20th Century Catalogue 2013
Mallett's selection of 20th Century and Modern Pieces, 2013.
MALLETT & SON (ANTIQUES) LTD, ELY HOUSE, 37 DOVER STREET, LONDON W1S 4NJ TEL: +44 (0)20 7499 7411 FAX: +44 (0)20 7495 3179 email@example.com ALSO IN NEW YORK AT 929 MADISON AVENUE, NEW YORK NY 10021 www.mallettantiques.com Introduction For many designers in the 20th century, the past was not something to be ignored, but to be built upon. That is not to suggest they were simply revivalists, the heavy handed styles of the latter half of the 19th century were anathema to most. Rather, there was a recognition of the fine balance of design and materials that characterise the best of European decorative arts from the 18th century. The most enduring furniture of the last hundred years share the perfect proportions, the fine craftsmanship and the ability to stimulate, and amuse, of the best of the past. The fantasy of the rococo period appears undiminished in the unique loveseat by Yves Marthelot, and whilst there are other twentieth century precedents in figures such as Dali and Emilio Terry, he has created a piece that is very much his own. His legacy, far greater than is acknowledged, can be seen in contemporary artists such as the Campana brothers. The 1940â€™s ushered in a new world, an embrace of the atomic age and the subsequent hedonism of the 1970â€™s are all seen in the innovative forms and materials of post-war Italian and French design. These pieces speak of the ambitions of their age and the glamour of their original settings. Of the four contemporary pieces included that were commissioned by Mallett, each designer has drawn something fundamental from the past, whilst distinguishing themselves by being in no way constrained by it. The organic form of the lamps by Patrick Blanchard suggests the very earliest arts of the 20th century, the paper-thin shades are carved, with exquisite skill, in the form of acanthus leaves, the archetypal classical motif. Neoclassicism has been the most recurring theme of the past 100 years, sometimes so well hidden its elements do not immediately reveal themselves. For some designers it held a profound truth and Jean-Michel Frank, and his contemporaries within the Bauhaus movement, sought methodically to find the essence of beauty and function with the minimum of materials. His work, and that of his immediate collaborators, share a rare and unpretentious beauty that allows them to transcend period and fashion. We hope you enjoy this catalogue and we look forward to seeing you at our galleries in London and New York. Giles Hutchinson Smith Chief Executive M A L L E T T LO N D O N â€˘ N E W YO R K 3 A PAIR OF WALL LIGHTS A pair of early 20th century brass wall lights with frosted cut glass cabouchon shades. Attributed to Gustave Serrurier-Bovy. Belgium, circa 1900 Height: 29½in/75cm Width: 12in/31cm L2I0099 Gustave Serrurier-Bovy (1858-1910) was a Belgian architect and designer and one of the acknowledged masters of the Art Nouveau style. A noted innovator, his importance is equally due to his a wareness of contemporary European design and his ability to blend theseoften disparate movements into a harmonious and original aesthetic that had an immediate and lasting influence. Serrurier–Bovy travelled to England in the early 1880s, discovering William Morris and the English Arts and Crafts movement. His experience of Liberty in London encouraged him to se t up his own shop in Liege , in 1884, offering English antiques, Japanese decorative arts and, soon after, his own designs. He exhibited at several fairs, including the Salon de la Libre Aesthetique in Brussels in 1893, the Arts and Crafts exhibition in London and at the Salon du Champ de Mars in Paris in 1896. His success was in merging the extravagance of Northern European Art Nouveau with the more austere lines of Charles Rennie Mackintosh and of the Viennese Secession. Serrurier-Bovy designed several complete houses for patrons such as Don Luis de Ortiz Basualdo in Argentina, often being commissioned after a recommendation from the architect Victor Horta. He created a series of collections for his own shops in Liege and, from 1901, in Paris. These wall lights are believed to date from shortly a fter the ‘Liszt ’ range of 1903-4. This had intr oduced a distinctive pattern of parallel lines which would continue to feature in a series of brass furniture from 1907 until 1910 when Serrurier-Bovy died shortly after exhibiting at the landmark Exposition de Bruxelles. 4 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 5 6 M A L L E T T LO N D O N • N E W YO R K AN EXPERIMENTAL STEEL ARMCHAIR A highly unusual modernist armchair formed from welded straight and curved tubular steel sections, deliberately patinated and with lines of regular pin holes along the top of the lower rails and the underneath of the curved sides. France, circa 1930 Height: 28in/72cm Width: 25½in/65cm Depth: 31½in/80cm F3A0058 Of striking design and with powerful presence this sculptural chair appears to be unique. The unusual construction and the extent and complexity of the decoration suggests a fully realised design intended perhaps as a prototype, or more probably in response to a specific commission. M A L L E T T LO N D O N • N E W YO R K 7 A DANISH DINING TABLE A mid-century Danish dining table of exceptionally large-scale, veneered in radiating book-matched rosewood, above solid rosewood legs terminating in stylised white metal feet. Denmark, circa 1950 Height: 27½in/70cm Diameter: 114in/290cm F2E0476 8 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 9 A BRASS AND CHROME TABLE LAMP An unusual brass and chrome 1970’s table lamp constructed as a lattice of interlocking and contrasting rectangular blocks. Italy, circa 1975 Height: 42½in/108cm Width: 18½in/47.5cm L3A0144 10 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 11 A SET OF TWELVE DINING CHAIRS BY WILLY RIZZO Each with a cove back, of geometric design, the steel frames are bordered with brass inner frames. Now upholstered in brown suede, with many of the chairs maintaining original manufacturing labels. France, circa 1975 Height: 31½in/80cm Width: 19in/48cm Depth: 16½in/42cm F3B0163 12 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 13 14 M A L L E T T LO N D O N • N E W YO R K A PAIR OF GUERIDONS BY JEAN-MICHEL FRANK A famous pair of painted and patinated iron tables designed by Jean-Michel Frank and executed by Comte in Argentina. With a certificate of authenticity from the Comité Jean-Michel Frank. PROVENANCE Ex-collection Lia Elena Elizalde de Pirovano. Argentina, circa 1938 Height: 27½in/70cm Diameter: 15in/38.5cm F3C0304 This model of gueridon is amongst the most iconic of all Jean-Michel Frank’s designs. Created in ar ound 1935 the y are first documented in the priva te cinema of Baron Roland de l’Espée which Frank designed, at the suggestion of his friend Marie-Laure ( Vicomtesse) de Noailles, for his Paris home on Avenue Foch. They can also be seen in a contemporary photograph of Frank’s boutique which opened that year on the rue du Faubourg-Saint-Honoré (p.216 Jean-Michel Frank; The Strange and Subtle Luxury of the Parisian HauteMonde in the Art Deco Period by P-E Martin-Vivier. Rizzoli, 2012). Frank first reduced the Louis XVI style to it’s very essence in iron furniture in 1925 for Nancy Cunard’s Paris apartment and shortly after for the de Noailles family. The stark beauty of these pieces, with their tapering legs and gr aphic outlines bought together the avant garde minimalism of the 1920’s with the rich history of late 18th century decorative arts and its classical precedents in antiquity. Frank created several models on this similar theme, in differing materials such as bronze and brass, or with square tops or even secondary tiers, (see p. 237 The Stylemakers by M A Teitelbaum, Philip Wilson Publishing, 2010) but this particular model remains the purest and most influential of them all. LITERATURE Published M.A. Teitelbaum, The Stylemakers. Philip Wilson Publishing, 2010, pages 206 and 237. The model also illustrated P-E Martin-Vivien, Jean-Michel Frank, editions Norma, 2006, pages 68 and 126. M A L L E T T LO N D O N • N E W YO R K 15 16 M A L L E T T LO N D O N • N E W YO R K A WRITING AND GAMES TABLE A very fine limed oak and walnut table with a reversible top, one side retaining its original tooled leather writing surface, the reverse with an inlaid chess board. Made by either Comte in Argentina or by Chanaux in France. Stamped 20102. Argentina or France, circa 1937 Height: 28in/71cm Width: 46Â˝in/118cm Depth: 23in/59cm F3D0235 This exceptional combination writing and games table is possibly the original table sent by Jean-Michel Frank to Ignacio Pirovano, his business partner in Argentina. Before Frank moved to Argentina in 1940 he would enable the production of his designs by Comte, his workshop in Buenos Aires, by sending examples of the commissioned designs, alongside the drawings and plans themselves. The cabinet making of this highly refined table imply that it was made by Chanaux in Paris. The stamped number suggests the same year of production as chairs supplied to the Born family by Chanaux & Co. The design is a refined and elegantly simplified reinvention of Louis XVI tric-trac tables. Instead of a sunk en backgammon boar d the original tooled leather writing surface reverses to reveal a richly inlaid chessboard. LITERATURE M.A. Teitelbaum, The Stylemakers. Philip Wilson Publishers, London, 2010. Page 230. M A L L E T T LO N D O N â€˘ N E W YO R K 17 18 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 19 A VENINI CHANDELIER BY VITTORIO ZECCHIN A twelve arm chandelier in hand-blown deep blue murano glass designed by Vittorio Zecchin for Venini in 1925. Italy, circa 1955 Height: 37in/94cm Width: 40in/102cm L3D0163 Zecchin was born in Murano in 1878 and was a talented and pr olific designer but it is his work for the innovative luxury glass company, Venini, for which he is best known. His work under the art directorship of Giacomo Cappellin marks the beginning of the Novocento style; they collaborated from the company’s beginning in 1921 until 1925. Their work was widely exhibited and won particular pr aise at the 1923 Internazionale Biennale di Monza and at the Grande Exposition des Arts Décoratifs et Industriels in Paris in 1925. A drawing by Vittorio Zecchin taken from the catalogue of an exhibition held in Venice in 1981. Perocco, G. Zecchin, Vittorio. 1878 – 1947. Electa, Milan, 1981 20 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 21 A PAIR OF TRAVERTINE CONSOLE TABLES An elegant pair of Italian consoles, the frames of alternating stepped layers of brass and chrome in a ziggurat form and retaining their original travertine marble tops. Italy, circa 1970 Height: 32in/81cm Width: 55in/140cm Depth: 16in/41cm F2H0381 22 M A L L E T T LO N D O N â€˘ N E W YO R K M A L L E T T LO N D O N • N E W YO R K 23 24 M A L L E T T LO N D O N • N E W YO R K A PAIR OF GLASS LAMPS A pair of Italian mid 1960’s lamps taking the form of a glass rectangle with an unusual stippled surface decoration, the whole standing on a rectangular brass plinth. Attributed to Romeo Rega. Italy, circa 1965 Height:27½in/70cm Width: 18½in/47.5cm Depth: 9in/22.5cm L3B0260 M A L L E T T LO N D O N • N E W YO R K 25 A PAIR OF VINTAGE LACQUER COMMODES BY WILLY RIZZO A pair of black lacquer and brushed steel commodes with ten graduated drawers, designed by Willy Rizzo and made in Italy, circa 1970. Acquired directly from the private collection of Willy Rizzo in 2006 and never used. Italy, circa 1970 Height: 28in/71cm Width: 47in/120cm Depth: 17½in/45cm F2I0396 26 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 27 A BRONZE AND MARBLE CIRCULAR TABLE A fine quality bronze, iron and marble gueridon b y Comte in the restrained neoclassical taste of the mid 1930’s. Retaining the original Comte paper label with hand written inventory number. Argentina, circa 1938 Height: 28in/71cm Diameter: 25½in/65cm F3D0234 This gueridon is a r e-interpretation of one of the most enduring neoclassical models of the Louis XVI period, at the end of the 18th century. The form found renewed popularity in the late 19th century, and again in the interwar years of the Twentieth. This is an exceptionally well made example, with notably fine casting of the gilt-bronze legs and handles. It retains a purity of line and an elegant lack of ornamentation, in contrast to the overly embellished revivalism of the preceding century. The decorative elements have been reduced to their essence, and given an almost modernist purity. The deeply fluted, twisted spiral of the handles contrast with the simple solidity of the ball feet and the rigid geometry of the legs between. The table was made by the Buenos Aires firm of Comte for Sebastian Peyrera Iraola. The close collaboration between Comte and Jean-Michel Frank, and other Paris based designers, from 1930 onwards, bought the par ed-down elegance of French classic-modernism of the 1930’s to the European educated elite of South America. 28 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 29 30 M A L L E T T LO N D O N • N E W YO R K A PAIR OF WALL LIGHTS An unusual pair of gilt-bronze wall lights in the form of a compass, attributed to Andre Arbus. Supplied to the Guinle family by Henrique Liberal for their house in Rio de Janeiro. France, circa 1936 Height: 15½in/40cm Width: 15½in/40cm Depth: 4in/10cm L3D0230 PROVENANCE Octavio Guinle, Rio de Janiero Guinle family by descent until 2013. Octavio Guinle inherited a family fortune that was based on the success of their construction and management of Brazil’s largest port at Santos. Amongst other interests they built the legendary Copacabana Palace Hotel in Rio in 1923. Octavio commissioned Henrique Liberal, the most famous decorator in Brazil and a friend and collaborator of Jean-Michel Frank, to redesign the entrance areas in the late 1930’s, to which Liberal introduced a luxurious, international, modernism. Guinle also employed Liberal to work on his homes, and commissioned pieces from Jean-Michel Frank, Chanaux, Comte and Andre Arbus to add to piec es he and his family already owned by Rateau. Other members of his family were extensive patrons of Maison Jansen and whose archives record major projects for the Guinle family in 1930 and from 1946 onwards. M A L L E T T LO N D O N • N E W YO R K 31 A PAIR OF ART DECO ARMCHAIRS A pair of leather upholstered armchairs veneered in calamander, each with a cast white metal handle on the back with a stylised design of islands amongst waves. France, circa 1930 Height: 29in/74cm Width: 31½in/80cm Depth: 32in/82cm F2C0006 32 M A L L E T T LO N D O N • N E W YO R K Each chair with a deco style carrying handle at the back M A L L E T T LO N D O N â€˘ N E W YO R K 33 A FLOOR LAMP BY FONTANA ARTE The central brass column supporting three tapering clear glass ‘fins’ which stop just short of the circular glass base and retaining its original metal shade carrier. Italy, circa 1950 Height: 64in/163cm Diameter: 13in/33cm L2I0111 Fontana Arte was founded in 1932 when Gio Ponti (1891-1979) joined the long established glass mak ers Luigi F ontana & C. The Milan based company, under the renowned architect and designer, was to create some of the most innovative lighting and glass-based furniture ever produced. Ponti was a keen collaborator and shortly after taking control invited Pietro Chiesa (1892-1948) to join as co-artistic director. Chiesa had already achieved notable success in the 1920’s at the Venice Biennale, the Monza Biennale and the Exposition des Arts Décoratifs in Paris. He created over one thousand pieces for Fontana Arte, some of which, such as the Cartoccio (or Handkerchief) vase are universally recognised as masterpieces and ha ve never been out of production. This lamp is distinctive for its dramatic glass ‘fins’ that taper down to a brass support that floats just above the base itself, a form first seen in Chiesa’s drawings in around 1935. 34 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 35 36 M A L L E T T LO N D O N • N E W YO R K A LOW TABLE BY GABETTI AND D’ISOLA A tubular steel low table with a dark blue lacquered top designed by Roberto Gabetti and Aimaro d’Isola. Italy, circa 1970 Height: 18in/46cm Width: 56½in/144cm Depth: 16in/41cm F3A0069 Roberto Gabetti (born 1925) and Aimaro d’Isola (born 1928) were pupils of Carlo Mollino at the Politecnico, Turin. As architects they founded the Italian ‘neo-liberty’ school, an attempt to redefine post-war architecture in a more vernacular style that retained the essence, but not the homogeneity, of the ‘modernist’ movement. They designed only a few pieces of furniture, of which the present table is a clear example of their distinct style. M A L L E T T LO N D O N • N E W YO R K 37 38 M A L L E T T LO N D O N • N E W YO R K FAUTEUIL ‘MOI ET TOI’ BY YVES MARTHELOT A fantasy Tête-à-Tête Conversation settee with opposite seats, with hand stitched braided silks and velvets, in the French Napoleon III style. France, 1985 Height: 37½in/95cm Width: 51in/130cm Depth: 31½in/80cm F3D0243 Yves Marthelot is a French artist and designer born in 1949. He created, in a relatively short period of time, an influential series of magnificent and unique pieces of often upholstered ‘art’ furniture. Working in Paris in the la te 1970’s and through the 1980’s, Marthelot was recognised and collected by Karl Lagerfeld, Andrée Putman and Madeleine Castaing, who encouraged him to experiment increasingly boldly with his unconventional materials. In America Andy Warhol and Bruce M. Newman both acquired several pieces, Newman and Alastair Duncan including six of them in their definitive book Fantasy Furniture, Rizzoli, New York, 1989, alongside works by Gaudí, Majorelle and Rupert Carabin. His works were exhibited in 1989 at the National Academy of Design in Ne w York, and the Br ooklyn Museum holds three pieces in their permanent collection. Marthelot also exhibited in Brazil, in Rio de Janeiro, in 1984 and se veral works remain in private collections there. An avid collector himself, Marthelot scoured the Marché aux Puces for the elements he combined for his works. Often working to specific commissions, and occasionally creating complete installations within collector’s homes, he was later supported by the Galliera Museum in Paris for his work including historic and contemporary textiles. Marthelot acknowledges many influences that contributed to his unique style, but above all a love of theatre and ‘carnival’ in all its senses, as well as historical styles, from the bar oque to the unr estrained luxury of the F rench Napoleon III period. In Le Nouvel Observateur Phillipe Carteron described his work as “..poetry, ...with a generous nature, ...a sensibilty of Matisse and the naivety of Rousseau”. M A L L E T T LO N D O N • N E W YO R K 39 40 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 41 AN IRON AND VERRE ÉGLOMISÉ FLOOR LAMP A fine quality parcel-gilt wrought iron floor lamp attributed to Serge Roche, inset with four verre églomisé panels by Robert Pansart, surviving in excellent condition. France, circa 1940 Height: 68½in/174cm Diameter: 22in/56cm L3D0140 Serge Roche (1898-1988) was the greatest exponent of the baroque revival that lasted from around 1930 to 1948. He designed his own work, and also commissioned others, especially Gilbert Poillerat, to supply his famous clients including the Prince of Turn und Taxis, the Duke de Talleyrand, Charles de Beistegui, Lady Mendel and Jean Cocteau. Robert Pansart was the greatest verre églomisé artist of his time and Roche’s regular collaborator, creating magnificent glass-decorated tables, mirrors and other items whose decoration would often reflect the organic motifs in the surrounding metalwork. 42 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 43 A CONSOLE BY MAISON JANSEN A neoclassical console in a pared down Louis XVI style by Maison Jansen. Marble, oak and parcel-gilt white lacquer. Argentina, circa 1939 Height: 34½in/87cm Width: 72in/183cm Depth: 18½in/46.5cm F3D0229 44 M A L L E T T LO N D O N • N E W YO R K From the 1880’s onwards Maison Jansen supplied many of the wealthiest Argentine families from its Paris base until, in 1904, Jansen opened its very first branch outside Paris, in Buenos Aires. Jansen’s collaboration in the 1930’s with designers such as Serge Roche, JeanCharles Moreux and Jean-Michel Frank is well documented and with the approach of the war in the late 30’s, as Frank himself did, the centre of Jansen’s production moved to Argentina. This console, with its r efined Louis XVI aesthetic and exquisite craftsmanship formed part of a commission from the Mendiondo family for a noted house in Mar del Plata. PROVENANCE Mendiondo family and by descent. M A L L E T T LO N D O N • N E W YO R K 45 46 M A L L E T T LO N D O N • N E W YO R K AN UNUSUAL PAIR OF LOW TABLES Each table is inse t with a panel of highly unusual Art Deco geometric tromp l’oeil marquetry set into a satinwood ground. The base is painted to simula te rosewood with gilt edges. Japan, circa 1920 Height: 15½in/39cm Width: 23in/58cm Depth: 54½in/139cm M2J0364 M A L L E T T LO N D O N • N E W YO R K 47 48 M A L L E T T LO N D O N • N E W YO R K A MIRROR CONSOLE BY CRISTALART A full height oval mirror bordered with panels of cobalt-blue glass in a brass frame, with a glass console shelf and resting on a scrolled metal stand. Italy, circa 1950 Height: 89½in/228cm Width: 42in/107cm Depth: 1½in/4cm F3D0109 Cristalart were a small manufacturer based in Turin whose work today is often mistaken for that of the larger Fontana Arte. Their work is characterised by the scale and bold ne w organic forms that distinguish post-war Italian design. LITERATURE ‘La rivista dell’arredamento’, no. 76, April 1961, inserzione pubblicitaria, le modernissime specchiere della Cristal-Art riflettono fedelmente il vostro fascino. M A L L E T T LO N D O N • N E W YO R K 49 A ‘STARBURST’ CHANDELIER A spherical brass and glass ‘Starburst’ chandelier with 32 arms, each arm alternatively ending in a bulb or in a stylised glass flower, the tip of each arm further surrounded by small faceted glass crystals. Designed by Emil Stejnar, manufactured by Rupert Nikoll. Austria, circa 1955 Height: 25in/63cm Diameter: 25in/63cm L3B0164 Emil Stejnar was an Austrian architect and writer whose work embraced the post-war celebration of the space age. Several designers created variations which generically became known as ‘Sputnik’ lights for their ‘atomic’ styling. Stejnar’s original, however, was made in 1955 for the Viennese café Ohne Pause Espresso, on Graben, as an updated interpretation of the traditional European coffee house ceiling light. 50 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 5151 A SHAGREEN COLUMN LAMP A fine quality Art Deco column lamp veneered in green shagreen with ivory stringing attributed to Clément Rousseau. Now having a modern vellum shade. France, circa 1925 Height: 26in/66cm L3C0125 Clément Rousseau (1872-1950), is an enigmatic figure. Having trained as a sculptor under Léon Morice he exhibited works at the Société des Artistes Francais. His first furniture dates from around 1910 and by the early 1920's he was receiving commissions from Jacques Doucet and Baron de Rothschild. In 1925 the Galerie Charpentier in Paris exhibited a selection of his work but no further references to him can be found until his death in Neuilly-sur-Seine in 1950. It is thought that the majority of his work was created to order, and this is substantiated by the extremely high quality, and very low number of surviving examples. Rousseau's pieces have been called individual masterpieces, technically brilliant and using the richestof materials; his designs, distinguished by the use of delicate ivory stringing, stand slightly apart from his more prolific contemporaries. LITERATURE Le Mobilier du XXe Siècle, Pierre Kjellberg. Les Editions de l’amateur, Paris, 1994. 52 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 53 54 M A L L E T T LO N D O N • N E W YO R K A RARE DESK AND CHAIR BY PAUL LÁSZLÓ An American Modernist desk by Paul László, in Indian r osewood and grey sycamore, with its original white leather writing surface, the drawer linings of natural white sycamore and the feet ending in silv er-plated steel caps. Retaining the original László Inc. Beverly Hills metal label. With the matching grey sycamore and leatherette chair. America, circa 1950 Height: 28½in/72cm Width: 24in/61cm Depth: 80in/203cm F3A0251 Paul László (b. Debrecen, Hungary 1900 - d. California, United States 1993) was a Hungarian-born architect and interior designer who built his reputation working in Stuttgart, Germany, until the rise of Fascism forced him to flee to America. Based for most of his working life in California he cultivated a wealthy and sophisticated clientele based around the film industry of Los Angeles and other prominent American collectors whose taste appreciated his European architectural education. From 1948 to 1952 László worked with Charles Eames, George Nelson and Isamu Noguchi designing for the Herman Miller company. Whilst the influential furniture they created was a commercial and critical success László preferred his independence and returned to the private practise he had begun in Beverly Hills in 1938, where he remained, at 362 North Rodeo Drive, until the late 1960’s. George Nelson, in 1948, described László’s designs as having “generous dimensions, great elegance of appearance, and impeccable taste”. His early work is characterised by the use of rich woods and a sophisticated balance of line and minimal ornamentation, relying instead on a contrast of weight and form for visual interest. His work is occasionally displayed at the Museum of Modern Art in New York City and is frequently seen in national and international retrospectives on 20th century design. M A L L E T T LO N D O N • N E W YO R K 55 56 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 57 58 M A L L E T T LO N D O N • N E W YO R K A VINTAGE TQ-FRANCIA COFFEE TABLE BY WILLY RIZZO A lacquered coffee table in three colours, acquired directly from the private collection of Willy Rizzo in 2006. The piece was made circa 1976 and was never used. Italy, circa 1976 Height: 12in/31cm Width: 47in/120cm Depth: 47in/120cm F2H0435 This famous table was first created by Rizzo in 1975 for the Villa of Otto Preminger on Saint Jean Cap Ferrat. It became one of his signature designs and, despite the name’s reference to Rizzo’s adopted home of France, he would smilingly describe the table as equally a homage to England or to America. M A L L E T T LO N D O N • N E W YO R K 59 A MODEL K 428 CHAIR BY WALTER KNOLL A very rare model K 428 cold-drawn tubular steel chair, designed by Walter Knoll, commissioned by Thonet for the K series in 1932. Germany, circa 1932 Height: 32in/81cm Width: 21in/53cm Depth: 25in/64cm F3A0059 This particular chair is a rare example of the model known as K 428 designed in 1932 by Walter Knoll for Thonet. Well regarded for its beautiful lines and elegant balance, the high manufacturing costs of the model meant its production, at the very advent of tubular steel furniture production in the first years of the 1930’s, was very short lived. Walter Knoll took over his family’s business in 1906. Based in Stuttgart, and later in Vienna and St.Petersburg, they were highly respected, traditional, cabinet makers who in 1900 became the supplier to Wilhelm II, King of Württemberg. Walter embraced the advances in technology that allowed the use of tubular steel and in 1929 launched the ‘P rodomo’ range of modernist seating. It was the success of this that led Thonet to commission Knoll to design a series of chairs for them. The first cantilever chairs were designed by Mart Stam in 1926, but it was Mies van der Rohe who perfected and patented the technique, in 1927, before selling the rights to Thonet in 1931. Marcel Breuer’s company Standard Möbel, under the directorship of Anton Lorenz, began to produce Stam’s designs in competition with both Knoll and Thonet, until Thonet also bought out Standard Möbel. A drawing for the K 428 chair from a 1932 catalogue by Thonet and Walter Knoll, featured in von Vegesack, A. Deutsche Stahlrohrmöbel, 650 Modelle aus Katalogen von 1927-1958. Munich, 1986. 60 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 61 62 M A L L E T T LO N D O N • N E W YO R K AMMONITE BY NOE DUCHAUFOUR LAWRANCE A contemporary free standing bookcase designed by Noe Duchaufour Lawrance in 2012. Hand-built in solid carbon steel, the fifteen chambers progressively shrink following the planispiral pattern of fossil architecture, the tone of the steel moving from black to carboned silver. France, 2012 Height: 80½in/205cm Width: 74in/188cm Depth: 16½in/41.5cm F3C0204 Noe Duchaufour Lawrance first qualified as a metal sculptor like his father, and then as a designer at the prestigious Ecole des Arts Décoratifs in Paris. He spent a year studying mathematical fractional theories before finalising the design for Ammonite. The form balances immense strength with visual lightness and a sculptural quality that is subtle and unique. The manual production of the piec e by Stefano Ronchetti, third generation metal specialists in Como, Italy, took over six months. The successful collaboration between the designer and maker pushed Ammonite to the forefront of today’s ‘wire trend’ in contemporary design, with the piece being chosen by Architectural Digest as representing the movement in their 2012 Special Design Issue. Awards for his work include Red Dot Design 2011, Gold Neocon 2010, and Wallpaper and Elle Deco 2009. M A L L E T T LO N D O N • N E W YO R K 63 64 M A L L E T T LO N D O N • N E W YO R K A SET OF CHROME DINING CHAIRS BY ROMEO REGA A set of six chrome metal high back dining chairs stamped Romeo Rega, upholstered in a new graphite coloured material. Italy, circa 1970 Height: 48½in/123cm Width: 18in/46cm Depth: 15½in/39cm F3B0143 M A L L E T T LO N D O N • N E W YO R K 65 A PAIR OF TABLE LAMPS BY DOMINIQUE A fine pair of small scale table lamps, the arms of patinated and gilded bronze issuing from an octagonal column above a domed parchment base bound with lacquered brass band. Designed by Dominique and made by Genet and Michon. France, circa 1935 Height: 12½in/32cm Width: 13in/33cm Depth: 6½in/16.5cm L3B0378 André Domin (1883-1962) and Marcel Genevrière (1885-1967) founded the design firm Dominique in 1922, and la ter partnered with Chareau, Legrain, Puiforcat and Templier to form ‘the group of five’. Their shared emphasis on traditional craftsmanship and valuable materials, though without a single dominating personality, gave them a distinct appeal to clients seeking a refined and more subtle elegance. They exhibited at the 1925 Exhibition, and the 1937 World’s Fair, in Paris, and supplied pieces for the SS Normandie and the Landscape Room at the Elysée Palace, both intended as patriotic demonstrations of the finest of French art. 66 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 67 68 M A L L E T T LO N D O N • N E W YO R K A CONSOLE BY MAISON JANSEN A unique two tier console table by Maison Jansen, the shelves and legs of black opaline glass edged in bronze with gilt bronze details. Numbered 60243. France, circa 1940 Height: 34½in/87cm Width: 71in/180cm Depth: 19½in/50cm F3C0305 M A L L E T T LO N D O N • N E W YO R K 69 70 M A L L E T T LO N D O N • N E W YO R K DIAMONDS ARE A GIRL’S BEST FRIEND BY MATALI CRASSET A contemporary lantern designed by Matali Crasset in 2006. The frame of paktong encasing twenty-four blown glass panes, the internal pendant of a similar shape in opaline glass. The lantern is suspended by a solid cast paktong chain from a paktong and opaline glass ceiling plate. England, 2009 Height: 27in/68.5cm Width: 18in/45.5cm C2J0246 Named Diamonds are a Girl’s Best Friend by its designer Matali Crasset, the lantern combines its uniquely contemporary design with rare historical materials. Paktong is a unique, non-tarnishing metal which first appeared in China in the 12th century and disappeared in the 19th century. A highly complex alloy it was recreated by Meta at the r equest of Crasset, and with the help of Oxford University’s archaeological material sciences unit. The paktong is created by a specialist foundry in America, the only one globally that was found to be capable of recreating it. Matali Crasset is France’s most celebrated contemporary industrial designer. She graduated from the Ecole Nationale Supérieure de Création Industrielle in 1991 before working with Denis Santachiara in Milan, and then with Philippe Stark for five years. She won the Paris Grand Prix du Design in 1997 and was celebrated in a solo show at the Cooper Hewitt Museum in New York in 2006. She has regularly exhibited at the Musée Pompidou in Paris. The lantern is available in two sizes, as well as matching sconces. M A L L E T T LO N D O N • N E W YO R K 71 M A L L E T T LO N D O N • N E W YO R K 73 DIAMONDS ARE A GIRL’S BEST FRIEND SCONCES BY MATALI CRASSET Designed by Matali Crasset to accompany the lantern on the preceding page each individual wall light is similarly cast in paktong which frames panels of hand blown glass. The back plate is mirrored and the inverted lighting element is shaded b y panels of opaline glass. Each light, and lantern, individually stamped and numbered. England, 2008 Height: 18½in/47cm Width: 12in/30.5cm C2J0250 72 M A L L E T T LO N D O N • N E W YO R K A PAIR OF SIDE TABLES BY JEAN-MICHEL FRANK A fine pair of patinated iron and leather side tables designed by Jean-Michel Frank and commissioned by the Berardi family from Comte, Buenos Aires. With a certificate of authenticity from the Comité Jean-Michel Frank. Argentina, circa 1940 Height: 20½in/51.5cm Width: 23½in/60cm Depth: 15½in/40cm PROVENANCE By descent to A. Daniel Berardi F3C0301 74 M A L L E T T LO N D O N • N E W YO R K These tables form part of an important sub-set of furniture that the French designer Jean-Michel Frank (1895-1941) first envisioned in the mid 1920's, and produced through Chanaux et Cie in France, and Comte in Argentina, for the following fifteen or so years. Frank created the first of these tables for Nancy Cunard's 17th century apartment on the Ile Saint Louis in Paris in 1923, and at the same time similar pieces for the Vicomte and Vicomtesse de Noailles at the Hotel Bischoffsheim on the Place des Etats-Unis. Both families chose to reject the opulence of their inherited collections and instead worked with Frank to edit their surroundings to the bare minimum of decoration. The purity of these pieces and the historical tradition of their design, a radical interpretation of the Louis XVI style, appealed to bo th the intellectual rigour of these highly kno wledgeable collectors, and also to the prevailing modernist aesthetic. LITERATURE Published M.A. Teitelbaum The Stylemakers, Philip Wilson Publishing, 2010 page 236. M A L L E T T LO N D O N â€˘ N E W YO R K 75 A WALL LIGHT BY PAAVO TYNELL An unusual mid-century Finnish adjustable brass wall light, with a scalloped perforated shade, designed by Paavo Tynell. Finland, circa 1950 Height: 23½in/60cm Depth: 23½in/60cm L3A0353 Paavo Tynell (1890-1973) was a Finnish designer who became one of the most influential lighting designers of the 20th century. He cofounded the company Taito Oy, through which he collaborated with many architects, including, from 1929, Alvar Aalto for whom he created the lights for the Paimio sanatorium, the Savoy restaurant and the Viipuri library. Awarded prizes at the Barcelona Exhibition of 1929, the Milan Triennale in 1933 and a t the Exposition Interna tionale des Arts et Techniques dans la Vie Moderne (International Exhibition dedicated to Art and Technology in Modern Life), in Paris in 1937, Tynell’s work was hugely influential despite its then limited commercial production. The present wall light is typical of Tynell’s work from the mid-century with its fluid design and unusual perforated shade whose legacy can be seen in the work of Jean Royère and Serge Mouille. In 1948 his work was showcased at the Finland House on 50th Street in New York where its innovative mixture of organic forms and the seemingly contradictory minimalism of European modernism were lauded. His work was published in Life, Interiors magazine and in the New York Times and he created work for the Dallas Petroleum Club, the Havana Casino and the UN Secretary General’s office. 76 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 77 A LIMED OAK SEMAINIER BY COMTE An fine quality limed oak semainier in simplified neoclassical taste with a grey marble top and bronze ring handles. Ordered from Comte, Mar del Plata in 1936. Retaining the original Comte metal label. Argentina, circa 1936 Height: 54Â˝in/138cm Width: 27Â˝in/70cm Depth: 17in/43cm F3D0236 PROVENANCE Commissioned by Evaristo Marin Palmero. Thence by family descent. Palmero was a well known figure in Argentine society both for his work as the co-owner of the radio station LU9, and for his lauded taste as was displayed in his home in Mar del Plata. This striking modernist house was the first to break free from the traditional vernacular English styles that had hitherto been the accepted norm in this chic ocean-side town. The interiors, as with many comparably progressive projects at the time, were commissioned from Ignacio Pirovano and his company Comte who had opened their second showroom, after the capital, in the to wn itself. Later, in 1940 and 1941 Jean-Michel Frank would create several interiors in Mar del Plata in a similar vein, including the Casino Hotel, the Provincial, the Horizonte and the home of Fritz Mandl. This elegant and understated chest of seven drawers, or semainier, is one of the finest pieces produced by their workshops. Its design owes much to the influence of Jean-Michel Frank whose partnership with Pirovano and Comte dated back to 1931, when Frank was still based in Paris, and culminated at the end of the decade when Frank moved to settle in Buenos Aires. Conceived in a bold and confident classical style the modernist tastes of both patron and creator express themselves in the complete lack of ornamentation. The chest relies on perfect proportions, and the balance of the differing planes, and angles, so that whilst it has a certain monumentality, it is elegantly compact. 78 M A L L E T T LO N D O N â€˘ N E W YO R K M A L L E T T LO N D O N • N E W YO R K 79 A 1928 VENINI CHANDELIER A hand forged blue glass chandelier made by Venini, the stem bearing four tiers of attenuated stylised leaves of graduated length. The lower tier with outswept branches from which hang blown glass bell shaped shades. The receiver bowl stamped VENINI 2069, and retaining a numbered paper inventory label displaying a Count’s coronet. Italy, circa 1928 Height: 94½in/240cm Width: 59in/150cm L2I0654 The Venini Factory was founded in Murano in 1921 and this exceptional example was produced between 1928 and 1930. Designed by Napoleone Martinuzzi it comes from the ‘Grandi Lampadari a Foglie’ collection. In the rare and delicate colour recorded as ‘Bluino’ this was one of the most technically advanced and ambitious designs created by the firm before the Second World War. With thanks to Roberto Gasparotto, Art Director of Venini S.p.A. 80 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 81 82 M A L L E T T LO N D O N • N E W YO R K A SILVER PLATED ICE BUCKET A mid-century silver plated ice bucket designed and manufactured by the Belgian firm, Delheid, as part of their ‘Sivar’ range of plated wares in 1957, the curving handles finished in rattan work. Belgium, 1957 Height: 11in/28cm Width: 9in/23cm O3A0351 Delheid were one of the oldest and most respected silversmiths in Belgium. Founded in Brussels in 187 0, by 1910 the family firm employed 170 artisans and sold silver and gold wares from their boutiques across the world. In 1935 solid silver pieces were limited to special commissions and the firm concentrated on contemporary designs executed in silver plate. The first Sivar stamp, an ‘S’ with a trident, was registered that year, and the second mark, SIVAR, in 1942. After 159 years the company ceased trading in 1986. The Silver Museum in Antwerp dedicated a major exhibition to Delheid in 2010, and included a design for a slightly earlier, less innovative example on page 134 of their catalogue, dated 1951. The stamped ‘20’ on the present bucket refers to the model number. LITERATURE Anne-Marie ten Bokum, Delheid, 1828-1980. Antwerp, Zilvermuseum Sterckhof, 2010 illustrates a design for a ‘Sivar’ champagne bucket, 1951, page 134. M A L L E T T LO N D O N • N E W YO R K 83 A SET OF EIGHTEEN CAFÉ CHAIRS An unusual and whimsical set of eighteen oil-gilt and painted metal café chairs, decorated to resemble side drums. France, circa 1950 Height: 34½in/88cm Diameter: 19½in/50cm F2J0359 84 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 85 86 M A L L E T T LO N D O N • N E W YO R K A VINTAGE TRI-TRAC TABLE BY WILLY RIZZO A steel and brass framed games table with a reversible top, one side covered in baize for playing cards, the other a sunken backgammon board. Acquired directly from the private collection of Willy Rizzo in 2006. The piece was made circa 1974 and was never used. Italy, circa 1974 Height: 30in/76cm Width: 33½/85cm Depth: 33½in/85cm F2H0625 No game characterises the era of which Rizzo’s furniture epitomises, more than backgammon. Designed in 1973 this games tabledemonstrates the confident lines and glamorous design that Rizzo became famous for, as well as representing something of the designer himself whose life was so inextricably linked with those of the international ‘jet set’ who became his clients. M A L L E T T LO N D O N • N E W YO R K 87 TWO PAIRS OF LEATHER CLUB CHAIRS Two pairs of oak, mahogany and leather club chairs made by Comte, after a design by Jean-Michel Frank for the National Bridge Club in Buenos Aires. Argentina, circa 1935 Height: 29in/74cm Width: 24in/61cm Depth: 24in/61cm F3D0231 (BLACK PAIR) F3D0233 (GREEN PAIR) 88 M A L L E T T LO N D O N â€˘ N E W YO R K Another example of this particular model can be seen in the contemporary photographs of the ‘Petit Hotel’ townhouse in Buenos Aires, published in Revista de Arquitectura magazine, in May 1935. This striking and, for Argentina, avantgarde home was built by the architects Moreno and Tivoli, partners in Comte Ltda, and the interior s furnished by Comte under the direction of Ignacio Pirovano. This is one of the earliest documented commissions of Comte working with JeanMichel Frank’s designs, one earlier example ( 1932-33) being the apartment of Jacques ‘Santiago’ Soulas, the Franco-Argentine multi-millionaire. In this article, along with the current chairs, can also be seen Frank’s Comfortable club chairs and one of his Smoker tables. LITERATURE Early versions of this design by Frank are illustrated in Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank, page 39 and also page 141, r espectively of a studio photograph from 1925 and in a working model of the unrealised Pebble Beach villa for Templeton Crocker. M A L L E T T LO N D O N • N E W YO R K 89 The ‘Petit Hotel’ townhouse in Buenos Aires, published in Revista de Arquitectura magazine, in May 1935 90 M A L L E T T LO N D O N • N E W YO R K CIDADE VERMEIL BY BARBER OSGERBY A contemporary candelabra designed by Jay Barber and Edward Osgerby in 2009. The base a shee t of gold pla ted 958 Britannia standar d silver over polished pearwood, supporting seven individual solid silv er-gilt candlesticks each with a removable disc beneath which sits the candle. England, circa 2008 Height: 9½in/24cm Width: 13½in/34cm Depth: 14in/36cm C2J0264 Given complete freedom to re-create an iconic piece of 18th century decorative art Barber Osgerby chose to design a contemporary surtout de table. The candelabra is made of gold plated 958 Britannia silver. First introduced in England in 1670 Britannia silver remains the purest grade available. The design, which prefigures that of the Olympic torch Barber Osgerby created for the London games of 2012, suggests both organic forms and, simultaneously, a contemporary urban skyline. Having graduated in 1996 from The Royal College of Art in London they have gained great international recognition and, in the last ten years, more than thirty awards. Their work is held in many permanent collections, including the V&A Museum, London; New York’s Metropolitan Museum of Art; London’s Design Museum; and the Art Institute of Chicago. M A L L E T T LO N D O N • N E W YO R K 91 92 M A L L E T T LO N D O N • N E W YO R K A PAIR OF PAVILION LAMPS BY ROMEO REGA A pair of mid 1970’s chrome and brass Chinese influenced ‘Pavilion’ lamps designed by Romeo Rega. Italy, circa 1975 Height: 30½in/78cm Width: 8in/20cm Depth: 8in/20cm L3B0088 A Romeo Rega advert featuring the pair of lamps. Maison & Jardin magazine, May 1976 M A L L E T T LO N D O N • N E W YO R K 93 A DESK BY GUY LEFEVRE FOR MAISON JANSEN A brass, lacquer and leather desk formed in two parts, designed by Guy Lefevre for Maison Jansen. France, circa 1972 Height: 30in/76.5cm Width: 44in/112cm Depth: 22½in/57cm F3D0200 Guy Lefevre’s work from the early 1970’s is characterised by its classic proportions and the sub tle use of Asian forms, notably the stylised ‘hoof’ feet and the squar e handles with circular apertures. In 1972 Maison Jansen introduced the work of contemporary designers in small editions, and for the first time under the designer’s own name, in a series called ‘Jansen Collections’. This desk was sold both from the Jansen boutique at 9 rue Royale, and from Lefevre’s own showroom at 14 rue du Faubourg Saint-Honoré in Paris. 94 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 95 96 M A L L E T T LO N D O N • N E W YO R K A PAIR OF ACANTHUS LAMPS BY PATRICK BLANCHARD A pair of table lamps carved in mahogany and alder wood in the form of open acanthus leaves, designed and made b y Patrick Blanchard, from a limited edition of eight lamps in total. England, circa 2008 Height: 27½in/70cm Diameter: 9½in/24cm C2J0249 First commissioned by Mallett in 2008, Blanchard’s design for these lamps was inspired by the direct study of nature, and the creation of them by the tr aditions of the finest French craftsmen of the 18th century. Whilst wholly original, they owe a debt to the sinuous organic lines of the Art Nouveau period and its celebration of nature. Blanchard is a direct heir to the 18th century French masters whose work remains a pinnacle of European decorative arts. Classically trained at the É cole Boulle he is no w the pr ofessor of Academic and Contemporary Sculpture and Wood there. Originally the restorer for the Musée de Louvre, Paris, he opened his own atelier in 1992 and five years later was awarded the medal for Meilleur Ouvner de France (Best French Crafstman). M A L L E T T LO N D O N • N E W YO R K 97 A PAIR OF OCCASIONAL TABLES BY RENÉ DROUET The circular glass tops supported on a central chrome and three surrounding glass columns, raised on a stepped base of figured mahogany and polished chrome. Signed René Drouet, Paris. France, circa 1925 Height: 21in/53.5cm Diameter: 17½in/45cm F3A0418 René Drouet (1899 -1993) trained at the École Boulle in Paris and, from 1929 until 1966, exhibited at his gallery at 104 rue du Faubourg SaintHonoré. His work is often categorised by the scrolling gilt-metal frames of his chairs, but his oeuvre encompassed many styles whilst the quality remained ubiquitously high. He had a fine appreciation of line and even in his r elatively rare modernist furniture displays a confidence and profound understanding of the style. 98 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 99 AN OVAL MIRROR WITH BLUE BORDER An oval mirror with a shaped, deep blue, glass border, by Fontana Arte, the design attributed to Max Ingrand. Italy, 1958 Height: 35½in/90.5cm Width: 25in/64cm F3D0110 Max Ingrand (Bressuire, 1908 - Paris, 1969), was artistic director of Fontana Arte from 1954 to 1964. One of the greatest glass workers of the 20th century he created pieces that were incredibly avant garde whilst at the same time being commissioned for historical projects, including Nôtre Dame du Pré cathedral at Le Mans and Château de Chenonceau. Many of his most original creations were for Fontana Arte, at a time when postwar Italian design was at its most innovative and influential. Gio Ponti, the architect and co-owner of Fontana Arte, had first celebrated Ingrand’s work in his magazine Domus in March of 1936: “Max Ingr and, through constant research in the technique of acid and sand pr ocessing, surface and depth, achieved a truly masterly craftsmanship refinement. We show his works here as useful examples of decoration, ornament and design which to the perfection and precision of the crafting sometimes add a lyrical inspiration.” LITERATURE Illustrated in Franco Deboni, Fontana Arte. Umberto Allemandi & C. Turin, 2012 Ill. 417. A similar coloured crystal Fontana Arte mirror, circa 1958 100 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 101 A SHAGREEN AND PALMWOOD LAMP A rare Art Deco floor lamp, the main shaft of palmwood, with tapering asymmetric supports veneered in shagreen, on a conformingly decorated square base with solid scroll feet. France, circa 1925 Height: 81in/206cm Width: 16in/41cm F2C0038 The use of both shagreen and palmwood found renewed favour in the most luxurious creations of the Art Deco period. Used in pr evious centuries as exotic specimen veneers, or in the case of shagreen, for precious objects such as instrument cases or jewellery caskets, they began to be used on a larger scale in around 1925. French Art Deco style is characterised by the rich visual effects of contrasting textures and strongly figured, often geometric, veneers. In this lamp the mak er has married these tr aditional materials to a dramatically modern design, whose verticality is accentuated by the tapering side details, and sho ws the influenc e of contemporary American architecture. 102 M A L L E T T LO N D O N â€˘ N E W YO R K M A L L E T T LO N D O N • N E W YO R K 103 104 M A L L E T T LO N D O N • N E W YO R K A VINTAGE BAR BY WILLY RIZZO A brushed steel and brass bar cabinet with integral fridge, the top opening to reveal space for bottles and glasses, with shelves below. Acquired directly from the private collection of Willy Rizzo in 2006 and never used. Italy, 1969 Height: 28in/71cm Width: 53½in/136cm Depth: 17½in/45cm F2H0426 M A L L E T T LO N D O N • N E W YO R K 105 106 M A L L E T T LO N D O N • N E W YO R K A CONSOLE TABLE A patinated iron and leather console table by Comte, adapted from a design by Jean Michel Frank at the request of the Huichi family. Argentina, circa 1940 Height: 35½in/90cm Width: 35½in/90cm Depth: 10in/25cm F3D0166 PROVENANCE Ex-collection Lia Elena Elizalde de Pirovano. LITERATURE M.A. Teitelbaum, The Stylemakers: Minimalism and Classic Modernism 1915-1945, London, 2010, pg 206 and 237. The model also illustrated in P-E Martin-Vivien, Jean-Michel Frank, editions Norma, 2006, pg. 68 and 126. M A L L E T T LO N D O N • N E W YO R K 107 A PAIR OF WALL LIGHTS BY JULES LELEU A pair of gilt bronze two branch wall appliques, in the form of opposing, elaborate scrolls joined by a figure of eight scroll motif. France, circa 1950 Height: 11in/28cm Width: 9½in/24cm L3C0089 Jules Leleu (1883-1961) was one of the most prominent and successful 20th century designers in France. Having studied at the Ecole des Arts Appliqués he set up Maison Leleu with his brother, focusing on furniture design and interior decoration. Maison Leleu exhibited at the Salon des Artistes Décorateurs in 1922 to gr eat acclaim, subsequently receiving notable commissions to design interior suites for the grand Atlantic ocean liners, including the ‘Ile-de-France’, ‘Normandie’ and ‘Trouville’. Leleu was inspired fundamentally by the delicate styles of the Régence and neoclassical periods, re-interpreting them through simplifying the lines. He evolved the design process towards a sharper, less baroque form, gradually deconstructing the classical motifs he relied upon at the start of his career until embracing the linear simplicity of 1950’s European design. ILLUSTRATED Françoise Siriex, The House of Leleu, Hudson Hills Press, New York, 2007, p. 428. 108 M A L L E T T LO N D O N • N E W YO R K 110 M A L L E T T LO N D O N • N E W YO R K A PAIR OF ÉTAGÈRES BY KIM MOLTZER A pair of chrome étagères by Kim Moltzer, each having a central downlighter and mirrored back panel and lower shelves. France, circa 1970 Height: 73in/185cm Width: 36in/92cm Depth: 12in/30cm F3B0334 Kim Moltzer (born 1938), a Swiss architect, designer and sculptor, lived and worked in Paris in the 1960’s and early 70’s. His furniture, manufactured by his own company, is typically geome tric and dependent upon lar ge expanses of sheet metal for decorative impact. Sold through the Design SA boutique on the Boulevard Saint-Germain, his work was owned by many prominent collectors including the Italian Bulgari family and the former president Georges Pompidou. A 1969 chair by Moltzer is in the collection of the Musée des Arts Décoratifs in Paris. LITERATURE A. Bony Furniture and Interiors of the 1970’s. Flammarion, 2005, page 103 M A L L E T T LO N D O N • N E W YO R K 111 AN ILLUMINATED BRASS GLOBE A very rare early illuminated ‘Duo’ globe by Columbus, the blown-glass sphere with twelve paper gor es, supported on a modernist tubular br ass stand. Inscribed ‘Columbus DUO Er dglobus/Columbus Verlag Paul Oestergaard K.G./Berlin und Stuttgart’. Germany, circa 1959 Height: 41in/104cm Diameter: 27in/69cm L2G0404 Columbus are the most famous German globe makers, founded in 1909 by Paul Oestergaard in Berlin. The revolutionary ‘Duo’ model was created to mark the firm’s fiftieth anniversary shortly after its move to Stuttgart. It was the first time that two map versions were shown on a single globe using internal illumination. When lit it illustrates the physical features of the Earth as well as the political boundaries, which also become apparent. This particular model, with its distinctive contemporary stand, was created between 1959 and 1963 when the third generation of the family under Peter Oestergaard took over. 112 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 113 114 M A L L E T T LO N D O N • N E W YO R K A RED LUCITE LAMP A red Lucite lamp, on a brushed steel base, attributed to Marie Claude de Fouquières. France, circa 1970 Height: 15in/38cm Width: 17in/44cm Depth: 5½in/14cm L3C0063 Marie-Claude de Fouquières specialised in creating furniture and decorative objects in resin and lucite, often purposely fracturing the lucite to create an abstract composition as seen on the base of this lamp. Mme de Fouquières’ husband owned a plastics factory which allowed her to experiment with both innovative forms and the multiple decorative possibilities that cast lucite offers. Starting in 1969, and ending in 1977 with the death of her husband, she had a short but successful career creating a wide variety of pieces including tables, screens lamps and desks. She worked with designers and architects including Lionel Mor gaine, David Hicks, Albert Pinto and Maison Jansen for whom she created exclusive models. She was also commissioned by a few notable patrons including the Emir of Qatar and the Rothschild family. M A L L E T T LO N D O N • N E W YO R K 115 A PAIR OF 1940’s PAINTED IRON CONSOLES A pair of French painted iron and marble neoclassical consoles inspired by Louis XVI models. France, circa 1940 Height: 34in/87cm Width: 38½in/98cm Depth: 17½in/45cm F3A0106 116 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 117 A LAMP BY ROMEO REGA An unusually formed mid 1970’s Italian lamp fashioned from alternating rectangles of brass and silvered metal. Italy, circa 1975 Height: 30in/77cm Width: 8in/21cm L3B0139 Romeo Rega was based in Rome, and despite his success created furniture for only a relatively short period of time, between 1974 and 1981. Rega’s work characterises the shift from the organic, moulded shapes of Ponti and the immediate post-war Italian school, to a harder edged geometry that relied on layers of contrasting metals for decoration, and a more masculine solidity of form. 118 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 119 A VINTAGE CONSOLE TABLE BY WILLY RIZZO A steel and black glass ‘Cassia’ console table. Made in Italy, circa 1975, this table was acquired directly from Willy Rizzo in 2006 and has never been used. Italy, circa 1975 Height: 30in/76cm Width: 55in/140cm Depth: 15½in/40cm F2I0395 120 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 121 A PAIR OF REGENCY REVIVAL WALL LANTERNS A pair of mid 20th century parcel gilt tôle neoclassical wall lanterns decorated with gilt flutes and swags. England, circa 1950 Height: 24½in/62cm Width: 12in/31cm Depth: 6½in/16cm L2H0237 Of the many competing influences upon the decorative arts of the mid 20th century the English Regency offered the most theatrical and flamboyant source. Whilst it shared its neoclassical roots with many of its contemporary movements, the Regency revival celebrated decoration and rich ornamentation. Championed by figures such as Edward James, Syrie Maugham and Charles de Beistegui in Europe, and embraced by Hollywood and American decorators including Dorothy Draper and Billy Haimes, the style was reactionary in its own way, as Christopher Hussey described in an article in Country Life in 1931: “There is felt to be something ‘daring’ about having a taste for the Regency period, something that makes friends murmur ‘ho w exciting’ or raise their eyebrows slightly.” 122 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 123 A PAIR OF RED GLASS MIRRORS A very unusual pair of square mid-century mirrors having elaborate red glass faceted borders with an outside edge of black glass. Designed by Roberto Rida. Italy, circa 1960 Height: 40in/102cm Width: 40in/102cm F3D0175 124 M A L L E T T LO N D O N â€˘ N E W YO R K M A L L E T T LO N D O N • N E W YO R K 125 A BRONZE BIRD BY ARMAND ALBERT RATEAU A patinated bronze bird by Armand Albert Rateau, now resting on a base of septarian nodule marble, holding a rock crystal in its beak. The base and rock crystal of later date. France, circa 1920 Height: 22in/55.5cm Width: 15½in/40cm Depth: 7in/18cm O3D0167 Armand Albert Rateau (1882-1938), trained as a sculptor at the renowned École Boulle before working with Georges Hoentschel and Alavoine. In 1914 he travelled to Naples and Pompei with a group of friends, including some of the Cartier family. His experience of the ancient bronze furniture in the Naples Museum, and the classical scenes preserved in the frescos greatly influenced his future work. Whilst being an element of a now lost larger piece, this exquisite bronze sculpture by Rateau represents the very best of French craftsmanship and design from the inter-war years. The floor lamp, of which this piece was originally one of the supports, is one of the most iconic designs, and by one of the greatest names, in the history of French decorative arts. LITERATURE Armand-Albert Rateau, Faubre Olivier Vial, Edition de l’Amateur, 1992, p. 59, 69 and 98. An example of the floor lamp in the Musee des Arts Décoratifs, Paris, from the Jeanne Lanvin collection 126 M A L L E T T LO N D O N • N E W YO R K M A L L E T T LO N D O N • N E W YO R K 127 MALLETT PLC DIRECTORS The Lord Daresbury* Chairman Giles Hutchinson Smith Chief Executive Michael Smyth-Osbourne Financial Director James Heneage* Henry Neville *Non executive MALLETT & SON (ANTIQUES) LTD Ely House 37 Dover Street London W1S 4NJ Telephone +44 (0)20 7499 7411 Fax +44 (0)20 7495 3179 Giles Hutchinson Smith Chief Executive Michael Smyth-Osbourne Financial Director Richard Cave Director Felicity Jarrett Director Justin Evershed-Martin Associate Director Gina Hamilton Katie Holyoak MALLETT INC 929 Madison Avenue at 74th Street New York N.Y. 10021 Telephone 001 212 249 8783 Fax 001 212 249 8784 Henry Neville President Ana Gutierrez-Folch Telephone +44 (0)20 7495 5375 Fax +44 (0)20 7495 3197 Email: firstname.lastname@example.org www.madebymeta.com Eleonore Halluitte Andrews Production Manager VISIT OUR WEBSITE www.mallettantiques.com Email: email@example.com Copyright All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Terms and conditions All business transactions are subject to our standard terms and conditions of sale, copies of which are available on request. ÂŠ Mallett & Son (Antiques) Ltd 2013 Designed by Sinclair Communications Printed in Belgium by Drukkerij die Keure 128 M A L L E T T LO N D O N â€˘ N E W YO R K