Design New York by Phillips de Pury & Co.

DESIGN 14 NOVEMBER 2009 N EW YOR K

DE SIGN 14

NY0 5 0 2 0 9

W W W. P H I L L I P S D E P U RY.C O M

NOVEMBER

2009

NEW YORK

DE SIGN 14

NOVEMB ER

2009

4pm

NE W YO RK

LOTS 1-155 Viewing Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 6pm Friday 13 November 10am – 6pm

1 HANS COPER 1920-1981 “Sack” form with disc, ca. 1970 Stoneware, layers of vitreous porcelain slip over a textured body painted with iron and manganese, the disc and interior with a rich manganese glaze. 10 5/8 in. (27 cm.) high

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 LITERATURE Tony Birks, Hans Coper, Paris, 2006, p. 166 for a similar example

2 HANS COPER 1920-1981 “Hourglass” form, ca. 1970 Stoneware, layers of vitreous porcelain slip over a textured body painted with iron and manganese, the interior with a rich manganese glaze. Impressed with artist’s seal. 16 1/8 in. (40.9 cm.) high

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 EXHIBITED “Hans Coper,” Galerie Besson, London, 1981 LITERATURE Hans Coper, exh. cat., Galerie Besson, London, 1981, illustrated item 17

3 HANS COPER 1920-1981 Large globular pot, ca. 1969 Stoneware, layers of vitreous porcelain slip over a textured body painted with iron and manganese, the interior with a rich manganese glaze. Impressed with artistâ&#x20AC;&#x2122;s seal. 15 3/8 in. (39.1 cm.) high

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

4 MAARTEN BAAS b. 1978 Unique Richard Hutten “Table-Chair,” 2004 Burned beech, epoxy resin. Produced for Moss, USA by Baas & den Herder, The Netherlands. Underside of chair with metal plaque ”Where There’s Smoke”/ created by Maarten Baas for Moss NY/TABL. 15 / 05 / 04/unique piece” and with separate original Richard Hutten plaque. From the Where There’s Smoke series. 28 1/2 x 23 1/8 x 19 3/4 in. (72.4 x 58.7 x 50.2 cm.)

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Moss, New York EXHIBITED “Where There’s Smoke,” Moss, New York, 2004 LITERATURE Dutch Design Yearbook, 2005, p. 36

5 SHIRO KURAMATA 1934-1991 “Acrylic Stool,” 1990 Acrylic, aluminum, feathers. Manufactured by Ishimuri, Japan. Number 25 from the edition of 40. Together with a certificate of authenticity from Meiko Kuramata. 21 1/4 x 13 x 16 1/8 in. (54 x 33 x 41 cm.)

Estimate $70 , 0 0 0 - 9 0 , 0 0 0 PROVENANCE Patrick Brillet Fine Art, London LITERATURE Matthias Dietz and Michael Mönninger, Japan Design, Cologne, 1992,

p. 77; Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, pp. 74 and 195-196, pl. 29, fig. 4; David A. Hanks, Anne Hoy and Martin Eidelberg, Design for Living: Furniture and Lighting 1950-2000, exh. cat., Montreal Museum of Decorative Arts, Paris, 2000, pp. 224-225

6 ROY MCMAKIN b. 1956 “Stove Light,” 2005 Cast plastic, painted tubular steel. Produced by Big Leaf Manufacturing Co., USA. From the edition of ten. From the Domestic Furniture series. 55 3/4 in. (141.6 cm.) drop

Estimate $1, 5 0 0 - 2 , 5 0 0 LITERATURE Michael Darling, Roy McMakin, A Door Meant as Adornment, exh. cat.,

Los Angeles Museum of Contemporary Art, 2003, front cover and p. 50 for a similar example

7 ANGELO MANGIAROTTI b. 1921 Set of three “Clizia” stools with surrounding tiles, ca. 1990 Pietra serena stone. Comprising three stools and 30 surrounding floor tiles (27 shown in photograph) (33). Each chair: 17 1/4 in. (43.8 cm.) high; each tile: 21 3/8 x 21 3/8 in. (54.3 x 54.3 cm.)

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

8 TAIZO KURODA b. 1946 Tall “Mei Ping” vase, ca. 2006 Pure white unglazed porcelain. Impressed with artist’s seal and incised with “Taizo.” 18 1/2 in. (47 cm.) high

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

9 TAIZO KURODA b. 1946 Tall vase, ca. 2006 Pure white unglazed porcelain. Impressed with artist’s seal. 22 in. (55.9 cm.) high

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

10 TAIZO KURODA b. 1946 Vase with pointed neck, 2006 Pure white unglazed porcelain. Impressed with artist’s seal, incised with “Taizo” and dated “06.” 13 in. (33 cm.) high

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

11 FORREST MYERS b. 1941 Unique “Red Cube,” 2007 Anodized aluminum. Self-production, USA. Underside with metal plaque incised with “RED CUBE /fm 07 / Forrest Myers.” 19 x 18 1/4 x 19 1/4 in. (48.3 x 46.4 x 48.9 cm.)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 LITERATURE David A. Hanks, Anne Hoy and Martin Eidelberg, Design for Living:

Furniture and Lighting 1950-2000, exh. cat., Montreal Museum of Decorative Arts, Paris, 2000, p. 181, fig. 97 for a similar example

12 RICHARD WOODS b. 1966 Prototype “Rock Box 1,” 2009 Painted wood. Underside signed in marker with “2009 / ‘prototype 1’” and with artist’s signature. 19 7/8 x 19 7/8 x 19 7/8 in. (50.5 x 50.5 x 50.5 cm.)

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

13 TAIZO KURODA b. 1946 Tall vase, ca. 2001 Pure white unglazed porcelain. Impressed with artist’s seal. Together with wrapping cloth and wooden box. 19 3/4 in. (50.2 cm.) high

Estimate $ 6 , 0 0 0 - 9, 0 0 0 PROVENANCE Eric Zetterquist, New York EXHIBITED “Taizo Kuroda, White Porcelain / Donald Judd, Furniture,” Matin, Beverly

Hills, California, February 28 – April 8, 2006

14 VINCENT DUBOURG b. 1977 “Exile” coffee table, 2008 Patinated cast bronze, polished cast aluminum. Produced by Atelier Vincent Dubourg, France. Number eight from the edition of eight. Corner of suitcase incised with “Vincent . 8 / 8.” 30 x 37 3/8 x 35 in. (76.2 x 94.9 x 88.9 cm.)

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

15 SHIRO KURAMATA 1934-1991 “How High the Moon” sofa, 1986 Nickel-plated steel mesh, nickel-plated steel. Manufactured by Ishimaru Co. Ltd., for Idée, Japan. Number three from the edition of 30. Together with a certificate of authenticity from Meiko Kuramata. 27 1/2 x 58 7/8 x 32 1/4 in. (70 x 149.5 x 82 cm.)

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Patrick Brillet Fine Art, London LITERATURE Kathryn B. Hiesinger and Felice Fischer, Japanese Design: A Survey

Since 1950, Philadelphia and New York, 1995, p. 163, no. 186 for an example of the chair; Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, pp. 56-57, fig. 15 and p. 181, fig. 7 for examples of the chair

“The darkest night would shine / If you would come to me soon / Until you will, how still my heart / How high the moon…” A durable jazz standard, “How High the Moon” was first performed on Broadway in the 1940 revue Two for the Show. In subsequent years, it was recorded by a pantheon of jazz greats including Louis Armstrong, Ella Fitzgerald, Duke Ellington, and Benny Goodman.

16 JULIA LOHMANN AND GERO GRUNDMANN b. 1977 “Erosion” bench, 2007 Cast industrial glycerine, iroko wood. From the edition of seven. 16 x 48 x 14 3/4 in. (40.6 x 121.9 x 37.5 cm.)

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Gallery Libby Sellers, London EXHIBITED “Grandmateria,” Gallery Libby Sellers, London, September 19 – October

14, 2007; “Grandmateria II,” Gallery Libby Sellers, Design Miami, December 7-9, 2007 LITERATURE Icon, November 2007, p. 114 for an “Erosion” chair; Fiona Rattray, “All

Creatures Great and Small,” Crafts, September / October 2009, p. 40 for an “Erosion” table

17 IKA KUENZEL “Caution! This is Rodeo” chair, 2006 Original leather stock saddle, leather, synthetic rope, painted metal, ribbon, plastic, brass. Number one from the edition of 20. Underside of each saddle flap with leather label printed with “CAUTION THIS IS RODEO / LIMITED EDITION / IKA KUENZEL” and one with brass roundel impressed with “01.” 24 1/2 x 24 7/8 x 23 5/8 in. (62.2 x 63.2 x 60 cm.)

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

18 XAVIER LUST b. 1969 “Gun Metal Bench,” 2006 Patinated steel. From the edition of eight. Produced by Xavier Lust Studio, Belgium. 18 3/8 x 64 1/2 x 16 in. (46.7 x 163.8 x 40.6 cm.)

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

19 ATELIER VAN LIESHOUT “Prick Lamp (Black, Thick),” 2007 Reinforced fiberglass, foam. Number five from the edition of 20. Underside with metal label signed with “Atelier Van Lieshout 5 / 20” and impressed with “AVL 001598.” 55 in. (139.7 cm.) high

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Jennifer Allen, Aaron Betsky and Rudi Laermans, et al., Atelier Van

Lieshout, Rotterdam, 2007, pp. 54-55, 280-281 and 290 for a similar design; Meghan Daily, “In the Studio,” Art + Auction, April 2008, p. 58 for a similar design; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 171

20 ATELIER VAN LIESHOUT “Bad Club Sofa,” 2008 Forged steel, fabric. From the edition of ten. 30 x 63 x 39 3/4 in. (76.2 x 160 x 101 cm.)

Estimate $ 2 2 , 0 0 0 - 2 8 , 0 0 0 LITERATURE Peter Noever, ed., Atelier van Lieshout: Der Disziplinator / The

Disciplinator, exh. cat., MAK, Wein, 2005, p. 47 for the chair; Jennifer Allen, Aaron Betsky and Rudi Laermans, et al., Atelier Van Lieshout, Rotterdam, 2007, p. 234 for the chair; Meghan Dailey, “In the Studio,” Art + Auction, April 2008, p. 58 for the chair; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 167 for the chair

21 CHOÏ BYUNG HOON b. 1952 “Afterimage (image persistante) 05-228” table, 2005 Granite, ipé. Side of table signed with “CHOI BYUNG HOON 2005.” 10 5/8 x 39 3/8 x 24 7/8 in. (27 x 100 x 63 cm.)

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Galerie Downtown, Paris

22 XUE TAO b. 1975 Unique “Chair 1,” 2006 Newspaper, painted tubular metal. 40 1/2 in. (103 cm.) high

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

23 MARTINO GAMPER b. 1971 Unique “Mono-Corner” chair, 2008 Shipping crate plywood, pegboard, elements of pre-existing furniture by George Nakashima and Paul McCobb. Underside with artist’s signature in marker. 38 in. (96.5 cm.) high

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 PROVENANCE Wright, Chicago, Illinois EXHIBITED “Receiving,” Wright, Chicago, May 14-17, 2008 LITERATURE Martino Gamper, Piccolo Volume II, London, 2009, p. 115

24 BENJAMIN ARANDA AND CHRIS LASCH b. 1973, b. 1972 “Octahedra” stool, 2008 Limestone. Produced by Aranda\Lasch, USA. One of two existing examples. 17 x 19 1/2 x 28 in. (43.2 x 49.5 x 71.1 cm.)

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

25 PHILIP MICHAEL WOLFSON b. 1958 “Origami” mirror, 2005 Mirrored glass, painted aluminum. Number four from the edition of 50. Back signed in marker with “PM Wolfson.” Together with a certificate of authenticity from Philip Michael Wolfson. 37 x 48 x 4 in. (94 x 121.9 x 10.2 cm.)

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

26 MARC NEWSON b. 1963 “Horizon Black Hole” watch, 2008 Rubber, 18k black gold. Produced by Ikepod, USA. Number 11 from the edition of 66. Underside impressed with “SWISS MADE” and “IKEPOD / Marc Newson / 11 / 66.” Together with the original case and box, Ikepod booklet and certificate of authenticity. 3/4 x 10 1/4 x 1 7/8 in. (1.8 x 26 x 4.8 cm.)

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

27 MARC NEWSON b. 1963 “Hemipode Dual Time” watch, 2007 Rubber, 18k red gold. Produced by Ikepod, USA. Number nine from the edition of ten. Underside impressed with “HDR 77 750 50 m” and “IKEPOD / Marc Newson / 09 / 10 P.S.” Together with the original case and box, Ikepod booklet, two additional rubber straps and certificate of authenticity. 3/4 x 10 x 1 7/8 in. (1.8 x 25.4 x 4.8 cm.)

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

28 VERNER PANTON 1926-1988 Rare set of 12 “Geometri I” wall panels, ca. 1970 Enameled metal. Manufactured by Emalco, Switzerland (12). Each panel: 24 1/2 x 24 1/2 x 3/4 in. (62.2 x 62.2 x 1.8 cm.)

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Emalco Headquarters, Switzerland LITERATURE Niels-Jørgen Kaiser, Verner Panton, Basel, 1986, n.p.; Alexander von

Vegesack and Mathias Remmele, eds., Verner Panton: The Collected Works, Weil am Rhein, 2000, p. 83

29 MARIA PERGAY b. 1930 “Wave” desk, ca. 1970 Stainless steel, leather. Manufactured by Design Steel, France. 29 1/8 x 78 x 43 1/4 in. (74 x 198 x 110 cm.)

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 LITERATURE Suzanne Demisch, Maria Pergay: Between Ideas and Design, Verona,

2006, pp. 26-27 and 142

30 MARIA PERGAY b. 1930 Lounge chair, ca. 1970 Cut and bent stainless steel. 26 1/4 in. (66.7 cm.) high

Estimate $ 4 5 , 0 0 0 - 5 5 , 0 0 0â&#x20AC;&#x192; LITERATURE Suzanne Demisch, Maria Pergay: Between Ideas and Design, Verona,

2006, pp. 38-39

31 JEAN-PIERRE VITRAC b. 1940 Adjustable table lamp, ca. 1970 Stainless steel. Manufactured by Verre LumiĂ¨re, France. 55 1/2 in. (141 cm.) high, 13 in. (33 cm.) diameter, fully extended

Estimate $ 2 2 , 0 0 0 - 2 8 , 0 0 0 LITERATURE Kathryn Heisinger and George Marcus, Design Since 1945, exh. cat.,

Philadelphia Museum of Art, 1983, p. 67, pl. 42 and p. 150, fig. IV-38

32 ANGELO MANGIAROTTI b. 1921 Vase, 1970s Marble. 5 1/8 in. (13 cm.) high

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

33 ANGELO MANGIAROTTI b. 1921 Coffee table, ca. 1959 Marble, turned bronze. 14 5/8 in. (37.1 cm.) high; 35 5/8 in. (90.5 cm.) diameter

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Della Rocca, Turin LITERATURE Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni’

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

34 GIOVANNI OFFREDI b. 1927 “Carola” dining table, ca. 1968 Lacquered wood. Manufactured by Bazzani, Italy. 26 1/4 in. (66.5 cm.) high, 49 in. (124 cm.) diameter

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 272; Jerryll

Habegger and Joseph H. Osman, Sourcebook of Modern Furniture, New York, 2005, p. 284, fig. 8-39

35 ANGELO MANGIAROTTI b. 1921 Vase, 1970 Alabaster. 6 1/4 in. (15.9 cm.) high

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

36 ALESSANDRO MENDINI b. 1931 “Non-Chair,” ca. 1981 Plastic laminate-covered wood. Produced for Studio Alchimia, Italy. 76 1/4 x 13 3/4 x 56 1/4 in. (193.7 x 34.9 x 142.9 cm.)

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Acquired directly from the artist in the early 1980s; Private Collection, Milan LITERATURE Kazuko Sato, Alchimia: Never-Ending Italian Design, Tokyo, 1985, p. 141,

fig. 256 and pp. 196-197

37 ETTORE SOTTSASS JR. 1917-2007 “Piccoli Libri” cabinet, 1992 Plastic laminate-covered wood, maple-veneered wood, metal. Produced for Gallery Milano, Italy. Number eight from the edition of nine. Back with brass plaque “DESIGN / GALLERY / MILANO / ETTORE SOTTSASS / 8 / 9 / 1992 MADE IN ITALY.” 75 1/8 x 83 5/8 x 28 in. (190.8 x 212.4 x 71.1 cm.)

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Private Collection, Italy EXHIBITED “Ettore Sottsass, La Darrera Oportunitat d’Esser Avantguarda,” Centre

d’Art Santa Monica, Barcelona, March 29 – May 4, 1993 LITERATURE Ettore Sottsass, La Darrera Oportunitat d’Esser Avantguarda, exh. cat.,

Centre d’Art Santa Monica, Barcelona, 1993, illustrated p. 57

38 MICHAEL GEERTSEN b. 1966 Two â&#x20AC;&#x153;Standing Objects,â&#x20AC;? 2008 Earthenware, thrown and assembled, white and silver glazes with transfer printed multi-colored glaze discs (2). Taller: 29 3/4 in. (75.6 cm.) high

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

39 PROSPERO RASULO b. 1953 Unique “Trash Furniture” dresser, 1994 Painted pre-existing wooden dresser, rubber. Side of cabinet with plastic sticker “Rasulo.” 37 x 46 3/4 x 23 in. (94 x 118.7 x 58.4 cm.)

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Oxido Gallery, Milan; Private Collection, Milan EXHIBITED “Trash Furniture,” Oxido Gallery, Milan, 1994

40 ENNIO LUCINI “Cespulio” lamp, ca. 1968 Opaque methacrylate, brushed aluminum, painted metal. Manufactured by Guzzini, Italy. 12 1/2 in. (31.8 cm.) high

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973: il nuovo

design italiano, Turin, 2002, pl. 95; Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 2: 1960 to Present, Cologne, 2005, pp. 10 and 138

Detail “IKB” pigment

41 YVES KLEIN 1928-1962 “Table Bleue,” designed 1961 Plexiglass, IKB pigment, chrome-plated metal, wood. Produced under the supervision of Rotraut Klein-Moquay, France, starting in 1963. From the edition of 300. Underside with plastic label “This table conforms / to Yves Klein patent / SERIAL NUMBER 08 ET-DOI” and with Rotraut Klein-Moquay’s facsimile signature. 15 1/2 x 49 1/4 x 39 3/8 in. (39.4 x 125.1 x 100 cm.)

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 PROVENANCE Leslie Tonkonow Projects, New York LITERATURE Barbara Bloemink and Joseph Cunningham, Design ≠ Art: Functional

Objects from Donald Judd to Rachel Whiteread, exh. cat., Cooper-Hewitt Design Museum, New York, 2004, p. 27, fig. 14

The Chelsea Hotel, fickle temptress, has disappointed many artists, not least of all Yves Klein. He lived there in 1961 during his New York debut, “Yves Klein le monochrome,” a solo exhibition at Leo Castelli Gallery. Things got ugly: critics ranted; Rothko, whom Klein greatly admired, turned his back—literally. Wounded, Klein penned “Chelsea Hotel Manifesto,” a trembling apologia. It began with a series of retorts repeated one after another in response to his detractors: “Due to the fact that I have invented the architecture and the urbanism of air—” and so forth. They were not the first phantasms to haunt the Chelsea Hotel. “What can I do now? Stop now?” He died the following year. The intervening decades have been kinder to Klein, now regarded as a seminal figure in postwar European art and a progenitor of conceptualism. Klein’s activities have become legendary: he exhibited nothing; painted with fire; sold air for gold; wrote a symphony composed of a single sustained note followed by silence. He also patented the color blue, an obsession. “And all of this because the void has been my constant preoccupation…” In 1961, his penultimate year, Klein designed “Table Bleue,” which he filled with International Klein Blue (IKB), his own synthetic ultramarine pigment. Rotraut Klein-Moquay, his widow, produced and signed a posthumous edition of three hundred tables, a fitting coda for an artist who wished to be “detached from all physical work during the time of creation.” Nothing could be more detached than Klein triumphant in the void.

Phillips de Pury & Company would like to thank the Yves Klein Foundation for its assistance in cataloging this lot.

42 HENRI LESÊTRE “S.A.D.” desk, 1969 Cast aluminum, plastic laminate-covered wood, Macassar ebony-veneered wood, leather-covered wood. Produced by Dassas, France in collaboration with L’Atelier de Recherche et de Creation of the Mobilier National, France. One of only ten examples believed to have been produced. 28 7/8 x 78 3/8 x 35 1/2 in. (73.3 x 199.1 x 90.2 cm.)

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 LITERATURE L’Oeil, January 1969, p. 44

Founded by Louis XIV in 1663, the Mobilier National (then known as Garde-Meuble) was responsible for furnishing the king’s palaces. Today the institution maintains the furniture in those same palaces as well as in public buildings like the Élysée Palace and the Assemblée National. In 1964 Jean Coural, director of the Mobilier National, and André Malraux, Minister of Cultural Affairs, created the Atelier de Recherche et Création (ARC), a government-funded workshop charged with promoting avant-garde design. Maintained by a small staff of craftsmen skilled in diverse materials such as plastic, metal, and wood, ARC has developed and built furniture prototypes for French artists including Pierre Paulin, Claude Lalanne, Philippe Starck, and Henri Lesêtre, among many others.

Mobilier National, L’Oeil, January 1969

43 BETTY WOODMAN b. 1930 “Pillow Pitcher,” ca. 1980 Earthenware, white slip, thrown and assembled, the design carved through the slip. Impressed with “WOODMAN.” 16 1/8 in. (41 cm.) high

Estimate $ 8 , 0 0 0 -12 , 0 0 0 EXHIBITED “Colin Pearson and Betty Woodman,” Amalgam Arts, Barnes,

UK, 1980 LITERATURE Janet Koplos, Arthur C. Danto and Barry Schwabsky, Betty Woodman,

New York, 2006, pp. 25, 55 and 88-89 for similar examples

44 JOAQUIM TENREIRO 1906-1992 “Three-Legged Chair,” ca. 1947 Jacaranda, imbuia, ivorywood, cabreúva. Produced by Tenreiro Móveis e Decorações, Brazil. Underside with paper label “Tenreiro Móveis e Decorações” and several paper postage stamps. 29 1/4 in. (74.3 cm.) high

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 PROVENANCE R 20th Century, New York LITERATURE Soraia Cals, Tenreiro, Rio de Janeiro, 2000, front and back covers

and pp. 6-7, 56-57 and 76-77; “Money in Miami,” Azure, March 2006, p. 109; Aric Chen, “Natural Wonders,” Art + Auction, April 2006, pp. 123-124

Forty years before the widespread use of AutoCAD and other computer-aided design programs, Joaquim Tenreiro built his “Three-Legged Chair” (1947), a paragon of fluidity and dynamic expression in wood. Stripped of appendages, horizontal rails, and right angles—impediments to the eye—Tenreiro’s cupped seat opens like a parabolic curve in space, suggesting infinite motion. The chair’s complex construction transcended conventional methods of joinery and anticipated by a half century the stack-laminated chairs of Julia Krantz and the bonded plywood furniture of contemporary designers like Jeroen Verhoeven. The woodworking son of a woodworker, Tenreiro championed the use of native Brazilian hardwoods, which he combined to expressive effect. In the present lot, his alternation of light and dark specimens further speeds the eye. Comprising solid stacked sections, not veneers applied to a frame, “Three-Legged Chair” triumphantly realizes the modernist maxim that decoration must be intrinsic to form. But Tenreiro’s fluent seat sweeps away the rigid profiles of those icons preceding it: Le Corbusier’s crimped chaise and Alvar Aalto’s molded seat sections. Why summon those spirits? Tenreiro modulated the austere rationalism of European modernism with vernacular Brazilian woodworking traditions and so revitalized his country’s regressive furniture industry. “I have always been restless. What I did was reformulate the dimensions of Brazilian furniture, because it was really uncomfortable. I have defended craftsmanship with all my heart, against the kind of industrialization that debased furniture.” (Soraia Cals, Tenreiro, Rio de Janeiro, 1998, p. 32)

45 LINA BO BARDI 1914-1992 Pair of “Tripé” armchairs, 1948 Painted tubular metal, hand-stitched leather (2). Each: 30 1/4 in. (76.8 cm.) high

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 LITERATURE Lina Bo Bardi, Lina Bo Bardi, Milan, 1994, p. 59; Aric Chen,

“Natural Wonders,” Art + Auction, April 2006, p. 127

46 JOAQUIM TENREIRO 1906-1992 “Chaise-longue Rocking Chair,” ca. 1947 Cabreúva, fabric, cane. Produced by Tenreiro Móveis e Decorações, Brazil. One leg with paper label “Tenreiro Móveis e Decorações” and several paper postage stamps. 31 1/2 x 62 1/2 x 26 in. (80 x 158.8 x 66 cm.)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE R 20th Century, New York LITERATURE Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 78

PROPERTY FROM CASA PRIETO LÓPEZ

47 LUIS BARRAGÁN 1902-1988 Breakfast table and six dining chairs, 1950-1952 Table: sabino; chairs: sabino, leather. Table frame and underside of top each impressed with “LUIS BARRAGAN CASA PRIETO 1952” and each chair impressed with “LUIS BARRAGAN CASA PRIETO 1950” and “1 / 26,” “3 / 26,” “4 / 26,” “5 / 26,” “6 / 26,” and “8 / 26” respectively (7). Table: 29 3/8 x 80 3/4 x 46 3/4 in. (74.6 x 205.1 x 118.7 cm.); each chair: 36 in. (91.4 cm.) high

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Casa Eduardo Prieto López, Fuentes 180, Jardines del Pedregal

de San Ángel, Mexico City, Mexico LITERATURE Raul Rispa, ed., Barragán: The Complete Works, New York, 2003,

illustrated pp. 124-126; José M. Buendía Júlvez, ed., Luis Barragán, Mexico, 2001, p. 128 and 131 for examples from the same larger set of chairs; Yutaka Saito, Luis Barragán, Tokyo, 2004, illustrated p. 184; Yutaka Saito, Casa Barragán, Tokyo, 2004, illustrated pp. 107-108

Courtesy of Arturo Zavala Haag

The present table and chairs from the same set in situ at Casa Prieto López

Architects hew a tough life, hard as stone. “I experimented with creating paths through hostile rock,” said Luis Barragán in an interview with Elena Poniatowska (Diario Novedades, November 1976). But he wasn’t speaking about an onerous career (he won the Pritzker Prize in 1980). He was referring to the lava fields of Pedregal de San Ángel on the southwestern edge of Mexico City. The site was formed by the eruption of Xitle, a nearby volcano, in the late 4th century. Despite the harsh terrain, Barragán developed a residential neighborhood there in the mid-1940s in consultation with painter Diego Rivera. Barragán envisioned Pedregal as a humane development which celebrated rather than compromised the landscape: single storey houses; private gardens; public plazas tucked among the outcroppings. Giò Ponti, who visited the site, described Pedregal as a “poetic ensemble akin to a Japanese garden designed on a human scale.” (Domus, no. 280, March 1953, p. 18) From 1948 to 1952, Barragán built and furnished a house at Pedregal for the family of Eduardo Prieto López, a prominent lawyer and businessman. Comprised of planar surfaces and layered volumes, the house (and its furniture) referenced the simplicity and functional rigor of both European modernism and Mexican domestic architecture. As Danièle Pauly has mentioned, Barragán was “seduced” by the vernacular houses of his country, their volumes amplified by shadowed porticos, interior courtyards, and austere walls (Barragán, 2002, p. 23). “What I am interested in is applying the meaning of traditional architecture to modern buildings,” he stated (Modo, no. 45, 1981, pp. 20-23). That meant modulating modernism’s cold geometry with emotional aesthetics—vibrant colors on the walls of the house, local woods for the furniture—as both an expression of spare functionalism and a celebration of Mexican culture.

48 SERGE MOUILLE 1922-1988 Rare three-arm floor lamp, ca. 1958 Painted aluminum, painted tubular metal, brass. Manufactured by Ateliers Serge Mouille, France. 83 in. (210.8 cm.) high

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 PROVENANCE Galerie Downtown, Paris LITERATURE Anne Bony, Les Années 50, Paris, 1982, p. 260; Alan and Christine

Counord, Serge Mouille, Luminaires, 1953-1962, Paris, 1983, n.p.; Anthony Delorenzo, ed., Jean Prouvé / Serge Mouille, New York, 1985, pp. 119 and 136-137; Patrick Favardin, Les Années 50, Paris, 1999, p. 77; Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 502; Pierre Émile Pralus, Serge Mouille a French Classic, Saint Cyr au Mont d’Or, 2006, front cover and pp. 46, 71, 121, 124-125, 152 and 154

49 SERGE MOUILLE 1922-1988 Pair of “Spot” wall lights, ca. 1950 Painted aluminum, brass. Manufactured by Ateliers Serge Mouille, France (2). Each: 8 x 4 x 10 in. (20.3 x 10.2 x 25.4 cm.)

Estimate $ 2 , 5 0 0 - 3 , 0 0 0 LITERATURE Alan and Christine Counord, Serge Mouille, Luminaires, 1953-1962,

Paris, 1983, pp. 27 and 40; Anthony Delorenzo, ed., Jean Prouvé / Serge Mouille, New York, 1985, pp. 127, 131 and 134

50 SERGIO RODRIGUES b. 1927 “Mucki” bench, ca. 1958 Jacaranda. 11 1/4 x 60 x 23 5/8 in. (28.6 x 152.4 x 60 cm.)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Soraia Cals, Sergio Rodrigues, Rio de Janeiro, 2000, pp. 94-95 for the

long version; Aric Chen, “Natural Wonders,” Art + Auction, April 2006, p. 126 for a similar example

51 JEAN PROUVÉ 1901-1984 “Compas” table, ca. 1953 Painted bent steel, plastic-laminate covered wood. Manufactured by Les Ateliers Jean Prouvé, France and marketed by Galerie Steph Simon, France. 28 x 77 x 31 5/8 in. (71.1 x 195.6 x 80.3 cm.)

Estimate $7, 0 0 0 - 9, 0 0 0 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, p. 268, fig. 1242.3.4; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 406 and 430-432

52 JEAN PROUVÉ 1901-1984 “Conférence No. 355” chair, ca. 1960 Painted bent tubular and sheet steel, vinyl, oak. Manufactured by Les Ateliers Jean Prouvé, France. 31 in. (78.7 cm.) high

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Galerie Downtown, Paris LITERATURE Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998,

p. 47; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005, p. 222, fig. 1214.5; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 299 and 314-315

53 CHARLOTTE PERRIAND 1903-1999 “Nuage” wall-mounted shelf, ca. 1958 Painted aluminum, mahogany. Produced by Les Ateliers Jean Prouvé and distributed by Galerie Steph Simon, France. 28 x 142 x 13 1/2 in. (71.1 x 360.7 x 34.3 cm.)

Estimate $70 , 0 0 0 - 9 0 , 0 0 0 LITERATURE Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003,

p. 145 for a similar example; Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005, pp. 400, 403, 422 and 440 for similar examples

54 CHARLOTTE PERRIAND 1903-1999 Rare large dining table, ca. 1959 Stained oak. Executed by André Chetaille, France. 28 1/2 x 106 x 35 1/2 in. (72.4 x 269.2 x 90.2 cm.)

Estimate $12 0 , 0 0 0 -18 0 , 0 0 0 PROVENANCE Special commission for Mr. Le Forestier, France; Galerie Downtown,

Paris LITERATURE Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003,

pp. 79, 146 and 208, pl. 16; Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005, pp. 251, 416 and 436

55 SERGE MOUILLE 1922-1988 Two-arm “Appliqué Murale” wall light, ca. 1953 Painted aluminum, painted tubular metal, brass. Manufactured by Ateliers Serge Mouille, France. 31 1/2 x 9 x 49 1/2 in. (80 x 22.9 x 125.7 cm.)

Estimate $12 , 0 0 0 -18 , 0 0 0 LITERATURE Alan and Christine Counord, Serge Mouille, Luminaires, 1953-1962,

Paris, 1983, n.p.; Anthony Delorenzo, ed., Jean Prouvé / Serge Mouille, New York, 1985, p. 134 for a drawing and p. 138 for an example in white; Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 502

56 GEORGES JOUVE 1910-1964 Bottle, ca. 1957 Glazed stoneware. Underside incised with artist’s mark and “JOUVE.” 13 in. (33 cm.) high

Estimate $17, 0 0 0 -19, 0 0 0 LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 21, 73-75 and 97-98 for similar examples

57 GEORGES JOUVE 1910-1964 Tall bottle, ca. 1957 Glazed stoneware. Underside incised with artist’s mark and “JOUVE.” 15 3/4 in. (40 cm.) high

Estimate $15 , 0 0 0 -18 , 0 0 0 LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 21, 73-75 and 97-98 for similar examples

58 GEORGES JOUVE 1910-1964 Bottle, ca. 1957 Glazed stoneware. Underside incised with artist’s mark and “JOUVE.” 12 3/4 in. (32.5 cm.) high

Estimate $14 , 0 0 0 -18 , 0 0 0 LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 21, 73-75 and 97-98 for similar examples

59 LINE VAUTRIN 1913-1997 “Adam and Eve in the Garden of Eden” necklace, ca. 1938 Gilt bronze, malachite. Back of pendant impressed with “LINE VAUTRIN.” Pendant: 1/4 x 2 5/8 x 2 3/4 in. (.7 x 6.7 x 7 cm.); chain: 16 1/2 in. (41.9 cm.) long

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Line Vautrin and Patrick Mauriès, Line Vautrin, Sculptor, Jeweller,

Magician, London, 1992, p. 29 for a similar example

60 LINE VAUTRIN 1913-1997 Necklace, 1950s Glass, Talosel resin, metal. 15 3/4 in. (40 cm.) long

Estimate $ 3 , 8 0 0 - 4 , 2 0 0 LITERATURE Line Vautrin and Patrick Mauriès, Line Vautrin, Sculptor, Jeweller,

Magician, London, 1992, p. 69 for a similar example

61 EMILE JACQUES RUHLMANN 1879-1933 “Bas Ducharne” coffee table, ca. 1925 Macassar ebony-veneered wood, bronze. Underside impressed with “RUHLMANN.” 25 1/4 in. (64.1 cm.) high, 35 1/4 in. (89.5 cm.) diameter

Estimate $70 , 0 0 0 - 9 0 , 0 0 0 PROVENANCE Christie’s, Paris, May 16, 2007, Lot 227 LITERATURE Emmanuel Bréon and Rosalind Pepall, eds., Ruhlmann: Genius of Art

Deco, Paris, 2004, p. 171

This table is listed as number 1162 A NR in the Ruhlmann Archives.

62 JEAN ROYÈRE 1902-1981 Rare pair of “Relax” armchairs, ca. 1950 Velvet, oak (2). Each: 40 1/4 in. (102.2 cm.) high

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Galerie de Beyrie, Paris LITERATURE Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, p. 94;

Catherine and Stephane de Beyrie and Jacques Ouaiss, Jean Royère, New York, 2000, pp. 70-72; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 233 for a drawing

63 JEAN ROYÈRE 1902-1981 Rare “Relax” sofa, ca. 1950 Velvet, oak. 41 1/4 x 71 x 41 in. (104.8 x 180.3 x 104.1 cm.)

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 PROVENANCE Galerie de Beyrie, Paris LITERATURE Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, pp. 40

and 91; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 233 for a drawing

64 JEAN ROYÈRE 1902-1981 Ceiling light, ca. 1950 Painted tubular and perforated metal. 11 in. (27.9 cm.) drop, 43 in. (109.2 cm.) diameter

Estimate $ 2 0 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Delorenzo, New York LITERATURE Catherine and Stephane de Beyrie and Jacques Ouaiss, Jean Royère,

New York, 2000, p. 158 for a similar example; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 87 and 180 for similar examples; Judith Thurman, “Reflecting on an Ideal,” Architectural Digest, April 2006, illustrated p. 258

65 JEAN ROYÈRE 1902-1981 Table, ca. 1951 Painted wrought iron, glass, fabric-covered wood, string. 29 1/2 in. (75 cm.) high, 35 1/4 in. (89.5 cm.) diameter

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 LITERATURE Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, p. 17

This example is believed to be the prototype for this design which was exhibited at the “Viéme salon des Arts de la Table” organized by Art et Industrie, Paris in July of 1951.

65 JEAN ROYÈRE 1902-1981 Table, ca. 1951 Painted wrought iron, glass, fabric-covered wood, string. 29 1/2 in. (75 cm.) high, 35 1/4 in. (89.5 cm.) diameter

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 LITERATURE Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, p. 17

This example is believed to be the prototype for this design which was exhibited at the “Viéme salon des Arts de la Table” organized by Art et Industrie, Paris in July of 1951.

66 JEAN ROYÈRE 1902-1981 Rare and important pair of “Boule” armchairs, ca. 1942 Goatskin, oak (2). Each: 28 in. (71 cm.) high

Estimate $ 2 0 0 , 0 0 0 - 2 5 0 , 0 0 0 PROVENANCE Private Collection, France LITERATURE Images de France, July 1942, p. 8; Jean Royère, Décorateur à Paris,

exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 28 and p. 121 for a drawing; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 284

REMOVE PLINTH SEAMS, EXTEND PLINTH DOWN

EXTEND BACKGROUND

67 MATHIEU MATÉGOT 1910-2001 Pair of wall lights, ca. 1960 Brass. Manufactured by Atelier Matégot, France (2). Each: 19 x 4 1/4 x 7 7/8 in. (48 x 11 x 20 cm.)

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Philippe Jousse and Caroline Mondineau, Mathieu Matégot, Paris, 2003,

item no. 236

68 ALEXANDRE NOLL 1890-1970 Important dish, ca. 1950 Macassar ebony. Underside incised with “NOLL.” 2 3/4 x 11 1/4 x 7 1/8 in. (7 x 28.5 x 18 cm.)

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Olivier Jean-Elie and Pierre Passebon, Alexandre Noll, Paris, 1999, p. 56

for a similar example

69 ALEXANDRE NOLL 1890-1970 Vide poche, ca. 1950 Ebony. Underside incised with “NOLL.” 1 1/2 x 4 3/4 x 3 3/4 in. (4 x 12 x 9.5 cm.)

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Olivier Jean-Elie and Pierre Passebon, Alexandre Noll, Paris, 1999, p. 56

for a similar example

Reverse detail of shade with Edgar Kaufmann, Jr.’s alteration

70 DIEGO GIACOMETTI 1902-1985 Table lamp, ca. 1960 Patinated bronze, hand-stitched parchment shade. 13 3/8 in. (34 cm.) high, including shade

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Estate of Edgar Kaufmann, Jr., Hydra, Greece; Estate of Paul Mayen,

Hydra, Greece LITERATURE Daniel Marchesseau, Diego Giacometti, Paris, 1986, p. 169

Edgar Kaufmann, Jr. kept the present lamp on a side table in the bedroom of his Hydra, Greece residence. An avid reader, Mr. Kaufmann cut one side of the shade to expose the bulb, so he could read with direct light.

71 JEAN ROYÈRE 1902-1981 Pair of candlesticks, ca. 1949 Gilt bronze (2). Each: 5 1/8 x 8 5/8 x 8 5/8 in. (13 x 22 x 22 cm.)

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Jean Royère, Décorateur à Paris, exh. cat., Musée des Arts Décoratifs,

Paris, 1999, p. 16

72 JEAN ROYÈRE 1902-1981 Pair of lounge chairs, ca. 1955 Oak, fabric (2). Each: 37 1/8 in. (83.5 cm.) high

Estimate $ 2 0 , 0 0 0 - 2 5 , 0 0 0 LITERATURE Jean Royère, Décorateur à Paris, exh. cat., Musée des Arts Décoratifs,

Paris, 1999, p. 100 for a drawing

73 JEAN BESNARD 1889-1958 Vase, ca. 1931 Stoneware, resist white enamel design. Incised with “Jean Besnard PARIS” and with original paper label to base “A. M. U. 131 / Vase ceramique goulot ouvert / 450.” 16 1/2 in. (41.9 cm.) high

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Acquired in Paris ca. 1939 by the vendor’s grandmother, thence

by descent

74 JOSEP LLORENS ARTIGAS 1892-1980 Jar, ca. 1960 Stoneware, glaze. Incised with “Josep Llorens Artigas.” 9 in. (22.9 cm.) high

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Ex Joan Teixidor Collection, Barcelona, Spain EXHIBITED “Josep Llorens Artigas,” Museo Espanol de Arte Contemporaneo,

Barcelona, February 1982, item 81 LITERATURE Joan Teixidor, Josep Llorens Artigas, exh. cat., Museo Espanol de Arte

Contemporaneo, Barcelona, 1982, illustrated n.p.

75 JACQUES ADNET 1901-1984 Armchair, ca. 1949 Elm, leather, brass. 38 in. (96.5 cm.) high

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE “Meubles pour la campagne de J. Adnet (Cie des arts Français),”

Maison Française, August/September 1950, pp. 19 and 22

IMPORTANT AND HISTORIC WORKS FROM THE VENINI ARCHIVES Paolo Venini (second from right), his brother Franco (third from left) and Venini workers seated along the Fondamenta Vetrai, Murano, late 1930s

Glass, when cold, is brittle. No two adjectives, however, could be less descriptive of the wares of Venini, preeminent Venetian glassmaker. For nearly a hundred years, Venini has produced works characterized by dextrous forms, crucial color, and the technical brio of its glassblowers. Under the direction of Paolo Venini, eponymous founder of the firm, the leading lights of Italian design expressed themselves in glass: among them Vittorio Zecchin, Napoleone Martinuzzi, Carlo Scarpa, Gio Ponti, Fulvio Bianconi, and Ettore Sottsass, a roster of artists who brought the same radical inventiveness to glass as they did to sculpture, architecture, and furniture design.

Skill, heated by the crucible of imagination, creates innovation. Veniniâ&#x20AC;&#x2122;s master blowers, in close collaboration with its designers, have invented a long list of glassworking techniques and types, among them pulegoso, battuto, mezza filigrana, and murrine, all of them represented in the present selection of important works from the Venini Archive. Sodium carbonate acts as a flux in the making of glass; so too Venini has constituted a fundamental role in the history of glassmaking and, beyond that, in the history of 20th-century decorative arts. No doubt 21st-century design will be as highly fired by the Venini furnace as that of the last hundred years.

Luciano Sanavelli and Mario Michieli of Venini working on an “Oriente” vase designed by Diego Chiló.

CULTURE CREATIVITY AND PASSION

Culture, creativity, and passion are the common characteristics of each work executed at the Venini furnace in Murano. The timeless and unique hand blown works produced by Venini represent the perfect fusion of innovative design with a nearly hundred year tradition. Since 1921, the year Venini was founded, more than a hundred international artists have significantly contributed to the creative vision of the company. They include Vittorio Zecchin, Napoleone Martinuzzi, Carlo and Tobia Scarpa, Miroslav Hrstka, Fulvio Bianconi, Tapio Wirkalla, Toni Zuccheri, Thomas Stearn, Thorsèn and Karlsson, Timo Sarpaneva, Alessandro Mendini, Emmanuel Babled, Harri Koskinen and the Campana Brothers, all of whom are represented in this catalog. These characters have significantly contributed to Venini’s renown in the context not only of glass art but of contemporary art in general. Their works are present in many important museum collections around the world including the Museum of Modern Art, New York; the Triennale, Milan; the Fondation Cartier, Paris; and the Victoria and Albert Museum, London. By collaborating with Phillips de Pury & Company, we have been able to exhibit and offer for sale a selection of important works which demonstrate Venini’s creativity from 1921 to the present day. These thirty historical and contemporary pieces represent the marriage of art and courageous research in the properties of glass. This rare offering celebrates Venini as one of the most influential and significant glassmakers of all time. I would like to take this opportunity to thank Architetto Franco Deboni for his careful and invaluable contribution to this historic selection of works. Dott. Giancarlo Chimento Chairman, Venini SpA

Phillips de Pury & Company’s focus on applied arts, particularly 20th century design, has encouraged Venini to choose it as a partner in order to offer this highly evocative selection of works. Venini and Phillips de Pury & Company will take center stage in November for what promises to be a unique event for all important collectors and admirers of Venini glass. Arch. Roberto Gasparotto Art Director, Venini SpA

Phillips de Pury & Company would like to thank Franco Deboni for his gracious willingness to grant access to his extensive important archive for this historical sale and his help with this project.

76 VITTORIO ZECCHIN 1878-1947 Rare “Biansato” colored glass vase, 1925-1930 Two applied handles, decoration of vertical stripes in relief at the bottom. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 12 7/8 in. (32.7 cm.) high

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Marino Barovier, Vittorio Zecchin 1878-1947 pittura, vetro,

arti decorative, Venice, 2002, p. 190, pl. 190 for a similar example

77 VITTORIO ZECCHIN 1878-1947 Rare lattimo incamiciato green glass vase, model no. 1938, ca. 1928 Vertical stripes in relief and applied drops at the bottom. Produced by Venini, Italy. Underside acid-etched with “venini Murano.” Together with a certificate of authenticity from Venini. 14 3/4 in. (37.5 cm.) high

Estimate $16 , 0 0 0 -18 , 0 0 0 LITERATURE Catologo Blu, Venini Murano, Soffiati 1921-1925, pl. 5; Marino

Barovier, Vittorio Zecchin 1878-1947 pittura, vetro, arti decorative, Venice, 2002, p. 198, pl. 203 for a similar example; Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007, pl. 7 for a similar example

An exhibition of Vittorio Zecchin’s “soffiati” at Areoporto Venezia Lido, 1935. The present model appears in the lower left corner.

78 VITTORIO ZECCHIN 1878-1947 Rare early colored glass vase, ca. 1921 Vertical stripes in relief, drops applied at the bottom, applied neck. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 14 7/8 in. (37.8 cm.) high

Estimate $12 , 0 0 0 -18 , 0 0 0 LITERATURE Marino Barovier, Vittorio Zecchin 1878-1947 pittura, vetro, arti

decorative, Venice, 2002, illustrated p. 201, pl. 209; Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007, pl. 7 for a similar example

79 NAPOLEONE MARTINUZZI 1892-1977 Important early pulegoso glass cup, 1928 With applied blue glass handles and rim. Produced by Venini, Italy. Underside acid-etched with “venezia murano / Italia” surmounted with CVM crown. Together with a certificate of authenticity from Venini. 6 3/4 in. (17.1 cm.) high, 12 3/8 in. (31.4 cm.) diameter

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Venetian Glass: An Important Private Collection 1910-1960,

Sotheby’s, Geneva, November 19, 1999, Lot 114 EXHIBITED “Rassegna Retrospectiva 1930-1940,” Palazzo Grassi, Venice, 1981 LITERATURE Carlo Pirovano, Vetri Murano Oggi, Milan, 1981, p. 31, no. 67; Marina

Barovier, Napoleone Martinuzzi Maestro Vetraio del Novecento, Padoua, 2001, illustrated p. 73

Compagnia Venezia Murano (CVM), founded in 1877, was a prominent Venetian retailer of furniture and decorative objects. The firm offered glassware produced by prestigious European makers including Gallé, Daum, and Venini. During the 1920s CVM frequently marked its merchandise, produced by outside firms, with an acid-etched crown, as in the present lot.

8 0 VITTORIO ZECCHIN 1878-1947 Early large â&#x20AC;&#x153;Alzataâ&#x20AC;? colored glass bowl, 1921-1926 Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 4 1/4 in. (10.8 cm.) high, 19 1/4 in. (48.9 cm.) diameter

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

Toni Zuccheri at Venini

81 TONI ZUCCHERI 1937-2008 Unique monumental “Araba Fenice” sculpture, 2007 Polychrome glass, bronze. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 33 1/2 x 41 3/8 x 19 5/8 in. (85.1 x 105.1 x 49.8 cm.)

Estimate $ 4 5 , 0 0 0 - 5 5 , 0 0 0 LITERATURE Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007,

pl. 262 for a similar example

Among Toni Zuccheri’s best known works are his applied glass and bronze bird sculptures: turkeys, owls, guinea fowl, chickens, and hoopoes, which he produced over a long career. The present lot, “Araba Fenice” (Arab Phoenix), was the last work made at Venini by Zuccheri before he died. According to legend, the phoenix, at the end of its life, builds a nest of myrrh twigs and catches fire.

82 CARLO SCARPA 1906-1978 Rare battuto glass vase, ca. 1938-1940 Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 12 1/4 in. (31.1 cm.) high

Estimate $ 2 2 , 0 0 0 - 2 8 , 0 0 0â&#x20AC;&#x192; LITERATURE Franco Deboni, I Vetri Venini, Turin, 2003, illustrated pl. 63

83 CARLO SCARPA 1906-1978 Important murrine glass bowl with molato surface, 1940 Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 1 3/4 x 12 3/4 x 10 3/8 in. (4.4 x 32.4 x 26.4 cm.)

Estimate $ 4 5 , 0 0 0 - 5 5 , 0 0 0 EXHIBITED XXXI Biennale di Venezia, 1962 LITERATURE Franco Deboni, Murano ‘900, Milan, 1996, illustrated p. 310, pl. 226

84 MIROSLAV HRSTKA 1933-1983 “Miros Tre” deep-engraved glass vase, ca. 1968 Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 13 1/2 in. (34.3 cm.) high

Estimate $12 , 0 0 0 -18 , 0 0 0 LITERATURE Franco Deboni, Murano ‘900, Milan, 1996, p. 319, pl. 235; Fondazione

Giorgio Cini, Gli Artisti Di Venini, exh. cat., Istituto di Storia dell’Arte, Venice, 1996, p. 156, fig. 236; Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007, pl. 252 for a similar example

85 THOMAS STEARNS 1936-2006 Unique internally iridescent sommerso glass vase, ca. 1962 Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 5 in. (12.7 cm.) high

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

A similar vase by Stearns went into production at Venini, ca. 1962. Those models were incalmo glass with inciso on their shoulders. The present lot, of similar height and shape, is in sommerso glass and is unique.

86 CARLO SCARPA 1906 - 1978 Rare fili glass vase, ca. 1942 Produced by Venini, Italy. Underside signed “Venini Italia.” Together with a certificate of authenticity from Venini. 7 1/2 in. (19.1 cm.) high

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 EXHIBITED XXIII Venice Biennale, Venice, 1942 LITERATURE Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-

1970, Munich, 1997, p. 81, pl. 48 for a similar example; Franco Deboni, I Vetri Venini, Milan, 2003, illustrated pl. 78; Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007, pl. 116

Venini workers blowing glass into the head of a “Cavallo di Leonardo”

The 45-foot tall “Cavallo di Leonardo” on the Grand Canal during the XLV Venice Biennale in 1993

87 BEN JACOBER AND YANNICK VU b. 1930, b. 1942 Rare and monumental “Il Cavallo di Leonardo” sculpture, 1993 Clear glass blown into a welded steel frame. Produced by Venini, Italy. Artist’s proof for the edition of six. Together with a certificate of authenticity from Venini and steel plinth. Sculpture: 55 1/8 x 35 3/8 x 30 3/8 in. (140 x 90 x 77 cm.), base: 27 3/4 in. (70.5 cm.) high

Estimate $ 5 0 , 0 0 0 - 6 0 , 0 0 0

Venini first presented Jacober and Vu’s “Cavallo di Leonardo” in Venice in 1993. The exhibition, at the Palazzo San Gregorio, was designed by Gae Aulenti. A much larger 45-foot tall version, without blown glass, was exhibited the same summer in the Giardini at the XLV Venice Biennale.

88 TAPIO WIRKKALA 1915-1985 Unique large mezza filigrana glass “Pavone” plate, 1981-1982 Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 2 1/4 in. (5.7 cm.) high, 19 in. (48.3 cm.) diameter

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007,

fig. 288 for a similar example from the “Pavone” series

“Pavone” is a series in mezza filigrana glass designed by Wirkkala which takes its inspiration from peacock feathers. The present lot, of unusually large diameter, never went into production and is unique.

A vase by Harri Koskinen heating in the Venini furnace. A drawing of the vase hangs nearby.

89 HARRI KOSKINEN b. 1970 Unique prototype colored glass vase, 2009 Produced by Venini, Italy. Signed â&#x20AC;&#x153;Venini 2009 Harri Koskinen 1 / 1.â&#x20AC;? Together with a certificate of authenticity from Venini. 8 5/8 in. (21.9 cm.) high

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

The present lot is one of several prototype studies in this series executed at Venini. Each of the prototypes is unique in size, color, and form.

90 TIMO SARPANEVA 1926-2006 Monumental prototype glass dish, 1989-1990 Clear and colored glass in polychrome stripes. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 6 in. (15.2 cm.) high, 25 3/8 in. (64.5 cm.) diameter

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

91 FULVIO BIANCONI 1915-1996 Unique colored and clear glass vase, 1985 Internally decorated with long air bubbles. Produced by Venini, Italy. Shoulder incised with â&#x20AC;&#x153;Fulvio Bianconi 1985 b-.â&#x20AC;? Together with a certificate of authenticity from Venini. 7 1/2 in. (19 cm.) high

Estimate $ 9, 0 0 0 -11, 0 0 0

92 TONI ZUCCHERI 1937-2008 Unique prototype clear and colored glass “Membrane” vase, ca. 1965-1966 The vase internally separated in two parts by a glass wall with abstract decoration in color. Produced by Venini, Italy. Underside incised with “Venini Italia.” Prototype for the “Membrane” series. Together with a certificate of authenticity from Venini. 11 in. (28 cm.) high

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007,

fig. 275 for other examples from the “Membrane” series

The present lot, which never went into production, is a prototype vase from Zuccheri’s Membrane series, ca. 19651966. Because of its shape and the specific application of its decoration, the vase is a unique prototype.

93 TOBIA SCARPA b. 1935 Murrine glass plate, ca. 1959 Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 1 3/8 in. (3.5 cm.) high, 9 7/8 in. (25.1 cm.) diameter

Estimate $16 , 0 0 0 -18 , 0 0 0â&#x20AC;&#x192; LITERATURE Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-

1970, Munich, 1997, p. 163, pl. 151 for a similar example; Franco Deboni, I Vetri Venini, Milan, 2003, pl. 162 for a similar example; Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007, pl. 174 for a similar example

94 CARLO SCARPA 1906-1978 Rare and important bicolore a macchie glass bowl, ca. 1942 Iridescent surface. Produced by Venini, Italy. Underside acid-stamped with “Venini Murano.” Together with a certificate of authenticity from Venini. 2 3/8 in. (5.9 cm.) high, 10 3/4 in. (27.3 cm.) diameter

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 EXHIBITED XXIII Venice Biennale, Venice, 1942 LITERATURE Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007,

illustrated pl. 108

95 THOMAS STEARNS 1936-2006 Rare “Cappello del Doge” doppio incalmo glass vase, ca. 1962 Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 6 1/4 in. (15.9 cm.) high

Estimate $16 , 0 0 0 -18 , 0 0 0 LITERATURE Franco Deboni, Murano ‘900, Milan, 1996, illustrated p. 311, pl. 227;

Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-1970, Munich, 1997, p. 169, fig. 158 for a similar example; Franco Deboni, I Vetri Venini, Milan, 2003, illustrated pl. 170; Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007 illustrated pl. 235

96 EMMANUEL BABLED b. 1967 Prototype “Ring Tower II” vase, 2004 Clear glass-cased lattimo and green glass. Decorated with large wheel-cut stripes. Produced by Venini, Italy. Prototype for the Serie Toys series. Base incised with “Venini 2004 Emm. Babled P. d.A.” Together with a certificate of authenticity from Venini. 17 3/8 in. (44.1 cm.) high

Estimate $7, 0 0 0 - 9, 0 0 0 LITERATURE Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design

Art Furniture, Basel, 2009, p. 195 for a similar example

“Ring Tower II” is a prototype study, known in Italian as prova d’autore (P.d.A.), from Emmanuel Babled’s 2004 Serie Toys group of glass vases produced by Venini. The present lot never went into production and is unique.

97 ALESSANDRO MENDINI b. 1931 Unique murrine glass vase, ca. 1987-1988 On a battuto glass foot. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 11 3/8 in. (28.9 cm.) high

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

Mendini’s design drawing for the “Simirone” vase

98 ALESSANDRO MENDINI b. 1931 Unique monumental “Simirone” vase, 1988 Colored and wheel-engraved clear glass. The body internally decorated with air bubbles. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 23 3/4 in. (60.3 cm.) high

Estimate $12 , 0 0 0 -18 , 0 0 0 LITERATURE Franco Deboni, Venini Glass, Catalogue 1921-2007, Turin, 2007,

fig. 341 for a similar example

Although Mendini’s “Simirone” form went into production at Venini, the present vase is the only example internally decorated with air bubbles.

99 TAPIO WIRKKALA 1915-1985 Large rare incalmo glass bowl, 1966-1970 Internally decorated with abstract inclusions. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 6 7/8 in. (17.5 cm.) high, 15 in. (38.1 cm.) diameter

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

100 ÖWE THORSSÈN AND BRIGITTA KARLSSON b. 1945, b. 1943 Unique incalmo glass flared vase, ca. 1972 Polychrome decoration achieved with “Graal” technique. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 11 5/8 in. (29.5 cm.) high

Estimate $ 9, 0 0 0 -12 , 0 0 0

“Graal” is an overlay technique whereby colored glass is held in relief between layers of clear glass. “Graal” was first developed in the early 20th century at Orrefors, the famed glassworks in southern Sweden.

101 PAOLO VENINI 1895-1959 Unique monumental inciso glass vase, ca. 1959 Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 24 1/2 in. (62 cm.) high

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

Incisi, designed in the mid-1950s by Paolo Venini, were among the most commercially successful of all pieces produced by his firm. Due to its monumental size, the present lot never went into production and is unique.

102 FULVIO BIANCONI 1915-1996

103 CARLO SCARPA 1906 - 1978

Unique murrine glass vase, 1958

Rare tall tessuto glass vase, ca. 1940

Produced by Venini, Italy. Together with a certificate of authenticity from Venini.

9 1/2 in. (24.1 cm.) high

16 in. (40.6 cm.) high

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

Estimate $ 2 2 , 0 0 0 - 2 8 , 0 0 0

LITERATURE Rossana Bossaglia, I Vetri di Fulvio Bianconi, Turin, 1993,

LITERATURE Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan,

pl. 78 for a similar example

1999, p. 137 for a similar example

104 TONI ZUCCHERI 1937-2008 Important prototype â&#x20AC;&#x153;Gabbia da Richiamo,â&#x20AC;? 1968 Bronze, glass, wire. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. Base: 23 1/4 x 12 1/2 x 6 1/8 in. (59.1 x 31.8 x 15.6 cm.); cage: 6 7/8 x 6 x 8 7/8 in. (17.5 x 15.2 x 22.5 cm.)

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

To lure other birds, Venetian hunters in the Laguna Veneta kept songbirds caged in gabbie da richiamo, a now outlawed technique. This design never went into production and the present example is a prototype.

105 FERNANDO AND HUMBERTO CAMPANA b. 1961, b. 1953 Unique “Ring the Bells” sculpture, 2009 Remnant glass bells from the Campane di Campana series from 2005, assembled “Manila” drops from the 1960s, rope. Produced by Venini, Italy. Each incised with “venini per Moss 2005 Campane di Campana” and with “1/5,” “2/15,” “3/15,” “6/15,” “7/15,” “9/15,” “12/15,” “13/15,” “14/15” and “15/15” respectively. Together with a certificate of authenticity from Venini. Comprising 12 bells, 2005, and “Manila” drops, ca. 1960. Overall: 118 1/8 in. (300 cm.) high, 17 1/2 in. (44.5 cm.) diameter

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 LITERATURE Franco Deboni, Venini Glass, Its history, artists and techniques, Vol. 1,

Milan, 2007, p. 44 for an image of the Moss show

The Campana Brothers assembled the present lot at Venini in 2009 from remnant glass bells hand-blown there on the occasion of their 2005 Campane di Campana series which was first exhibited at Moss, New York.

Concept drawing by the Campana Brothers for their Campane di Campana series.

ARTIST BIOGRAPHIES

EMMANUEL BABLED b. 1967

CARLO SCARPA 1906-1978

In Paris, Emmanuel Babled designed several interiors for private residences and

Carlo Scarpa attended the Accademia di Belle Arti in Venice where he began his

collaborated with many important French firms designing furniture and household

professional career. He dedicated himself to university lecturing which, in different posts,

objects. In 1992 he opened a studio in Milan, contributing his designs to several Italian

which he continued until 1977. Known for his output of highly sophisticated designs, his

companies. He began his collaboration with Venini in 1993.

pieces were exhibited in the XXIV Biennial Exhibition and the Italy Pavilion at the XXVI Biennial Exhibition. He started collaborating with Venini in 1932 and was artistic director

FULVIO BIANCONI 1915-1996

of Venini until 1946.

Settling in Milan, Fulvio Bianconi collaborated as a graphic designer and illustrator with the publishers Mondadori, Bombiani, Garzanti and frescoed the Galtrucco shops and

TOBIA SCARPA b. 1935

Trade Fair pavilions. In 1946, after many visits to Milan, he was invited by Paolo Venini to

Tobia Scarpa studied architecture at the University of Venice. Together with his wife,

collaborate with his glassworks. Bianconi is known for his revision of old glass-making

Afra, he began his career at Venini and went on to establish one of the most celebrated

techniques such as pezzati, ritagli, iride, fasce and sommerso as well as for his use of

professional associations in the world of design. Their work is exhibited in the most

color.

important museums the world over. He began his collaboration with Venini in 1958.

HUMBERTO CAMPANA, FERNANDO CAMPANA b. 1953, b. 1961

THOMAS STEARNS 1936-2006

Trained in law and architecture, respectively, the brothers Humberto and Fernando began

Upon graduation from Cranbrook Academy of Art in Michigan in 1959, Thomas Stearns

collaborating as designers in 1989 with the show of their first iconic collection—the

was awarded a scholarship to research glassmaking in Italy and thus began his

Desconfortáveis. In 1998 they started collaboration with Edra with the introduction of their

apprenticeship at Venini the following year. His unconventional approach to glassmaking

“Vermelha” chair. Their collaboration with Venini began in 2005 with the creation of the

at first concerned many of the experienced craftsmen, but when six of his pieces were

“Campane di Campana.”

exhibited at the 1962 Venice Biennale, his pieces were met with worldwide acclaim. By the end of that year, Stearns abruptly ceased his glassmaking, returned to the United States,

MIROSLAV HRSTKA 1932-1983

and turned instead to working in fibers and textiles.

Miroslav Hrstka attended glass school in Kamenickyˆ Šenov under such renowned ˇ glassmakers as René Roubícek, and studied at the Academy of Applied Art, VSUP, in

ÖWE THORSEN, BIRGITTA KARLSSON b. 1945, b. 1943

Prague where he specialized in cutting and engraving. Following this, he designed for

Both Öwe Thorsen and Birgitta Karlsson attended the National College for Art, Craft and

Borské Sklo in Novvý Bor, developing a special concentration in polished cutting in

Design Department for Glass and Ceramics. They are principally dedicated to creating

regular geometric patterns, and also working with cased glass. In 1967 he designed his

ceramics, examples of which are held in the collections of many Swedish galleries and

famous “Miros” vases and “sommersi” vase series with dynamic matte cut decoration, for

museums.

Venini & Co., which are counted among his best works. His work was exhibited in 1959 at ˇ Manage, “Cechoslovackoje steklo,” in Amsterdam in 1961 at Museum Fodor, and in 1968 at

the XXXIV Venice Biennale.

PAOLO VENINI 1895-1959 Paolo Venini, a lawyer from Milan whose family had been distantly involved in glassmaking, and the antique dealer Giacomo Cappellin established the company VENINI & Co.

BEN JAKOBER, YANNICK VU b. 1930, b. 1942

in 1921. Paolo Venini introduced the Murano art of glass-blowing to important events and

Natives of Vienna and Monfort L’Amaury, respectively, Ben Jakober and Yannick Vu’s

exhibitions around the world, establishing the name of the one of the most important and

offered sculpture is a small-scale version of a work made for the inauguration of the XLV

renowned glass manufacturers globally.

Biennale Art Exhibition in 1993. The inspiration was a project by Leonardo, now stored at the National Library in Madrid. These designs were reproduced with the aid of a computer, producing a steel frame inside which clear glass was blown.

TAPIO WIRKKALA 1915-1985 Versatile artist and eminent designer, Tapio Wirkkala contributed to the high international reputation of Finnish design. His works are found in major museum collections all over the

HARRI KOSKINEN b. 1970

world including the Corning Museum of Glass and the Metropolitan Museum of Modern

A graduate from the University of Art and Design UIAH in Helsinki, Harri Koskinen

Art in New York and the Kunstmuseum in Düsseldorf. He began his collaboration with

has taken part in various exhibitions all over the world and received various

Venini in 1966.

acknowledgements and prizes such as the Venezia Aperto Vetro, Venezia; Design World 2000, Museum of Art and Design, Helsinki; World wide Salon de Meuble, Paris; Young Designer of the Year, Helsinki; Design Plus, Frankfurt; and Good Design, Chicago. His works are held in museum collections worldwide, including the Museum of Modern Art, New York, Museum of Art and Design, Helsinki, Finnish Glass Museum, RiihimŠki, The Chicago Athenaeum and Kunstgewerbemuseum, Berlin. His collaboration with Venini began in 2003.

VITTORIO ZECCHIN 1878-1947 Vittorio Zecchin attended the Accademia di Belle Arti in Venice. In 1914, along with the painter Teodoro Wolf Ferrari, he presented a range of glassware produced at the Barovier glassworks at the Venice Biennial. During the 1915-1918 war he organised a tapestry laboratory in an ex-convent on Murano. He exhibited his work—artistic glassware, tapestries, embroideries and paintings at the Venice, Milan, Rome, Monza, Turin and Paris Biennial Exhibitions. He taught at the Abate Zanetti school in Murano (glass) and at the

NAPOLEONE MARTINUZZI 1892-1977

Vendramin Corner training school (tapestry and embroidery). From 1921 to 1925 he was

Napoleone Martinuzzi was responsible for the great success of modernist influence in

artistic director of the company Vetri Soffiati Muranesi Cappellin Venini & Co. He was one

venini ‘s production. The Murano-born sculptor became artistic director of Venini in 1925.

of the main protagonists and innovators of the Venetian art of glassmaking.

He conducted enthusiastic research into materials, inventing new kinds of glass and finishes as well as unusual lighting effects with bubbles and gold film.

TONI ZUCCHERI 1937-2008 A prominent cultural figure in Venice, Toni Zuccheri made the acquaintance from several

ALESSANDRO MENDINI b. 1931

design and artistic luminaries including Giorgio de Chirico, Carlo Scarpa, Giorgio Bassani

Alessandro Mendini was editor-in-chief of Casabella, Modo, and Domus. His main area of

and Elio Zorzi. His architecture studies were under the tutelage of Franco Albini, Ignazio

interest was radical and neo-modern design. More recently, together with his brother

Gardella and Ludovico Barbiana di Belgiojoso among others. Following his studies, he

Francesco he has designed the Alessi house, a tower in Hiroshima, and the Groningen

joined Venini, where he invented and reinvented processing techniques, forms and

Museum in The Netherlands. He began his collaboration with Venini in 1987.

colours. In 2006, after working for some time outside of the firm, Zuccheri reunited with Venini in 2006 to continue his work.

TIMO SARPANEVA 1926-2006 Works by Timo Sarpaneva are held in the permanent collections of many important museums including the Museum of Modern Art and the Metropolitan Museum in New York, and the Corning Museum of Glass. He began his collaboration with Venini in 1988.

106 POZZI AND VERGA Set of four side chairs, 1940s Ebonized wood, fabric. Produced by Pozzi and Verga, Italy (4). Each: 44 1/2 in. (113 cm.) high

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

107 ETTORE SOTTSASS JR. 1917-2007 Low table, ca. 1959 Rosewood, painted tubular metal, glazed ceramic tile, brass. Produced by Poltronova, Italy. 15 1/4 x 60 x 19 1/4 in. (39 x 152.5 x 49 cm.)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0â&#x20AC;&#x192; LITERATURE Charlotte and Peter Fiell, eds., Domus Vol. IV 1955-1959, Cologne,

2006, p. 503

108 ETTORE SOTTSASS JR. 1917-2007 Mirror, ca. 1958 Glazed ceramic tiles, mirrored glass, wood. Produced by Santambrogio & de Berti, Italy. 26 x 41 1/4 x 1 1/2 in. (66 x 105 x 3 cm.)

Estimate $7, 0 0 0 - 9 , 0 0 0â&#x20AC;&#x192; LITERATURE Domus, February 1958, p. 44

109 ANGELO LELLI Ceiling light, 1950s Brass, painted metal, opaque plastic. 37 in. (94 cm.) drop

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

110 CASSINA Rocking chair, ca. 1950 Walnut, fabric, rubber, plastic. Manufactured by Cassina, Italy. 37 in. (94 cm.) high

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 LITERATURE Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni’

40 e ‘50, Roma-Bari, 1992, p. 133 for a similar example; Patrick Favardin, Les Années 50, Paris, 1999, p. 49 for a similar example; Museu do Design: Luxo, Pop, Cool, De 1937 Até Hoje, exh. cat., Museu do Design, Lisbon, 1999, pl. 30 for a similar example

Salvatore Licitra at the Gio Ponti Archives has suggested the present model of rocking chair was designed by Cassina’s studio tecnico. Throughout his career, Gio Ponti maintained an intense and fruitful relationship with Cassina, the Italian furniture manufacturer. The present lot bears undeniable similarities to a lounge chair designed by Gio Ponti for Cassina in the 1950s. Both chairs were produced in walnut and have pronounced wingbacks, slotted side rails, webbed seats, and carved arms.

111

GIO PONTI 1891-1979 Set of six early lights, ca. 1955 Brass, metal, textured frosted glass. Manufactured by Arredoluce, Italy. Underside of each with partial or full paper label “MADE IN ITALY / ARREDOLUCE MONZA” (6). Each: 6 x 6 x 5 1/4 in. (15.2 x 15.2 x 13.3 cm.), installed

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

112 GAETANO SCOLARI Adjustable wall-mounted lamp, ca. 1958 Painted metal, brass. Manufactured by Stilnovo, Italy. Top of shade with decal “MILANO / STILNOVO / ITALY.” 53 in. (134.6 cm.) long, variable drop

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 LITERATURE Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 106 for a similar

example; Alberto Bassi, Italian Lighting Design 1945-2000, Milan, 2004, p. 58 for a similar shade; Galerie Ulrich Fiedler, On/Off, Cologne, 2007, p. 30

113 FONTANA ARTE Pair of ceiling lights, model no. 1990, 1950s Glass, frosted glass, painted metal, brass. Manufactured by Fontana Arte, Italy (2). Each: 19 1/2 x 19 1/2 x 6 3/4 in. (49.5 x 49.5 x 17.1 cm.)

Estimate $15 , 0 0 0 - 2 0 , 0 0 0â&#x20AC;&#x192; LITERATURE Fontana Arte Illuminazione, Fontana Arte catalogue, Italy, 1950s, p. 39

114 GIAMPIERO ALOI Chandelier, 1955 Tubular brass, painted tubular metal. Manufactured by Stilnovo, Italy. Top of central rod with decal “MILANO / STILNOVO / ITALY.” 43 x 28 3/4 x 47 in. (109.2 x 73 x 119.4 cm.)

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 106 for a similar

example; Alberto Bassi, Italian Lighting Design 1945-2000, Milan, 2004, p. 59 for a similar example

115 OSVALDO BORSANI 1911-1985 Rare illuminated three-fold mirror, ca. 1945 Painted wood, carved and painted wood, mirrored glass, brass, metal, painted metal. 39 1/2 x 54 1/4 x 2 in. (100.3 x 137.8 x 5.1 cm.)

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

116 CARLO MOLLINO 1905-1973 Pair of “Lutrario” stools, 1959 Painted tubular iron, painted iron, Resinflex upholstery, brass. Produced by Doro, Italy. Two of approximately 200 examples designed for the Lutrario Ballroom, Turin (2). Each: 17 1/4 x 16 1/2 x 11 in. (43.8 x 41.9 x 27.9 cm.)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Lutrario Ballroom, Turin; Galerie Downtown, Paris LITERATURE Giovanni Brino, Carlo Mollino: Architecture as Autobiography, Milan,

1987, p. 145; Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, pp. 95-97

117 VENINI Pair of hanging lights, 1930s Textured glass, painted metal. Manufactured by Venini, Italy (2). Each: 38 3/4 in. (98.4 cm.) drop, 23 1/2 in. (59.7 cm.) diameter

Estimate $ 2 0 , 0 0 0 - 2 5 , 0 0 0â&#x20AC;&#x192; LITERATURE Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999,

p. 270, fig. 10 for a similar example

118 GIO PONTI 1891-1979 Pair of sconces, ca. 1955 Brass, frosted textured glass, painted metal. Manufactured by Arredoluce, Italy (2). Each: 10 1/8 x 11 3/4 x 3 1/4 in. (25.7 x 29.8 x 8.3 cm.)

Estimate $ 5 , 0 0 0 -7, 0 0 0â&#x20AC;&#x192; LITERATURE Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923-1978, London,

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

119 ATTRIBUTED TO GINO SARFATTI 1912-1985 Monumental adjustable floor lamp, ca. 1952 Painted metal, marble, brass. 107 in. (271.8 cm.) high, fully extended

Estimate $7, 0 0 0 - 9 , 0 0 0â&#x20AC;&#x192; PROVENANCE Mario Gottardi, Italy

120 MAX INGRAND 1908-1969 Pair of wall lights, model no. 1944, 1957 Frosted and partially-chiselled glass, brass. Manufactured by Fontana Arte, Italy and glass chiselled by Dubè (2). Each: 7 1/2 x 7 1/2 x 3 1/4 in. (19.1 x 19.1 x 8.3 cm.)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Galeria Il Babuino, Rome EXHIBITED “Luci e Trasparenze,” Galeria Il Babuino, Rome, 2006 LITERATURE Fontana Arte sales catalogue, 1967, p. 239; Luci e Trasparenze, exh. cat.,

Galleria Il Babuino, Rome, 2006, illustrated p. 45

121 LUCIE RIE 1902-1995 Vase with flaring lip, ca. 1976 Porcelain, golden manganese glaze with radiating sgraffito design on the lip and shoulder. Impressed with artistâ&#x20AC;&#x2122;s seal. 7 1/2 in. (19.1 cm.) high

Estimate $ 4 , 0 0 0 - 6 , 0 0 0â&#x20AC;&#x192; PROVENANCE Private Collection, London

122 LUCIE RIE 1902-1995 Footed bowl, ca. 1980 Stoneware, barium blue glaze, golden manganeze glaze. Impressed with artistâ&#x20AC;&#x2122;s seal. 8 1/4 in. (21 cm.) diameter

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

123 LUCIE RIE 1902-1995 Flaring bowl with cut lip, ca. 1965 Porcelain, manganese and terracotta glazes with sgraffito design. Impressed with artist’s seal. 7 in. (17.8 cm.) wide

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Private Collection, London

124 LUCIE RIE 1902-1995 Large bowl, ca. 1968 Mixed clays producing an integral spiral of color. Impressed with artistâ&#x20AC;&#x2122;s seal. 12 1/4 in. (31.1 cm.) diameter

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

125 LUCIE RIE 1902-1995 Miniature beaker, ca. 1960 Stoneware, manganese glaze with a single sgraffito line below the lip inside and out. Impressed with artist’s seal. 2 3/8 in. (6 cm.) high

Estimate $1, 6 0 0 - 2 ,4 0 0 PROVENANCE Private Collection, London

126 LUCIE RIE 1902-1995 Deep bowl, ca. 1976 Porcelain, “American” yellow glaze. Impressed with artist’s seal. 5 3/4 in. (14.6 cm.) diameter

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 PROVENANCE Private Collection, London

127 LUCIE RIE 1902-1995 Beaker vase, ca. 1970 Porcelain, manganese glaze, inlaid lines around the unglazed body. Impressed with artistâ&#x20AC;&#x2122;s seal. 6 3/8 in. (16.2 cm.) high

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

128 LUCIE RIE 1902-1995 Two tapering vases, 1967 Stoneware, flowing white lime glaze with brown manganese speckles coming through from the body material beneath. Each impressed with artist’s seal and original exhibition stickers (2). Taller: 5 3/8 in. (13.7 cm.) high

Estimate $ 3 , 6 0 0 - 4 , 5 0 0 PROVENANCE Ex Lucie Rie’s private collection EXHIBITED “Lucie Rie,” Arts Council, London, 1967 LITERATURE Lucie Rie, exh. cat., Arts Council, London, 1967, pp. 21-22

129 GEORGE NAKASHIMA 1905-1990 Cabinet, 1967 Walnut, Pandanus cloth. 28 x 73 1/4 x 17 1/2 in. (71.1 x 186.1 x 44.5 cm.)

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Royston Family, Philadelphia, Pennsylvania LITERATURE George Nakashima, The Soul of a Tree, A Woodworker’s Reflections,

Tokyo, 1981, p. 178 for a similar example

130 SUEHARU FUKAMI b. 1947 Incense box, ca. 2003 Porcelain, celadon glaze. Incised with artistâ&#x20AC;&#x2122;s signature. Together with the original fitted wooden box and wrapping cloth. 2 x 3 x 3 in. (5.1 x 7.6 x 7.6 cm.)

Estimate $1, 5 0 0 - 2 , 0 0 0â&#x20AC;&#x192;

131 SUEHARU FUKAMI b. 1947 “Haruka,” 2003 Porcelain, celadon glaze, wood. Incised with artist’s signature and numbered “1 / 10.” Together with the original fitted wooden box and wrapping cloth. 10 x 25 x 5 1/8 in. (25.4 x 63.5 x 13 cm.)

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

132 HARRY BERTOIA 1915-1978 Eighty-panel “Sounding Column” sculpture, 1960s Patinated bronze. Together with a certificate of authenticity from Val O. Bertoia. 31 x 7 1/2 x 7 1/2 in. (78.7 x 19.1 x 19.1 cm.)

Estimate $70 , 0 0 0 - 9 0 , 0 0 0

133 HARRY BERTOIA 1915-1978 Pair of earrings, designed ca. 1948 Hammered brass (2). Each: 2 7/8 x 2 3/4 x 1/8 in. (7.3 x 7 x .4 cm.)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0â&#x20AC;&#x192; LITERATURE Martin Eidelberg, ed., Messengers of Modernism: American Studio

Jewelry 1940-1960, exh. cat., Montreal Museum of Decorative Arts, Toronto, 1996, p. 60

134 HARRY BERTOIA 1915-1978 “Bush” sculpture, ca. 1965 Patinated copper and bronze. 10 1/2 x 12 x 11 in. (26.7 x 30.5 x 27.9 cm.)

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 PROVENANCE Gift from the artist to Ed Flanigan, assistant to Harry Bertoia

at the Bally, Pennsylvania studio LITERATURE Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen,

2003, pp. 106-122 for similar examples

135 GEORGE NAKASHIMA 1905-1990 Set of eight grass-seated dining chairs, 1960 Walnut, sea grass (8). Each: 26 3/4 in. (67.9 cm.) high

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 LITERATURE George Nakashima, The Soul of a Tree, A Woodworker’s Reflections,

Tokyo, 1981, p. 142 for a drawing; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 139; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 60

136 RUTH DUCKWORTH b. 1919 Pot, ca. 2000 Raku-fired stoneware. Coiled and slab-built. 11 in. (27.9 cm.) high

Estimate $7, 0 0 0 - 9, 0 0 0â&#x20AC;&#x192; PROVENANCE Private Collection, London

137 GEORGE NAKASHIMA 1905-1990 Side table with free-edge top, 1970s Walnut. Underside signed in marker with “DANIEL.” 21 1/4 x 18 1/4 x 21 in. (54 x 46.4 x 53.3 cm.)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George

Nakashima, New York, 2003, front cover for a similar example

138 GEORGE NAKASHIMA 1905-1990 “Sanso” table, 1986 Walnut, sapwood, three rosewood keys. Underside signed in marker with “George Nakashima June 1986” and “Jackson.” 29 x 61 1/2 x 65 in. (73.7 x 156.2 x 165.1 cm.)

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Pat and Carol Jackson, Ann Arbor, Michigan LITERATURE George Nakashima, The Soul of a Tree, A Woodworker’s Reflections,

Tokyo, 1981, p. 183 for a similar example

139 RYÛICHI KAKUREZAKI b. 1950 Bizen style vase, early 1990s Wood-fired stoneware. Incised with artist’s signature. Together with the original fitted wooden box and wrapping cloth. 13 1/2 in. (34.3 cm.) high

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

140 PAUL EVANS 1931-1987 “Argente” cube, model no. PE-37, ca. 1970 Painted, sculpted and polished aluminum, slate. Produced by Paul Evans Studio for Directional, USA. 15 3/4 x 15 3/4 x 15 1/2 in. (40 x 40 x 39.4 cm.)

Estimate $7, 0 0 0 - 9 , 0 0 0 LITERATURE Directional sales catalogue, ca. 1970; David Rago and John Sollo,

Collecting Modern, a Guide to Midcentury Studio Furniture and Ceramics, Salt Lake City, 2001, p. 98 for an “Argente” buffet; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, pp. 96-97 for other examples from the “Argente” series

141 DAVID EBNER b. 1945 “Writing Chair,” 2008 Zebrawood. Underside incised with “D. N. E. ’08.” 28 1/4 in. (71.8 cm.) high

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

142 HIROAKI “TAIMEI” MORINO b. 1934 “Cloud” vase, 1990s Stoneware, turquoise, navy and ochre iron glazes. Painted artist’s signature. Together with the original fitted wooden box and wrapping cloth. 14 1/4 in. (36.2 cm.) high

Estimate $7, 5 0 0 - 9 , 0 0 0

143 FRANK FLYNN Table mirror, ca. 1969 Carved mahogany, mirrored glass. 20 1/2 x 19 x 9 in. (52.1 x 48.3 x 22.9 cm.)

Estimate $7, 0 0 0 - 9, 0 0 0â&#x20AC;&#x192;

144 PAUL EVANS 1931-1987 Wall-mounted “Sculpted Bronze” disc bar, model no. PE-122, 1972 Sculpted resin-covered wood, painted wood, glass. Produced for Directional, USA. 72 in. (182.9 cm.) diameter, 15 in. (38.1 cm.) deep

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Directional sales catalog, 1970s; David Rago and John Sollo, Collecting

Modern, a Guide to Midcentury Studio Furniture and Ceramics, Salt Lake City, 2001, p. 89 for a similar example; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 104 for a similar example

145 VLADIMIR KAGAN b. 1927 “Multi-position Reclining” chair and ottoman, model no. 175H, ca. 1955 Walnut, vinyl. Manufactured by Kagan Woodcraft Inc., and distributed by Kagan-Dreyfuss, Inc., USA. Underside of ottoman with fabric label “Sold by / Kagan-Dreyfuss, Inc. / Made by Kagan Woodcraft, Inc.” (2). Chair: 37 in. (94 cm.) high; ottoman: 17 x 23 1/2 x 20 1/4 in. (43.2 x 59.7 x 51.4 cm.)

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Charlotte and Peter Fiell, 50s Decorative Art, Cologne, 2000, p. 173 for a

similar example of the chair; Vladimir Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2004, p. 127 for the chair

146 OSAMU SUZUKI 1926-2001 Unique pair of horse figures, 1978 Porcelain, celadon glaze, “persimmon” glaze, wood. Each impressed with artist’s seal, the base board signed. Together with the original fitted wooden box and wrapping cloths (2). One: 13 x 8 1/2 x 7 1/2 in. (33 x 21.6 x 19.1 cm.); the other: 13 1/2 x 5 1/2 x 5 1/2 in. (34.3 x 14 x 14 cm.)

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 EXHIBITED “Sodeisha Tokyo,” Tokyo Shinjyuku Isetan department store, May 1978 LITERATURE Osamu Suzuki, Suzuki Osamu Togei Sakuhin Shu, Tokyo, 1982, illustrated

p. 94, item 125

Every son denies his father—adventure calls. He atones for the sin by bearing children of his own. Osamu Suzuki, third son of a potter, rejected the functional wares of his forbears. He settled new ground, the postwar landscape of Japanese ceramic sculpture. “A form made of clay that cannot be made on the wheel was something I had always had in mind,” he stated.1 But Suzuki was a progenitor himself; in 1948 he co-founded the Sodeisha group with a coterie of Kyoto friends, all sons of potters. Radical innovators, they turned away from canonical forms—tea-ware, bowls, cups—toward composite works, shifting planes, abstraction. By subverting vessels, Sodeisha fathered a generation of ceramists who likewise challenged the torpor of tableware. “No technique is inert or ahistorical,” wrote Edmund de Waal in 20th Century Ceramics—nor is innovation. By the 1960s, Suzuki turned for inspiration not to outmoded antique wares but to ancient ones. Named after prehistoric Jo¯mon clay figurines, his elemental forms projected totemic force. Their curt geometries and refined surfaces seemed hewn from stone—stoneware to be exact. He derived other shapes from nature and from 5th-century haniwa funerary objects, which often took animal forms. In 1967 Suzuki began a long series of abstract horse sculptures whose rectangular bodies, like closed containers on squat legs, further challenged the primacy (and fluidity) of wheel-thrown vessels. He stated, “So I thought of square or flat forms. In the beginning, I think I purposely chose shapes that were not an accumulation of circles.” To borrow from de Waal, the implied “centrifugal force of the pot on the wheel” was lost. The present horses stand stock-still. They’re hot-blooded nonetheless: legs shift, forms cant, necks flex in space. They don’t run in circles, but they may take flight. Suzuki’s ceramics are “void of function,” as Kenji Kaneko has noted, but not void of voids, the prerequisite of all vessels. Their enclosed interior spaces imply air or conversely mass, depending on one’s point of view. Regardless they hold weight or lack thereof. Suzuki denies the vessel but in doing so he alludes to it. His clay body, after all, was his father’s body. A filial devotion persists. 1. Unless otherwise noted, all citations: Kenji Kaneko, Suzuki Osamu, National Museum of Modern Art, Tokyo, 1999.

Ideographs convey ideas as opposed to words that bear the same meanings. Isamu Noguchi’s ideographic signature on the present lot combines images of sun and moon. The idea is not as clear perhaps as those conveyed by, say, &, $, or ∞, but one can guess at Noguchi’s meaning (that last symbol for infinity is a good start). Over a sixty-year career, Noguchi strove to convey ageless truths: lightness, weight, fragility, durability, chaos, calm. Lists are tedious but instructive. Noguchi’s long protean journey across mediums—wood, stone, clay, paper—had no limits. “I avoid Finality,” he wrote (The Sculpture of Isamu Noguchi, New York, 1980). But Noguchi dealt in contradictions, too. An enclosed space, his “Meditation Room” has finite boundaries. But does it? Walls blow to-and-fro in wind; the mind inside can wander. The present lot comprises hand-made mulberry bark paper, long used in the production of Japanese lanterns, and which Noguchi adopted for his Akari light sculptures in 1951. But “Meditation Room” illuminates in a different way: it glows with the light of contemplation. Commenting on another type of enclosure, Noguchi stated, “I admire the Japanese Garden because it goes beyond geometry into the metaphysics of nature, and our relationship to it: the relation of the space to nature, with man either as spectator or as participant. To me art is part of the environment…” (Isamu Noguchi, New York, 1978, p. 154) “Meditation Room” is also an inhabitable environment that calls for inspection and participation. Just think, it’s a sculpture that provokes thought and holds it.

Phillips de Pury & Company would like to thank the Noguchi Museum for their assistance cataloging this lot.

Artist’s ideograph combining sun and moon

Interior of Noguchi’s “Meditation Room” showing its copper frame and paper panels

Photo: Helaine Messer Isamu Noguchi inside one of his two Akari “Meditation Rooms.”

147 ISAMU NOGUCHI 1904-1988 Rare and important Akari “Meditation Room,” model no. 820-PC1, ca. 1975 Japanese mulberry bark paper, copper rod, rope. Produced by Ozeki Company, Gifu, Japan. One of two examples ever produced. Top of structure stamped with artist’s ideograph. 96 x 47 1/2 x 47 1/2 in. (243.8 x 120.7 x 120.7 cm.), variable drop

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 PROVENANCE Collection of the artist; Steph Simon Archives, Paris; Galerie

Downtown, Paris EXHIBITED “Japonisme,” Galerie Downtown, Paris, September – December 2002 LITERATURE “Isamu Naguchi: The Sculptor as Designer,” The Museum of Modern Art

Calendar, October 1977

The present Akari sculpture, model no. 820-PL1, is one of only two known examples ever produced. The present lot was formerly in the archive of Steph Simon whose gallery, on Boulevard St. Germain, Paris, represented the artist. The other known example is in the collection of the Noguchi Museum, Long Island City, New York. One of the two appeared in the 1977 exhibition “Noguchi: Sculptor as Designer” at the Museum of Modern Art, New York.

148 GEORGE NELSON 1908-1986 Swag-leg desk, model no. 5850, designed 1958 Walnut, chrome-plated tubular metal, plastic laminate-covered wood, painted wood, molded plastic. Manufactured by The Herman Miller Furniture Company, USA. Underside with metal plaque “George Nelson design / herman millerzeeland-michigan.” 34 1/8 x 39 1/8 x 28 1/2 in. (86.7 x 99.4 x 72.4 cm.)

Estimate $ 5 , 0 0 0 -7, 0 0 0 LITERATURE Leslie Piña, Classic Herman Miller, Atglen, 1998, p. 113 for a drawing;

Judith Thurman, “Reflecting on an Ideal,” Architectural Digest, April 2006, illustrated p. 264

149 ILMARI TAPIOVAARA 1914-1999 “Mija the Bee” floor lamp, ca. 1957 Painted tubular metal, painted aluminum, brass, cane. Manufactured by Asko, Finland. 54 3/8 in. (138 cm.) high

Estimate $12 , 0 0 0 -14 , 0 0 0 LITERATURE Pekka Korvenmaa, Ilmari Tapiovaara, Salamanca, 1997, front cover

and p. 415, figs. 407-408, and p. 195, fig. 471

150 HANS WEGNER 1914-2007 Early swivel chair, model no. JH502, ca. 1955 Teak, tubular steel, leather. Produced by cabinetmaker Johannes Hansen, Denmark. Underside with brass plaque “JOHANNES HANSEN / CABINETMAKER / COPENHAGEN DENMARK / DESIGN H. J. WEGNER.” 28 3/4 in. (73 cm.) high

Estimate $18 , 0 0 0 - 2 2 , 0 0 0 LITERATURE Johan Møller Nielson, Sitting Pretty: Wegner en Dansk Møbelkunstner,

Copenhagen, 1965, pp. 75-76 and 106-107; Jens Bernsen, Hans J. Wegner: On Design, exh. cat., Dansk Design Center, Copenhagen, 1995, p. 23; Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 119 for a later example

151 PAAVO TYNELL 1890-1973 Chandelier, 1940s Brass, painted aluminum, patinated metal. Manufactured by Taito Oy, Finland 32 3/4 in. (83.2 cm.) drop, 32 1/4 in. (81.9 cm.) diameter

Estimate $15 , 0 0 0 -17, 0 0 0â&#x20AC;&#x192; LITERATURE Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959,

Cologne, 2005, p. 396 for a similar example

152 ARNE VODDER b. 1918 Sofa, 1950s Leather, teak. Produced by Ivan Schlecter, Denmark. 31 x 48 x 26 in. (78.7 x 121.9 x 66 cm.)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0â&#x20AC;&#x192;

153 PREBEN FABRICIUS AND JØRGEN KASTHOLM 1931-1984, 1931-2007 Rare coffee table, model no. BO-551, ca. 1964 Matte chrome-plated steel, marble. Manufactured by Bo-Ex, Denmark. 17 x 55 1/8 x 30 1/8 in. (43.2 x 140 x 76.5 cm.)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 LITERATURE Jerryll Habegger and Joseph H. Osman, Sourcebook of Modern

Furniture, New York, 2005, p. 71, fig. 4-18

154 PREBEN FABRICIUS AND JØRGEN KASTHOLM 1931-1984, 1931-2007 Set of eight “Bird” armchairs, model no. FK6726, ca. 1965 Steel, leather. Manufactured by Alfred Kill International, Germany (8). Each: 43 3/4 in. (111.1 cm.) high

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 LITERATURE Alfred Kill International manufacturer’s catalog, 1970s, n.p.; Mel Byars,

The Design Encyclopedia, New York, 2004, p. 224; Jerryll Habegger and Joseph H. Osman, Sourcebook of Modern Furniture, New York, 2005, p. 96, fig. 5-8

155 ERIK GUNNAR ASPLUND 1885-1940 “Parachute” ceiling light, 1925 Painted metal, frosted glass. 20 in. (50.8 cm.) wide, 49 1/2 in. (125.7 cm.) drop

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Stuart Wrede, The Architecture of Erik Gunnar Asplund, Cambridge,

1980, p. 187

INDEX

Adnet, J. Aloi, G.

114 24

Aranda, B.

155

Asplund, E. G.

Atelier Van Lieshout

Barragán, L.

132, 133, 134

Bertoia, H. Besnard, J.

Bianconi, F.

91, 102

Bo Bardi, L.

Borsani, O.

115 21

Campana, H.

139

Kastholm, J.

153, 154

105

Klein, Y.

8, 9, 10, 13

Kuroda, T. 136

109

Ebner, D.

141

Lelli, A.

Evans, P.

140, 144

Lesêtre, H.

Llorens Artigas, J. Flynn, F.

153, 154 113

Fontana Arte Fukami, S.

7, 32, 33, 35

Giacometti, D. Grundmann, G.

70 16

Matégot, M.

McMakin, R.

Jacober, B. Jouve, G.

36, 97, 98

Mendini, A. Mollino, C.

116

Morino, H.

142 48, 49, 55

Mouille, S. Ingrand, M.

Martinuzzi, N.

Geertsen, M.

120

Myers, F.

Nakashima, G.

56, 57, 58

129, 135, 137, 138

148

Nelson, G.

26, 27

Newson, M.

147

Noguchi, I.

68, 69

Noll, A.

Offredi, G.

Panton, V.

Pergay, M.

29, 30 53, 54

Perriand, C. Ponti, G.

111, 118

Pozzi and Verga Prouvé, J.

51, 52

Rasulo, P.

Rie, L.

106

121, 122, 123, 124, 125, 126, 127, 128

Rodrigues, S. Royère, J.

59, 60

Vautrin, L. Venini

117 101

Vitrac, J.-P.

Vodder, A.

152

Vu, Y.

87 150 88, 99

Wolfson, P. M.

Mangiarotti, A. 23

100

151

Wirkkala, T.

Lust, X.

149 44, 46

Tenreiro, J.

Wegner, H.

130, 131

Gamper, M.

Hrstka, M.

Lohmann, J. Lucini, E.

143

146

Venini, P.

Lasch, C.

Fabricius, P.

37, 107, 108

85, 95

Tapiovaara, I.

Tynell, P.

5, 15

Kuramata, S. Duckworth, R.

112

Thorssen, O.

89 17

Kuenzel, I.

Scolari, G.

Tao, X.

105

Koskinen, H.

Dubourg, V.

Scarpa, T.

Suzuki, O.

145

Kakurezaki, R.

1, 2, 3

Coper, H.

82, 83, 86, 94, 103

Stearns, T.

Karlsson, B.

110

Scarpa, C.

Sottsass Jr., E.

Kagan, V.

Byung Hoon, C. Campana, F.

Sarpaneva, T.

Babled, E.

119

Sarfatti, G.

Baas, M.

Cassina

19, 20

62, 63, 64, 65, 66, 71, 72

Ruhlmann, E. J.

Woods, R.

25 43

Woodman, B. 12

Zecchin, V.

76, 77, 78, 80

Zuccheri, T.

81, 92, 104

CONTEMPORARY ART AUCTIONS NEW YORK PART I 12 NOVEMBER 2009 7pm PART II Viewing 7 – 11 November

13 NOVEMBER 2009 10am & 2pm

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com OLAFUR ELIASSON Moonlight, 2003 Estimate $100,000-150,000

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PHOTOGRAPHS AUCTION 14 NOVEMBER 2009 10am & 1pm Viewing 7 â&#x20AC;&#x201C; 13 November

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1245 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

EDWARD BURTYNSKY Shipbreaking #28, Chittagong, Bangladesh, 2001 Estimate $10,000-15,000

4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

MODERN & CONTEMPORARY EDITIONS AUCTION 15 NOVEMBER 2009 12pm Viewing 7 â&#x20AC;&#x201C; 14 November

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

Various artists, all reproductions are details.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1000. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 CONDUCT OF THE AUCTION (a) Unless otherwise indicated by the symbol each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reoffer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within five days of the date of the auction. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of

such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. 10 RESCISSION BY PHILLIPS de PURY & COMPANY Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale. 11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. 12 CLIENT INFORMATION In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number. 13 LIMITATION OF LIABILITY (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for

Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 LAW AND JURISDICTION (a) ThThe rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that

none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

PHILLIPS de PURY & COMPANY

Chairman

Senior Partners

Advisory Board

Simon de Pury

Michael McGinnis

Maria Bell

Dr. Michaela Neumeister

Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Partners

Lapo Elkann

Aileen Agopian

Ben Elliot

Sean Cleary

Lady Elena Foster

Alexander Payne

H.I.H. Francesca von Habsburg

Rodman Primack

Marc Jacobs

Olivier Vrankenne

Malcolm McLaren

Tiffany Wood

Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria vonThurn undTaxis Jean Michel Wilmotte Anita Zabludowicz

WORLDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street NewYork NY 10011 USA

C/O Pro First 15 Rue de la Paix 75002 Paris France

Auguststrasse 19 10117 Berlin Germany

+1 212 940 1200 +1 212 924 5403 fax

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

+49 30 880 018 42 +49 30 880 018 43 fax

LONDON

MUNICH

GENEVA

Howick Place London SW1P 1BB United Kingdom

Maximiliansplatz 12a 80333 Munich Germany

23, quai des Bergues 1201 Geneva Switzerland

+44 20 7318 4010 +44 20 7318 4011 fax

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

+41 22 906 80 00 +41 22 906 80 01 fax

SPECIALIST AND SERVICE DEPARTMENTS

CONTEMPORARY ART NEW YORK

Michael McGinnis, Worldwide Director +1 212 940 1254 Aileen Agopian, New York Director +1 212 940 1255

Jean-Michel Placent

Timothy Malyk

Chin-Chin Yap

Sarah Mudge, Head of Part II, New York

Roxana Bruno

Sara Davidson

Maria Bueno

Peter Flores

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Jannah Greenblatt

+1 212 940 1332

Joy Deibert

+1 212 940 1333

JEWELRY NEW YORK Nazgol Jahan, Worldwide Director

+1 212 940 1283

Carmela Manoli

+1 212 940 1302

+1 212 940 1223 +1 212 940 1288

Heather Zises

+1 212 940 1290

+1 212 940 1303 LONDON

Carolin Bulgari

+41 22 906 80 00

Veronica Lota

+41 22 906 80 05

(Uli) Zhiheng Huang

+1 212 940 1262 +1 212 940 1261

Eugenia Ballvé

Anthony McNerney, Head of Evening Sale, London

Peter Sumner, Head of Day Sale, London

4067 +44 20 7318 4063 +44 20 7318

Laetitia Catoir

+44 20 7318 4064

Silke Taprogge

+44 20 7318 4012

Ivgenia Naiman

Fiona Biberstein

Siobhan O’Connor

Catherine Higgs

+44 20 7318 4071 +44 20 7318 4013 +44 20 7318 4093 4089 +44 20 7318 +44 20 7318 4078 +44 20 7318 4065 +44 20 7318 4085 +44 20 7318 4070

Raphael Lepine

Tanya Tikhnenko

Sarah Buchwald

Phillippa Willison

GENEVA

LONDON Lane McLean

+44 20 7318 4032

THEME SALES Tiffany Wood, Worldwide Director NEW Corey Barr, New York Manager Anne Huntington Stephanie Max Steve Agin, Consultant

+49 30 880 018 42 YORK +1 212 940 1234 +1 212 940 1210 +1 212 940 1301 +1 908 475 1796

LONDON

DESIGN

Tobias Sirtl, London Manager

+44 20 7318 4095

NEW YORK

Arianna Jacobs

+44 20 7318 4054

George O’Dell

+44 20 7318 4040

Marcus Tremonto

+1 212 940 1268

Alex Heminway, New York Director

Tara DeWitt

Meaghan Roddy

+1 212 940 1269 +1 212 940 1265 +1 212 940 1266

Stephanie Abraitis

+1 212 940 1268

LONDON Alexander Payne, Worldwide Director

4052 +44 20 7318

Ben Williams

Domenico Raimondo

Ellen Stelter

+44 20 7318 4027 +44 20 7318 4016 +44 20 7318 4021

Marcus McDonald

+44 20 7318 4014

+1 212 940 1250 +1 212 940 1259 +1 212 940 1229

+1 212 940 1263 +1 212 940 1258

MODERN AND CONTEMPORARY EDITIONS NEW YORK

CHAIRMAN LONDON Rodman Primack +44 20 7318 4017 MANAGING DIRECTORS Finn Dombernowsky, London +44 20 7318 4034 Charlie Horne, New York +1 212 940 1292 PRIVATE SALES Christina Scheublein +1 212 940 1248

PARIS Johanna Frydman

+33 1 42 78 67 77

PHOTOGRAPHS

INTERNATIONAL SPECIALISTS AND REPRESENTATIVES

NEW YORK

Vanessa Kramer, New York Director

+ 1 212 940 1243

Shlomi Rabi

+ 1 212 940 1246

Caroline Shea

+ 1 212 940 1247

Paris Leonie Moschner +33 6 85 53 92 03

Sarah Krueger

+ 1 212 940 1245

London Ivgenia Naiman +44 20 7318 4071

Charlie Scheips, International Consulting Director

+ 1 212 940 1245

Carol Ehlers, Consultant

+ 1 212 940 1245

LONDON

Berlin & Munich Dr. Michaela Neumeister +49 89 238 88 48 10 Brussels & Paris Olivier Vrankenne +32 486 43 43 44

Brooke de Ocampo +44 777 551 7060 Los Angeles Mimi Won Techentin +1 310 600 9192 Maya McLaughlin +1 323 791 1771 Milan Laura Garbarino +39 339 478 9671

Lou Proud

4018 +44 20 7318

Sebastien Montabonel

4025 +44 20 7318

Eugenia Bertelè +39 02 3669 5895

Alexandra Bibby

4087 +44 20 7318

Moscow Svetlana Marich +7 495 225 88 22

Helen Hayman

4092 +44 20 7318

Shanghai/Beijing Jeremy Wingfield +86 135 0118 2804

SALE INFORMATION

AUCTION Saturday November 14 2009 at 4pm VIEWING Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 6pm Friday 13 November 10am – 6pm AUCTION LOCATION 450 West 15 Street New York NY 10011 SALE DESIGNATION In sending written bids or making inquiries please refer to this sale as NY050209

CLIENT ACCOUNTING Sylvia Leitao +1 212 940 1231 Buyers Accounts Nicole Rodriguez +1 212 940 1235 Seller Accounts Barbara Doupal +1 212 940 1232 Nadia Somwaru +1 212 940 1280 CLIENT SERVICES +1 212 940 1200 SHIPPING Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372 PRINCIPAL AUCTIONEER Simon de Pury 0874341

INTERNATIONAL CONSULTANT Marcus Tremonto +1 212 940 1268

AUCTIONEERS Aileen Agopian 1199037 Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK

DIRECTOR NEW YORK Alex Heminway +1 212 940 1269

PHOTOGRAPHY Clint Blowers, Byron Slater, Peter Hepplewhite

SPECIALISTS Tara DeWitt +1 212 940 1265 Meaghan Roddy +1 212 940 1266 Ben Williams London +44 20 7318 4027 Domenico Raimondo London +44 20 7318 4026 Ellen Stelter London +44 20 7318 4021 Johanna Frydman Paris +33 1 42 78 67 77

SELECTED ESSAYS Alex Heminway

WORLDWIDE DIRECTOR Alexander Payne +1 212 940 1267 London +44 20 7318 4052

E-MAIL ADDRESSES All Phillips de Pury & Company e-mails are first initial and last name @phillipsdepury.com (e.g. apayne@phillipsdepury.com) www.phillipsdepury.com

ADMINISTRATORS Stephanie Abraitis +1 212 940 1268 Marcus McDonald London +44 20 7318 4014 PROPERTY MANAGERS Matt Tackett +1 212 940 1364 Oliver Gottschalk London +44 20 7318 4038

Please note that all lots are offered and sold subject to (i) the StandardTerms and Conditions, and (ii) Special Terms and Conditions applicable to this sale as described within this sale catalogue. The Standard Terms and Conditions and Special Terms and Conditions should be fully read and understood prior to bidding at the auction. All lots are sold “AS-IS.” All lots are offered subject to a reserve unless otherwise indicated.

CATALOGUES Allyson Melchor + 44 20 7318 4039 + 1 212 940 1240 Catalogues $60 at the Gallery/£30 catalogues@phillipsdepury.com ABSENTEE AND TELEPHONE BIDS Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax bids@phillipsdepury.com

Front Cover Shiro Kuramata, “Acrylic Stool,” 1990, Lot 5 (detail) Inside Front Cover Forrest Myers, Unique “Red Cube,” 2007, Lot 11 (detail) Title Page Isamu Noguchi, Rare and important Akari “Meditation Room,” model no. 820-PC1, ca. 1975, Lot 147 (detail) Inside Back Cover Jean Royère, Rare and important pair of “Boule” armchairs, ca. 1942, Lot 66 (detail) Back Cover Vittorio Zecchin, Rare “Biansato” colored glass vase, 1925-1930, Lot 76

Inside Back Cover Jean Royère, Rare and important pair of “Boule” armchairs, ca. 1942, Lot 66 (detail) Back Cover Vittorio Zecchin, Rare “Biansato” colored glass vase, 1925-1930, Lot 76

DESIGN 14 NOVEMBER 2009 N EW YOR K

DE SIGN 14

NY0 5 0 2 0 9

W W W. P H I L L I P S D E P U RY.C O M

NOVEMBER

2009

NEW YORK