956, December, p. 28 Pierre Passebon, Jean Roy•re Mobilier, exh. cat., Galerie du Passage, Paris, 1993, pp. 40, 42 Pierre-Emmanuel Martin-Vivier, Jean Roy•re, Paris, 2002, p. 174, for a drawing on p. 175

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

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JEAN ROYÈRE

1902 –1981

Pair of ÔTr•fleÕ bridge armchairs, circa 1953 Mahogany, fabric (2). Each: 83.5 × 57 × 50 cm (32 7/8 × 22 1/2 × 19 5/8 in)

Estimate £20,000 –35,000 $31,700 –55,500 €24,000 – 41,900

♠

LITERATURE Mobilier et DŽcoration (Paris) January–February 1953, p. 3

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

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JEAN ROYÈRE

1902 –1981

GEORGES JOUVE

1901–1964

Waste-paper basket, circa 1950

Group of three vases, 1950s

Painted metal, painted perforated metal.

Glazed ceramic.

35 cm (13 3/4 in) high, 25 cm (9 7/8 in) diameter

Tallest: 41.5 cm (16 3/8 in)

Estimate £3,000 –5,000 $4,800 –7,900 €3,600 – 6,000

♠

Underside of each incised with artist’s mark and ‘JOUVE’ (3).

Estimate £6,000 –9,000 $9,500 –14,300 €7,200 –10,800

♠

LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, similar examples on pp. 21, 74–75, 98–101

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The present model exhibited at the Salon des artiste décorateurs, room 451, Paris, 1939

JEAN ROYÈRE

1902 –1981

ÔSphereÕ coffee table, circa 1939 Gilt wrought iron, Belgium marble. 34 × 149.5 × 69.4 cm (13 3/8 × 58 7/8 × 27 3/8 in)

♠

PROVENANCE Private collection, Alexandria, Egypt EXHIBITED ‘Jean Royère’, Galerie Jacques Lacoste, Paris, 25 May–2 July 1999 LITERATURE ‘Charles Moreau, Jean Royère’, CheminŽes et Coins de Feu, Premi•re SŽrie, Paris, 1950s, plate 41

Jean Roy•re, exh. cat., Galerie Jacques Lacoste, Paris, 1999, illustrated on p. 89 Jean Roy•re, dŽcorateur ˆ Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 159 Catherine & Stéphane de Beyrie and Jacques Ouaiss, Jean Roy•re, New York, 2000, p. 36 Pierre-Emmanuel Martin-Vivier, Jean Roy•re, Paris, 2002, p. 45, p. 190 for a technical drawing, p. 191

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

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Courtesy of Galerie Jacques Lacoste & Galerie Patrick Seguin, Paris

Estimate £120,000 –180,000 $190,000 –286,000 €144,000 –216,000

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JEAN BESNARD

1889 –1958

Table lamp, 1920s Glazed ceramic, paper shade. 61 × 45 × 30 cm (24 × 17 3/4 × 11 3/4 in) Underside painted with ‘jean Besnard/France’.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

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♠†

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JEAN ROYÈRE

1902 –1981

ÔBouquetÕ five-arm wall light, circa 1950 Painted tubular metal, paper shades. 44 × 82 × 44.5 cm (17 3/8 × 32 1/4 × 17 1/2 in)

Estimate £16,000 –24,000 $25,400 –38,100 €19,200 –28,800

♠

PROVENANCE Mr Palluat de Besset, Paris LITERATURE Mobilier et DŽcoration (Paris), January–February 1953, pp. 3–4, 7, 9

Jean Roy•re, dŽcorateur ˆ Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 31 Pierre-Emmanuel Martin-Vivier, Jean Roy•re, Paris, 2002, pp. 39, 185

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

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JEAN ROYÈRE

1902 –1981

Sofa, circa 1937 Oak, fabric. 77 × 195 × 95 cm (30 3/8 × 76 3/4 × 37 3/8 in)

Estimate £120,000 –160,000 $190,000 –254,000 €144,000 –192,000

♠

LITERATURE Mobilier et DŽcoration (Paris) August 1937, similar example on p. 271

Jean Roy•re, dŽcorateur ˆ Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, similar example on p. 25 Pierre-Emmanuel Martin-Vivier, Jean Roy•re, Paris, 2002, similar examples on pp. 86, 89

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Courtesy of Galerie Jacques Lacoste & Galerie Patrick Seguin, Paris

The present model at the Salon de Repos d’Hiver du Pavillon Artistes Décorateurs, Exposition Internationale, Room 329, Paris, 1937

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

JEAN ROYÈRE

1902 –1981

‘Croisillons’ wall light, circa 1955 Painted metal, paper shades. 116.8 × 74.3 × 29.2 cm (46 × 29 1/4 × 11 1/2 in)

Estimate £30,000 – 40,000 $47,600 – 63,500 €36,000 – 47,900

♠Ω

PROVENANCE Galerie Patrick Seguin, Paris, 2008 LITERATURE Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 223

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JEAN ROYÈRE

1902 –1981

ÔBouquetÕ chandelier, circa 1948 Painted tubular metal, paper shades. Variable drop, 68 cm (26 3/4 in) diameter

Estimate £12,000 –18,000 $19,000 –28,600 €14,400 –21,600

Design_UK_Apr12_LOTS_P80-143_v2.indd 98

♠

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JEAN ROYÈRE

1902 –1981

Set of four side chairs, circa 1955 Ebonised mahogany, fabric (4). Each: 95 × 38 × 46 cm (37 3/8 × 14 7/8 × 18 1/8 in)

Estimate £10,000 –15,000 $15,900 –23,800 €12,000 –18,000

♠

PROVENANCE Private residence, Lima, Peru LITERATURE Pierre-Emmanuel Martin-Vivier, Jean Roy•re, Paris, 2002, similar examples on pp. 45, 164, 288, 304

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

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GEORGES JOUVE

1901–1964

‘Toro’ plate, circa 1950 Glazed ceramic. 32 cm (12 5/8 in) diameter Underside incised with artist’s mark and ‘JOUVE’.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, similar example on p. 284 , a drawing on p. 302

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

JEAN ROYÈRE

1902 –1981

‘Serpentin’ wall light, circa 1940 Painted metal, paper shade. 19.1 × 186.7 × 28.3 cm (7 1/2 × 73 1/2 × 11 1/8 in)

Estimate £20,000 –25,000 $31,700 –39,700 €24,000 –30,000

♠Ω

PROVENANCE Galerie Patrick Seguin, Paris, 2008 LITERATURE Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 147

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MAARTEN BAAS

b. 1978

Unique double doors, from the ‘Smoke’ series, 2007 Charred framed double doors with brass, clear epoxy resin. Frame: 221 × 123 × 28 cm (87 × 48 3/8 × 11 in), doors: 113 × 53 × 4.4 cm (44 1/2 × 20 7/8 × 1 3/4 in) Produced by the Baas & den Herder studio, the Netherlands. Door frame with inset metal lettering ‘BAAS’.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

PROVENANCE Commissioned directly from the artist LITERATURE Gareth Williams, The Furniture Machine: Furniture since 1990, London, 2006, pp. 35, 120 for examples from the Smoke series

Tom Dixon et al., eds, &Fork, London, 2007, p. 28 fig. 6 for an example from the Smoke series

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“If my father could see me now!”

BARNABY BARFORD

b. 1977

‘If my father could see me now!’ mirror, 2007 Fibreglass, convex mirrored glass, glazed ceramic figure. 65 × 60 cm (25 5/8 × 23 5/8 in)

Estimate £3,000 –5,000 $4,800 –7,900 €3,600 – 6,000

♠

PROVENANCE David Gill Gallery, London, 2008

Ceramic artist Barnaby Barford graduated from the Ceramics & Glass programme at the Royal College of Art in 2002. Prior to that, he had studied at the Istituto Superiore per le Industrie Artistiche (ISIA) in Faenza. Barford focuses on both functional and conceptual narrative works comprising a range of materials including mass-market and antique porcelain figurines.

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ZANINI DE ZANINE

b. 1978

‘Trapezio’ low chair, 2010 Gonçalo Alves, Maçaranduba, Ipê, Peroba, Cumaru. 64 × 59 × 67 cm (25 1/4 × 23 1/4 × 26 3/8 in) Number 6 from the edition of 6. Impressed with ‘ZANINI’.

Estimate £2,500 –3,500 $4,000 –5,600 €3,000 – 4,200

‡

PROVENANCE The artist, Brazil LITERATURE Interni, December 2011, illustrated on p. 100

Wallpaper, April 2012, p. 45

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HUMBERTO CAMPANA and FERNANDO CAMPANA

b. 1953, b. 1961

‘Cake’ stool, 2008 Stuffed toy animals, tubular steel. 67 cm (26 3/8 in) high, 135 cm (53 1/8 in) diameter Produced by Estudio Campana, Brazil. Number 114 from the edition of 150. One animal embroidered with ‘Campanas/N 114 / 150’. Together with a certificate of authenticity from Estudio Campana and a slip case.

Estimate £15,000 –20,000 $23,800 –31,700 €18,000 –24,000

†

LITERATURE Darrin Alfred, et al., Campana Brothers, Complete Works (So Far), New York, 2010, p. 286

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GORDON BALDWIN

b. 1932

Vessel with spout and flag, 1982–83 Earthenware, painted coloured slips and glazes. 52 × 66 × 16 cm (20 1/2 × 25 7/8 × 6 1/4 in) Signed in crayon with ‘GB 82 / 83’.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Private collection, London

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GORDON BALDWIN

b. 1932

‘Vessel in the form of a voice’ sculptural form in two pieces, 1983 Earthenware, painted coloured slips and glazes. 51 cm (20 1/8 in) wide Incised and painted with ‘GB 83’ (2).

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

PROVENANCE Christie’s, South Kensington, ‘Studio Pottery’, 4 March 1998, lot 187

Private collection, London

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RON ARAD

b. 1951

‘Big easy volume 2 for 2’ sofa, circa 1989 Mirror-polished stainless steel. 102 × 195 × 84 cm (40 1/8 × 76 3/4 × 33 1/8 in) Handmade by Ron Arad Studio, Italy. Number 14 from the edition of 20 plus 5 artist’s proofs. Incised with ‘Ron Arad 14 / 20’.

Estimate £60,000 – 80,000 $95,200 –127,000 €71,900 –95,900

♠‡

LITERATURE Dejan Sudjic, Ron Arad: Restless Furniture, London, 1989, p. 111

Alexander von Vegesack, Ron Arad: Sticks and Stones, One Offs & Short Runs, 1980–1990, exh. cat., Vitra Design Museum, Weil am Rhein, 1990, similar example on p. 81 Museu do Design: Luxo, Pop, Cool, de 1937 Até Hoje, exh. cat., Museu do Design, Lisbon, 1999, similar example in fig. 223 Matthew Collings, Ron Arad talks to Matthew Collings, New York, 2004, pp. 92–93 Ron Arad, A Retrospective Exhibition 1981–2001, exh. cat., Barry Friedman Ltd., New York, 2005, pp. 76–77, 102 Ron Arad, exh. cat., Ben Brown Fine Arts, Hong Kong, 2010, n.p.

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CLAUDI CASANOVAS

b. 1956

‘Pedra Oberta’, 2003 Porcelain and mixed media. 57 × 95 × 46 cm (22 3/8 × 37 3/8 × 18 1/8 in)

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

PROVENANCE Galerie Besson, London

Private collection, USA EXHIBITED ‘Pedres Blanques (White Stones)’, Galerie Besson, London, 2–30 October 2003

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RONAN and ERWAN BOUROULLEC

b. 1971, b. 1976

‘ASSEMBLAGE #5’, from the Collection Assemblages 250, 150, 60 series, 2004 Painted metal, panted tubular metal, Corian. 180 × 268 × 150 cm (70 7/8 × 105 1/2 × 59 in) Produced by Galerie kreo, France. Number 3 from the edition of 8 plus 2 artist’s proofs and 2 prototypes. Impressed with ‘ASSEMBLAGE 5 • NO 3 / 8 • 2004 • R+E BOUROULLEC.’.

Estimate £25,000 –35,000 $39,700 –$55,500 € 30,000 –€ 41,900

♠

PROVENANCE Galerie kreo, Paris LITERATURE Charlotte and Peter Fiell, Design Now, Cologne, 2007, p. 81 fig. 4

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

The present lot will be included in the forthcoming catalogue raisonné of limited editions by Ronan and Erwan Bouroullec being prepared by Didier Krzentowski of Gallery kreo, Paris.

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EWEN HENDERSON

1934 – 2000

‘Sack’ form, 1991 Mixed, laminated clay, glazes. 57 cm (22 1/2 in) high

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

PROVENANCE Private collection, London

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EWEN HENDERSON

1934 – 2000

‘Sack’ form, 1986 Mixed, laminated clay, glazes. 47 cm (18 1/2 in) high

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

PROVENANCE Christie’s, South Kensington, ‘Studio Pottery’, 4 March 1998, lot 183

Private collection, London

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RON ARAD

b. 1951

Unique ‘B.O.O.P. (Blown Out of Proportion)’ vase, 2003 Inflated superplastic aluminium. 106 × 104.1 × 20.3 cm (41 3/4 × 40 7/8 × 7 7/8 in) Produced by Ron Arad Associates, UK, for The Gallery Mourmans, the Netherlands. Incised with ‘Ron Arad’.

Estimate £15,000 –20,000 $23,800 –31,700 €18,000 –24,000

♠‡

PROVENANCE The Gallery Mourmans, the Netherlands

Barry Friedman, New York LITERATURE Deyan Sudjic, Ron Arad, London, 1999, p. 205, similar example on p. 212

Charlotte and Peter Fiell, eds., Designing the 21st Century, Cologne, 2001, similar example on p. 40 Matthew Collings, Ron Arad talks to Matthew Collings, New York, 2004, similar examples on pp. 96–97 Ron Arad: A Retrospective Exhibition 1981–2001, exh. cat., Barry Friedman Ltd., New York, 2005, similar examples on pp. 16–19

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SEBASTIAN BRAJKOVIC

b. 1975

Prototype ‘Lathe’ chair, 2006 Silk-embroidered upholstery, painted wood. 101 × 95 × 46 cm (39 3/4 × 37 3/8 × 18 1/8 in) Together with a signed certificate of authenticity from the artist.

Estimate £10,000 –15,000 $15,900 –23,800 €12,000 –18,000

♠

EXHIBITED ‘Man and Living’, Design Academy, Eindhoven, 2006 LITERATURE Louise Schouwenberg and Gert Staal, eds., House of Concepts: Design Academy Eindhoven, Amsterdam, 2008, illustrated on p. 280

Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, similar example on p. 188 Gareth Williams, Telling Tales: Fantasy and Fear in Contemporary Design, exh. cat., Victoria and Albert Museum, London, 2009, pp. 58–59, similar example on p. 71

The present lot was included in ‘Man and Living’, Brajkovic’s graduation exhibition at Design Academy Eindhoven in 2006.

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RONAN and ERWAN BOUROULLEC

b. 1971, b. 1976

‘Honda’ vase, 2001 Painted fibreglass, plastic, lead; internal flower holder: lead, rubber. 102 cm (40 1/8 in) high, 54 cm (21 1/4 in) wide Produced by Galerie kreo, France. Number 7 from the edition of 8 plus 4 artist’s proofs. Underside signed in white marker with ‘R + E Bouroullec/N° 7 / 8 . 2001’ and the flower holder is impressed with ‘JAPAN/:LEAD:’.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

PROVENANCE Galerie kreo, Paris LITERATURE Francesca Picchi, ‘The Infinate Shades of Meaning’, Domus (Milan), no. 840, September 2001, p. 125

Laurent Le Bon, Ronan and Erwan Bouroullec catalogue de raison, Paris, 2002, front and back cover, pp. 70–71 Renny Ramakers, Less + More: Droog Design in context, Rotterdam, 2002, p. 180 Ronan and Erwan Bouroullec et al., Ronan and Erwan Bouroullec, London, 2003, p. 148, p. 150 fig. 164, pp. 154–55 fig. 170, back cover

The ‘Honda’ vase was exhibited at the Issey Miyake Design Studio Gallery, Tokyo and the Design Museum, London, 2002. The present lot will be included in the forthcoming catalogue raisonné of limited editions by Ronan and Erwan Bouroullec being prepared by Didier Krzentowski of Gallery kreo, Paris.

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ORSINA SFORZA

b. 1960

Unique ‘Bernini’ table lamp, 2011 Painted metal, painted tubular metal, fabric shade. 78 cm (30 3/4 in) high Interior of shade signed and dated with ‘Orsina Sforza 2011’.

Estimate £1,200 –1,800 $1,900 –2,900 €1,400 –2,200

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♠

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SEBASTIAN BRAJKOVIC

b. 1975

Prototype ‘Lathe III’ chair, 2006 Silk-embroidered upholstery, painted wood. 101 × 75 × 60 cm (39 3/4 × 29 1/2 × 23 5/8 in) Together with a signed certificate of authenticity from the artist.

Estimate £10,000 –15,000 $15,900 –23,800 €12,000 –18,000

♠

PROVENANCE Acquired directly from the artist EXHIBITED ‘Man and Living’, Design Academy, Eindhoven, 2006 LITERATURE Louise Schouwenberg and Gert Staal, eds., House of Concepts: Design Academy Eindhoven, Amsterdam, 2008, illustrated on p. 280

Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, similar example on p. 189 Gareth Williams, Telling Tales: Fantasy and Fear in Contemporary Design, exh. cat., Victoria and Albert Museum, London, 2009, pp. 58–59, similar example on p. 71

The present lot was included in ‘Man and Living’, Brajkovic’s graduation exhibition at Design Academy Eindhoven in 2006.

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MAARTEN BAAS

b. 1978

Large armchair, from the ‘Sculpt’ series, 2007 Leather. 128 × 102.5 × 88 cm (50 3/8 × 40 3/8 × 34 5/8 in) Number 1 from the edition of 8 plus 2 artist’s proofs. Produced by Baas & den Herder studio, the Netherlands.

Estimate £9,000 –14,000 $14,300 –22,200 €10,800 –16,800

♠

LITERATURE Jennifer Hudson, Process: 50 Product Designs from Concept to Manufacture, London, 2008, p. 17, p. 18 fig. 3 for a model

Robert Klanten et al., eds., Desire The Shape of Things to Come, Berlin, 2008, p. 199 fig. 3

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MAARTEN BAAS

b. 1978

Unique desk, from the ‘Smoke’ series, 2008 Charred pre-existing desk, clear epoxy resin. 78.5 × 129.5 × 77 cm (30 7/8 × 50 7/8 × 30 3/8 in) Produced by Baas & den Herder, the Netherlands. Inset metal lettering with ‘BAAS’.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

PROVENANCE Acquired directly from the artist LITERATURE Gareth Williams, The Furniture Machine: Furniture since 1990, London, 2006, examples from the Smoke series on pp. 35, 120

Tom Dixon et al., eds., &Fork, London, 2007, example from the Smoke series on p. 28 fig. 6

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GORDON BALDWIN

b. 1932

Tall composite totem vessel, 1983 Earthenware, painted coloured slips and glazes. 68 cm (26 3/4 in) high Underside incised and painted with ‘GB OCT 84’.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Private collection, London

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GORDON BALDWIN

b. 1932

‘Monad with square’ sculptural vessel, 1987 Earthenware, painted coloured slips and glazes. 72 cm (28 3/8 in) high Painted with ‘GB 87’.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Christie’s, South Kensington, ‘Studio Pottery’, 4 March 1998, lot 189

Private collection, London

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DAVID ADJAYE

b. 1966

Pair of ’Type I– Giza’ chaises longues, from the ’Monoforms’ series, 2007 American walnut. Each: 44.4 × 79.5 × 120 cm (17 1/2 × 31 1/4 × 47 1/4 in) From the edition of 10 plus 2 artist’s proofs (2).

Estimate £12,000 –18,000 $19,000 –28,600 €14,400 –21,600

♠

PROVENANCE Albion Gallery, London, 2007 LITERATURE David Adjaye – Horizon/Monoforms, exh. cat., Albion Gallery, London, 2007, n.p.

Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, examples from the Monoforms series on p. 216

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EDMUND DE WAAL

b. 1964

EDMUND DE WAAL

b. 1964

Lidded vessel, 1996

Tall lidded vessel, circa 1998

Porcelain, celadon glaze over impressed designs in the body.

Porcelain, gold leaf, celadon glaze over impressed designs in the body.

20.6 cm (8 1/8 in) high

68 cm (26 3/4 in) high

Galerie Besson label under the foot.

Estimate £2,500 –3,500 $4,000 –5,600 €3,000 – 4,200

Estimate £6,000 –9,000 $9,500 –14,300 €7,200 –10,800

♠

PROVENANCE Galerie Besson, London, 1997 EXHIBITED ‘Edmund de Waal’, Galerie Besson, London, 16 July–14 August 1997

EDMUND DE WAAL

b. 1964

EDMUND DE WAAL

b. 1964

Lidded vessel, 1998

Lidded jar, 1996

Porcelain, celadon glaze over impressed designs in the body.

26 cm (10 1/4 in) high

39.4 cm (15 1/2 in) high

Estimate £2,500 –3,500 $4,000 –5,600 €3,000 – 4,200 PROVENANCE Egg, Knightsbridge, London, September 1998

♠

Estimate £3,500 – 4,500 $5,600 –7,100 €4,200 –5,400

♠

PROVENANCE Private collection, London EXHIBITED ‘Soft Clay’, Contemporary Applied Arts, London, 1996

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85 82

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POUL HENNINGSEN

1894 –1967

Early ceiling light with model no. PH 6/5 shades, circa 1930 Copper, nickel-plated metal. Variable drop, 50 cm (19 5/8 in) diameter Manufactured by Louis Poulsen, Denmark. Underside of light fixture impressed with ‘P.H.- 5 PATENTED’.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

LITERATURE Tina Jørstian and Poul Erik Munk Nielsen, eds., Light Years Ahead, The Story of the PH Lamp, Copenhagen, 1994, pp. 126–27, 159

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KAARE KLINT

1888 –1954

‘Propeller’ folding stool, model no. 8783, designed 1930, executed circa 1965 Stained ash, leather, brass. 45 × 55.5 × 48 cm (17 3/4 × 21 7/8 × 18 7/8 in) Produced by Cabinetmaker Rud. Rasmussen Snedkerier A/S, Denmark.

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠

LITERATURE Erik Zahle, ed., A Treasury of Scandinavian Design, New York, 1961, p. 117 fig. 77

Rigmor Anderson, Kaare Klint møbler, Copenhagen, 1979, p. 47 Grete Jalk, Dansk Møbelkunst gennem 40 aar, Vol. 4 1957–1966, Copenhagen, 1987, p. 214 fig. 1, p. 283 fig. 1-2 Frederik Sieck, Contemporary Danish Furniture Design – a short illustrated review, Copenhagen, 1990, pp. 34, 152

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

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OLE WANSCHER

1903 –1985

Sofa, circa 1935–40 Mahogany, horsehair. 80.5 × 191 × 69.5 cm (31 3/4 × 75 1/4 × 27 3/8 in) Produced by Master Cabinetmaker A.J. Iversen, Denmark.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

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♠

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IVAR JOHNSSON

1885 –1970

Pair of ‘Venus’ urns, designed 1919, executed circa 1925 Cast iron. Each: 48.9 cm (19 1/4 in) high, 59 cm (23 1/4 in) diameter Manufactured by Näfveqvarns Bruk AB, Sweden. Each cast with inscription ‘Venus Stiger Ur Hafvet’ (Venus rises from the sea) (2).

Estimate £12,000 –15,000 $19,000 –23,800 €14,400 –18,000

♠

LITERATURE Sten Ingvar Karling, Näfvequarnsgods: efter skulpturer av svenska konstnärer, Nävekvarn, 1937, p. 49

This model was exhibited in the Swedish Pavillion at the Exposition des Arts Decoratifs et Industriels, Paris, 1925.

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SYLVIA STAVE

b. 1908

Pair of vases, 1933 Pewter. Each: 20 cm (7 7/8 in) high, 20 cm (7 7/8 in) diameter Produced by Svenskt Tenn, Sweden. Each marked with ‘GARAN TERAT’, ‘G8’ and ‘SVENSKT/TENN’ (2).

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

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♠

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OTTO SCHULTZ

1882 –1970

Console, 1940s Carved walnut, ceramic tiles. 74.5 × 51.3 × 113.5 cm (29 3/8 × 20 1/4 × 44 5/8 in) Produced by Boet, Sweden.

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

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♠

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BERNARD LEACH

1887 –1979

BERNARD LEACH

1887 –1979

Flask, circa 1974

Vase, circa 1974

Stoneware, tenmoku glaze with resist finger-wipe designs.

Stoneware, tenmoku glaze.

19.5 cm (7 5/8 in) high

37 cm (14 5/8 in) high

Impressed with artist’s personal and Leach Pottery seals.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600 PROVENANCE Janet Leach, The New Craftsman Gallery, St. Ives, 1970s

Design_UK_Apr12_LOTS_P80-143_v2.indd 140

♠

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Janet Leach, The New Craftsman Gallery, St. Ives, 1970s

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POUL HENNINGSEN

1894 –1967

Six-arm ‘Academy’ chandelier with model no. 3/2 shades, circa 1933 Tubular nickel-plated metal, nickel-plated metal, opaque glass, Bakelite. Variable drop, 62 cm (24 3/8 in) diameter Manufactured by Louis Poulsen, Denmark. Each light fixture impressed with ‘PH lamp PATENTED’.

Estimate £20,000 –30,000 $31,700 – 47,600 €24,000 –36,000

♠

LITERATURE Gorm Harkær, Kaare Klint: Volume 1, Copenhagen, 1988, p. 400

Tina Jørstian and Poul Eric Munk Nielsen, eds., Light Years Ahead: The Story of the PH Lamp, Copenhagen, 1994, p. 163

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“Less is more.” MIES VAN DER ROHE

PRIVATE COLLECTION, GERMANY

LUDWIG MIES VAN DER ROHE

1886 –1969

Rare ‘Tugendhat’ coffee table, model no. MR 150/3, produced by Bamberg Metallwerkstätten, Berlin, circa 1929–31 Chrome-plated steel, opaque glass, stained plywood. 48 × 99.7 × 99.7 cm (18 7/8 × 39 1/4 × 39 1/4 in) Underside with embossed manufacturer’s metal label ‘BAMBERG METALLWERKSTÄTTEN/BERLIN NEUKOLLN • LICHTENRADER STRASSE 32/D.R.P. und Auslandspatente’ and Farben Fabrik inventory metal label with ‘FARBENFABRIK/WOLFEN/Inv.-Nr.: 67817’. Underside of table and each detachable pylon impressed with ‘1’, ‘2’, ‘3’ and ‘4’ respectively.

Estimate £45,000 –55,000 $71,400 – 87,300 €53,900 – 65,900

♠

PROVENANCE I. G. Farben, Farbenfabrik, Wolfen, Germany

Private collection, Switzerland, circa 1931 Private collection, Switzerland, 1972 Acquired from the above, 2008 EXHIBITED ‘The Essence of Things: Design and the Art of Reduction’, Vitra Design Museum, Weil am Rhein, 20 March–19 September 2010, then travelled to: Museum August Kestner, Hanover (9 March–2 June 2011), Design Museum, Ghent (8 July–16 October 2011) LITERATURE Alexander Von Vegesack and Matthias Kries, eds., Mies van der Rohe: Architecture and Design in Stuttgart, Barcelona, Brno, exh. cat., Vitra Design Museum, Weil am Rhein, 1998, for an excerpt from a Bamberg Metallwerkstätten brochure dated 1931 on p. 34, and for a technical drawing dated 1931 on p. 108 fig. 19.1

Helmut Reuter and Birgit Schulte, eds., Mies and Modern Living: Interiors, Furniture, Photography, Ostfildern, 2008, p. 160 fig. 163 for an excerpt from a Bamberg Metallwerkstätten brochure dated 1931 Alexander Von Vegesack and Mathias Schartz-Clauss, eds., The Essence of Things: Design and the Art of Reduction, Weil am Rhein, 2010, illustrated on p. 99 fig. 128

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fig 1. The IG Farben presentation at the World’s Fair, Barcelona, 1929

fig 2. The IG Farben presentation at the World’s Fair, Barcelona, 1929

fig. 4

models rested directly on their metal bases. All variations were available with flat steel bases produced in one of three treatments: painted, nickelplated, or chrome-plated. At a price of 600 Reichsmarks (as printed in the sales catalogue), the present chrome-plated table would have been the most expensive of the MR 150 variations. In addition to its manufacturer’s label, the present table bears an inventory label (fig. 4) from the IG Farben factory in Wolfen, then located about 20 kilometres to the south of the Bauhaus in Dessau, where Mies van der Rohe was director from 1930–33, concurrent with production of the present lot. A German chemical industry conglomerate, IG Farben was among the world’s largest companies at the time. In addition to fig 3. Mies van der Rohe’s 1931 technical drawing of the present model showing its variant pylons, courtesy of the Vitra Design Museum, Weil am Rhein.

his renowned German Pavilion at the 1929 Exposicion Internacional in Barcelona, Mies also designed the IG Farben presentation (fig. 1) at the 1929 Exposicion. In that pavilion IG Farben exhibited screens of sample black glass (fig. 2) similar to that produced in the present table. In their recent catalogue accompanying ‘The Essence of Things’, a 2010 exhibition at the Vitra Design Museum where the present lot appeared, editors Alexander von Vegesack and Mathias Schartz-Clauss wrote: “This

The present table bears a Bamberg Metallwerkstätten manufacturer’s

unique version of the coffee table also realized for the Villa Tugendhat in

label affixed to the painted plywood support on the underside of its

Brno was probably designed for the IG Farben presentation at the 1929

black glass top. This model appears as MR 150/3 in the 1931 Bamberg

World’s Fair in Barcelona.”

Metallwerkstätten sales catalogue. At the time the company was located at Lichtenrader Strasse 32, Berlin.

Lots 95, 96, and 97 were acquired in by the present owner from private

The present lot is the only known example of MR 150/3. The model

‘Lux’ Guyer (1894–1955), a prominent Swiss architect active in Zurich

number denotes the table’s black glass top – Schwarzglasplatte – as

and among the first women architects to open her own practice in that

opposed to the palisander top of the related MR 150/1 and the clear glass

country. Those previous owners had in turn purchased the house and

of the MR 150/2. The MR 150/3 is further distinguished by the four pylons

its contents, including the present three lots, in 1972 from the original

which support its top. The palisander and clear glass tops of the other

occupants of the house.

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Swiss collectors who resided in a house designed circa 1929 by Luise

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PRIVATE COLLECTION, GERMANY

LUDWIG MIES VAN DER ROHE

1886 –1969

Early pair of ‘Tugendhat’ cantilever chairs, model no. MR 60/4, possibly produced by Berliner Metallgewerbe Josef Müller or Bamberg Metallwerkstätten, Berlin, circa 1929–31 Chrome-plated flat steel, leather, rubber straps (2). Each: 80.7 × 76.2 × 75 cm (31 3/4 × 30 × 29 1/2 in)

Estimate £60,000 –90,000 $95,200 –143,000 €71,900 –108,000

♠

PROVENANCE Private collection, Switzerland, circa 1931

Private collection, Switzerland, 1972 Acquired from the above, 2008 LITERATURE Alexander Von Vegesack and Matthias Kries, eds., Mies van der Rohe: Architecture and Design in Stuttgart, Barcelona, Brno, exh. cat., Vitra Design Museum, Weil am Rhein, 1998, for an excerpt from a Bamberg Metallwerkstätten brochure dated 1931, p. 34, for an experimental model on p. 96 fig. 14

Christiane Lange, Ludwig Mies van der Rohe & Lilly Reich: Möbel und Räume, Krefeld, 2006, pp. 164–65, no. 22 Helmut Reuter and Birgit Schulte, eds., Mies and Modern Living: Interiors, Furniture, Photography, Ostfildern, 2008, p. 57 fig. 49, for technical drawings on p. 125 fig. 125 and p. 200 fig. 202, for an excerpt from a Bamberg Metallwerkstätten brochure dated 1931 on p. 160 fig. 163, p. 164 fig. 167, p. 165 fig. 168, p. 169 fig. 168, p. 168 fig. 173, p. 169 fig. 174

The present chairs correspond to model MR 60/4 in the 1931 Bamberg Metallwerkstätten sales catalogue and in Mies van der Rohe’s petty patent no. 1151444 dated 5 November 1930. A series of graphite drawings (circa 1930) depicting this model are in the Mies van der Rohe Archive at the Museum of Modern Art, New York. The same model with dark leather cushions was photographed circa 1931 by Walter Peterhans in Mies’s apartment at the Bauhaus Dessau. Other examples in paler leather, and one in what appears to be black leather, were photographed in 1931 in Mies’s model house at the Berliner Bauausstellung. The present chairs bear the same provenance as Lot 95, an MR 150/3 low table bearing a Bamberg Metallwerkstätten manufacturer’s label. The chairs and table were acquired by the present owner from private Swiss collectors who resided in a house designed circa 1929 by Luise ‘Lux’ Guyer (1894–1955), a prominent Swiss architect active in Zurich and among the first women architects to open her own practice in that country. Those previous owners had in turn purchased the house and its contents, including the present three lots, in 1972 from the original occupants of the house.

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PRIVATE COLLECTION, GERMANY

LUDWIG MIES VAN DER ROHE

1886 –1969

Pair of ‘Tugendhat’ ceiling lights, circa 1929 Glass, porcelain. 13.5 cm (5 3/8 in) high, 30.5 cm (12 in) diameter Underside of one light impressed with ‘507’ (2).

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

PROVENANCE Private collection, Switzerland, circa 1931

Private collection, Switzerland, 1972 Acquired from the above, 2008 LITERATURE Christiane Lange, Ludwig Mies van der Rohe & Lilly Reich: Möbel und Räume, Krefeld, 2006, pp. 146–47

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WILHELM WAGENFELD

1900 –1990

Dish, circa 1923–25 Glass. 3.2 cm (1 1/4 in) high, 27.5 cm (10 7/8 in) diameter Produced by the Bauhaus, Weimar, Germany.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

LITERATURE Wilhelm Wagenfeld, Industrieware von Wilhelm Wagenfeld: Kunstlerische Mitarbeit in der Industrie 1930–1960, exh. cat., Kunstgewerbemuseum, Zurich, 1960, p. 15 for later examples of the artist’s industrial glass

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ARCHIZOOM ASSOCIATI ANDREA BRANZI, GILBERTO CORRETTI, DARIO and LUCIA BARTOLINI, MASSIMO MOROZZI and PAOLO DEGANELLO ‘Mies’ lounge chair and illuminated ottoman, circa 1969 Chair: chrome-plated steel, rubber, pony skin; ottoman: chrome-plated steel, pony hide, neon light. Chair: 75.6 cm (29 3/4 in) high; ottoman: 30.5 cm (12 in) high Manufactured by Poltronova, Italy (2).

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800

♠

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. 103 for the chair

Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 109 fig. 61 Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 475 Anne Bony, Furniture & Interiors of the 1960s, Paris, 2004, p. 214

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100

GINO SARFATTI

1912 –1985

Table lamp, model no. 594, circa 1962 Painted folded sheet metal. Each: 11.5 × 11.5 × 11.5 cm (4 1/2 × 4 1/2 × 4 1/2 in) Manufactured by Arteluce, Milan, Italy.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

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♠

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101

GINO SARFATTI

1912 –1985

Ceiling light, model no. 2042/6, designed 1963 Glass, painted metal, painted tubular metal. 66 cm (25 7/8 in) drop, 94.5 cm (37 1/4 in) diameter Manufactured by Arteluce, Milan, Italy.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

LITERATURE Galerie Christine Diegoni, Gino Sarfatti, Paris, 2008, p. 87

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102

GINO SARFATTI

1912 –1985

Rare standard lamp, model no. 1006, circa 1966 Painted tubular metal, aluminium, metal, acrylic. 162 cm (63 3/4 in) high, 43 cm (16 7/8 in) diameter Manufactured by Arteluce, Milan, Italy. Interior of stand with partial manufacturer’s decal.

Estimate £3,500 – 4,500 $5,600 –7,100 €4,200 –5,400

♠

LITERATURE ‘Apparecchi di illuminazione’, Arteluce (Milan), p. 45

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103

LUCIANO BERTONCINI

b. 1939

‘Zattera’ bed, circa 1970 Painted wood, leather, chrome-plated metal, mirrored glass, plastic, magnets. 72.5 × 277.5 × 277.5 cm (28 1/2 × 109 1/4 × 109 1/4 in) Manufactured by CJFRA, Italy. Each light unit impressed with ‘magic’, manufacturer’s mark and ‘TICINO/MADE IN ITALY’.

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

PROVENANCE Phillips de Pury & Company, London, ‘Sex’, 19 March 2010, lot 140

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104

RICHARD SLEE

105

b. 1946

RICHARD SLEE

b. 1946

‘Pot and sprout‘, 2000

‘Rabbit’, 2000

Earthenware, glaze.

Earthenware, glaze with underglaze print.

58 cm (22 7/8 in) high

56 cm (22 in) high

Underside signed with ‘RICHARD SLEE’.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600 PROVENANCE Private collection, London

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♠

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

PROVENANCE Private collection, London

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106

GÜNTER BELTZIG

b. 1941

‘Floris’ stacking chair, circa 1968 Moulded fibreglass-reinforced polyester. 108 × 44 × 59 cm (42 1/2 × 17 3/8 × 23 1/4 in) Produced by Brüder Belzig, Germany. From a production of 50 examples.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

LITERATURE Charlotte and Peter Fiell, Modern Chairs, Cologne, 1993, p. 100

Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 435 Almut Grunewald and Tobias Hoffmann, Experiment 70: Designvisionen von Luigi Colani und Günter Beltzig, exh. cat., Museum für Konkrete Kunst, Ingolstadt, 2002, p. 73 fig. 18, p. 81 fig. 11, p. 103 fig. 36, p. 104 fig. 1, p. 114 figs. 6–7

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107

VERNER PANTON

1926 –1998

Pair of ‘Wonderlamp’ ceiling lights, model no. TYP H, circa 1970 Plastic, nylon, metal. Each: variable drop, 46 cm (18 1/8 in) diameter Produced by J. Lüber, Switzerland (2).

Estimate £12,000 –18,000 $19,100 –28,700 €14,400 –21,600

♠

LITERATURE Alexander von Vegesack and Mathias Remmele, eds., Verner Panton: The Collected Works, Weil am Rhein, 2000, p. 290

Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 2: 1960 to Present, Cologne, 2005, p. 193

Phillips de Pury & Company wish to thank Marianne Panton for her assistance with the cataloguing of this lot.

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108

LUIGI COLANI

b. 1928

‘TV-Relax’ recliner, circa 1968 Polyurethane foam, Dralon . 74 × 204 × 94 cm (29 1/8 × 80 3/8 × 37 in) Manufactured by Kusch & Co. for Meereskollektion, Germany.

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

PROVENANCE Private collection, Hanau, Germany LITERATURE Akira Fujimoto, ed., Luigi Colani: Designing Tomorrow, Tokyo, 1978, p. 92

Almut Grunewald and Tobias Hoffmann, Experiment 70: Designvisionen von Luigi Colani und Günter Beltzig, exh. cat., Museum für Konkrete Kunst, Ingolstadt, 2002, p. 74 fig. 19, p. 81 fig. 11 Albrecht Bangert, Colani: The Art of Shaping the Future, New York, 2004, p. 113

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109

ANDREA BELLOSI ‘Arc en Ciel’ table lamp, circa 1980 Marble, painted metal, brushed metal, glass, chrome-plated metal, plastic. 28 × 25 × 20 cm (11 × 9 7/8 × 7 7/8 in) Manufactured for Studio Alchimia, Italy. Switch impressed with a crown symbol.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

PROVENANCE Phillips de Pury & Company, London, ‘Design’, 30 April 2009, lot 94

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110

ALESSANDRO MENDINI

b. 1931

‘Wassily’ chair, from the ‘Redesign di sedie del movimento moderno’ series, designed 1983 Leather, chrome-plated tubular metal. 80 × 87 × 65 cm (31 1/2 × 34 1/4 × 25 5/8 in) Produced by Alchimia, Italy.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

LITERATURE Kazuko Sato, Alchimia: Contemporary Italian Design, Berlin, 1988, p. 141 fig. 257

Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 61 Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 537

This model was presented at the ‘Oggetti senza tempo’ exhibition, Museo Alchimia, 1983.

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PROPERTY FROM A LONDON COLLECTION

111

ALESSANDRO MENDINI

b. 1931

‘Spaziale’ chair, circa 1981 Painted wood. 85 × 55 × 56 cm (33 1/2 × 21 5/8 × 22 in) Produced by Studio Alchimia, Italy. From the edition of 6.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

LITERATURE Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 126 fig. 331

Sefano Casciani, et. al., Alessandro Mendini, Milan, 1989, a similar drawing on p. 69

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PROPERTY FROM A LONDON COLLECTION

112

ALESSANDRO MENDINI

b. 1931

Rare ‘Kandissa’ mirror, 1978 Painted wood, mirrored glass. 102 × 104 × 4 cm (40 1/8 × 40 7/8 × 1 5/8 in) Produced by Studio Alchimia, Italy.

Estimate £7,000 –10,000 $11,100 –15,900 €8,400 –12,000

♠

LITERATURE Barbara Radice, Elogio del banale, Milan, 1980, p. 14

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PROPERTY FROM A LONDON COLLECTION

113

ALESSANDRO MENDINI

b. 1931

‘Ondoso’ coffee table, circa 1978 Plastic-laminated wood, chrome-plated tubular metal. 32 × 116.5 × 96 cm (12 5/8 × 45 7/8 × 37 3/4 in) Produced by Studio Alchymia, Italy. Underside with plastic label ‘STUDIO/ ALCHYMIA/MILANO’.

Estimate £10,000 –15,000 $15,900 –23,800 €12,000 –18,000

♠

LITERATURE Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 126 fig. 330

Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 139 fig. 108, p. 63

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“Una specie di bomba estetica!” ALESSANDRO GUERRIERO

PROPERTY FROM A LONDON COLLECTION

114

ALESSANDRO MENDINI

Alessandro Mendini designed his ‘Poltrona di Proust’ for the 1978 ‘Room of

b. 1931

Early ‘Poltrona di Proust’, circa 1978

the Century’ exhibition at Palazzo dei Diamanti in Ferrara. Mendini based his

Hand painted fabric and wood.

design on an 18th-century Rococo-style armchair which he purchased in the

108 × 93 × 77 cm (42 1/2 × 36 5/8 × 30 3/8 in)

Estimate £40,000 – 60,000 $63,500 –95,200 €47,900 –71,900

Veneto and which was subsequently hand-painted by Prospero Rasulo and Pier ♠

Antonio Volpini. Together the two artists executed the first four or five examples of ‘Proust’, the surface decoration of which was taken from a detail of a Paul

PROVENANCE Purchased for the interior of the Robert and Michele Kay Furniture and Art Gallery, Sloane Street, Knightsbridge, London, 1978–79, then gifted

Bonhams, ‘Post War and Contemporary Art and Design’ London, 22 September 2010, lot 137 LITERATURE Barbara Radice, Elogio del banale, Milan, 1980, front cover

Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 123 fig. 321 Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, pp. 63, 65

Signac painting that was projected onto the chair. The wood and upholstery of the chair functioned as both canvas and frame for the pointillist painting. Only very early chairs adhere to the pattern and palette determined by the detail of the original Signac painting. Over time different painters produced chairs and their decorations deviated significantly from that original template, with the appearance of the chairs increasingly determined by

Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 538

the painters themselves.

Glenn Adamson and Jane Pavitt eds., Postmodernism: Style and Subversion, 1970–1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 41

Alessandro Mendini believes the present lot to be among the earliest examples of ‘Poltrona di Proust’ painted in the late 1970s by Prospero Rasulo and Pier Antonio Volpini or possibly by Franco Migliaccio, who succeeded them. The present chair is therefore one of the very first of these “aesthetic bombs” to explode the modernist orthodoxy of functionalism.

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115

SERGE MOUILLE

1922 –1988

Seven-arm wall light, circa 1953 Painted tubular metal, painted metal, brass. 202 × 70 cm (79 1/2 × 27 1/2 in) Manufactured by Atelier Serge Mouille and editioned by Steph Simon, France.

Estimate £70,000 –90,000 $111,000 –143,000 €83,900 –108,000

♠

PROVENANCE Galerie Steph Simon, Paris

Private collection, Paris LITERATURE Patrick Favardin, Les Années 50, Paris, 1999, pp. 58–59

Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 501 Pierre Émile Pralus, Serge Mouille: a French Classic, Saint Cyr au Mont d’Or, 2006, pp. 158–60

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116

CHARLOTTE PERRIAND

1903 –1999

Large sideboard, circa 1958 Mahogany, plastic-laminated wood, plastic, painted bent sheet steel. 77.5 × 275.5 × 46.4 cm (30 1/2 × 108 1/2 × 18 1/4 in) Editioned by Steph Simon, France. Each drawer moulded with ‘MODELE CHARLOTTE PERRIAND/BREVETE S.G.D.G’.

Estimate £40,000 – 60,000 $63,500 –95,200 €47,900 –71,900

♠

LITERATURE Jacques Barsac, Charlotte Perriand: Un art d’habiter, Paris, 2005, p. 440, p. 442 for a Steph Simon prospectus

Charlotte Perriand, exh. cat., Centre Georges Pompidou, Paris, 2005, similar example on p. 162 and Steph Simon prospectus

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117

SERGE MOUILLE

1922 –1988

‘Cocotte’ desk lamp, circa 1957 Painted aluminium, painted tubular metal, brass. 33.3 cm (13 1/8 in) high Manufactured by Atelier Serge Mouille, France. Editioned by Steph Simon, France.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

LITERATURE Alan and Christine Counord, Serge Mouille, Luminaires, 1953–1962, Paris, 1983, pp. 28, 41

Anthony Delorenzo, ed., Jean Prouvé/Serge Mouille, New York, 1985, pp. 130, 132 Pierre Émile Pralus, Serge Mouille a French Classic, Saint Cyr au Mont d’Or, 2006, pp. 89, 206

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118

CHARLOTTE PERRIAND

1903 –1999

‘Tokyo’ bench, circa 1956 Oak, fabric. 64 × 226 × 76 cm (25 1/4 × 88 7/8 × 29 7/8 in) Editioned by Steph Simon, France.

Estimate £12,000 –16,000 $19,000 –25,400 €14,400 –19,200

♠

LITERATURE Jacques Barsac, Charlotte Perriand: Un art d’habiter, 1903–1959, Paris, 2005, p. 393 for a drawing, pp. 403, 405, 430

Steph Simon: Retrospective 1955–1974 Charlotte Perriand and Jean Prouvé, exh. cat., Galerie Downtown françois laffanour, Paris, 2007, pp. 76–77 Jacques Barsac, Charlotte Perriand et le Japon, Paris, 2008, p. 228

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119

CHARLOTTE PERRIAND

1903 –1999

Coat rack, designed for the Hôtel le Doron, Méribel, 1946–48 Pine. 27.3 × 144.5 × 30 cm (10 3/4 × 56 7/8 × 11 3/4 in)

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE

Hôtel le Doron, Méribel, France

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120

CHARLOTTE PERRIAND

1903 –1999

‘Tokyo’ bench, circa 1956 Oak, fabric. 64 × 203 × 76 cm (25 1/4 × 79 7/8 × 29 7/8 in) Editioned by Steph Simon, France.

Estimate £10,000 –12,000 $15,900 –19,000 €12,000 –14,400

♠

PROVENANCE Galerie Steph Simon, Paris LITERATURE Jacques Barsac, Charlotte Perriand: Un art d’habiter, 1903–1959, Paris, 2005, pp. 393 for a drawing, 403, 405, 430

Steph Simon: Retrospective 1955–1974 Charlotte Perriand and Jean Prouvé, exh. cat., Galerie Downtown François Laffanour, Paris, 2007, pp. 76–77 Jacques Barsac, Charlotte Perriand et le Japon, Paris, 2008, p. 228

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121

CHARLOTTE PERRIAND 1903 –1999 and PIERRE JEANNERET 1896 –1967 Pair of three-legged stools, from the l’Equipement de la Maison series, circa 1947 Painted oak. Each: 27 cm (10 5/8 in) high, 32.2 cm (12 5/8 in) diameter Produced by BCB, France (2).

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

LITERATURE Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, p. 243 plate 47

Jacques Barsac, Charlotte Perriand: Un art d’habiter, Paris, 2005, pp. 392, 400, 405, 456, p. 335 fig. 24 for a catalogue

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122

MATHIEU MATÉGOT

1910 – 2001

Table, circa 1956 Painted bent sheet metal, painted tubular metal. 73.8 × 95 × 95 cm (29 × 37 3/8 × 37 3/8 in) Manufactured by Atelier Matégot, France.

Estimate £15,000 –20,000 $23,800 –31,700 €18,000 –24,000

♠

LITERATURE Anne Bony, Les Années 50, Paris, 1982, similar example on p. 201

Philippe Jousse and Caroline Mondineu, Mathieu Matégot, Paris, 2003, similar examples on pp. 196–97

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123

LE CORBUSIER

1887 –1965

Cube stool, from la Maison du Brésil, Cité Internationale Universitaire de Paris, 1956–59 Oak. 43.2 × 25.4 × 33 cm (17 × 10 × 12 7/8 in)

Estimate £9,000 –14,000 $14,300 –22,200 €10,800 –16,800

♠

PROVENANCE Maison du Brésil, Cité Internationale Universitaire de Paris, France LITERATURE Elisabeth Vedrenne, Le Corbusier: Mémoire de Style, Paris, 1998, pp. 66–67

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124

GEORGES JOUVE 1910 –1964 and MATHIEU MATÉGOT 1910 – 2001 ‘Patte d’ours’ ashtray on stand, circa 1951 Glazed ceramic, painted iron. 58 cm (22 7/8 in) high

Estimate £2,000 – 4,000 $3,200 – 6,300 €2,400 – 4,800

♠

PROVENANCE Jouve family, Paris LITERATURE Michel Fare, Georges Jouve, Paris, 1965, p. 70

Jousse Entreprise, Mathieu Matégot, Paris, 2003, pp. 89–91, 150, 151–52 Philippe Jousse and Galerie Jousse Entreprise, Georges Jouves, Paris, 2005, similar examples on pp. 48–49 and 167

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125

JEAN PROUVÉ

1902 –1981

‘Compas’ cafétéria table, model no. 512, circa 1953 Painted bent sheet metal, laminated wood. 71.2 × 130 × 69.6 cm (28 × 51 1/8 × 27 3/8 in) Manufactured by Les Ateliers Jean Prouvé, France.

Estimate £5,000 – 8,000 $7,900 –12,700 €6,000 –9,600

♠

LITERATURE Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 73–75

Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944–1954, Basel, 2005, pp. 268–69 Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, pp. 430–31

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The present model at the C.P.D.E. office, Paris, circa 1935.

126

JEAN PROUVÉ

1902 –1981

‘C.P.D.E.’ desk, 1934–35 Painted bent sheet steel, linoleum. 78.3 × 167.9 × 84 cm (30 7/8 × 66 1/8 × 33 1/8 in) One leg with paper label ‘EDF-CD31/64643’.

Estimate £25,000 – 45,000 $39,700 –71,400 €30,000 –53,900

♠

PROVENANCE Compagnie Parisienne de distribution d’électricité, Paris LITERATURE Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934–1944, Basel, 2000, similar examples on pp. 73–77

Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, similar examples on pp. 330, 332–33

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127

JEAN PROUVÉ

1901–1984

Wardrobe, model no. AP 11, circa 1952 Oak-veneered wood, painted bent steel. 160 × 160 × 55.5 cm (62 7/8 × 62 7/8 × 21 7/8 in) Manufactured by Les Ateliers Jean Prouvé and editioned by Steph Simon, France.

Estimate £20,000 – 40,000 $31,700 – 63,500 €24,000 – 47,900

♠

LITERATURE Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, similar examples and a Steph Simon prospectus on pp. 114–15

Peter Sulzer, Jean Prouvé, Œuvre Complète, Vol, 3: 1944–1954, Basel, 2005, p. 175 fig. 1146.4 for a Steph Simon prospectus Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, pp. 460, 474, 477

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128

SERGE MOUILLE

129

1922 –1988

JEAN PROUVÉ

1901–1984

Pair of ‘Tuyaux’ lights, circa 1955

Child’s desk, model no. 804, circa 1952

Painted aluminium, brass, painted steel.

Painted bent sheet steel, oak plywood, painted tubular steel, rubber.

34 × 25 × 36.5 cm (13 3/8 × 9 7/8 × 14 3/8 in)

47 × 54.9 × 39.4 cm (18 1/2 × 21 5/8 × 15 1/2 in)

Manufactured by Atelier Serge Mouille and editioned by Steph Simon, France (2).

Manufactured by Les Ateliers Jean Prouvé, France.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

Estimate £2,500 –3,500 $4,000 –5,600 €3,000 – 4,200

♠

LITERATURE Anthony Delorenzo, ed., Jean Prouvé / Serge Mouille, New York, 1985, pp. 111, 134

LITERATURE Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, p. 110

Pierre Émile Pralus, Serge Mouille, A French Classic, Saint Cyr au Mont d’Or, 2006, pp. 198–99, p. 200–01 for a drawing

Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944–1954, Basel, 2005, p. 35 fig. 23, p. 220 fig. 1214,2 Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé Vol. 1, Paris, 2007, pp. 382, 390, 392–95

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130

CHARLOTTE PERRIAND

1903 –1999

Bench with drawer, from Cité Cansado, Mauritania, circa 1958 Oak, plastic laminate-covered wood, painted bent sheet metal. 36 × 260 × 70 cm (14 1/8 × 102 3/8 × 27 1/2 in)

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

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PROVENANCE Cité Cansado, Mauritania LITERATURE Jacques Barsac, Charlotte Perriand: Un art d’habiter, Paris, 2005, similar examples on pp. 403, 430

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PROPERTY FROM AN IMPORTANT NEW YORK COLLECTION

131

CHARLOTTE PERRIAND

1903 –1999

‘Nuage’ shelf from the Société Anonyme des Mines de Fer de Mauritanie, circa 1958 Oak, painted metal. 71.1 × 280 × 33.7 cm (28 × 110 1/4 × 13 1/4 in) Manufactured by Les Ateliers Jean Prouvé and editioned by Steph Simon, France.

Estimate £38,000 – 48,000 $60,300 –76,200 €45,500 –57,500

♠Ω

PROVENANCE Société Anonyme des Mines de Fer de Mauritanie, Cite Cansado, Mauritania

Galerie Patrick Seguin, Paris, 2004 LITERATURE Jacques Barsac, Charlotte Perriand: Un art d’habiter, Paris, 2005, p. 400

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132

JEAN PROUVÉ

1901–1984

Sideboard, model no. BA 12/150, 1950s Oak-veneered wood, oak, painted bent steel. 100 × 200 × 48 cm (39 3/8 × 78 3/4 × 18 7/8 in) Manufactured by Les Ateliers Jean Prouvé and editioned by Steph Simon, France.

Estimate £40,000 –70,000 $63,500 –111,000 €47,900 – 83,900

♠

PROVENANCE Galerie Patrick Seguin, Paris LITERATURE Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, similar examples on pp. 116–17

Peter Sulzer, Jean Prouvé, Œuvre Complète, Vol, 3: 1944–1954, Basel, 2005, p. 171 fig. 1145.1,5, p. 173 fig. 1145.4 for a drawing and fig. 1145.5 for a Steph Simon prospectus Galerie Patrick Seguin, Jean Prouvé, Vol. 2, Paris, 2007, pp. 460, 479

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133

JACQUES ADNET

1901–1984

Adjustable standard lamp, 1950s Leather upholstered tubular metal, brass. Lamp: 75 cm (29 1/2 in) high; shade: 40 cm (15 3/4 in) diameter

Estimate £2,800 –3,500 $4,400 –5,600 €3,400 – 4,200

♠

LITERATURE Decor d’Aujourd’hui (Paris), no. 57, 1950, similar example on p. 37

Alain-René Hardy and Gaëlle Millet, Jacques Adnet, Paris, 2009, similar example on p. 247

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134

JACQUES ADNET

1901–1984

Pair of low armchairs, 1950s Leather-upholstered tubular metal, leather, brass (2). 76.5 × 71 × 58 cm (30 1/8 × 27 7/8 × 22 7/8 in)

Estimate £12,000 –16,000 $19,000 –25,400 €14,400 –19,200

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SELECTED WORKS FROM A PARIS APARTMENT DESIGNED BY PIERRE PASSEBON

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Photo: Marianne Haas

As featured in Architectural Digest, no. 5, September 2000

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135

ANDRÉ ARBUS

1903 –1969

‘Bateau’ daybed, circa 1936 Parchment wood, brass. Daybed: 64.5 × 219 × 155 cm (25 3/8 × 86 1/4 × 61 in); mattress: 202.5 × 141 cm (79 3/4 × 55 1/2 in)

Estimate £30,000 –50,000 $47,600 –79,300 €36,000 –59,900

♠

PROVENANCE Yves Gastou, Paris LITERATURE George Waldemar, ‘André Arbus’, Art et Industrie (Paris), no. 16, 1948, pl. 4

Anne Bony, Les Années 40, Paris, 1985, p. 463 Yvonne Brunhammer, André Arbus, Architecte-Décorateur des années 40, Paris, 2003, p. 104 for a drawing, p. 124

The present model was exhibited in the ‘Pavillon des Artistes décorateurs, les Artistes de ce temps, exposition des Arts et Industries’, Paris, 1937

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136

ANDRÉ ARBUS

1903 –1969

Console, circa 1954–55 Cherry-veneered wood, cherry wood, chrome-plated metal. 74.5 × 219.2 × 69.6 cm (29 3/8 × 86 1/4 × 27 3/8 in)

Estimate £30,000 –50,000 $47,600 –79,300 €36,000 –59,900

♠

PROVENANCE Yves Gastou, Paris LITERATURE Yvonne Brunhammer, André Arbus, Architecte: décorateur des années 40, Paris, 2003, p. 320

Delphine Antoine, Yves Gastou antiquaire du future, Paris, 2011, pp. 90–91

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137

ANDRÉ ARBUS

1903 –1969

Pair of stools, circa 1940 Sycamore, leather, brass (2). Each: 43 × 55.5 × 33 cm (16 7/8 × 21 7/8 × 12 7/8 in)

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800

♠

PROVENANCE Yves Gastou, Paris LITERATURE George Waldemar, ‘André Arbus’, Art et Industrie (Paris), no. 16, 1948, pl. 26

Anne Bony, Les Années 40, Paris, 1985, p. 459 Yvonne Brunhammer, André Arbus: Architecte: décorateur des années 40, Paris, 2003, p. 210

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138

MARC DU PLANTIER

1901–1975

Coffee table, circa 1930 Wood, gold leaf. 40 × 140 × 60 cm (15 3/4 × 55 1/8 × 23 5/8 in)

Estimate £40,000 – 60,000 $63,500 –95,200 €47,900 –71,900

♠

PROVENANCE Parisian apartment LITERATURE Yves Badetz, Marc du Plantier, Paris, 2010, p. 140

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139

JACQUES ADNET

1901–1984

Five-arm ceiling light, circa 1930 Glass, chrome-plated metal. 113.5 cm (44 5/8 in) drop, 38 cm (14 7/8 in) diameter

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800

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140

ANDRÉ ARBUS

1903 –1969

Pair of armchairs, 1940s Sycamore, fabric (2). Each: 94 × 90 × 51 cm (37 × 35 3/8 × 20 1/8 in)

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

PROVENANCE Yves Gastou, Paris LITERATURE Anne Bony, Les Années 40, Paris, 1985, similar example on p. 463

Yvonne Brunhammer, André Arbus, Architecte: décorateur des années 40, Paris, 2003, pp. 114–15 for a drawing of a similar example

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141

JACQUES QUINET

1918 –1992

Pair of armchairs, circa 1948 Painted wood, metal, leather (2). Each: 84 × 65 × 63 cm (33 1/8 × 25 5/8 × 24 3/4 in)

Estimate £40,000 – 60,000 $63,500 –95,200 €47,900 –71,900

♠

PROVENANCE Yves Gastou, Paris LITERATURE Michel Dufet, ‘Sobre et Digne, La Demeure de Jacques Quinet’, Le Décor d’aujourd’hui: Revue Pratique de Décoration, Paris, 1954, vol. 21, number 88, similar examples on pp. 268–69 and 271

Guitemie Maldonado, Jacques Quinet, Paris, 2000, for a similar example on p. 122 Patrick Favardin, Les décorateurs des années 50, Paris, 2002, for a similar example on pp. 57–58 Delphine Antoine, Yves Gastou antiquaire du future, Paris, 2011, for a similar example on p. 226

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142

MARTIN OLSEN Low chair, circa 1930 Wool, birch. 80 × 67 × 77 cm (31 1/2 × 26 3/8 × 30 3/8 in) Produced by Vik & Blindheim, Norway.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

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♠

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143

CARL-HARRY STÅLHANE

144

1920 –1990

CARL-HARRY STÅLHANE

1920 –1990

Vase, circa 1950

Stoneware, glaze.

Each: 51 cm (20 1/8 in) high

Produced by Rörstrand, Sweden. Underside incised with ‘R/SWEDEN/CHS’.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

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145

JENNIFER LEE

b. 1956

‘Dark, lichen speckled stripes’ bowl, 1990 Stoneware, integral body colour. 15.7 cm (6 1/8 in) high, 37.5 cm (14 3/4 in) diameter Painted with ’JL’.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

PROVENANCE ‘Jennifer Lee’, Galerie Besson, London, May–June 1990

Christie’s, South Kensington, ‘Studio Pottery’, 4 March 1998, lot 172

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146

PETER COLLINGWOOD

1922 – 2008

Unique ‘2-Dimensional Macrogauze’, commissioned for Catholic Church of Sacred Heart, Nayland, 1985 Linen, steel rods (3). Each element: 209 cm (82 1/4 in) high, 52 cm (20 1/2 in) wide

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

PROVENANCE Catholic Church of Sacred Heart, Nayland LITERATURE Martina Margetts and Linda Theophilus, eds., Peter Collingwood: Master Weaver, Colchester, 1994, for similar examples throughout

The Journal for Weavers, Spinners and Dyers, ‘Peter Collingwood Special Edition’, Summer 2009, for similar examples throughout

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147

HANS WEGNER

1914 – 2007

Pair of folding chairs with hanging bracket, model no. JH-512, circa 1949 Oak, cane, brass. Each: 75 × 62 × 70 cm (29 1/2 × 24 3/8 × 27 1/2 in) Manufactured by Johannes Hansen, Denmark. Frame of each branded with ‘JOHANNES HANSEN/COPENHAGEN/DENMARK’ and manufacturer’s mark (3).

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800

♠

LITERATURE Esbjørn Hiort, Modern Danish Furniture, New York, 1956, pp. 66–67

Johan Møller Nielson, Sitting Pretty: Wegner en Dansk Møbelkunstner, Copenhagen, 1965, pp. 48, 53, 98–99, 102, 106–07 Frederik Sieck, Contemporary Danish Furniture Design: a short illustrated review, Copenhagen, 1990, p. 222 Jens Bernsen, Hans J. Wegner: On Design, exh. cat., Dansk Design Center, Copenhagen, 1995, pp. 13, 15, 77, similar example on p. 114 Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 110 Bernd Polster, Design Directory Scandinavia, New York, 1999, p. 355

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148

POUL KJÆRHOLM

1929 –1980

Nest of three tables, model no. PK 71, circa 1957 Acrylic, matt brushed steel. Largest: 28.7 × 28.3 × 28.3 cm (11 1/4 × 11 1/8 × 11 1/8 in) Manufactured by E. Kold Christensen, Denmark (3).

Estimate £2,500 –3,500 $4,000 –5,600 €3,000 – 4,200

♠

LITERATURE Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 1999, pp. 96–97, 177

Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 108–09, 111

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149

STIG LINDBERG

1916 –1982

‘Tokyo’ vase, circa 1960 Stoneware, glaze. 27 cm (10 5/8 in) high, 16 cm (6 1/4 in) diameter Produced by Gustavsberg, Sweden. Incised with artist’s mark and ‘Stig L’.

Estimate £12,000 –15,000 $19,000 –23,800 €14,400 –18,000

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150

POUL KJÆRHOLM

1929 –1980

Pair of armchairs, model no. PK 31, circa 1959 Bent chrome-plated steel, leather. Each: 70.5 × 76 × 67 cm (27 3/4 × 29 7/8 × 26 3/8 in) Manufactured by E. Kold Christensen, Denmark. Each frame impressed with manufacturer’s mark (2).

Estimate £10,000 –15,000 $15,900 –23,800 €12,000 –18,000

♠

LITERATURE Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 1999, pp. 98, 178

Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 110–13

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151

PAAVO TYNELL

1890 –1973

Pair of standard lamps, circa 1946 Tubular brass, cane, painted metal, wood. Each: 146 cm (57 1/2 in) high Manufactured by Taito Oy, Finland. Base of one impressed with ‘TAITO’ (2).

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800

♠

LITERATURE Paavo Tynell, Original Designs for Finland House, Helsinki, n.d., for similar examples

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152

POUL KJÆRHOLM

1929 –1980

Pair of low chairs, model no. PK 22, circa 1957 Bent brushed spring steel, cane. 74 × 63 × 53 cm (29 1/8 × 24 3/4 × 20 7/8 in) Manufactured by E. Kold Christensen, Denmark. Each frame impressed with manufacturer’s mark (2).

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

LITERATURE Frederik Sieck, Contemporary Danish Furniture Design – a short illustrated review, Copenhagen, 1990, p. 146

Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 1999, pp. 84–85, 175, 180 Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 72–77 Arne Karlsen, Danish Furniture Design in the 20th Century, Volume 2, Copenhagen, 2007, pp. 71, 196–97

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153

VILHELM LAURITZEN

1894 –1984

Pair of desk lamps, 1950s Painted aluminium, tubular brass. Each: 56.5 cm (22 1/4 in) high Manufactured by Louis Poulsen, Denmark. Each impressed with ‘OMI TYP 450 D’ (2).

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

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♠

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154

ARNE JACOBSEN

1902 –1971

‘Egg’ chair, model no. 3316, and later ottoman, model no. 3127, designed circa 1958 Leather, aluminium, plastic. 107 × 87 × 75 cm (42 1/8 × 34 1/4 × 29 1/2 in) Manufactured by Fritz Hansen, Denmark. Underside with partial manufacturer’s stamp ‘FH’ and indecipherable text (2).

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Philippe Denys, Brussels, 2004 LITERATURE Erik Lassen, ed., The Arts of Denmark: Viking to Modern, exh. cat., Copenhagen, 1960, p. 125

Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 347 Poul Erik Tøjner and Kjeld Vindum, Arne Jacobsen, Arkitekt & Designer, Copenhagen, 1999, front cover, pp. 68–69 Carsten Thau and Kjeld Vindum, Arne Jacobsen, Copenhagen, 2001, pp. 154, 158–59, 433–35, 438–39

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155

HENNING KOPPEL

1918 –1981

Large bowl, 1950s Teak. 12 cm (4 3/4 in) high, 48.4 cm (19 in) diameter Produced by Georg Jensen, Denmark. Underside signed and stamped with ‘GEORG JENSEN/Design/Made in Denmark’.

Estimate £1,200 –1,500 $1,900 –2,400 €1,400 –1,800

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156

FINN JUHL

1912 –1989

Armchair, model no. NV 45, circa 1945 Cuban mahogany, fabric. 83.2 cm (32 3/4 in) high Produced by Master cabinetmaker Niels Vodder, Denmark. Stretcher partially impressed with ‘COPENHAGEN DENMARK’.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

LITERATURE Grete Jalk, Dansk Møbelkunst gennem 40 aar, Vol. 2 1937–1946, Copenhagen, 1987, pp. 276–77

Esbjørn Hiort, Finn Juhl, Copenhagen, 1990, pp. 25, 34–35, 101 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, pp. 42–45 Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 267 Noritsugu Oda, Danish Chairs, San Francisco, 1999, p. 86 Bodil Busk Laursen, Søren Matz and Christian Holmsted Olesen, eds., Mesterværker: 100 års dansk møbelsnedkeri (English summary), Copenhagen, 2003, p. 4 Charlotte and Peter Fiell, eds., Domus Vol. III 1950–1954, Cologne, 2006, p. 81

The present model was designed for the ‘Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, Stand 14, 28 September– 14 October 1945.

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157

ALVAR AALTO

1898 –1976

Pair of cantilevered low chairs, model no. 21, circa 1935 Bent laminated birch plywood, moulded veneered birch plywood. Each: 68 × 48 × 67 cm (26 3/4 × 18 7/8 × 26 3/8 in) Manufactured by O.y. Huonekalu-ja Rakennustyötehdas A.b., Turku, for Finmar, Finland. Underside of one chair with label ‘Finmar Ltd./DESIGN REG./ 787811-19./ MADE IN FINLAND’ (2).

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

LITERATURE Alvar Aalto: Architecture and Furniture, exh. cat., The Museum of Modern Art, New York, 1938, p. 26

Eva B Ottillinger, Alvar Aalto, Möbel: Die Sammlung Kossdorff, Vienna, 2002, p. 33 fig. 12 Pirkko Tuukkanen, ed., Alvar Aalto: Designer, Vammala, 2002, p. 168 Thomas Kellein, Alvar & Aino Aalto: Collection Bischofberger, Zurich, 2005, p. 89

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158

ALVAR AALTO

159

1898 –1976

ALVAR AALTO

1898 –1976

Extendable dining table, 1930s

Set of eight stacking dining chairs, model no. 611, circa 1929

Bent laminated birch plywood, laminated birch plywood, birch.

Painted birch.

74 × 231.7 × 89.9 cm (29 1/8 × 91 1/4 × 35 3/8 in) fully extended

Each: 80 × 48.5 × 42.5 cm (31 1/2 × 19 1/8 × 16 3/4 in)

Manufactured by O.y. Huonekalu-ja Rakennustyötehdas A.b., Turku, for Artek,

Finland.

Finland. Underside of three chairs stamped with ‘AALTO DESIGN./MADE IN

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

FINLAND’ (8).

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

LITERATURE Eva B Ottillinger, Alvar Aalto: Möbel Die Sammlung Kossdorff, Vienna, 2002, p. 28 fig. 1

Pirkko Tuukkanen, ed., Alvar Aalto: Designer, Vammala, 2002, p. 162 Thomas Kellein, Alvar & Aino Aalto: Collection Bischofberger, Zurich, 2005, p. 19

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160

STIG LINDBERG

1916 –1982

Set of three ‘Gnurglor’ vases, designed 1953 Glazed ceramic. Tallest: 25 cm (9 7/8 in) Manufactured by Gustavsberg, Sweden. Underside incised with artist’s mark and ‘Stig L’ (3).

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

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161

ARNE JACOBSEN

1902 –1971

‘Swan’ sofa, model no. 3321, circa 1958 Leather, chrome-plated steel, plastic. 77 × 143 × 51 cm (30 3/8 × 56 1/4 × 20 1/8 in) Manufactured by Fritz Hansen, Denmark.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

PROVENANCE Philippe Denys, Brussels, 2004 LITERATURE Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 346

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162

TIMO SARPANEVA

1926 – 2006

‘Claritus’ vase, 1984 Clear glass. 26 × 19 × 9 cm (10 1/4 × 7 1/2 × 3 1/2 in) Produced by Iittala, Finland. From the Claritus series. Underside incised with ‘TIMO SARPANEVA IITTALA 1984 C 250’.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

LITERATURE Charlotte and Peter Fiell, Scandinavian Design, Cologne, 2002, similar example on p. 591

Marianne Aav and Eeva Viljanen, eds., Iittala: 125 Years of Finnish Glass Complete History with all Designers, Helsinki, 2006, pp. 55–58 and 231 for examples from the Claritus series

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163

ALVAR AALTO

1898 –1976

‘Angel’s Wing’ standard lamp, model no. A805, circa 1956 Painted metal, leather-upholstered tubular metal, brass. 173 cm (68 1/8 in) high Manufactured by Valaistustyö Ky, Finland. Stem impressed with ‘VALAISTUSTYO 805’.

Estimate £10,000 –15,000 $15,900 –23,800 €12,000 –18,000

♠

LITERATURE Thomas Kellein, Alvar & Aino Aalto: Collection Bischofberger, Zurich, 2005, p. 186

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164

ADO CHALE

b. 1928

Large coffee table, circa 1970 Bronze, painted metal. Incised with ‘Chale’. 37.5 × 207.5 × 100 cm (14 3/4 × 81 3/4 × 39 3/8 in)

Estimate £30,000 – 40,000 $47,600 – 63,500 €36,000 – 47,900

♠

PROVENANCE Yves Gastou, Paris LITERATURE Philippe Cruysmans, Ado Chale, Brussels, n.d., for a similar example

Delphine Antoine, Yves Gastou antiquaire du future, Paris, 2011, p. 124

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165

EMIEL VERANNEMAN

1924 – 2004

Standard lamp, designed 1968 Bronze, fabric shade. 163 cm (64 1/8 in) high, 55.5 cm (21 7/8 in) diameter From the small edition by Emiel Veranneman, Belgium.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

LITERATURE Veranneman, exh. cat., Galerie Emiel Veranneman, Brussels, 1969, pp. 36, 44, 47–48

Herman Balthazar et al., Emiel Veranneman; 50 jaar meubelcreaties, Belgium, 1994, p. 114

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166

MATHIEU MATÉGOT

1910 – 2001

Set of six chairs, circa 1960 Tubular brass, leather. Each: 89 × 51 × 61 cm (35 × 20 1/8 × 24 in) Manufactured by Atelier Matégot, France.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

LITERATURE Philippe Jousse and Caroline Mondineu, Mathieu Matégot, Paris, 2003, p. 170, a drawing on p. 192, fig. 219

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167

JACQUES QUINET

1918 –1992

Pair of adjustable table lamps, circa 1970 Chrome-plated metal, tubular chrome-plated metal (2). 41 cm (16 1/8 in), 39 cm (15 3/8 in) diameter

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠

EXHIBITED ‘Jacques Quinet: La Recherche de la Forme Pure’, Galerie Arcanes, Paris, 17 September–30 October 2010

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168

GABRIELLA CRESPI

b. 1922

Extendable coffee table, for a private commission, Milan, 1970s Brass-covered wood. 52 × 283 × 89.5 cm (20 1/2 × 111 3/8 × 35 1/4 in) fully extended Produced by Gabriella Crespi, Italy.

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

PROVENANCE Private collection, Milan LITERATURE Patrick Favardin and Guy Bloch-Champfort, Les Décorateurs des Années 60–70, Paris, 2007, pp. 141, 146

Bonata Sartorio, ‘Visioni Metamorfice’, Elle, October 2011, p. 172 Ingrid Abramovitch, ‘Fifth Avenue Jewel’, Elle Décor (New York), November 2011, pp. 211–13 Gabriella Crespi: The Sign and the Spirit: Multiple Furniture, Sculptures and Jewelry, exh. cat., Palazzo Reale di Milano, Milan, 2011, p. 18

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169

JACQUES QUINET

1918 –1992

Unique banquette, for the apartment of Christiane d’Estienne, Paris, 1960 Oak, bronze. 209 × 188.5 × 98.5 cm (82 1/4 × 74 1/4 × 38 3/4 in)

Estimate £8,000 –12,000 $12,700 –19,000 €9,600 –14,400

♠

PROVENANCE Christiane d’Estienne, Place Dauphine, Paris LITERATURE Mobilier et Décoration (Paris), 1960, illustrated on p. 22

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170

ROBERTO ALOI

1897 –1981

Illuminated glass panel, designed for ‘Cristoforo Colombo’ ocean liner, circa 1958 Opaque glass, coloured glass, painted metal, brass. 36.5 × 18.5 × 9 cm (14 3/8 × 7 1/4 × 3 1/2 in) Manufactured by Venini, Murano, Italy. Interior of light fixture with manufacturer’s paper label ‘VENINI/MURANO/MADE/IN/ITALY/N./O./P.’.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

PROVENANCE ‘Cristoforo Colombo’ ocean liner LITERATURE Mobili Tipo, 1956, p. 8

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171

GABRIELLA CRESPI

b. 1922

‘Z’ desk, circa 1974 Brass-covered wood. 78.5 × 149.4 × 75.3 cm (30 7/8 × 58 7/8 × 29 5/8 in) Produced by Gabriella Crespi, Italy. Side of desk with metal label incised with ‘Gabriella Crespi ®’.

Estimate £9,000 –14,000 $14,300 –22,200 €10,800 –16,800

♠

LITERATURE Alexandra Parnass, ‘Aerin Lauder’s Closet Confidential’, Harper’s Bazaar (New York), June 2007, pp. 166–69

Kristina Stewart Ward, ‘American Beauty’, Elle Décor (New York), July 2009, p. 60

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172

GIO PONTI

1891–1979

‘L’Amore Dell’Antichità’ plate, circa 1923–30 Porcelain, glaze, gold leaf. 3 cm (1 1/8 in) high, 31 cm (12 1/4 in) diameter Manufactured by Richard-Ginori, Italy. Underside with manufacturer’s decal ‘RICHARD-GINORI/MANIFATFURA DI COCCIA/ITALIE’ and painted with ‘Richard/Ginori’ and ‘101 E’.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

PROVENANCE Private collection, Paris LITERATURE Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 21 fig. 39

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173

CARLO SCARPA

1906 –1978

Ceiling light, model no. 5417, 1931– 35 Filigrana glass, brass. 70 cm (27 1/2 in) drop, 30 cm (11 3/4 in) diameter Manufactured by Venini, Murano, Italy. Impressed with ‘MURANO/VENINI’.

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

PROVENANCE Private collection, Milan LITERATURE ‘Transparente Filigrana 1931–1935’, Venini: Catalogo Blu (Murano), pl. 138, model no. 5417

Franco Deboni, Venini Glass, Its history, artists and techniques, Volume 1, Milan, 2007, pl. 138

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174

MAX INGRAND

1908 –1969

Rare mirror, circa 1964 Mirrored glass, coloured glass, clear glass, painted metal. 58.3 cm (22 7/8 in) diameter Manufactured by Fontana Arte, Mlan, Italy.

Estimate £14,000 –16,000 $22,200 –25,400 €16,800 –19,200

♠

PROVENANCE Private collection, Italy

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175

GIO PONTI

1891–1979

Pair of armchairs, from the Hotel Bristol, Merano, circa 1948 Fabric, oak. Each: 83 × 65 × 60 cm (32 5/8 × 25 5/8 × 23 5/8 in) Together with a certificate of authenticity from the Gio Ponti Archives (2).

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠

PROVENANCE Hotel Bristol, Merano, Italy LITERATURE Paolo Piccione, Gio Ponti: II Progetto Degli Interni Navali, 1948–1953, Milan, 2007, similar examples on pp. 40–41, 43–45, 50–51, 59

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176

GIO PONTI

1891–1979

Armchair, model no. 504, circa 1948 Walnut, leather, brass. 86.8 × 52 × 53 cm (34 1/8 × 20 1/2 × 20 7/8 in) Manufactured by Cassina, Milan, Italy. Reverse with manufacturer’s metal label impressed ‘FIGLI DI AMEDEO CASSINA/TEL. 77338 MEDA(MILANO)’. Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate £2,000 –3,000 $3,200 – 4,800 €2,400 –3,600

♠

PROVENANCE Private collection, Milan LITERATURE Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 137 fig. 299

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177

VENINI Pair of large wall lights, circa 1950 Clear glass, brass. Each: 71 × 28 × 13 cm (27 7/8 × 11 × 5 1/8 in) Produced by Venini, Murano, Italy. Each fixture impressed with ‘VENINI/ MURANO’ (2).

Estimate £3,000 –5,000 $4,800 –7,900 €3,600 – 6,000

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∑ 178

ANTONIO GIACCHE Tureen, 1930 Precious metal, ivory, ebonised wood. 23 cm (9 in) high, 32 cm (12 5/8 in) diameter Underside impressed with ‘A GIACCHE/MILANO’ and marked ‘800’ with firm and maker’s marks.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Daniela Balzaretti, Milan EXHIBITED ‘The Genius of Italy: 100 Years of Silversmithing’, Italian Trade Centre, London, 26 October–4 November 1990 LITERATURE Gabriele de Vecchi and Daniela Balzaretti, The Genius of Italy: 100 Years of Silversmithing, exh. cat., Italian Trade Centre London, 1990, illustrated on p. 36

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179

GIO PONTI

1891–1979

Rare plate, from the ‘Venatoria’ series, circa 1923–30 Porcelain, glaze, gold leaf. 3 cm (1 1/8 in) high, 34 cm (13 3/8 in) diameter Manufactured by Richard-Ginori, Italy. Underside with manufacturer’s decal ‘RICHARD-GINORI/MANIFATFURA DI COCCIA/ITALIE’ and painted with ‘Richard/Ginori’, ’37–8’, impressed with ‘ITALIE’.

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800

♠

PROVENANCE Private collection, Paris LITERATURE Loris Manna, Gio Ponti: Le Maioliche, Milan, 2000, preliminary drawing of the motifs on p. 143 fig. 69, similar examples from the series on pp. 174–81

Germano Celant, ed., Espressioni di Gio Ponti, exh. cat., Triennale, Milan, 2011, similar example on p. 19 fig. 4

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180

VITTORIO ZECCHIN

1878–1947

Monumental chandelier, circa 1925 Coloured glass. 163 cm (64 1/8 in), 211 cm (83 1/8 in) diameter Manufactured by Cappellin & C., Italy.

Estimate £16,000 –24,000 $25,400 –38,100 €19,200 –28,800

♠

PROVENANCE Private collection, Rome LITERATURE Marino Barovier, Marco Mondi and Carla Sonego, Vittorio Zecchin 1878–1947: painting, glass and decorative arts, exh. cat, Musei Cvici Veneziani, Venice, 2002, a drawing of a similar example on p. 301 fig. 407

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181

PIETRO CHIESA

1892 –1948

Coffee table, 1930s Coloured mirrored glass, clear glass, painted wood. 50 × 92.5 × 53.5 cm (19 5/8 × 36 3/8 × 21 1/8 in) Manufactured by Fontana Arte, Milan, Italy.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

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♠

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182

MAX INGRAND

1908 –1969

Pair of table lamps, model no. 2228, circa 1965 Ground clear crystal, coloured crystal, brushed nickel-plated brass, painted metal. Each: 22.5 cm (8 7/8 in) high, 12.5 cm (4 7/8 in) diameter Manufactured by Fontana Arte, Milan, Italy (2).

Estimate £10,000 –15,000 $15,900 –23,800 €12,000 –18,000

♠

LITERATURE Domus, no. 360, September 1958

‘I quarderni di Fontana Arte’, cat. no. 6, Milan, 1960, p. 69 Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 216 fig. 130 Lucie Transparenze: Fontana Arte; millenovecentotrenta-milknovecentocinquanta, exh. cat., Galleria Babuino Novecento, Rome, 2006, pp. 47, 88

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183

MAX INGRAND

1908 –1969

Standard lamp model no. 2020, circa 1955 Partially-frosted glass, brass, leather-upholstered tubular brass. 175 cm (68 7/8 in) high Manufactured by Fontana Arte, Milan, Italy.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

LITERATURE Fontana Arte Illuminazione (Milan), 1950s, p. 74

Pierre Emmanuel and Martin Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 212

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184

PIETRO CHIESA

1892 –1948

Pair of table lamps, circa 1940 Glass, brass, fabric shades. Each: 57.5 × 33.5 × 21 cm (22 5/8 × 13 1/4 × 8 1/4 in) Manufactured by Fontana Arte, Milan, Italy (2).

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

LITERATURE Laura Falconi, Lucie Trasparenze: Fontana Arte, Rome, 2006, similar example on pp. 50, 89

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185

GIO PONTI

1891–1979

Occasional table, circa 1932 Securit glass, acrylic, chrome-plated brass. 41.5 cm (16 3/8 in) high, 30.5 cm (12 in) diameter Produced by Luigi Fontana, Italy. Top acid-etched with ‘T/V’.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

LITERATURE Laura Falconi, Gio Ponti: Interni Oggetti Disegni, Milan, 2004, similar examples on pp. 65, 85, 234

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186

LUCIO FONTANA 1899 –1968 and OSVALDO BORSANI 1911–1985 Rare coffee table, 1952 Reverse hand-painted glass, walnut. 46 × 92 × 103.5 cm (18 1/8 × 36 1/4 × 40 3/4 in) Manufactured by Borsani, Italy. Tabletop signed with ‘L. Fontana’. Lucio Fontana Archive no. 3605/1.

Estimate £32,000 –38,000 $50,800 – 60,300 €38,300 – 45,500

♠

PROVENANCE Private collection, Italy LITERATURE Irene de Guttry and Maria Paola Maino, Il Mobile Italiano degli Anni ’40 e ’50, Rome, 1992, similar examples on p. 113 fig. 116

Leonardo de Luca, ed., Osvaldo Borsani: a cura di Giuliana Gramigna e Fulvio Irace, Milan, 1992, similar examples on pp. 198–99, 235–36 Enrico Crispolti, Lucio Fontana: Catalogo raginato di sculture, dipinti, ambientazioni, vol. II, Milan, 2006, similar examples on pp. 911–12, 914, 916–17, 921

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187

ANTONIO GIACCHE Centrepiece, circa 1930 Precious metal. 12.5 cm (4 7/8 in) high, 43.5 cm (17 1/8 in) diameter Underside marked with ‘800’ and firm and maker’s marks.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Daniela Balzaretti, Milan

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188

LUIGI GENAZZI 1876–1946 Pitcher with underplate, 1937 Precious metal. Pitcher: 22 cm (8 5/8 in) high, 20 cm (7 7/8 in) diameter; underplate: 7 cm (2 3/4 in) high, 42 cm (16 1/2 in) diameter Pitcher and underplate each marked with ‘800’ and maker’s mark (2).

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Daniela Balzaretti, Milan EXHIBITED Monza Triennale, 1937

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189

MAX INGRAND

1908 –1969

Pair of wall lights, model no. 2311, circa 1960 Chiselled frosted glass, brass, painted metal. Each: 21 × 20 × 8.5 cm (8 1/4 × 7 7/8 × 3 3/8 in) Manufactured by Fontana Arte, Milan, Italy (2).

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

LITERATURE Pierre Emmanuel and Martin Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, similar examples on pp. 178–79

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190

GIO PONTI

1891–1979

Pair of ‘Distex’ low armchairs, 1960s Walnut, leather, fabric, brass. Each: 86 × 78 × 67 cm (33 7/8 × 30 3/4 × 26 3/8 in) Manufactured by Cassina, Italy. Together with a certificate of authenticity from the Gio Ponti Archives (2).

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠

LITERATURE Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923–1978, London, 1990, similar example on p. 160

Irene de Guttry and Maria Paola Maino, Il mobile italiano degli anni ’40 e ’50, Roma-Bari, 1992, similar example on p. 41 Ugo La Pietra, ed., Gio Ponti, New York, 1996, similar examples on pp. 226, 229, 233–34, 251–52

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191

GIOTTO STOPPINO

b. 1926

‘Camera per ragazzo’, modular room for a teenager, circa 1955 Walnut-veneered wood, plastic-laminated wood, tubular brass, painted metal, mirrored glass. 203 × 363 × 261 cm (79 7/8 × 142 7/8 × 102 3/4 in)

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

LITERATURE Roberto Aloi, L’arredamento moderno, Milano, 1955, similar example in figs. 636–37

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192

Attributed to ICO PARISI

1916 –1996

Dining table, 1960s Walnut, glass. 74.9 × 199.4 × 99 cm (29 1/2 × 78 1/2 × 39 in)

Estimate £12,000 –18,000 $19,000 –28,600 €14,400 –21,600

♠†

PROVENANCE Phillips de Pury & Company, London, ‘Design’, 24 April 2008, lot. 99

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193

GIO PONTI

1891–1979

Ceiling light, from the Palazzo Gallini, Voghera, circa 1956 Brass, tubular brass. Manufactured by Candle, Italy. Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

♠

PROVENANCE Palazzo Gallini, Voghera LITERATURE Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 372, figs. 769

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194

GIO PONTI

1891–1979

Pair of wall lights, from the Palazzo Gallini, Voghera, circa 1956 Brass. Each: 37 × 48 × 10.5 cm (14 5/8 × 18 7/8 × 4 1/8 in) Manufactured by Candle, Italy. Reverse of each with paper label ‘11058/Gio Ponti Archives’. Together with a certificate of authenticity from the Gio Ponti Archives (2).

Estimate £3,000 –5,000 $4,800 –7,900 €3,600 – 6,000

♠

PROVENANCE Palazzo Gallini, Voghera LITERATURE Marco Romanelli, Gio Ponti: A World, exh., cat, Design Museum, London, 2002, similar example on p. 82

Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 372, figs. 768 and 770

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195

PIERO FORNASETTI

1913 –1988

‘Malachite’ folding trolley, 1960s Lithographic transfer-printed metal, painted tubular metal, painted metal, brass, painted wood. 74.5 × 70.7 × 49.7 cm (29 3/8 × 27 7/8 × 19 5/8 in) Interior of frame and the underside of both trays with paper label with ‘FORNASETTI • MILANO/MADE IN ITALY’.

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800

♠

PROVENANCE Christie’s, ‘Modern Design’, 3 July 1991, lot 108 LITERATURE Mariuccia Casadio and Barnaba Fornasetti, Fornasetti: II. La bottega fantastica, Milan, 2009, p. 561 fig. 262

Piero Fornasetti, Barnaba Fornasetti, Mariuccia Casadio, et al., Fornasetti: The Complete Universe, New York, 2010, p. 553 fig. 262

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Courtesy of the Osvaldo Borsani Archive

Technical drawing of the present lot

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196

OSVALDO BORSANI

1911–1985

Pair of rare consoles, 1950s Mahogany, marble, brass, tubular brass (2). Each: 90.5 × 219 × 47.5 cm (35 5/8 × 86 1/4 × 18 3/4 in)

Estimate £9,000 –14,000 $14,300 –22,200 €10,800 –16,800

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♠

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197

VENINI Set of four wall lights, from the ‘Cheerio’ series, circa 1970 Glass, brass. 14.5 cm (5 3/4 in) high, 11.5 cm (4 1/2 in) diameter Manufactured by Venini, Murano, Italy (4).

Estimate £3,000 – 4,000 $4,800 – 6,300 €3,600 – 4,800 LITERATURE Franco Deboni, Venini Glass, Its history, artists and techniques, Volume 1, Milan, 2007, an example from the Cheerio series on p. 251

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198

GIO PONTI

1891–1979

Set of six dining chairs, for the first class dining room of the ‘Africa’ ocean liner, circa 1952 Ash, leather, brass. Each: 86 × 55.5 × 51 cm (33 7/8 × 21 7/8 × 20 1/8 in) Manufactured by Cassina, Milano, Italy. Underside of three chairs with manufacturer’s metal label impressed ‘FIGLI di AMEDEO CASSINA/MEDA (Milano) Tel 7238’. Together with a certificate of authenticity from the Gio Ponti Archives (6).

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

PROVENANCE The ‘Africa’ ocean liner, Italy LITERATURE Paolo Piccione, Gio Ponti: II Progetto Degli Interni Navali, 1948–1953, Milan, 2007, pp. 120–21, 126–29

Ugo La Pietra, ed, Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 224–25 figs. 463–65 Germano Celant, ed., Espressioni di Gio Ponti, exh. cat., Triennale, Milan, 2011, p. 51 fig. 80, p. 105 fig. 161 Daria Guarnati, ed., ‘Espressioni di Gio Ponti’, Aria D’Italia VIII, Milan, 2011, pp. 75, 82

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199

GIO PONTI

1891–1979

Rare armchair, circa 1948 Vinyl, painted tubular metal, brass. 88 × 78 × 68 cm (34 5/8 × 30 3/4 × 26 3/4 in) Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

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♠

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200

GIO PONTI

1891–1979

Double bed with intergrated shelves, drawers, and adjustable lights, 1950s Walnut-veneered wood, opaque glass, painted metal, brass. 101.2 × 201.7 × 291.8 cm (39 7/8 × 79 3/8 × 114 7/8 in) Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800

♠

LITERATURE Domus (Milan), no. 282, May 1953, for a similar example

Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923–1978, London, 1990, similar example on p. 195 Charlotte and Peter Fiell, eds., Domus Vol. III 1950–1954, Cologne, 2006, similar example on p. 380

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201

MAX INGRAND

1908 –1969

Standard lamp, model no. 2251, circa 1961 Coloured glass, mirrored glass, acrylic, painted tubular metal, painted metal. 169 cm (66 1/2 in) high, 60 cm (23 5/8 in) diameter Manufactured by Fontana Arte, Milan, Italy.

Estimate £15,000 –20,000 $23,800 –31,700 €18,000 –24,000

♠

LITERATURE Fontana Arte Illuminazione (Milan), 1960s, p. 63

Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 125 for an advertisement

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202

GIO PONTI

1891–1979

Rare dinette table, circa 1946 Indian rosewood-veneered wood, Cuban mahogany-veneered wood, ebonised teak, brass. 80 cm (31 1/2 in) high, 109 cm (42 7/8 in) diameter Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800

♠

PROVENANCE Private collection, Milan

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∆ 203

ARREDOLUCE

204

ARREDOLUCE

Articulated standard lamp, 1950s

Painted tubular metal, tubular brass, painted aluminium.

177 cm (69 5/8 in) high

Manufactured by Arredoluce, Monza, Italy.

Manufactured by Arredoluce, Monza, Italy. Underside of light switch impressed

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400

with ‘MADE IN ITALY/ARREDOLUCE MONZA’.

Estimate £5,000 –7,000 $7,900 –11,100 €6,000 – 8,400 LITERATURE Seconda Selettiva di Cantù, Design Di Cantù, exh. cat., 1957, p. 39

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LITERATURE Seconda Selettiva di Cantù, Design Di Cantù, exh. cat., 1957, p. 39

03/04/12 16.49

205

Attributed to CARLO DE CARLI

1910 –1971

Set of six chairs, 1960s Walnut, wood, vinyl (6). Each: 84.5 × 45.5 × 50 cm (33 1/4 × 17 7/8 × 19 5/8 in)

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

♠†

PROVENANCE Phillips de Pury & Company, London, ‘Design’, 24 April 2008, lot 98 LITERATURE Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 83, similar example on p. 109

Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, similar example on p. 83 fig. 15 Alessandro Mendini, Quali Cose Siamo: Il Triennale Design Museum, Milan, 2010, similar example on p. 149

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206

STUDIO BBPR GIANLUIGI BANFI, LODOVICO BELGIOJOSO, ENRICO PERESSUTTI and ERNESTO NATHAN ROGERS

207

STUDIO BBPR GIANLUIGI BANFI, LODOVICO BELGIOJOSO, ENRICO PERESSUTTI and ERNESTO NATHAN ROGERS

Pair of exterior wall lights, from the Cinema Mediolanum, Milan, circa 1971

Painted metal, acrylic (2).

Each: 130 × 47 × 49 cm (51 1/8 × 18 1/2 × 19 1/4 in)

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

PROVENANCE Cinema Mediolanum, Milan

LITERATURE Ezio Bonfanti and Marco Porta, Città, museo e architettura: Il gruppo BBPR nella cultura architettonica italiana 1932–1970, Florence, 1973, similar example on p. A 131 fig. 5

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208

ARREDOLUCE Large adjustable standard lamp, circa 1952 Painted metal, tubular brass, brass, marble. 209 cm (82 1/4 in) high Manufactured by Arredoluce, Italy.

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200 LITERATURE Domus (Milan), no. 268, March 1952, p. 61

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209

GIO PONTI

1891–1979

Coffee table, model no. 2341, circa 1962 Glass, opaque glass, brass, painted metal. 40 × 105 × 42 cm (15 3/4 × 41 3/8 × 16 1/2 in) Manufactured by Fontana Arte, Milan, Italy. Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate £4,000 – 6,000 $6,300 –9,500 €4,800 –7,200

Design_UK_Apr12_LOTS_P212-295_v2.indd 291

♠

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210

GIO PONTI 1891–1979 and PIERO FORNASETTI 1913 –1988 Unique wall-mounted cabinet, designed for the apartment of Ingegner Preti, Milan, circa 1948 Lithographic transfer-printed wood, walnut, brass. 234.5 × 49.5 × 43.5 cm (92 3/8 × 19 1/2 × 17 1/8 in) Together with a certificate of authenticity from the Gio Ponti Archives.

Estimate £7,000 –9,000 $11,100 –14,300 €8,400 –10,800 PROVENANCE Ingegner Preti, Milan

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211

ANGELO LELLI Six-arm ceiling light, circa 1958 Brass, opaque glass. 20 × 188 × 104 cm (7 7/8 × 74 × 40 7/8 in) Manufactured by Arredoluce, Italy.

Estimate £6,000 – 8,000 $9,500 –12,700 €7,200 –9,600

♠

LITERATURE Mitchel Owens, ‘A Peaceable Kingdom’, Architectural Digest, March 2011, similar example on p. 171

Muriel Brandolini, The World of Muriel Brandolini, New York, 2011, similar example on p. 79

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INDEX

Aalto, A.

157, 158, 159, 163

Adjaye, D.

Adnet, J. Aloi, R.

9, 133, 134, 139 170

Arad, R.

67, 72 Quinet, J.

Arbus, A. 135, 136, 137, 138, 140 Archizoom Associati

141, 167, 169

99 Rie, L.

Arredoluce 203, 204, 208

18, 19, 20, 21, 22, 23, 24, 25, 26,

27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, Baas, M. Banfi, G.

38, 39, 40, 41, 42

61, 77, 78

Baldwin, G.

Rogers, E. N.

65, 66, 79, 80

Royère, J.

206, 207

Barford, B.

55, 56, 57, 58, 60

Bartolini, D.

Ruhlmann, E-J. 10, 11, 12 14, 15

Bartolini, L.

Belgiojoso, L.

206, 207

Bellosi, A.

109

Beltzig, G.

106

Bertoncini, L.

Genazzi, L.

Sarfatti, G.

188

Giacche, A.

Giacometti, D.

2, 6

Henderson, E.

70, 71

Borsani, O.

186, 196

Bouroullec, E.

69, 74

Bouroullec, R.

69, 74 73, 76

Henningsen, P. Hoffmann, J. Ingrand, M.

174, 182, 183, 189, 201

99 154, 161

Jeanneret, P.

121

Campana, H. 64

Johnsson, I.

Casanovas, C.

Jouve, G.

164

Chiesa, P.

146

Corretti, G. Crespi, G.

Klint, K.

Koppel, H.

153

Le Corbusier

123

Leach, B.

De Waal, E.

82, 83, 84, 85

Lee, J.

Deganello, M. M. Deganello, P.

151

177, 197 165 98 88

Wegner, H.

147

Zecchin, V.

180

92, 93

145

Lelli, A. 99

Tynell, P.

Wanscher, O.

155

Lauritzen, V.

205 63

Wagenfeld, W.

De Carli, C. De Zanine, Z.

206, 207

Subes, R.

148, 150, 152

99 168, 171

191

Studio BBPR

Veranneman, E. Kjærholm, P.

Coper, H. 43

143, 144

Stoppino, G.

Venini

Juhl, F. 156

Collingwood, P.

104, 105

51, 59, 124

181, 184

Colani, L. 108

91 75

Stålhane, C-H. Stave, S.

Campana, F. 64

211

Lindberg, S.

149, 160

Du Plantier, M.

138

Dunand, J.

3, 5, 13, 16, 17

Fontana, L.

186

Matégot, M.

122, 124, 166

Mendini, A.

110, 111, 112, 113, 114

Mies Van Der Rohe, L. Fornasetti, P. Frank, J-M.

Slee, R.

86, 94,

162

173

Sforza, O.

Jacobsen, A.

Chale, A.

Scarpa, C. Schultz, O.

Brajkovic, S.

100, 101, 102

Sarpaneva, T.

178, 187

103

Besnard, J.

Branzi, A.

206, 207

44, 45, 46, 48, 49, 50, 52, 54,

195, 210

Moser, K.

95, 96, 97

Mouille, S.

115, 117, 128

4 Noll, A.

Olsen, M. Panton, V. Parisi, I.

142 107 192

Peressutti, E.

206, 207

Perriand, C. 116, 118, 119, 120, 121, 130, 131, Ponti, G.

172, 175, 176, 179, 185, 190, 193, 194,

198, 199, 200, 202, 209, 210 Prouvé, J. 125, 126, 127, 129, 132

Opposite Alvar Aalto, ‘Angel’s Wing’ standard lamp, model no. A805, circa 1956, lot 163 (detail)

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GUIDE FOR PROSPECTIVE BUYERS

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

BUYING AT AUCTION

prepared honestly and carefully, our staff are not professional restorers or trained

The following pages are designed to offer you information on how to buy at auction at

conservators. We therefore encourage all prospective buyers to inspect the property at

Phillips de Pury & Company. Our staff will be happy to assist you.

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

CONDITIONS OF SALE

property’s condition prior to bidding. Any prospective buyer of photographs or prints

The Conditions of Sale and Authorship Warranty which appear later in this catalogue

should always request a condition report because all such property is sold unframed,

govern the auction. Bidders are strongly encouraged to read them as they outline the legal

unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury

relationship between Phillips de Pury & Company, the seller and the buyer and describe the

& Company accepts no liability for the condition of the frame. If we sell any lot unframed,

terms upon which property is bought at auction. Please be advised that Phillips de Pury &

we will be pleased to refer the purchaser to a professional framer.

Company generally acts as agent for the seller. Pre-Auction Viewing BUYER’S PREMIUM

Pre-auction viewings are open to the public and free of charge. Our specialists are available

Phillips de Pury & Company charges the successful bidder a commission, or buyer’s

to give advice and condition reports at viewings or by appointment.

premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and

Electrical and Mechanical Lots

including £25,000, 20% of the portion of the hammer price above £25,000 up to and including

All lots with electrical and/or mechanical features are sold on the basis of their decorative

£500,000, and 12% of the portion of the hammer price above £500,000.

value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

VAT Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium.

Symbol Key

The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the ‘VAT

The following key explains the symbols you may see inside this catalogue.

AND OTHER TAX INFORMATION FOR BUYERS’ section in this catalogue. O Guaranteed Property 1 PRIOR TO AUCTION

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee

Catalogue Subscriptions

may be provided by Phillips de Pury & Company, by a third party or jointly by us and a

If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

third party. Phillips de Pury & Company and third parties providing or participating in a

Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed

Pre-Sale Estimates

lot and may be allowed to net the financial remuneration received in connection with the

Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high

guarantee against the final purchase price if such party is the successful bidder.

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’

∆ Property in which Phillips de Pury & Company has an Ownership Interest

appears, please contact the specialist department for further information. It is advisable to

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in

part or has an economic interest in the lot equivalent to an ownership interest.

estimates do not include the buyer’s premium or VAT. Pre-Sale Estimates in US Dollars and Euros

•

Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction

is the confidential value established between Phillips de Pury & Company and the seller and

catalogues may also be printed in US dollars and/or euros. Since the exchange rate is

below which a lot may not be sold. The reserve for each lot is generally set at a percentage

that at the time of catalogue production and not at the date of auction, you should treat

of the low estimate and will not exceed the low pre-sale estimate.

No Reserve

•

Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve

estimates in US dollars or euros as a guide only.

♠ Property Subject to the Artist’s Resale Right Catalogue Entries

Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of the

Phillips de Pury & Company may print in the catalogue entry the history of ownership of a

hammer price and payable as part of the purchase price as follows:

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

Portion of the Hammer Price (in EUR)

literature references may not be exhaustive and in some cases we may intentionally refrain

From 0 to 50,000

from disclosing the identity of previous owners. Please note that all dimensions of the

From 50,000.01 to 200,000

property set forth in the catalogue entry are approximate.

From 200,000.01 to 350,000

From 350,000.01 to 500,000

0.5%

Exceeding 500,000

0.25%

Condition of Lots

Royalty Rate

Our catalogues include references to condition only in the descriptions of multiple works (eg., prints). Such references, though, do not amount to a full description of condition.

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a

The absence of reference to the condition of a lot in the catalogue entry does not imply

maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based

that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips

on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the

de Pury & Company may provide condition reports. In preparing such reports, our

European Central Bank.

IMPORTANT NOTICES Items sold under temporary admission

• Where the buyer is a Non-EU business, we require evidence of the business status

We wish to draw your attention to changes recently made to items sold under temporary

by means of the company identification, Certificate of Incorporation, Articles of

admission (originally called temporary importation). The cancelling or refunding of

Association, or government-issued documents showing that the company exists.

applicable VAT is now subject to items being exported from the European Union within 30 days of payment, rather than 90 days from the date of sale as previously required. For

• Where the buyer is an EU VAT registered business, we require the above as well as

up-to-date information on this matter, please see the ‘VAT and Other Tax Information for

the business’s VAT registration number in the form of a government-issued document

Buyers’ section below.

or paperwork from the local EU tax/VAT office showing the VAT number.

Identification of business or trade buyers

These details can be scanned and emailed to us, or alternatively they can be faxed or mailed.

As of January 2010 in the UK, HMRC have made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding

If these requirements are not met, we will be unable to cancel or refund any

buyer’s premium for lots with symbols for businesses outside the UK.

applicable VAT.

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†, §, ‡, or Ω Property Subject to VAT

UK£50 to UK£1,000

by UK£50s

Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

UK£1,000 to UK£2,000

by UK£100s

in this catalogue for additional information.

UK£2,000 to UK£3,000

by UK£200s

UK£3,000 to UK£5,000

by UK£200s, 500, 800 (eg. UK£4,200, 4,500, 4,800)

∑ Endangered Species

UK£5,000 to UK£10,000

by UK£500s

This property may require an export, import or endangered species license or permit.

UK£10,000 to UK£20,000

by UK£1,000s

Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the

UK£20,000 to UK£30,000

by UK£2,000s

Conditions of Sale.

UK£30,000 to UK£50,000

by UK£2,000s, 5,000, 8,000

UK£50,000 to UK£100,000

by UK£5,000s

❖ Gemstones Originating in Burma (Myanmar)

UK£100,000 to UK£200,000

by UK£10,000s

Jadeite and rubies of Burmese origin and articles of jewellery less than 100 years old

above UK£200,000

at the auctioneer’s discretion

containing such gemstones may not be imported into the United States or the United Kingdom. Lots marked with ❖ contain rubies or jadeite of Burmese or unknown origin that

The auctioneer may vary the increments during the course of the auction at his or her

may be subject to these restrictions. Buyers wishing to import rubies or jadeite into the

own discretion.

United States or the United Kingdom must obtain certification of non-Burmese origin from a gemmological laboratory. There may be costs and delays associated with this process.

3 THE AUCTION Conditions of Sale

With respect to items containing any other types of gemstones originating in Burma (eg.

As noted above, the auction is governed by the Conditions of Sale and Authorship

sapphires), such items may be imported into the United States or the United Kingdom

Warranty. All prospective bidders should read them carefully. They may be amended by

provided that the gemstones were mounted or incorporated into articles of jewellery outside

saleroom addendum or auctioneer’s announcement.

of Burma as long as the setting is not of a temporary nature. Loose gemstones of any type originating in Burma may not be imported into the United States or the United Kingdom.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such

The purchaser’s inability to import any item into the United States or the United Kingdom or

lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or

any other country as a result of these or other restrictions shall not justify cancellation or

a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will

rescission of the sale or any delay in payment. Please check with the specialist department

make an announcement in the saleroom that interested parties may bid on the lot.

if you are uncertain as to whether a lot is subject to these import restrictions, or any other restrictions on importation or exportation.

Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The

2 BIDDING IN THE SALE

auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing

Bidding at Auction

consecutive bids or bids in response to other bidders. If a lot is offered without reserve,

Bids may be executed during the auction in person by paddle or by telephone or prior to the

unless there are already competing absentee bids, the auctioneer will generally open the

sale in writing by absentee bid. Proof of identity in the form of government-issued

bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the

identification will be required, as will an original signature. We may also require that

auctioneer will proceed backwards at his or her discretion until a bid is recognized and will

you furnish us with a bank reference.

then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at

Bidding in Person

the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid

To bid in person, you will need to register for and collect a paddle before the auction begins.

whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

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

4 AFTER THE AUCTION

and address to which the paddle has been registered and invoices cannot be transferred to

Payment

other names and addresses. Please do not misplace your paddle. In the event you lose it,

Buyers are required to pay for purchases immediately following the auction unless other

inform a Phillips de Pury & Company staff member immediately. At the end of the auction,

arrangements have been agreed with Phillips de Pury & Company in writing in advance of

please return your paddle to the registration desk.

the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate

Bidding by Telephone

policy not to make or accept single or multiple payments in cash or cash equivalents in

If you cannot attend the auction, you may bid live on the telephone with one of our

excess of the local currency equivalent of US$10,000. Payment must be made by the

multilingual staff members. This service must be arranged at least 24 hours in advance of

invoiced party only.

the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your

Credit Cards

conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and

As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard,

VAT, which we can execute on your behalf in the event we are unable to reach you

American Express and UK-issued debit cards to pay for invoices of £50,000 or less.

by telephone.

A processing fee will apply.

Absentee Bids

Collection

If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury

It is our policy to request proof of identity on collection of a lot. A lot will be released to the

& Company will be happy to execute written bids on your behalf. A bidding form can be

buyer or the buyer’s authorized representative when Phillips de Pury & Company has received

found at the back of this catalogue. This service is free and confidential. Bids must be

full and cleared payment and we are not owed any other amount by the buyer. After the auction,

placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the

we will transfer all lots to our premises at Howick Place, London SW1P 1BB, and will so advise

lowest possible price taking into account the reserve and other bidders. Always indicate

all buyers. If you are in doubt about the location of your purchase, please contact the Shipping

a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be

Department prior to arranging collection. We will levy removal, interest, storage and handling

accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the

charges on uncollected lots.

event of identical bids, the earliest bid received will take precedence. Loss or Damage Employee Bidding

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to

Employees of Phillips de Pury & Company and our affiliated companies, including the

lots for a maximum of five days following the auction.

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

Transport and Shipping

bidding procedures.

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We do not provide packing, handling or shipping services directly. However, we

Bidding Increments

will coordinate with shipping agents instructed by you in order to facilitate the packing,

Bidding generally opens below the low estimate and advances in increments of up to 10%,

handling and shipping of property purchased at Phillips de Pury & Company. Please refer to

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

Paragraph 7 of the Conditions of Sale for more information.

set below may be lowered to the next bidding increment.

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Export and Import Licences

VAT AND OTHER TAX INFORMATION FOR BUYERS

Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United

The following paragraphs provide general information to buyers on the VAT and certain

Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply

other potential tax implications of purchasing property at Phillips de Pury & Company.

with all import and export laws and to obtain any necessary licences or permits. The denial

This information is not intended to be complete. In all cases, the relevant tax legislation

of any required licence or permit or any delay in obtaining such documentation will not

takes precedence, and the VAT rates in effect on the day of the auction will be the rates

justify the cancellation of the sale or any delay in making full payment for the lot.

charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not usually treated as agent and most property is sold as if it is the property of Phillips de Pury

Endangered Species

& Company. In the following paragraphs, reference to VAT symbols shall mean those

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

symbols located beside the lot number or the pre-sale estimates in the catalogue (or

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

amending saleroom addendum).

require a licence or certificate prior to exportation and additional licences or certificates upon importation to any country outside the European Union (EU). Please note that the

1 PROPERTY WITH NO VAT SYMBOL

ability to obtain an export licence or certificate does not ensure the ability to obtain an

Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s

import licence or certificate in another country, and vice versa. We suggest that prospective

Margin Scheme, and VAT will not normally be charged on the hammer price.

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

Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will

licences or certificates as well as any other required documentation. The denial of any

charge an amount in lieu of VAT at 20% on the buyer’s premium. This amount will form part

required licence or certificate or any delay in obtaining such documentation will not justify

of the buyer’s premium on our invoice and will not be separately identified.

the cancellation of the sale or any delay in making full payment for the lot. 2 PROPERTY WITH A † SYMBOL These lots will be sold under the normal UK VAT rules, and VAT will be charged at 20% on both the hammer price and buyer’s premium. Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided then VAT will be charged on the buyer’s premium. 3 PROPERTY WITH A § SYMBOL Lots sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer advises us that the property is to be exported from the EU, Phillips de Pury & Company will re-invoice the property under the normal VAT rules. Lots sold to buyers whose address is outside the EU will be assumed to be exported from the EU. The property will be invoiced under the normal VAT rules. Although the hammer price will be subject to VAT, the VAT will be cancelled or refunded upon export. The buyer’s premium will always bear VAT unless the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips de Pury & Company receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium. 4 PROPERTY SOLD WITH A ‡ OR Ω SYMBOL These lots have been imported from outside the EU to be sold at auction under temporary admission. Property subject to temporary admission will be offered under the Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 20%, marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 20% on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin Scheme should notify the Client Accounting Department before the sale. Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury & Company receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium. 5 EXPORTS FROM THE EUROPEAN UNION The following types of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (ie., without a VAT symbol). • The VAT on the hammer price for property sold under the normal VAT rules (ie., with a † or a § symbol). The following type of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within 30 days of payment date if strict conditions are met:

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COLLECTING DESIGN HISTORY • COLLECTIONS • HIGHLIGHTS

Noted design historian Daniella Ohad Smith, PhD discusses collecting with key experts in 20th-century and contemporary design

MORNING SERIES May 17 – July 26 Thursdays 10am – 12pm EVENING SERIES May 22 – July 31 Tuesdays 5 – 7pm Class Information and Registration nysid.edu/collectingdesign • 212 472-1500 ext. 209 ÉMILE-JACQUES RUHLMANN “Gonse” armchair (from a pair), model no. 278 NR, ca. 1930 –32 Sold for $1,426,500 Phillips de Pury & Company 13 December 2011

Sponsored by

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IN AZ AG M

Presented by

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• The import VAT charged on the hammer price and an amount in lieu of VAT on

HM Revenue & Customs

the buyer’s premium for property sold under temporary admission (ie., with a ‡ or a Ω

VAT Overseas Repayment Directive

symbol) under the Auctioneer’s Margin Scheme.

Foyle House Duncreggan Road

In each of the above examples, where the appropriate conditions are satisfied, no VAT

Londonderry

will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury &

Northern Ireland

Company to export the property from the EU. If such instruction is received after payment, a

BT48 7AE

refund of the VAT amount will be made. (tel) +44 2871 305100 Where the buyer carries purchases from the EU personally or uses the services of a third

(fax) +44 2871 305101

party, Phillips de Pury & Company will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of

You should submit claims for VAT to HMRC no later than six months from the end of the 12

the following conditions are met:

month period ending 30 June (eg. claims for the period 1 July 2009 to 30 June 2010 should be made no later than 31 December 2010).

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips de Pury & Company is provided with appropriate documentary proof of

Please note that refunds of VAT will only be made where VAT has been incurred for a business

export from the EU within three months of the date of sale. Buyers carrying their

purpose. Any VAT incurred on articles bought for personal use will not be refunded.

own property should obtain hand-carry papers from the Shipping Department to facilitate this process.

7 SALES AND USE TAXES Buyers from outside the UK should note that local sales taxes or use taxes may

• For lots sold under temporary admission, Phillips de Pury & Company is provided

become payable upon import of lots following purchase. Buyers should consult their

with a copy of the correct paperwork duly completed and stamped by HM Revenue &

own tax advisors.

Customs which shows the property has been exported from the EU via the UK within 30 days of payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HM Revenue & Customs insist that the correct customs procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of payment date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20. Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips de Pury & Company being unable to refund the VAT charged on deposit. 6 VAT REFUNDS FROM HM REVENUE & CUSTOMS Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be possible to seek repayment from HM Revenue & Customs (‘HMRC’). Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission. All claims made by customers located in another member state to the UK will need to be made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is no longer in operation. If you are located in an EU member state other than the UK you will now need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority. As a result, your form may include VAT incurred in a number of member states. Furthermore, from 1 January 2010 you should only submit one form per year, rather than submitting forms throughout the year. Please note that the time limits by which you must make a claim have been extended. When making a claim for VAT incurred in another EU member state any claim will still be made on a calendar year basis but must now be made no later than 30 September following that calendar year. This effectively extends the time by which claims should be made by three months (eg. for VAT incurred in the year 1 January to 31 December 2010 you should make a claim to your local tax authority no later than 30 September 2011). Once you have submitted the electronic form to your local tax authority it is their responsibility to ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest on the unpaid amounts. If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC (the rules for those located outside of the EU have not changed). Claim forms are only available from the HMRC website. Go to http://www.hmrc.gov.uk/index.htm, and, under Quick Links, select Forms. The relevant form to search for is VAT65A. Completed forms should be returned to:

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EVENING EDITIONS

AUCTION 25 APRIL 2012 NEW YORK Viewing 18 – 25 April Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1220 | editions@phillipsdepury.com Catalogues +1 212 940 1240 | +44 20 7318 4039

PHILLIPSDEPURY.COM PABLO PICASSO Collection of Important Picasso Ceramics © 2012 Estate of Pablo Picasso / Artists Rights Society (ARS), New York KEN PRICE California Cup and Chet, 1991 Estimate $ 8,000 – 12,000

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CONDITIONS OF SALE

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

The Conditions of Sale and Authorship Warranty set forth below govern the relationship

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers,

Bids must be placed in the currency of the sale. The bidder must clearly indicate the

on the other hand. All prospective buyers should read these Conditions of Sale and

maximum amount he or she intends to bid, excluding the buyer’s premium and value added

Authorship Warranty carefully before bidding.

tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at

1 INTRODUCTION

the lowest possible price taking into account the reserve and other bidders. Any absentee

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

bid must be received at least 24 hours in advance of the sale. In the event of identical bids,

and Authorship Warranty; (b) additional notices and terms printed in other places in this

the earliest bid received will take precedence.

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

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

the auction.

Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid

By bidding at the auction, whether in person, through an agent, by written bid, by telephone

from a telephone bidder by fax or otherwise immediately after such bid is accepted by the

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as

auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder

so changed or supplemented, and Authorship Warranty.

consents to the recording of the conversation.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

the terms on which Phillips de Pury & Company and the seller contract with the buyer.

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

2 PHILLIPS de PURY & COMPANY AS AGENT

with Phillips de Pury & Company before the commencement of the auction that the bidder is

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in

acting as agent on behalf of an identified third party acceptable to Phillips de Pury &

this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a

Company and that we will only look to the principal for such payment.

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.

(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

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

undertaking such activity, we cannot accept liability for failure to execute such bids except

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

where such failure is caused by our wilful misconduct.

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.

(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

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

reserve when submitting their absentee bids and otherwise comply with our employee

dependent on information provided to us by the seller, and Phillips de Pury & Company is

bidding procedures.

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

5 CONDUCT OF THE AUCTION

investigations to satisfy themselves as to the lots in which they may be interested.

(a) Unless otherwise indicated by the symbol

Notwithstanding the foregoing, we shall exercise such reasonable care when making

is the confidential minimum selling price agreed by Phillips de Pury & Company with the

express statements in catalogue descriptions or condition reports as is consistent with our

seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

•

, each lot is offered subject to a reserve, which

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

(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

relevant experts, in each case at the time any such express statement is made.

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.

(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

she considers appropriate. In order to protect the reserve on any lot, the auctioneer may

given the nature and value of the lot and the bidder’s own expertise) have fully inspected the

place one or more bids on behalf of the seller up to the reserve without indicating he or she is

lot prior to bidding and have satisfied themselves as to both the condition of the lot and the

doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is

accuracy of its description.

offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a

bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is

they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

recognized and will then advance the bidding from that amount. Absentee bids on no reserve

prepare and provide condition reports to assist prospective buyers when they are

lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale

inspecting lots. Catalogue descriptions and condition reports may make reference to

estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there

particular imperfections of a lot, but bidders should note that lots may have other faults not

is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

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

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For

of size or to convey full information as to the actual condition of lots.

the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

Accordingly, estimates in US dollars or euros should be treated only as a guide.

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

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

prediction of the selling price or value of the lot and may be revised from time to time by

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk

Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury & Company

and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

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.

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’.

4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of

or participation in the sale. All bidders must register for a paddle prior to bidding, supplying

Sale and Authorship Warranty as if sold in the auction.

such information and references as required by Phillips de Pury & Company. 6 PURCHASE PRICE AND PAYMENT (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury &

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(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s

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CONTEMPORARY ART DAY SALE

AUCTION 11 MAY 2012

NEW YORK

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1260

PHILLIPSDEPURY.COM JACK GOLDSTEIN Untitled, 19 8 6 (detail) Estimate $40,0 0 0 – 6 0,0 0 0

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premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the

8 FAILURE TO COLLECT PURCHASES

‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of

£25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000

the auction, the buyer will incur a late collection fee of £50, storage charges of £10 per day

and 12% of the portion of the hammer price above £500,000. Phillips de Pury & Company

and pro rated insurance charges of 0.1% of the Purchase Price per month on each

reserves the right to pay from our compensation an introductory commission to one or more

uncollected lot. Additional charges may apply to oversized lots.

third parties for assisting in the sale of property offered and sold at auction.

(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

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and

auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

expenses set out in these Conditions of Sale are quoted exclusive of VAT.

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

an amount equal to the resale royalty provided for in those regulations and we undertake to

the buyer within two years of the original auction.

the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the

9 REMEDIES FOR NON-PAYMENT

nationality of the artist, we will identify the lot with the symbol ♠ next to the lot number and will

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the

fails to make payment of the Purchase Price for a lot in cleared funds within five days of the

artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the

following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at

resale royalty on a particular lot, we become aware that information provided to us prior to the

the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment

auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale

of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render

royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice.

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)

(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in

following the auction regardless of any intention to obtain an export or import licence or

the possession of Phillips de Pury & Company and instruct our affiliated companies to

other permit for such lot. Payments must be made by the invoiced party in pounds sterling

exercise a lien over any of the buyer’s property which is in their possession and, in each case,

either by cash, cheque drawn on a UK bank or wire transfer, as follows:

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

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount

companies after the deduction from sale proceeds of our standard vendor’s commission, all

paid in cash or cash equivalents does not exceed the local currency equivalent of US$10,000.

sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or

(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and the buyer

private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

provides to us acceptable government-issued identification. Cheques and banker’s drafts

discretion, it being understood that in the event such resale is for less than the original

should be made payable to “Phillips de Pury & Company Limited”. If payment is sent by post,

hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall

please send the cheque or banker’s draft to the attention of the Client Accounting

together with all costs incurred in such resale; (vii) commence legal proceedings to recover

Department at Howick Place, London SW1P 1BB and ensure that the sale number is written

the hammer price and buyer’s premium for that lot, together with interest and the costs of

on the cheque. Cheques or banker’s drafts drawn by third parties will not be accepted.

such proceedings; or (viii) release the name and address of the buyer to the seller to enable

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank

the seller to commence legal proceedings to recover the amounts due and legal costs.

transfer details will be provided on the Invoice for purchased lots. (b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the (e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard,

buyer’s property which is in our possession upon notification by any of our affiliated

American Express and UK-issued debit cards to pay for invoices of £50,000 or less.

companies that the buyer is in default of payment. Phillips de Pury & Company will notify the

A processing fee will apply.

buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury & Company, upon notification by any of our affiliated companies that the buyer is in default of payment,

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

to pledge the buyer’s property in our possession by actual or constructive delivery to our

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

affiliated company as security for the payment of any outstanding amount due. Phillips de

release a lot to the buyer until title in the lot has passed and appropriate identification has

Pury & Company will notify the buyer if the buyer’s property has been delivered to an

been provided, and any earlier release does not affect the passing of title or the buyer’s

affiliated company by way of pledge.

unconditional obligation to pay the Purchase Price. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury & 7 COLLECTION OF PROPERTY

Company to instruct any of our affiliated companies in possession of the buyer’s property

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

to deliver the property by way of pledge as the buyer’s agent to a third party instructed by

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding

Phillips de Pury & Company to hold the property on our behalf as security for the payment of

amounts due to Phillips de Pury & Company or any of our affiliated companies, including

the Purchase Price and any other amount due and, no earlier than 30 days from the date of

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

written notice to the buyer, to sell the property in such manner and for such consideration

other terms as we in our sole discretion shall require, including completing any anti-

as can reasonably be obtained on a forced sale basis and to apply the proceeds to any

money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied

amount owed to Phillips de Pury & Company or any of our affiliated companies after the

all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or

deduction from sale proceeds of our standard vendor’s commission, all sale-related

+44 (0) 207 318 4082 to arrange for collection of purchased property.

expenses and any applicable taxes thereon.

(b) The buyer must arrange for collection of a purchased lot within five days of the date of the

10 RESCISSION BY PHILLIPS de PURY & COMPANY

auction. After the auction, we will transfer all lots to our fine art storage facility located near

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

Wimbledon and will so advise all buyers. Purchased lots are at the buyer’s risk, including the

without notice to the buyer if we reasonably believe that there is a material breach of the

responsibility for insurance, from (i) the date of collection or (ii) five days after the auction,

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

whichever is the earlier. Until risk passes, Phillips de Pury & Company will compensate the

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid,

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

subject to our usual exclusions for loss or damage to property.

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.

purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENCES AND PERMITS

or not recommended by Phillips de Pury & Company, in order to facilitate the packing,

Before bidding for any property, prospective buyers are advised to make their own enquiries

handling, insurance and shipping of property bought at Phillips de Pury & Company. Any

as to whether a licence is required to export a lot from the United Kingdom or to import it

such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for

into another country. Prospective buyers are advised that some countries prohibit the

acts or omissions of third party packers or shippers.

import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age,

(d) Phillips de Pury & Company will require presentation of government-issued

percentage or value. Accordingly, prior to bidding, prospective buyers considering export

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

of purchased lots should familiarize themselves with relevant export and import regulations

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CONTEMPORARY ART EVENING SALE

AUCTION 10 MAY 2012

NEW YORK

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1260

PHILLIPSDEPURY.COM RICHARD PRINCE Untitled (cowboy), 19 8 0 – 8 4 (detail) Estimate $8 0 0,0 0 0 –1,20 0,0 0 0

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of the countries concerned. It is solely the buyer’s responsibility to comply with these laws

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

and to obtain any necessary export, import and endangered species licences or permits.

for any reason, the remaining provisions shall remain in full force and effect. No failure by

Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of

any party to exercise, nor any delay in exercising, any right or remedy under these

the sale or any delay in making full payment for the lot.

Conditions of Sale shall act as a waiver or release thereof in whole or in part.

12 DATA PROTECTION

(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of

(a) In connection with the management and operation of our business and the marketing

Third Parties) Act 1999 by anyone other than the buyer.

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

16 LAW AND JURISDICTION

(eg., credit information). If clients provide us with information that is defined by law as

(a) The rights and obligations of the parties with respect to these Conditions of Sale and

‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use it

Authorship Warranty, the conduct of the auction and any matters related to any of the

for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or

foregoing shall be governed by and interpreted in accordance with English law.

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

(b) For the benefit of Phillips de Pury & Company, all bidders and sellers agree that the

your information, please contact us at +44 20 7318 4010. If you would prefer not to receive details

Courts of England are to have exclusive jurisdiction to settle all disputes arising in

of future events please call the above number.

connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips de Pury & Company

(b) In order to fulfil the services clients have requested, Phillips de Pury & Company may

shall retain the right to bring proceedings in any court other than the Courts of England.

disclose information to third parties such as shippers. Some countries do not offer equivalent legal protection of personal information to that offered within the European

Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties

in connection with proceedings in any court by facsimile transmission, personal service,

respect the privacy and confidentiality of our clients’ information and provide the same level

delivery by mail or in any other manner permitted by English law, the law of the place of

of protection for client information as provided within the EU, whether or not they are

service or the law of the jurisdiction where proceedings are instituted at the last address of

located in a country that offers equivalent legal protection of personal information.

the bidder or seller known to Phillips de Pury & Company.

By agreeing to these Conditions of Sale, clients agree to such disclosure. 13 LIMITATION OF LIABILITY (a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company, our

AUTHORSHIP WARRANTY

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.

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

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company,

exclusions and limitations set forth below.

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 &

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of

Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in

record (ie., the registered successful bidder) of any lot. This Authorship Warranty does not

respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury &

extend to (i) subsequent owners of the property, including purchasers or recipients by way of

Company or any of our affiliated companies in connection with the conduct of the auction or

gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property

for any other matter relating to the sale of any lot.

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)

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

property where the description in the catalogue states that there is a conflict of opinion on

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

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

(d) Subject to sub-paragraph (e) below, none of Phillips de Pury & Company, any of our

experts; or (v) property whose description or dating is proved inaccurate by means of

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

scientific methods or tests not generally accepted for use at the time of the publication of the

the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss

catalogue or which were at such time deemed unreasonably expensive or impractical to use.

or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law.

(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of

provide to us at the buyer’s expense the written opinions of two recognized experts

any fraud or fraudulent misrepresentation made by any of us or in respect of death or

approved in advance by Phillips de Pury & Company. We shall not be bound by any expert

personal injury caused by our negligent acts or omissions.

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

14 COPYRIGHT

Warranty, we shall refund to the buyer the reasonable costs charged by the experts

The copyright in all images, illustrations and written materials produced by or for Phillips

commissioned by the buyer and approved in advance by us.

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, subject to the provisions

of the Copyright, Designs and Patents Act 1988, such images and materials may not be used

claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips

by the buyer or any other party without our prior written consent. Phillips de Pury &

de Pury & Company in writing within three months of receiving any information which

Company and the seller make no representations or warranties that the buyer of a lot will

causes the buyer to question the authorship of the lot, specifying the auction in which the

acquire any copyright or other reproduction rights in it.

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

15 GENERAL

& Company in the same condition as at the time of its auction and is able to transfer good

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1

and marketable title in the lot free from any third party claim arising after the date of

above, and Authorship Warranty set out the entire agreement between the parties

the auction.

with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.

(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

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the

Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against

department in charge of the sale, quoting the reference number specified at the beginning

Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of

of the sale catalogue. Notices to clients shall be addressed to the last address notified by

any other remedy available as a matter of law. This means that none of Phillips de Pury &

them in writing to Phillips de Pury & Company.

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

consent but are binding on the buyer’s successors, assigns and representatives.

payment of interest on the original Purchase Price.

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CONTEMPORARY ART

EVENING AND DAY SALE

AUCTION 28 –29 JUNE 2012

LONDON

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 20 7318 4010

PHILLIPSDEPURY.COM ANDY WARHOL Princess Diana, 19 82 Estimate £9 0 0,0 0 0 –1,20 0,0 0 0

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PHILLIPS de PURY & COMPANY

Chairman

Directors

Advisory Board

Simon de Pury

Sean Cleary

Maria Bell

Finn Schouenborg Dombernowsky

Janna Bullock

Patricia G. Hambrecht

Lisa Eisner

Alexander Payne

Lapo Elkann

Olivier Vrankenne

Ben Elliot

Chief Executive Officer Bernd Runge

Lady Elena Foster H.I.H. Francesca von Habsburg Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

INTERNATIONAL SPECIALISTS

Berlin Brussels

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Bérénice Chef, Specialist, Contemporary Art +32 473 12 27 06

Buenos Aires & London Brooke Metcalfe, International Specialist, Contemporary Art +44 777 551 7060 Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London

Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 736 11

Los Angeles Milan Moscow Paris Zurich

Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Thomas Dryll, Specialist, Contemporary Art +33 1 42 78 67 77 Niklaus Kuenzler, Specialist, Contemporary Art +41 79 533 90 00

WORLDWIDE HEAD OF BUSINESS DEVELOPMENT and GENERAL COUNSEL Patricia G. Hambrecht

MANAGING DIRECTORS Finn Schouenborg Dombernowsky, Europe Sean Cleary, New York

WORLDWIDE OFFICES

NEW YORK

LONDON

MOSCOW

450 Park Avenue, New York, NY 10022, USA

Howick Place, London SW1P 1BB, United Kingdom

TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia

tel +1 212 940 1300 fax +1 212 940 1227

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +7 495 225 88 22 fax +7 495 225 88 87

NEW YORK

LONDON

BERLIN

450 West 15 Street, New York, NY 10011, USA

45–47 Brook Street at Claridge’s, London W1K 4HN, United Kingdom

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +49 30 8800 1842 fax +49 30 8800 1843

PARIS

GENEVA

6 avenue Franklin D. Roosevelt, 75008 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +41 22 906 80 00 fax +41 22 906 80 01

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SPECIALISTS AND DEPARTMENTS CONTEMPORARY ART Michael McGinnis, Senior Director +1 212 940 1254 and Worldwide Head, Contemporary Art

DESIGN Alexander Payne, Director

+44 20 7318 4052

and Worldwide Head, Design

LONDON Peter Sumner, Head of Evening Sale +44 20 7318 4063 George O’Dell, Head of Day Sale +44 20 7318 4093

LONDON Domenico Raimondo Ben Williams

+44 20 7318 4016 +44 20 7318 4027 +44 20 7318 4021

Henry Allsopp

+44 20 7318 4060

Marine Hartogs

Matt Langton Raphael Lepine Karen Levy Helen Rohwedder

+44 20 7318 4074 +44 20 7318 4078 +44 20 7318 4082 +44 20 7318 4042

Megan McGee

+44 20 7318 4023

Marcus McDonald

+44 20 7318 4095

Annabelle Wills

+44 20 7318 4019

Lisa de Simone

+44 20 7318 4090

Paul de Bono Eleanor Crabtree Henry Highley Tamila Kerimova Charlotte Salisbury Roxanne Tahbaz

+44 20 7318 4070 +44 20 7318 4040 +44 20 7318 4061 +44 20 7318 4085 +44 20 7318 4058 +44 20 7318 4064

NEW YORK Zach Miner, Head of Part I +1 212 940 1256 Sarah Mudge, Head of Part II +1 212 940 1259 Corey Barr

+1 212 940 1234

Benjamin Godsill Jean-Michel Placent

+1 212 940 1333 +1 212 940 1263

Peter Flores

+1 212 940 1223

Laura González

+1 212 940 1216

Stephanie Max

+1 212 940 1301

Alexandra Raponi Winnie Scheuer Alyse Serrell Amanda Stoffel Jonathan Winter

+1 212 940 1292 +1 212 940 1226 +1 212 940 1303 +1 212 940 1261 +1 212 757 0190

PARIS Thomas Dryll +33 1 42 78 67 77 Edouard de Moussac +33 1 42 78 67 77

MODERN AND CONTEMPORARY EDITIONS

NEW YORK Alex Heminway, New York Director

+1 212 940 1268

Marcus Tremonto

+1 212 940 1268

Meaghan Roddy

+1 212 940 1266

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Audrey Lindsey

+1 212 940 1333

Jannah Greenblatt

+1 212 940 1332

+1 212 940 1265

Lauren Sohn

+1 212 940 1268

PHOTOGRAPHS Vanessa Kramer +1 212 940 1243 Worldwide Director, Photographs LONDON Lou Proud, Head of Photographs, London +44 20 7318 4018 Sebastien Montabonel +44 20 7318 4025 Alexandra Bibby +44 20 7318 4087 Rita Almeida Freitas Emma Lewis

+44 20 7318 4062 +44 20 7318 4092

NEW YORK Shlomi Rabi +1 212 940 1246 Caroline Shea +1 212 940 1247 Carol Ehlers, Consultant Sarah Krueger

+1 212 940 1245 +1 212 940 1245

JEWELS NEW YORK Nazgol Jahan, Worldwide Director +1 212 940 1283

NEW YORK Cary Leibowitz, Worldwide Co-Director

Alexandra Gilbert

Joanna Bengoa Brittany Gersh

+1 212 940 1302 +1 212 940 1365

PRIVATE SALES Eleanor Crabtree +44 20 7318 4040 EXHIBITIONS Arianna Jacobs +44 20 7318 4054

PRIVATE CLIENT SERVICES Judith Hess, Director, London +44 20 7318 4075 Michael Berger-Sandhofer +44 20 7318 4048 Philae Knight, New York +1 212 940 1313

MUSEUM SERVICES DEPARTMENT NEW YORK Lauren Shadford +1 212 940 1257 Cecilia Wolfson +1 212 940 1258

OFFICE OF THE CHAIRMAN Harmony Johnston, London +44 20 7318 4099 Anna Furney, New York +1 212 940 1238

ART and PRODUCTION Mike McClafferty, Art Director LONDON Mark Hudson, Deputy Art Director Andrew Lindesay, Sub-Editor Tom Radcliffe, Production Director

Design_UK_Apr2012_Backmatter_P296-313_v2.indd 311

NEW YORK Andrea Koronkiewicz, Studio Manager Fernando Dias de Souza, Graphic Designer Steven Mosier, Graphic Designer Orlann Capazorio, US Production Manager

COMMUNICATIONS and MARKETING Giulia Costantini, Worldwide Head of Communications LONDON Fiona McGovern, Communications and Marketing Officer Alex Godwin-Brown, Communications and Marketing Manager

NEW YORK Trish Walsh, Marketing Manager

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SALE INFORMATION AUCTION

CLIENT SERVICES

Thursday 26 April 2012, 4pm

Jessica Mander, Lucinda Newman, Rebecca Tooby-Desmond +44 20 7318 4010

VIEWING Thursday 19 April, 10am – 6pm

WAREHOUSE & SHIPPING

Friday 20 April, 10am – 6pm

Lydia Stewart +44 207 318 4050

Saturday 21 April, 10am – 6pm

Tess Contla +44 207 318 4026

Sunday 22 April, 12pm – 6pm

Jan Navratil +44 207 318 4081

Monday 23 April, 10am – 6pm

Elisa Sciandro +44 207 318 4077

Tuesday 24 April, 10am – 6pm Wednesday 25 April, 10am – 6pm

PHOTOGRAPHY

Thursday 26 April, 10am – 4pm

Hayley Giles Peter Hepplewhite

VIEWING & AUCTION LOCATION

Byron Slater

Howick Place, London SW1P 1BB SELECT ESSAYS WAREHOUSE & COLLECTION LOCATION

Alex Heminway

110–112 Morden Road, Mitcham, Surrey CR4 4XB SALE DESIGNATION When sending in written bids or making enquiries, please refer to this sale as UK050112 or Design DIRECTOR AND WORLDWIDE HEAD, DESIGN

DIRECTOR NEW YORK

Ben Williams +44 20 7318 4027 Domenico Raimondo +44 20 7318 4016

D A

KNIG

HTS

BRID

R O

Meaghan Roddy New York +1 212 940 1266

BUCKINGHAM PALACE GARDENS R

LA C

BIRD

ING

CAGE

K WAL

GA TE

Megan McGee +44 20 7318 4023

ST. JAMES’S PARK HA

OS GR

BUSINESS MANAGER

ST. JAMES’S PARK

CONSTITUTION HILL

Marine Hartogs +44 20 7318 4021

GREEN PARK

HYDE PARK CORNER

Alex Heminway New York +1 212 940 1269 SPECIALISTS

Marcus Tremonto New York +1 212 940 1268

’S

CONSULTANT

L PA

AM .J ST

GREEN PARK

Alexander Payne London +44 20 7318 4052 New York +1 212 940 1268

NO R

CATALOGUER Marcus McDonald +44 20 7318 4095

NS VIC

TR IA S

EET

PL HOWICK

RO AD

VICTORIA

TOR

PA L

AC E

Alexandra Gilbert +1 212 940 1265

SALE ADMINISTRATORS

VA UX

ING

Annabelle Wills +44 20 7318 4019 BU

Lauren Sohn New York +1 212 940 1268

PROPERTY MANAGERS Oliver Gottschalk +44 20 7318 4033

Viewing and auction location

Eric Mingus New York +1 212 940 1364 CATALOGUES Barbara Petro Escobar +44 20 7318 4039 +1 212 940 1291 catalogues@phillipsdepury.com Catalogues $35/€25/£22 at the Gallery ABSENTEE & TELEPHONE BIDS tel +44 20 7318 4045 fax +44 20 7318 4035 Anna Ho +44 20 7318 4044 Susanna Brockman +44 20 7318 4105 bids@phillipsdepury.com CLIENT ACCOUNTS Buyer and seller account enquiries +44 20 7318 4010

Warehouse and collection location

Printed in the United Kingdom, Phillips de Pury & Company

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DESIGN AUCTION 15 JUNE 2012

NEW YORK

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1268 | designnewyork@phillipsdepury.com Catalogues +1 212 940 1240 | +44 20 7318 4039

PHILLIPSDEPURY.COM KEN PRICE Another Culmination of the Whole Thing, 20 02 (detail) Estimate $3 0,0 0 0 â&#x20AC;&#x201C; 40,0 0 0

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P H I L L I P S D E P U RY.C O M

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