Modern Design by Webb's Auction House

modern design: Line & form

Catalogue 363 16 October 2013

Inside NZ’s most inspiring homes. design directions NEW APPROACHES TO AMAZING SPACES A SOLAR-POWERED HAWKE’S BAY BACH AN AUCKLAND VILLA TRANSFORMATION CHRISTCHURCH’S CARDBOARD CATHEDRAL

New Zealand’s art, architecture, design and interiors magazine.

FRESH TAKES ON BATHROOM DESIGN

WEBB’S

modern design line & form Sale 363

Wednesday 16 October 2013, 7.30pm

Preview Thur 10 Oct �� 5.30 – 7.30pm

viewing Fri 11 Oct �� 9.00am – 5.30pm Sat 12 - Sun 13 Oct ��11.00am – 3.00pm Mon 14 - Tues 15 Oct �� 9.00am – 5.30pm Wed 16 Oct ��9.00am – 12.00 noon

Foreword 2 - 3 �� The Modern World 4 - 5 ��Modern Design - Line & Form 6 - 7 �� Modern Design in New Zealand

The Catalogue 10 - 31 ��Modern Design 32 �� Conditions of Sale for Buyers

Webb’s Auction House. 18 Manukau Road, Newmarket, Auckland 1149, New Zealand Ph: 09 524 6804 E:auctions@webbs.co.nz W: www.webbs.co.nz Buyers Premium. A buyer’s premium of 15% will be charged on all items in this sale. GST (15%) is payable on the buyer’s premium only.

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modern design

Modern Design Market Brief. International trends in modern design illustrate a healthy and rapidly growing market, together with an increased appreciation for good design. As the pioneers who paved this road are rediscovered and celebrated, seasoned collectors continue to seek out the key pieces that define an era, from the work of early innovators such as Charles and Ray Eames through to the contemporary flair of Philippe Starck. New entrants to the market are also enamoured by the optimistic forms and contemporary relevance of modern design. These buyers are often looking for a statement piece that will compliment and add character to an interior. The clean lines and lightness of form inherent in mid century modern elevate any contemporary interior setting. Increasing demand has fuelled higher prices across the spectrum of modern design. It has also created a strong investment market for original key pieces. Early examples of modern classics along with more glamorous high end offerings have seen consistent increases in secondary market prices. These are followed closely by rare and celebrated pieces from New Zealand designers. The increased demand for the work of local designers such as Garth Chester or Bob Roukema, shows a growing respect and appreciation of the talent that exists in this creative country. A big thanks to Dan & Emma Eagle of Mr. Bigglesworthy for their passion and input. Josh Williams Webb’s Modern Design Specialist

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Nanette Cameron: Master of Craft Nanette Cameron: Objectspace Master of Craft recognises the achievements and legacy of a woman who has played a seminal role in interior design in New Zealand. For over 40 years, Nanette has inspired and empowered thousands of women by introducing them to art and design through the Nanette Cameron School of Interior Design. Her passion and influence are still vibrant today and she continues to travel and teach. Nanette Cameron established the first interior design school in New Zealand, before the introduction of interior design as a course of study in tertiary organisations. As well as an educator, she has been a practitioner, advocate and commentator on interior design, and an influential conduit between interior design and the worlds of architecture and the visual arts. Dr Rachel Carley, a senior lecturer in Design and Visual Arts at Unitec, writes: “Her contribution to a constellation of creative practices over a 47-plus-year career is substantial”. The focus of the exhibition is a room, designed by Nanette Cameron, which is a testament to the values and sensibility of her teaching. It includes works from her private collection and new works chosen for the installation.

What Nanette Cameron: Objectspace Master of Craft Where Objectspace, 8 Ponsonby Road, Auckland When 18 October – 17 December 2013 Gallery hours Monday – Saturday, 10.00am – 5.00pm. Cost Free.

Restaurant & Bar Design Award Winners 2013 Now in its fifth year, the Restaurant & Bar Design Awards attracted 670 entries from 61 countries in 2013 with a short list of 190 projects from some of the world’s leading architects, interior designers and hospitality operators making the cut. The overall winners are: Höst, a restaurant in Denmark designed by Norm Architects, named the bestlooking restaurant in the world; and London’s Atrium Champagne Bar, designed by Foster and Partners, named the best bar. The winners, chosen by a panel of judges that included head of visual design at Harvey Nichols, Janet Wardley, Moooi founder Casper Vissers, and restaurant critic for The Times, Giles Coren, were announced in London on 12 September along with 25 category winners. The finalists included a handful of Auckland hot spots, all of which should find themselves on a list of places to dine. Cheshire Architect’s Milse in Auckland’s Britomart was a finalist in the Australia & Pacific restaurant category. Libertine,

Illustrated: Atrium Champagne Bar (London), Winner Best Bar at the Restaurant & Bar Design awards by Foster + Partners

designed by Pack & Company’s creative director Sam Ansley, was short-listed in the Australia & Pacific bar category. Other New Zealand finalists included Little Nuffield by Material Creative, BinBin Deluxe by Lovelace & Co. and The Matakana-Village Pub by Peter Were Architecture & Interiors.

WEBB’S

THE BEST AWARDS An initiative of The Designers Institute of New Zealand, The Best Design Awards is the annual showcase of excellence in graphic, spatial, product and interactive design.

New Zealand’s Best Spatial Design Finalist – Studio Pacific Architecture for the Royal Society of New Zealand.

What The Best Design Awards 2013

Entries judged Best in each category are awarded the Gold Pin, whilst the very best project in each discipline will be awarded the supreme Purple Pin for work that raises the bar of New Zealand design. The highest accolade given by The Designers Institute – the John Britten Black Pin – will be awarded to an individual for their leadership, vision and achievement both here and internationally. The Designers Institute of New Zealand Black Pin for Outstanding

When Friday, 11 October Ticket sales close 7 October Awards night 11 October – winners announced online the following day Achievement will be awarded to a member of the Institute who has made a lasting and valuable

contribution to the design profession and design culture in New Zealand.

Where Viaduct Events Centre, 161 Halsey Street, Auckland

The Form Forum – Retail Futures

CreativeMornings Started in 2008 by Tina Roth Eisenberg (Swissmiss), CreativeMornings was born out of a desire for an ongoing, accessible event for New York’s creative community. The concept was simple: breakfast and a short talk one Friday morning each month. Every event would be free of charge and open to anyone. Today, attendees gather in cities around the world to enjoy fresh coffee, friendly people and an international array of breakfast foods.

If awards dinners aren’t your cup of tea then perhaps you would prefer bubbles? ‘The Form Forum – Retail Futures’ is a new event, to be held in Auckland at the Viaduct Events Centre on Friday 11 October 2013, at which each guest will be greeted with a glass of bubbles on arrival. This event will act as a kind of precursor to The Best Awards and its focus will be on presentations exploring the evolving and pivotal role that design plays in the transformation of retail and will feature a line up of interesting speakers including Nat Cheshire from Cheshire Architects (pictured). Part of the event is a unique product exhibition from leading brands for architects and spatial design professionals. This is an opportunity for people to have an intimate look at leading industry design goods used by professionals. This is an event to inspire and improve technical expertise; tickets are available from Eventbrite.

Auckland speakers range from Sarah and Otis Frizzell at Lucky Taco to Nat Cheshire from Cheshire Architects and include an interesting mix of designers, photographers, curators, artists and general creative types. No matter what city you’re in around the world, you can pop onto creativemornings.com to see what talk is going on, where and when to meet and discuss design ideas, and information about happenings. Anyone can attend. Just register beforehand to reserve your spot: www.creativemornings.com CATALOGUE 363

Modern Design Line & Form modern design

in association with

Good design will always be relevant. It has the power to create a better world and transform everyday objects into inspired statements of form, function and beauty. 4

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WEBB’S

The collection featured here, ‘Line and Form’, is a celebration of modern design across a landscape of time, place and materials. In particular, we celebrate the modern design ethic captured by the forward-focused architects and designers of the 20th century who embraced functionality over frivolous decoration and whose work has inspired a new generation of contemporary designers and collectors. This collection showcases coveted design icons from the late 1940s through to the 1970s, when the modernist movement began to evolve into postmodernism. We have chosen objects that inspire, excite and challenge the concepts of modern design.

The Line and Form collection includes items sourced from the key design centres of the mid-20th century, America and Scandinavia, as well as select British, Australian and New Zealand designs. Highlights include a superb collection of vintage American pieces from the darlings of modern design, Charles and Ray Eames. On offer is a rare piece of early Eames design history, Lot 369, a 1940s’ leg splint manufactured by Evans Products. During World War II, the US Navy called upon Charles and Ray Eames to create a lightweight, inexpensive leg splint. The resulting design is a highly sculptural yet functional device that could be mass produced and, being modular, conveniently and inexpensively transported. Access to military technology and manufacturing facilities allowed the Eames to perfect their technique for moulding plywood, on which they had been working for several years and assisted in the development and evolution of their subsequent, highly influential plywood and fibreglass furniture designs. The sale features key pieces from their creative peak, including dining and lounge armchairs (DAX and LAX), rocking armchair (RAR), early lounge chairs with metal bases (LAM) and the rare-to-New Zealand cherry veneer room divider, all manufactured by Herman Miller. The name Herman Miller has become synonymous with ‘modern’ furniture. Established in 1923, the Michiganbased company successfully partnered with some of the leading design heavyweights of the 20th century including Eames, Noguchi and George Nelson to create a catalogue of industrial design classics. Other American designers of note featured in this sale are Milo Baughman and Adrian Pearsall. Baughman was a mid-century ‘gun for hire’ designer with a series of successful design collaborations

with leading furniture manufacturers, such as Drexel, Murray Furniture of Winchendon and Glenn of California, where his use of walnut, iron and Formica helped establish a distinctive Los Angeles style. But it was his longtime association with makers Thayer Coggin that cemented his reputation as a design leader. His elegant mix of burr walnut, chrome and plush styling took art deco influences and updated them in a distinguished and contemporary manner. Pearsall was educated as an architect and was a prolific and daring designer whose work brought high style to the masses. He is credited with the creation of the long, low gondola sofas, free-form walnut and glass tables, and the popularisation of the ubiquitous beanbag. The auction features a very strong offering of Danish design. The Danish design movement is characterised by a minimalist, organic functionality inspired by the progressive German Bauhaus school and a rich heritage of traditional craftsmanship. The movement was led by a roll call of design heroes, Finn Juhl, Hans Wegner, Arne Jacobsen, Borge Mogensen, Poul Kjaerholm, Alvar Aalto and Ib Kofod Larsen amongst others; they were the leading creative forces behind the emergence of the mid-century modernist design movement. It is particularly exciting to have a pair of early Poul Kjaerholm PK22 chairs by E Kold Christensen; the design of these chairs predates the Fritz Hansen production and was a bold departure from the traditional Danish use of wood with its inspiration in Mies van der Rohe’s Barcelona chairs. Another Danish design great featured in the auction is Ib Kofod Larsen who was also a key influence in the success of the British design company G Plan and his Model 22 sideboard is one of the finest pieces of mid-century furniture to be offered on the New Zealand market.

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modern design

modern design in

Image Design for Living Brochure

new zealand

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WEBB’S

Casting an eye over New Zealand’s interior design scene, it’s hard to ignore the massive impact that all things mid-century are having in shaping the way we design, decorate and interact within our homes. Throughout the country, Californianinspired architectural homes are popping up with increasing frequency. Beloved bungalows, villas and cottages are being renovated, their makeovers incorporating fresh designs, open-plan kitchens and social spaces far removed from the original vision of the colonial home builder. We need to look back only a generation or two to see how New Zealand interior fashion came to be influenced and shaped, and this has led to the current style of home we enjoy today. In the late 1930s and ’40s, progressive architectural and design ideology seeped into the country through influential magazines such as Home and Building and Design Review, and through immigrant European architects, designers and craftsmen. The modernist outlook they introduced rejected decoration in favour of functionalism and aimed to reflect modern ways of living with an increasing emphasis on informality. This happened to coincide with the economic crisis of the 1930s where a Labour-led government introduced foreign exchange controls and import licensing regulations which were supposed to be temporary but remained in place for 50 years. This created a limited availability for modernist furniture in New Zealand. During this period, local manufacturing

proliferated and broadened. Furniture companies like Backhouse, Danske Mobler (still operating today), Jon Jansen and Helen Hitchings, through licensing deals, and inspired designers like Bob Roukema, Olaf Svendsen and Garth Chester began to produce elegant Scandinavian-style furniture. In the 1960s, a new generation of home buyers, influenced by film, television and the visual arts, was looking to break away from their parents’ era and establish modernist interiors reflecting their optimistic outlook with a greater awareness of local identity. This style soon evolved into ‘pan-Pacific modernism’, which incorporated more colour, vibrant textiles, pottery and glass, interior planting and indooroutdoor flow; it was influenced by local culture, as well as by Japan, East Coast United States, Australia and the Pacific Islands. By the mid-1960s, modernism was mainstream in New Zealand. Since that time, New Zealand has seen many fluctuating interior design trends capture the public imagination, including new colonial, Pasifika and postmodernism but it appears that pan-Pacific modernism, with its ability to capture the contemporary New Zealand identity combined with the enduring nature of mid-century design ideals, is what best captures the heart of contemporary home-owners. From the success of Webb’s last modern design auction, it was obvious that New Zealand’s love affair with mid-century design continues to be as strong as it ever was. As the pioneers who paved this road are rediscovered and celebrated, seasoned collectors continue to seek out the key pieces that defined this era. The Line and Form sale is proud to present many select pieces of furniture that were the inspiration of, or were inspired by, our local designers. Reference: At Home - A Century of New Zealand Design by Douglas Lloyd-Jenkins

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300

301

302

303

300 A Pair of Charles & Ray Eames DAX Armchairs by Herman Miller Estimate $1,300 - $1,500 303 A Pair of Early Charles & Ray Eames Aluminium Group Chairs by Herman Miller Estimate $1,800 - $2,400

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301 A Set of Six Grant Featherston Contour Dining Chairs Estimate $5,000 - $6,000 304 An Arne Vodder Attributed Teak Executive Desk H735 W1550 D685mm Estimate $1,800 - $2,200

302 A Pair of Charles & Ray Eames LAX Armchairs by Herman Miller Estimate $1,300 - $1,500 305 A George Nelson Walnut Sideboard by Herman Miller H780 W1255 D470mm Estimate $3,500 - $4,500

304

306 A Tall Murano Red Sommerso Glass Vase H245mm Estimate $150 - $220

307 A West German Carstens Studio Pottery Vase H255mm Estimate $80 - $120

308 A Small West German Studio Pottery Jug H155mm Estimate $50 - $80

305

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309

309 A Vintage Scandinavian Rosewood Leather & Chrome Sofa H750 W1720 D660mm Estimate $1,800 - $2,500 312 A Pair of Danish NR8 Teak Armchairs by Helge Sibast Estimate $2,000 - $2,500

310

310 A Teak Astro Coffee Table by G-Plan H460 D835mm

Estimate $1,800 - $2,200

Estimate $650 - $850

313 A Milo Baughman Burr Maple & Chrome Consol Table H740 W1575 D450mm

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314 A Walnut Credenza by American of Martinsville H770 W1780 D460mm Estimate $1,800 - $2,200

Estimate $1,500 - $1,800

311

313 312

311 A Brasilia Walnut Dresser by Broyhill H790 W1680 D485mm

315

314

315 A Poul Henningsen PH5 Pendant Light D500mm Estimate $900 - $1,200 316 A Jerry Johnson Arcadia Armchair and Footstool Estimate $1,000 - $1,500 317 A Tove & Edvard Kindt-Larsen Model 503 Teak Coffee Table by France & Son H460 W1200 D515mm Estimate $800 - $1,200

316

318 A Pair of Egon Eierman Teak SE18 Folding Chairs Estimate $1,200 - $1,600

320

317

318

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319

319 An Early Charles & Ray Eames RAR Rocking Chair by Herman Miller Estimate $1,800 - $2,400

The RAR Rocker, formally known as the Rocking Armchair Rod, was Charles and Ray Eames first commercial success. The prototype was designed for the Museum of Modern Art’s (MoMA) ‘International Competition for Low-Cost Furniture Design’ in 1948, where it won first prize. It is now widely recognised as one of the defining classics of modern design. This iconic offering is deceptively simple and a brilliant example of the refined, playful and highly functional furniture designed by the Eames’. The prototype started out with a metal seat but by 1950 the chair was ready for mass production utilising fibreglass, a material developed

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during the war to reinforce plastic on radar domes for aeroplanes. With its organic shell and integrated armrests, the RAR was an instant hit with a generation of style conscious baby boomers. New mothers nursing their babies were especially susceptible to the sleek curves and advanced comfort. Even after the design was discontinued in 1968, manufacturer Herman Miller would give one as a gift to every employee who became a parent. This early model dates from 1951 – 53 and retains the original red rectangular Herman Miller label to its base.

320

321

320 A Pair of Jerry Johnson Teak Sling Chairs Estimate $3,400 - $3,800

322 A Vintage Italian Chrome Floor Lamp by Peggiani H1800mm Estimate $300 - $500 324 A West German Karlsruhe Blue Studio Pottery Vase H270mm Estimate $80 - $120

321 A First Edition Collection Walnut Dresser by Lane H790 W1525 D455mm Estimate $1,600 - $1,800 323 A West German Lava Glaze Studio Pottery Jug H275mm Estimate $80 - $120 325 A Murano Blue Sommerso Vase H226mm Estimate $150 - $220

322

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326

326 A Set of Four Vernor Panton 123 Dining Chairs by Verpan

327 A Vintage American Table Lamp H700mm

Estimate $2,000 - $2,400

Estimate $400 - $600

328

327

330 329

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328 An Alvar Aalto Model 43 Birch Lounger by Artek Estimate $2,200 - $2,600

331

329 A Vintage Station Clock by Gent of Leicester D670mm Estimate $1,000 - $1,500 332 A Rosewood Hi Boy Chest of Drawers by Westnofa H1125 W1220 D450mm Estimate $1,200 - $1,600

330 An Ingmar Relling Rosewood & Leather Siesta Chair by Westnofa Estimate $1,200 - $1,600

333 A Vintage Rosewood Sideboard by Backhouse H815 W1495 D455mm Estimate $1,800 - $2,200

331 A Sigurd Resell Attributed Leather Lounge Suite by Vatne Mobler H800 W2010 D800mm Estimate $4,000 - $6,000 334 A Vintage French Jielde Articulated Floor Lamp Estimate $1,200 - $1,600

332

333 334

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335

336

335 A Pair of 1940â&#x20AC;&#x2122;s New Zealand Architect Designed Chairs Estimate $2,400 - $2,800

337 A Vintage Qantas New Zealand Tiki Poster H1000 W635mm Estimate $300 - $600

Estimate $2,200 - $2,600 338 A Vintage David Klein TWA Fly St. Louis Poster H1010 W635mm Estimate $600 - $800

338

337

339 A Vintage David Klein TWA Fly Chicago Poster H1010 W635mm Estimate $600 - $800 341 A Vintage David Klein TWA Fly Egypt Poster H1010 W635mm Estimate $500 - $700 339

336 A Lawrence Peabody Zebrawood Sideboard H760 W1450 D500mm

340

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340 A Vintage David Klein TWA Fly Florida Poster H1010 W635mm Estimate $750 - $900 342 A Vintage American Chrome Floor Lamp H1440mm Estimate $500 - $700

343

343 A Geoffery Harcourt F590 Lounge Chair by Artifort Estimate $2,400 - $2,800

With a name derived from the Latin word ‘ars’ meaning art or knowledge, and ‘fortis’ meaning strong or powerful, the Dutch furniture company Artifort was always destined for greatness. In the mid-20th century Artifort and its striking furniture designs rose to international prominence. Their collaboration with leading designers and a focus on innovation, led to the production of some of the most iconic furniture of the modern era. In the 1960s, French designer Pierre Paulin’s work for Artifort defined the pop

era with wild colours, striking forms and organic design. Succeeding Paulin, in the 70s British designer Geoffrey Harcourt’s work took the company in a new design direction. Harcourt trained at the Royal College of Art in London. In 1967, he designed a series of swivel armchairs with trumpet bases for Artifort that became an instant worldwide success. The design featured a shell like seat which was large enough to curl up in, epitomising Harcourt’s philosophy that “the chair should focus on the person, and not the other way around.”

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344 A George Mulhauser Mr. Chair & Ottoman by Plycraft Estimate $1,800 - $2,400 345 A Teak Sideboard by American of Martinsville H630 W1980 D480mm Estimate $1,200 - $1,800 346 A Lawrence Peabody Walnut Bench by Richardson Nemschoff H386 W1525 D485mm

344

Estimate $1,350 - $1,600 347 A Pair of Chromecraft Swivel Armchairs the green vinyl with faults. Estimate $1,800 - $2,200 350 A Murano Green Sommerso Vase H175mm Estimate $100 - $150

348 A Large West German Karlsruhe Studio Pottery Vase H520mm Estimate $180 - $220

Estimate $150 - $180

351 A Murano Blue Sommerso Bowl H60 W188mm Estimate $80 - $120

346

347

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352 A C. Jere Brass Birds in Flight Wall Sculpture L570 W1200mm Estimate $1,400 - $1,800

345

349 A West German Scheurich Studio Pottery Vase H415mm

359

361

362

360

359 A Vintage Pop Art Chandelier H600mm Estimate $750 -$950

362 A Set of Three Vintage Herbert Krenchel Graduated Bowls by Krenit D255mm

360 A Paolo Rizzato Wall Lamp by Arteluce Estimate $900 - $1,200

Estimate $350 - $550

363 A Hadril & Horstmann Pluslite Lamp Estimate $400 - $500

365 A Set of Eight Niels Otto Moller Dining Chairs by J. L Moller Estimate $5,000 - $6,000

363 364

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364 A Charles Pollock Black Leather Executive Chair Estimate $600 - $800

Estimate $200 - $400

361 Two George Nelson Supersized Cast Iron Jacks H120mm

373

373 A Bob Roukema Contour Chair by Jon Jansen Estimate $2,500 - $4,000

Bob Roukema’s Contour chair for high end contemporary design store Jon Jansen marks a high point in New Zealand design history. It is one of the most sought after chairs for both seasoned collectors and mid-century design enthusiasts alike. Lavish curves and form like a stealthfighter plane combine to create one of New Zealand’s most inspired mid-century chairs. This piece channels its design cues from Australian designer Grant

Featherston’s ground breaking Contour series but manages to transcend the original design with its sharp, exuberant silhouette. The Contour chairs were made in limited quantities but few of these survive due to the design of the hyper extended hind legs. These could easily be damaged if not treated carefully and many examples were discarded before the recent renaissance of mid-century design.

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366

366 A Paul McCobb Model 8705 Travertine Plateau Coffee Table by Directional H400 W1420 D760mm Estimate $1,800 - $2,200

Paul McCobb is one of the pivotal mid-century designers responsible for creating a uniquely American aesthetic. His inspired designs capitalised on the huge post-war need for stylish and affordable furniture to fit the informal and quickly changing lifestyles of the period. In his words “Design appeal is based on integrity of form, simplicity of line, and true organic function.” McCobb trained as a fine artist but never completed his studies. After serving in WW2 he moved to New York and despite a lack of formal design training established his own industrial design company. By the mid-1950s, McCobb had become one of the

most influential designers of the era. He was the recipient of MoMA’s Good Design Award five times between 1950 and 1955 as well as of the Philadelphia Museum of Arts’ Contribution to Better Design Award in 1959. Although a contemporary of other wellknown furniture designers such as Charles Eames and George Nelson, an early death prevented similar professional recognition during his lifetime. McCobbs work has recently been rediscovered and is highly coveted by collectors of modern design, this has been heightened by international investments from celebrities such as Paul McCartney.

365

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367 369

368

370

367 A Vintage German Station Clock by Telefonbau & Normalzeit D600mm

371

Estimate $2,000 - $2,500 368 A Vintage Poul Kjaerholm PK22 Leather Chair by E. Kold Cristiansen Estimate $3,000 - $5,000 371 A Vintage Poul Kjaerholm PK61 Slate Coffee Table by E. Kold Cristiansen H325 W700 D700mm Estimate $2,000 - $3,000

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369 A Vintage Poul Kjaerholm PK22 Leather Chair by E. Kold Cristiansen Estimate $3,000 - $5,000 372 A WWII Charles & Ray Eames Plywood Leg Split by Evans Products L1070mm Estimate $750 - $1,000

370 A Set of Six Verner Panton White S Chairs by Vitra Estimate $1,800 - $2,200 372A A Vintage Inlaid Coffee Table by Lane H365 W810 D810 Estimate $300 - $500

373

373 A Bob Roukema Contour Chair by Jon Jansen Estimate $2,500 - $4,000

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375

374

374 A Milo Baughman Style Tub Chair Estimate $2,200 - $2,800

375 A Charles & Ray Eames La Fonda Coffee Table by Herman Miller H450 D760mm Estimate $1,350 - $1,600

377 A Sheryl Annesley-Smith Wool Dune Rug by Loom Design L3000 W2000mm Estimate $1,300 - $1,800 380 An Unusual Vintage Chrome and Glass Wall Light consisting of thirteen tiered oblique downlit lamps. H840 W360 D100mm Estimate $600 - $800 383 Jonathan Glancey - Modern Interiors Design Book Estimate $20 - $40

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Estimate $750 - $1,000 381 A West German Lava Glaze Studio Pottery Vase H410mm Estimate $100 - $180

384 A West German Karlsruhe Blue Studio Pottery Jug H340mm Estimate $100 - $180

376

378 A Sheryl Annesley-Smith Wool Dune Rug by Loom Design L2250 W1500mm

376 A Rosewood Chest of Drawers by Westnofa H710 W1720 D460mm Estimate $1,800 - $2,200

379 A Large West German Karlsruhe Studio Pottery Vase H400mm Estimate $100 - $180 382 A Giant Pop Art Metal Can Opener L1200mm Estimate $850 - $1,000

385 A Brass Globe Adjustable Table Light H230mm Estimate $150 - $200

388

387

386 A Vintage Bullet Floor Lamp H1520mm Estimate $600 - $800 386

388 A Verner Panton White Onion Lamp by Verpan H700mm Estimate $1,200 - $1,500 391 A German Dribble Glaze Lobed Open Vase H185mm Estimate $60 - $80

387 A Hans Wegner Soaped Maple Valet Chair by P.P. Mobler with makers mark, 2006. Restored back rest. Estimate $1,000 - $2,000

389 A Pair of Warren Church Perception Side Tables by Lane H500 W555 D760mm Estimate $1,200 - $1,400 392 Die Gesiba - Viennese Social Housing Study Book Estimate $20 - $40

390 A Brasilia Walnut Magna Dresser by Broyhill H1100 W1370 D480mm Estimate $1,800 - $2,200 393 A Kees Hos 1964 Lithograph â&#x20AC;&#x2DC;Concept - Perceptâ&#x20AC;&#x2122; H500 W345mm Estimate $100 - $300

389

390

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394

394 A Pair of Kristian Vedel Attributed Teak Modus Chairs Estimate $1,800 - $2,200

397 A C. Jere Brass Bus Stop Wall Hanging H700 W480 D120mm Estimate $500 -$700

395

395 A BMF Nagel Chrome Modular Candelabra H390mm Estimate $1,000 - $1,200 398 A Sheryl Annesley-Smith Wool Hill Rug by Loom Design L2400 W1800mm Estimate $1,000 - $1,500

396 A Kent Coffey Perspecta Walnut Chest of Drawers H790 W1630 D500mm Estimate $1,800 - $2,200 399 Wolfgang Wersin - Vom Adel Der Form Zum Reinen Raum Book the nobility of the form to the pure space.â&#x20AC;&#x2122; Origins of Viennese Workstadt 1962. Estimate $20 - $40

400 A Vintage Ceramic Stylised Tribal Figure Table Lamp H800mm Estimate $450 - $600

401 A Set of Four Cramer Industries Adjustable Chairs Estimate $900 - 1,200

402 A Set of Four Cramer Industries Adjustable Chairs Estimate $900 - 1,200

396 401

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403

403 An Ib Kofod Larsen Model 66 Rosewood Sideboard by Faarup H770 W2300 D495mm Estimate $7,000 - $9,000

Ib Kofod Larsen’s devotion to refined minimalism is evident in the stark yet elegant objects he produced throughout his career. This design aesthetic was embraced internationally, and quickly became synonymous with the high end contemporary style that defined the modern era. In the 1950s, Kofod Larsen’s designs were heralded as ‘the definitive solution to open plan living’ by top New York retailers and became coveted must have items in any aspiring trend setters home.

As his reputation grew so did the list of high end producers eager to collaborate. The ‘Model 66’ by Faarup was designed at the peak of Kofod Larsens career and is a confident expression of his organic design style. This unrepentantly minimalist offering of grand proportions and crisp linear detailing is the perfect canvas for the rich grain of the Rosewood timber. It is a design that is just as elegant and contemporary now as the day it was conceived.

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404

404 An Adrian Pearsall 615-D2T Platform Sofa by Craft Associates H670 W3160 D780mm Estimate $4,800 - $6,000

405 A Pair of Ib Kofod Larsen Teak Lounge Chairs by Selig Estimate $3,000 - $3,600

405

407

406

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406 A Pair of Modeline Table Lamps H1025mm Estimate $1,200 - $1,400

408

407 An Arne Jacobsen Cylinda-Line Tea Set by Stelton Estimate $800 - $1,200 408 A Jan Ekselius Etcetera Chair by JOC Carlsson Estimate $2,800 - $3,400 409 A Set of Six Philippe Starck Ghost Chairs by Kartell Estimate $1,200 - $1,600 410 Frederick J. Kiesler - Endless Space Exhibition Book Estimate $20 - $40 409

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412

413

411 414

411 A Charles & Ray Eames Moulded Cherrywood Folding Screen H1740mm Estimate $1,500 - $2,000 414 A Pair of Vintage Arne Olsen Teak Side Chairs Estimate $1,600 - $1,900

CATALOGUE 363

412 A Pair of Vintage Peder Hansen Tawa Side Chairs by Taraire Crafts in unrestored condition, circa 1960â&#x20AC;&#x2122;s. Estimate $500 - $800 415 A Howard Keith Three Piece Sectional Sofa H890 W2320 D1030mm Estimate $1,600 - $1,800

413 A Set of Six Borge Morgensen Asserbo Pine Dining Chairs Estimate $1,200 - $1,600

416 A Kent Coffey Perspecta Walnut Chest of Drawers H1170 W1070 D480mm Estimate $1,800 - $2,200

415

417

417 A Strombergshyttan Glass Dish H95mm Estimate $80 - $120 420 A Philippe Starck Hot Bertaa Kettle by Alessi Estimate $300 - $450

416

418

418 An Alstefors Glass Vase Estimate $80 - $120

419

420

419 A Vintage Atomic Espresso Maker Estimate $380 - $550

421 A Pair of Milo Baughman Armchairs by Thayer Coggin Estimate $3,400 - $4,000

421

CATALOGUE 363

CONDITIONS of sale for buyers 1. Bidding. The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding, the lot in dispute will be immediately put up for sale again at the preceding bid, or the auctioneer may declare the purchaser, which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer, and no bid may be retracted. 2. Reserves. All lots are sold subject to the right of the seller or her/his agent to impose a reserve. 3. Registration. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud. 4. Buyer’s Premium. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 15% for the Modern Design sale, (unless otherwise stated), together with GST on such premiums. 5. Payment. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days. Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted. 6. Lots sold as Viewed. All lots are sold as viewed and with all errors in description, faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. No warranty whatsoever is made. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects. 7. Webb’s Act as Agents. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason. 8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot. 9. Licences. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. Failure to make Payment. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies: A. To issue proceeding against the purchaser for damages for breach of contract. 32

CATALOGUE 363

B. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction. C. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression ‘proceeds of sale’ shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. D. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot. E. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities, to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. F. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. G. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or its vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies remain unpaid under this contract. H. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied. I. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb’s as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising. 11. Bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both ‘telephone’ and ‘absentee’ bids. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding. 12. ‘Subject Bids’. Where the highest bid is below the reserve and the auctioneer declares a sale to be ‘subject to vendor’s consent’ or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot. 13. Sales post-auction or by Treaty. The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated. 14. Condition of Items. Condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.