Design London April 2010 by Phillips de Pury & Co.

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DE sign 2 8 april 2 0 10 5 pm lONDON

Lots 1 –167

Viewing Wednesday 21 – Friday 23 April, 10am – 6pm Saturday 24 April, 12pm – 6pm Sunday 25 April, 11am – 6pm Monday 26 – Tuesday 27 April, 10am – 6pm Wednesday 28 April, 10am – 12pm

Front cover Serge Mouille, ‘Grand Totem’ floor lamp, c.1962, Lot 81 Inside front cover DriFT, ‘Fragile Future 3.1’ modular lighting object (detail), 2007, Lot 27 title page Ettore Sottsass Jr, ‘Superbox’ wardrobe (detail), c. 1968, Lot 56

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1 JAM Unique ‘Paperless Chandelier’, 2009 Paperclips, acrylic. Handmade by Jam Design & Communications Ltd, UK. 160 cm (63 in) drop

Estimate £5,000–7,000 $7,500–10,500 €5,600–7,800 exhibited Tallulah Studio Gallery, milan, 22–27 april 2009 literature Tom Dixon, ed., International Design Year Book 2004, London, 2004,

p. 127 for a similar example; Terence Conran and max Fraser, Designers on Design, London, 2004, p. 139, pl. 4 for a similar example Three ‘Paperless Chandeliers’ have been made, each being unique. The first was designed and produced in 2003.

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2 MARCEL WANDERS b. 1963 ‘Crochet’ chair, 2006 Crocheted fibre, epoxy resin, gilt metal. From the edition of 20. Underside with locket signed in marker. Together with an embroidered ‘Jester’ fabric dust jacket. 57 cm (22 1/2 in) high

Estimate £20,000–30,000 $30,000–45,000 €22,200–33,300 literature ‘Tutto Wanders’, Flair, March 2007, front cover; ‘The Doily Show: This

Just In: Space-Age Seating. No Joke’, New York Times Style Magazine, April 2007, New York, p. 54; Josephine Minutillo, ‘The Performance Artist’, Whitewall, Summer 2007, p. 134

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3 ARANDA\LASCH BENJAMIN ARANDA AND CHRIS LASCH b. 1973, b. 1972 ‘Quasi’ cabinet, c. 2007 Lacquered wood, metal. Produced by Aranda\Lasch for Johnson Trading Gallery, USA. From the edition of ten. 76.2 × 45.7 × 182.9 cm (30 × 18 × 72 in)

Estimate £15,000–17,000 $22,500–25,500 €16,700–18,900 Ω literature Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art

Furniture, Basel, 2009, p. 199

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4 SEBASTIAN BRAJKOVIC b. 1975 ‘Lathe III’, 2006 Painted bronze, embroidered upholstery. Self-produced, The Netherlands. Number one from the edition of eight. 94 cm (37 in) high

Estimate £12,000–15,000 $18,000–22,500 €13,300–16,700 literature Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art

Furniture, Basel, 2009, pp. 188–89 for similar examples Brajkovic’s ‘Lathe VII’, from the same series as the present lot, appeared in ‘Telling Tales’, the Victoria and Albert Museum, London, 14 July–18 October 2009.

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5 MOS ARCHITECTS MICHAEL MEREDITH AnD HILARy SAMpLE Unique ‘Table system’, 2009 Anodised aluminium. Produced for Johnson Trading Gallery, USA. 39.5 × 188 × 142 cm (15 1/2 × 74 × 56 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 Ω

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6 DAVID ADJAyE b. 1966 ‘Type III Luxor’ table, 2007 American walnut. From the edition of ten plus two artist’s proofs. 75 × 100 × 79.5 cm (29 1/2 × 39 3/8 × 31 1/4 in)

Estimate £15,000–20,000 $22,500–30,000 €16,700–22,200 Provenance Acquired directly from the artist; Private Collection, London exhibited David Adjaye, ‘Monoforms’, Casa dell’Architettura, Rome,

13 February–11 March 2008; The Russian Design Show, Moscow, 1 June–1 July 2008 literature David Adjaye, Monoforms, exh. cat., London, 2007, p. 51; Sophie Lovell,

Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 216 for similar examples

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7 JIM PARTRIDGE AND LIZ WALMSLEY b. 1953, b. 1952 ‘Scorched Burr Oak Table’, 2006 Scorched and polished burr oak. 70 cm (31 in) long

Estimate £4,500–6,000 $6,800–9,000 €5,000–6,700 † exhibited Barrett Marsden Gallery, London, 29 June–30 July 2007; Lynn Strover

Gallery, Cambridgeshire, 8 November–20 December 2008

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8 MAGDALENE ODUNDO b. 1950 Vessel, ‘Untitled’, 1983 Carbonised and burnished terracotta. Incised with ‘ODUNDO’ and ‘1983’. 31 cm (12 1/4 in) high

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 ♠ Provenance David Queensberry, London

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9 HUGO FRANÇA b. 1954 Unique ‘Mariu’ chaise, 2007 Pequi wood. Produced by Atelier Hugo França, Brazil. 90 × 294 × 113 cm (35 1/2 × 115 5/8 × 44 1/2 in)

Estimate £12,000–18,000 $18,000–27,000 €13,300–20,000 ♠ Ω Provenance Acquired directly from the artist literature Evelise Grunow, Hugo França: The Story of the Tree, New York, 2008,

illustrated p. 32

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10 MAGDALENE ODUNDO b. 1950 Vessel, ‘Untitled’, 1985 Burnished terracotta. Incised with ‘ODUNDO/1985’. 34 cm (13 3/8 in) high

Estimate £12,000–18,000 $18,000–27,000 €13,300–20,000 ♠ literature Edmund de Waal, New Ceramic Design, London, 1999, p. 75 for a

similar example

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Interior view

In 2001 Dutch art practice Atelier Van Lieshout (AVL) established ‘AVL-Ville’, an anarchic free state in the port of Rotterdam. The village, situated on the Atelier’s grounds at Keilestraat 43, included mobile homes, greenhouse, energy plant, arsenal, and Hall of Delights. Article 7 of the attendant Constitution stated: “Everyone has the right to immunity in privacy and artistic lifestyle… ” One might presume ‘immunity’ meant ‘special privilege’, although in ‘AVL-Ville’ all participants were equal and all rights common. Despite or perhaps because of its collaborative nature, seclusion has remained an abiding concern. Since founding the collective in 1995, Joep Van Lieshout has fixated on enclosed, private spaces: hutches, capsules, caravans, houseboats, and other “claustrophobic living units”. His mobile structures, unmoored from foundations, maintain a studied privacy, independent from the state and from the constraints of local laws. Unable to obtain the requisite building permit, an early AVL client commissioned ‘A3 Mobiel’ (1998), an artist’s studio on wheels, thereby subverting definitions and decrees; on ‘Sonsbeek Raft’ (2001), a floating restaurant, patrons partook freely – liquor licenses are not required at sea. AVL’s capsules drift along the margins of society, on road or river, where inhabitants can fulfil a “utopian and even romantic idea of living: longing to go back to nature, to be independent or even not to be a part of this world”, as Jennifer Allen has written. Despite their anarchic intentions, AVL’s capsules are not yet clear of shore; ‘Fisherman’s House’, a frankly nostalgic work, was modelled after traditional fishing huts built along the Zuiderzee inlet in the 1950s. “Compact yet complete”, ‘Fisherman’s House’ promotes another fundamental AVL concern: self-sufficiency. Armed with rod and reel, inhabitants may live feasibly, fish freely and fry. All citations: Jennifer Allen, Atelier Van Lieshout, Rotterdam, 2007

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Fisherman’s House at ‘AVL-Ville’, Port of Rotterdam

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11 ATELIER VAN LIESHOUT ‘Fisherman’s House’, 2000 Painted plywood, plywood, corrugated metal, steel, glass, plastic beer crates, internal fixtures and fittings, stove, barbeque equipment, camping and cooking utensils, spade, pots, pans, bowl, cup, broom, bed and bedding, rug. From the edition of three. 346 × 410 × 315 cm (136 1/4 × 161 1/2 × 124 in)

Estimate £35,000–55,000 $52,500–82,500 €38,900–61,100 exhibited ‘AVL-Ville’, Rotterdam, 1 June–1 November 2001; ‘AVL Franchise’,

Openluchtmuseum Middelheim, Antwerp, 25 May–25 September 2002; ‘Happy Forest’, Kröller-Müller Museum, Otterlo, 23 May–15 October 2005; ‘Estuaire’, Nantes, 26 May–26 September 2007 literature Rudi Fuchs and Jennifer Allen, Atelier Van Lieshout. Schwarzes und

Graues Wasser, exh. cat., Bawag Foundation, Vienna, 2001, pp. 39 and 48; Jennifer Allen, Atelier Van Lieshout, exh. cat., Camden Arts Centre, London, 2002, p. 8; Jennifer Allen, Franchise, exh. cat., Openluchtmuseum Middelheim, Antwerp, 2002, p. 10; Jennifer Allen, Sportopia, Lyon, 2003, inside front cover; Jennifer Allen, et al., Atelier Van Lieshout, Rotterdam, 2007, p. 129 ‘Fisherman’s House’ is in the permanent collections of the Fondazione Prada, Milan, and the Sprengel Museum, Hannover.

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12 HELLA JONGERIUS b. 1963 Pair of rare and early ‘Kasese Sheep’ chairs, 1999 Carbon fibre over fibreglass, ‘Not Tom, Dick & Harry’ handmade wool and silk felt by Claudy Jongstra. Produced as a private commission by Jongeriuslab, The Netherlands. Underside of each with stitched label ‘JONGERIUS LAB’ (2). Each: 72.5 cm (28 1/2 in) high

Estimate £12,000–18,000 $18,000–27,000 €13,300–20,000 ♠ literature Droog & Dutch Design, From Product to Fashion: The Collection of the

Centraal Museum, Utrecht, Utrecht, 2000, p. 82; Louise Schouwenberg, Hella Jongerius, London, 2003, throughout

On the shoulders of her well-known porcelain vases, Dutch ceramicist Hella Jongerius often impresses an outsize thumbprint (hers, we presume). The mark seems both proud signature and admission of guilt: fingerprints, after all, lead to convictions – Ceramicist Jailed for Cultural Appropriation. Jongerius confesses, “I amalgamate images from both high and low culture. I stack one idiom on another” (Louise Schouwenberg, Hella Jongerius, London, 2003, p. 128). But her sampling isn’t larceny, it’s inclusive design and evidence of a wily imagination. From her studios in Utrecht and Berlin, Jongerius labours across many media: ceramics, glass, upholstery, and industrial materials; she builds furniture, embroiders cast porcelain, appropriates found objects. Her layered output, like a patchwork quilt, is stitched from many cloths. “Craft is a theme in my work. Mixing it with the industrial process is like mixing … first and third world cultures, mixing tradition with a contemporary language, different ages and techniques” (London Design Museum, Design Library online archive, ‘Hella Jongerius’, Web). On a trip to the Kasese District of western Uganda, Jongerius fell in love with a simple wooden chair made by a local carpenter. Returning home, she reinterpreted it in carbon fibre, fibreglass, and felt. Her ‘Kasese Sheep’ chair (1999) borrows from a specific indigenous source while referencing an ageless pastoral archetype: the three-legged milking stool. The brevity of its form; its industrial materials; and the sincerity of its cultural sampling mark the ‘Kasese’ as a postmodern design free of cynicism and irony. “Why should I design anything new if certain forms have long proved their usefulness? … They have been made that way for hundreds of years and for a good reason” (Schouwenberg, 2003, p. 110). Jongerius, motivated by a humane belief in borrowing and recurrence, is that great contemporary cultural hero, the ‘mash-up’ artist. A ‘Kasese Sheep’ chair is in the permanent collection of The Museum of Modern Art, New York.

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13 HELLA JONGERIUS b. 1963 Pair of early ‘Soft Urns’, 1994 Cast ‘natural’ polyurethane rubber. Produced by Jongeriuslab, The Netherlands (2). Each: 24 cm (9 1/2 in) high

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300 ♠ literature Droog & Dutch Design, From Product to Fashion: The Collection of the

Centraal Museum, Utrecht, Utrecht, 2000, p. 77; Ellen Lupton, Skin: Surface, Substance + Design, New York, 2002, p. 132; Louise Schouwenberg, Hella Jongerius, London, 2003, throughout; Renny Ramakers, ed., Simply Droog, Amsterdam, 2006, p. 43 and 183; Droog Design, Droog: A Human Touch, Amsterdam 2006, p. 114

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14 HELLA JONGERIUS b. 1963 Set of three early ‘Long Neck And Groove Bottles’, 2000 Porcelain, glass, packing tape. Produced by Jongeriuslab, The Netherlands (3). Tallest: 51 cm (20 in) high

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300 ♠ literature

Ellen Lupton, Skin: Surface, Substance + Design, New York, 2002, p. 133;

Louise Schouwenberg, Hella Jongerius, London, 2003, throughout

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15 TORD BOONTJE b. 1968 ‘Blossom’, model no. NI74003, designed 2002 Enamelled steel, clear crystal, crystal AB coating. Manufactured by Swarovski, Austria. From the Swarovski Crystal Palace Collection. 145 × 165 × 89 cm (57 × 65 × 35 in)

Estimate £7,000–9,000 $10,500–13,500 €7,800–10,000 ♠ literature Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 2: 1960 to Present,

Cologne, 2005, p. 536; Martina Margetts, Tord Boontje, New York, 2007, pp. 88–97 for further examples

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16 IKA KUENZEL ‘Caution! This is Rodeo’ chair, 2006 Original leather stock saddle, synthetic rope, painted metal, ribbon, plastic, brass. Number six from the edition of 20. Underside of each saddle flap with leather label printed with ‘CAUTION THIS IS RODEO/LIMITED EDITION/IKA KUENZEL’. 62 × 63 × 60 cm (24 1/2 × 24 7/8 × 23 5/8 in)

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600

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17 ILKKA SUPPANEN b. 1968 ‘Flying carpet’ sofa, designed 1998 Fabric, painted steel, painted tubular steel. Manufactured by Cappellini, Italy. 101 × 93.5 × 99 cm (39 3/4 × 36 3/4 × 39 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 ♠ literature Anne Stenros, Visions of Modern Finnish Design, Finland, 1999, p. 20;

Widar Halen and Kerstin Wickman, Scandinavian Design Beyond the Myth. Fifty Years of Design from the Nordic Countries, Stockholm, 2003, p. 137; Katherine E. Nelson, New Scandinavian Design, San Francisco, 2004, p. 188

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18 ZAHA HADID b. 1950 Unique ‘Chips’ dish, 1992 Glazed ceramic. Produced by Waechtersbacher Keramik, Germany. Number one from the edition of 30. Underside transfer-printed with manufacturer’s logo and painted with ‘1/30’. 4.5 × 60 × 22 cm (1 3/4 × 23 5/8 × 8 5/8 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 ♠ literature Michael Graves, et al., eds., Color Comedies, Brachttal, 1992, p. 28 for

a rendering and pp. 30–31; Aaron Betsky, Zaha Hadid: The Complete Buildings and Projects, London, 1998, illustrated p. 171 Zaha Hadid created five ceramic designs for her ‘Chips’ series. Although this dish is marked from an edition of 30, it was the only one ever produced.

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19 PETER MACAPIA Prototype ‘Double SS’ stool, 2007 DuraForm PA polyamide plastic, triangulated structural mesh. Produced for Johnson Trading Gallery, USA. 46.5 × 59 × 30.5 cm (18 1/4 × 23 × 12 in)

Estimate £5,000–7,000 $7,500–10,500 €5,600–7,800

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20 TEJO REMY AND RENé VEENHUIZEN b. 1960, b. 1963 Prototype ‘Bamboo’ chair, 2009 Bent laminated bamboo. Produced by Atelier Remy Veenhuizen, The Netherlands. Prototype number two of four for the edition of six. 84.5 cm (33 1/4 in) high

Estimate £5,000–7,000 $7,500–10,500 €5,600–7,800 ♠

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21 MAARTEN BAAS b. 1978 Unique ‘Where There’s Smoke’ screen, 2005 Burned Charles and Ray Eames screen, model FSW-6, epoxy resin. Produced for Moss, NY. Front of screen with raised metal letters ‘BAAS’ and back with metal tag ‘Where There’s Smoke’/created by maarten baas for Moss NY/ moooi/unique piece/SCRE.01 / 12 /05’. 173 × 137 × 9 cm (68 × 54 × 3 1/2 in)

Estimate £10,000–12,000 $15,000–18,000 €11,100–13,300 ♠ Ω Provenance Moss, New York literature Linda Hales, ‘Maarten Baas’s Claims to Flame’, Washington Post,

22 May 2004, p. C02 for further discussion of the ‘Where There’s Smoke’ series; Gareth Williams, The Furniture Machine: Furniture Since 1990, London, 2006, pp. 35, 120, 124 and 129 for other examples of the ‘Where There’s Smoke’ series; Alice Rawsthorn, ‘A World in Smoke and Clay’, International Herald Tribune, 5 November 2006 for further discussion of the ‘Where There’s Smoke’ series; Tom Dixon, et al., eds., &Fork, London, 2007, p. 28 for another examples of the ‘Where There’s Smoke’ series; ‘Stay forever and ever and ever and ever’, Art Monthly, June 2007, pp. 29–30 for further discussion of the ‘Where There’s Smoke’ series; Richard Clayton, ‘Chests to Treasure’, Time Magazine, 9 January 2008 for further discussion of the ‘Where There’s Smoke’ series

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22 JOHANNA GRAWUNDER b. 1961 ‘Pillow Talk’ illuminated sideboard, 2002 Wenge-veneered wood, wenge, lacquered wood, anodised aluminium, electrical components, brass. Produced for Design Gallery Milano, Italy. Number six from the edition of six. From the Pillow Talk series. Back incised with ‘J. Grawunder/6 / 6/2002’ and with a brass plaque incised with ‘2002/ JOHANNA GRAWUNDER/6 / 6’. 167 × 46.5 × 39.5 cm (65 7/8 × 18 1/4 × 39 3/8 in)

Estimate £10,000–15,000 $15,000–22,500 €11,100–16,700 ♠ Ω

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23 DANIEL LIBESKIND b. 1946 ‘Spirit House’ chair, 2007 Brushed and polished stainless steel, leather. Manufactured by Klaus Nienkämper, Canada. Number 47 from the edition of 100. Top edge impressed with artist’s facsimile signature and ‘by/nienkämper/47 / 100’. 92 cm (36 1/4 in) high

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 literature Yoshio Futagawa, ‘Renaissance ROM (Extension to the Royal Ontario

Museum: The Crystal)’, GA Document, Tokyo, July 2007, p. 33; Kelvin Browne, Bold Vision: The Architecture of the Royal Ontario Museum, Toronto, 2008, p. 25 ‘Spirit House’ chair was designed by Daniel Libeskind for the opening of the Michael Lee-Chin Crystal, his recent addition to the Royal Ontario Museum, Toronto. ‘Spirit House’ is a soaring interstitial space inside the Crystal.

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24 JOHANNA GRAWUNDER b. 1961 ‘Big Round Light’, 2005 Carbon fibre, painted carbon fibre. Produced by Galerie Italienne, France. Number three from the edition of six. From the Street Glow series. 84.5 cm (33 1/4 in) drop, 101 cm (39 3/4 in) diameter

Estimate £12,000–18,000 $18,000–27,000 €13,300–20,000 ♠ literature Foreign Policy: Johanna Grawunder: Recent International Light And

Design Projects, Vottem, 2006, p. 38

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25 GEERT LAP b. 1951 Flaring form, c. 1998 Porcelain, matt black glaze. Painted with signature ‘Lap’. 12.5 cm (4 7/8 in) high, 20 cm (7 7/8 in) diameter

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300 ♠ Provenance Garth Clark Gallery, New York

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26 MAARTEN VAN SEVEREN 1956–2005 Dining table, model no. ST93, c. 1998 Steel, plastic laminate-covered steel. Produced by Maarten Van Severen MEUBELEN, Belgium. 223.5 × 120 × 34 cm (88 × 47 1/4 × 13 3/8 in)

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 literature Maarten Van Severen, Maarten Van Severen: Work, Oostkamp, 2004,

pp. 231 and 250

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27 DRIFT

At the lightest touch, the common dandelion disperses on the wind. A model of

RALPH NAUTA AND LONNEKE GORDIJN b. 1978, b. 1980

modular construction, its ‘parachute’ ball comprises hundreds of seeds. When

‘Fragile Future 3.1’ modular lighting object, 2007

loosed, they germinate endlessly. ‘Modular’ is a misnomer, as dandelions aren’t

Electrical components, phosphor-bronze, LED lights, dandelion seeds. From the edition of eight plus four artist’s proofs

hardware – until now. Since 2006, Dutch design studio DRIFT has been developing their ‘Fragile Future’ lighting sculptures built from electrical circuits and dandelion

Estimate £5,000–7,000 $7,500–10,500 €5,600–7,800 literature Helen Chislett, ‘At Home Again, Naturally’, The Financial Times: How

To Spend It, London, 7 November 2009, pp. 66–67 for further discussion

seeds affixed to LED bulbs. Although the present series includes specific configurations (3.1, 3.2, etc.), ‘Fragile Future’ in theory can grow freely across the wall. Form follows concept: the circuit modules repeat in imitation of a dandelion propagating identical offspring; in addition, the repetition of elements references

‘Fragile Future’ was awarded the ‘Light of the Future’ award by the German Design Council in 2008. It also received first prize in the Dutch art competition ‘Artiparti’ and the Young Talent Prize of ‘Stitching MS-Research’.

the studio’s preoccupations with mass production and with sustainability. Since graduating from Design Academy Eindhoven in 2005, DRIFT founders Ralph Nauta and Lonneke Gordijn have turned to nature as the foundation of their built

A similar example from the same series appeared in the exhibition ‘In Praise of Shadows’ at the Victoria and Albert Museum, London, September 19–27, 2009.

work. For example, they’re currently developing a cellulose chair which, when dissolved in water, will be potable. Gordijn states: “As a designer, it’s rare to find a beautiful shape that is not related to nature, and you can never reproduce good natural forms by using industrial processes … The only thing like a dandelion is a dandelion” (Helen Chislett, ‘At Home Again, Naturally’, Financial Times: How To Spend It, London, 7 November 2009, p. 67). The metaphor rings clear: responsible design can light the way to a brighter future. We hope it’s not a fragile one.

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ОБПОМОВА/1989/Design by SHIRO KURAMATA. © Photo by Mitsumasa Fujitsuka

Oblomov restaurant, Fukuoka, Japan

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SHIRO KURAMATA 1934–1991 Monumental floor lamp, from Oblomov restaurant, Fukuoka, Japan, 1989 Acrylic, anodised aluminium, artificial roses. Manufactured by Ishimaru Co, Ltd, Japan. 506 cm (199 1/4 in) high

Estimate £35,000–45,000

$52,500–67,500

€38,900–50,000

PROvenAnce Oblomov restaurant, Fukuoka, Japan lITeRATURe Shiro Kuramata 1934–1991, exh. cat., Hara Museum of

Contemporary Art, Tokyo, 1996, p. 191, fig. 8 Only seven examples of this work were produced.

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POTTERY AS SCULPTURE: THE WORK OF GORDON BALDWIN Selections from the Dr Anthony Ray Collection On 17 April 2004 at London’s Courtauld Institute of Art, Dr Anthony Ray read a paper entitled ‘Pottery as Sculpture: the Work of Gordon Baldwin’, later published by the English Ceramic Circle in Transactions, Volume 19, Part 1, 2005. Many of the works on offer are referred to in that paper. Dr Ray’s commentaries on those pieces have been included on the following pages as footnotes to the catalogue text.

29 GORDON BALDWIN b. 1932 ‘Blue Form’, 1997 Earthenware, blue slip over black. Incised and painted with ‘GB 97’. 18 cm (7 in) high

Estimate £1,200–1,800 $1,800–2,700 €1,300–2,000 ♠

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30 GORDON BALDWIN b. 1932 ‘Box For Hans Arp’, 1974 Stoneware, white slip, diffuser-applied blue and green glaze over impressed text. Painted with ‘GB 74’. 28 cm (11 in) high

Estimate £1,200–1,800 $1,800–2,700 €1,300–2,000 ♠

The title was shared by a number of boxes of different shapes, with different decoration and made in porcelain as well as pottery, all of them posing questions of identity: this version is in slabbed stoneware. The title is ironic, because, although hollow, the only access to the ‘box’ is through two small openings into which the lugs of the lid fit – it is a container, but a useless one. The decoration echoes the kind of semantic conundrum favoured by Magritte and others. The side is neatly stamped STONE, HORIZON and BOX, and these are truths. The applied motif was cast from a stone, but is that its true meaning? – is it an embryo, or a cloud suspended as in Magritte, above a horizon? Does the blue represent the sea, or the sky? We ask in vain.

31 GORDON BALDWIN b. 1932 ‘Fragment of painting in form of a dish’, 1976 Earthenware, white slip, painted designs. Painted with ‘GB 76’ and applied label. 49 cm (19 1/4 in) diameter

Estimate £1,200–1,800 $1,800–2,700 €1,300–2,000 ♠ exhibited ‘Gordon Baldwin: a retrospective view’, Cleveland County Museum, 1983

Like many other pieces made at this time, ‘Fragment’ has many connotations despite its simplicity. The moulded form with its torn edge and partly crumpled, partly ribbed surface is like a fragment of a canvas or Ingres paper on which the viewer can project his own meaning – a window opening onto the sky? a human figure? strange triangular footprints? Though called ‘painting’ (note, not a painting), it is paradoxically, a piece that could easily be used.

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32 GORDON BALDWIN b. 1932 ‘Shadow Piece’, 1977 Stoneware, white slip, glaze, applied aluminium strip. 46 cm (18 1/8 in) wide

Estimate £1,600–2,400 $2,400–3,600 €1,800–2,700 ♠

there is a kinetic as well as a Surrealist element in this piece. the black painted shadows of the pillars, immutable, are absurd, proclaiming that the sun shines in two opposite directions and never moves, but the pillars cast real shadows that move constantly – a kind of crazy sundial creating symbols in a desert. Change the alignment of the piece, and a new dance begins. the soft surface is delicately patterned, like an expanse of white sand – “the lone and level sand stretched far away” (Shelley) – and the edge, with its crumpled layers, has the appearance of some old ledger, or geological strata. the piece is made of slabbed stoneware, the surface worked with a Surform: applied aluminium strip.

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33 GORDON BALDWIN b. 1932 ‘Standing Form’, c. 1962 Earthenware, white slip, blue pigment, cast lead plaque. 21.5 cm (8 1/2 in) high

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

This influence (of Paolozzi) is even more obvious in the small ‘Standing form’ where the lead plaque, glued to the surface, was made using the lost wax process extensively used by Paolozzi. There is the suggestion of a primitive body with rudimentary head and limbs. A much larger version of this ‘form’ is in the Paisley Museum, one of the earliest works to be acquired by a public gallery.

34 GORDON BALDWIN b. 1932 Early bowl on foot, c. 1968 Earthenware, layered pigmented slip exterior, shiny blue glaze in well with green stripes. 39 cm (15 3/8 in) diameter

Estimate £1,200–1,800 $1,800–2,700 €1,300–2,000 ♠

The bowl is one of a number made at this time. Two ideas come together here – the sculptural concept of a bowl requiring, not a simple base, but strong supporting elements, and the idea that a vessel can be a ship, hence the hull-like structure. Is the luminous cerulean blue (a borax glaze) a reflection of the sky or sea? The outside is decorated with precise areas of thin white slip contrasting with the red earthenware body and worked with copper carbonate. The vessel was coiled rather than thrown, and this adds greatly to its strength.

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35 GORDON BALDWIN b. 1932 ‘Black Piece With Blue Stripe’, c. 1970 Earthenware, matt and shiny black glazes, a blue stripe from foot to aperture. Incised with ‘GB’. 48 cm (18 7/8 in) high

Estimate £2,500–3,500 $3,800–5,300 €2,800–3,900 ♠

‘Black piece with blue stripe’ can also be seen as a memory of a rock form, or simply as an abstract shape. The rough matt black of the body contrasts with the mirror black of the top and the vertical which continues under the three-arched base.

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36 GORDON BALDWIN b. 1932 ‘Cloud 2’, 1996 Earthenware, white slip, splashed blue pigment over an incised and inlaid design. Painted with ‘GB 1 / 96’. 60 cm (23 1/2 in) high

Estimate £3,500–4,500 $5,300–6,800 €3,900–5,000 ♠

As with most of Baldwin’s sculptures, the title came last. Having made ‘Cloud 2’, Baldwin recalled a poem by Arp: He who tries to bring down a cloud by shooting at it with arrows will use his arrows in vain. Many sculptors resemble such strange hunters What one should do is this: one should charm the cloud by fiddling on a drum or drumming on a fiddle. Before long the cloud will descend frolic on the ground and filled with self-confidence turn into stone That’s how with a wave of his hand the sculptor creates his most beautiful sculpture The ‘three-dimensional’ decoration – white ground, drifting wash of colour and stark black bands – is very reminiscent of the effect produced by the studio sky-light, and here too, we see another manifestation of the ‘enigma’, a mystery wrapped and securely tied up – a parcel of dreams. The poem, of course, says much about the way in which an idea can become a work of art. The vessel has an overall grid pattern incised, and the broad bands of cobalt carbonate were poured from a jug.

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37 GORDON BALDWIN b. 1932 ‘White Vessel With Black Painting And Blue Slit’, 1996 Earthenware, white slip over a textured body, brushed blue and black designs, blue interior to the cut. Painted with ‘GB 96’. 38 cm (15 in) high

Estimate £2,500–3,500 $3,800–5,300 €2,800–3,900 ♠

The brushwork on the vessel echoes the gestural approach of Zen Buddhism and the way in which Oriental calligraphy conveys meaning even though we may not understand the characters. At the same time there is an echo of the paintings of Soulages. The inner space is open enough to be a container, but the blue slit on the other side limits its use.

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38 GORDON BALDWIN b. 1932 ‘Vallauris 1’, 1998 Earthenware, white slips, painted blue and black designs, cut aperture. Painted with ‘GB 98’ and applied label with ‘White vessel for Vallauris 1, 1998 GB’s catalogue 22-98’. 41 cm (16 1/4 in) high

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 ♠

In 1998 Baldwin was invited to participate in the 16th International Ceramic Biennale in Vallauris, which had the title Le Geste et la Couleur, une poetique ceramique. Most of the ceramists exhibiting were more interested in couleur; and the three large spherical pieces that Baldwin submitted were markedly different. Indeed the decoration, like that on ‘White vessel with black painting and blue slit’, is ‘gestural’, an outpouring of black from the dark interior. ‘Vallauris’ also contains a memory of Lucio Fontana.

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39 GORDON BALDWIN b. 1932 ‘Dark vessel with flange’, 1994 Earthenware, shiny black glaze over indents and incised lines. Incised with ‘GB 94’. 29 cm (11 3/8 in) diameter

Estimate £1,800–2,500 $2,700–3,800 €2,000–2,800 ♠

40 GORDON BALDWIN b. 1932 Warrior, 1960 Stoneware, painted pigmented slips and glazes. Painted with ‘GB’. 53 cm (20 7/8 in) high

Estimate £3,000–4,000 $4,500–6,000 €3,300–4,400 ♠

‘Warrior’ is very much of its time – a memory of Henry Moore’s ‘Fallen warrior’ comes to mind – a kind of faceless and weaponless ‘anti-warrior, but a very powerful image. In the treatment of the surface (scumbled white slip and copper carbonate) there is an echo of the way in which Paolozzi treated bronze at this time.

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41 GORDON BALDWIN b. 1932 ‘Klee Vessel No.1 – Dancing Vessel’, 2002 Earthenware, blue-grey slip over a textured body, cut cross-shaped aperture. Painted and incised with ‘GB 2002’. 49.5 cm (19 1/2 in) high

Estimate £2,500–3,500 $3,800–5,300 €2,800–3,900 ♠

In Paul Klee’s painting of 1932 entitled ‘Fruit’ there is on the right-hand side a small element of similar shape with a painted cross, and from this Baldwin created ‘Klee vessel 1’ and then developed a series of ‘dancing vessels’. Gordon and Nancy Baldwin share a keen interest in the ballet, and so the theme has a personal relevance. This first version is the simplest, suggesting a dancer in a plain shift balanced on one foot (actually a very small base), and one can imagine the figure extended into space in an arabesque.

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42 GORDON BALDWIN b. 1932 Vessel, 2005 Earthenware, layered white slips over yellow pigment. Incised with ‘GB 2005’. 39 cm (15 1/4 in) high

Estimate £2,800–3,500 $4,200–5,300 €3,100–3,900 ♠

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43 MARIA PERGAY b. 1930 Magazine holder, c. 1968 Bent polished stainless steel. Produced by Design Steel, France. 27.5 × 42 × 32 cm (10 7/8 × 16 1/2 × 12 1/8 in)

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300 ♠ literature Suzanne Demisch, Maria Pergay: Between Ideas and Design, Verona,

2006, pp. 26–27

44 ADO CHALE b. 1928 Sculpture, c. 1965 Marcasite. Impressed with ‘Chale’. 23 cm (9 in) diameter

Estimate £2,500–3,500 $3,800–5,300 €2,800–3,900 ♠

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45 ADO CHALE b. 1928 Coffee table, c. 1978 Resin, painted wood, brass, bone. Side of tabletop incised with ‘Ado Chale’. 42.5 cm (16 3/4 in) high, 60 cm (23 5/8 in) diameter

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 ♠ Provenance Gift from the artist to the previous owner

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46 JACQUES QUINET 1918–1992

47 MICHEL MANGEMATIN b. 1928

Three ceiling lights, c. 1960

Coffee table, c. 1962

Brass, painted brass. Comprising two angled and one straight light (3).

Bronze, glass.

Each angled light: 15 cm (6 in) high, 10.5 cm (4 1/8 in) diameter; straight light:

34.5 cm (13 5/8 in) high, 125 cm (49 1/8 in) diameter

16 cm (6 1/4 in) high, 10.5 cm (4 1/8 in) diameter

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 ♠ Estimate £7,000–9,000 $10,500–13,500 €7,800–10,000 literature Antagonismes 2, l’objet, exh. cat., Musee des Arts Decoratifs, Paris,

1962, p. 86

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48 WILLY RIZZO b. 1928 Important dining table, 1970s Marble, brass. 75.5 × 220.5 × 108 cm (29 3/4 × 86 3/4 × 42 1/2 in)

Estimate £5,000–7,000 $7,500–10,500 €5,600–7,800 ♠

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49 GABRIELLA CRESPI b. 1922 Coffee table, 1970s Brass laminate-covered wood, glass. Manufactured by Crespi, Italy. Base impressed with facsimile signature and ‘BREV’. 40 × 123.5 × 135 cm (48 5/8 × 53 1/8 × 15 3/4 in), fully extended

Estimate £12,000–15,000 $18,000–22,500 €13,300–16,700 ♠

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50 GABRIELLA CRESPI b. 1922 Unique console table, c. 1979 Marble, brass. Commissioned for a private residence. Manufactured by Crespi, Italy. 89 × 250 × 50 cm (35 × 98 1/2 × 19 3/4 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 ♠

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51 GABRIELLA CRESPI b. 1922 Unique dining table, c. 1979 Marble, brass. Commissioned for a private residence. Manufactured by Crespi, Italy. Base impressed with facsimile signature and ‘BREV’. 75.5 × 205 × 94 cm (29 3/4 × 80 3/4 × 37 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 ♠

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52 LORENZO BURCHIELLARO b. 1933 Oval mirror, 1970s Mirrored glass, engraved metal. 89 × 54.5 × 6 cm (35 × 21 1/2 × 2 3/8 in)

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300 ♠

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53 LORENZO BURCHIELLARO b. 1933 Unique centre table, 1988 Brass, brass-laminated wood, brushed steel. Underside incised with ‘Lorenzo Burchiellaro/NOV.1988’. 70.5 × 141 × 176 cm (27 3/4 × 55 3/4 × 69 1/4 in)

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 ♠

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54 MARZIO CECCHI 1940–1990 ‘Porcospino’ illuminated sculpture, c. 1973 Acrylic, chrome-plated metal. 33 cm (13 in) diameter literature Domus, April 1973, p.35

Estimate £1,200–1,800 $1,800–2,700 €1,300–2,000

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55 VITTORIO GREGOTTI b. 1927 ‘Shin’ floor lamp, 1970s Brass, bakelite, metal, fabric. 131 cm (51 1/2 in) high

Estimate £3,500–5,500 $5,300–8,300 €3,900–6,100 ♠ literature Sergio Crotti, Vittorio Gregotti, Serie di Architettura, Bologna, 1986,

p. 76; Paola Palma and Carlo Vannicola, Italian Llight 1960–1980, Cento lampade della collezione Cortopassi, Firenze, 2004, p. 119

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“Gli armadi a colori del mio amore” – Ettore Sottsass in Domus no. 449

Like a megalith raised in a field, Ettore Sottsass Jr’s ‘Superbox’ wardrobe stands sentinel in the room. Sofa, table, chairs – all those whatnots cowering in the corner – lose focus. “In the middle of his tent, tribal man erected a fireplace as symbol of the heart of creation. This same circular communion with life is implied in these pieces by Sottsass”, wrote Tommaso Trini of the wardrobes, executed by Poltronova in the late 1960s (‘Ettore Sottsass Jr: Katologo Mobili 1966’, Domus, April 1967, no. 449). Finished on all sides, ‘Superbox’ presides at the center of the floor, inviting attention and rebuffing it: closed doors hide function and trousers. At first sight, the wardrobe’s ambiguous form and intention seem to hint at a complex ideological system. In fact, it commemorates the not-so-arcane rites of the bedroom: folding shirts, hiding papers out of sight. Despite those prosaic duties, ‘Superbox’ is hardly mundane. Stable but never static, its polychrome plastic laminates and artless proportions anticipate the anarchic exuberance of Sottsass’s later work for Memphis, the Italian design group he founded in 1981. ‘Superbox’ makes no reference to other furniture, as Trini observed in Domus. It even gives the slip to Modernism – violent veneer, secrets! But it is not without influence in past and present. ‘Menhir, Ziggurat, Stupas, Hydrants & Gas Pumps’, a show of large abstract ceramic sculptures by Sottsass, opened in April 1967 at Sperone Gallery, Milan, betraying his preoccupations at the time. Like the ‘Superboxes’, those concurrent ceramics boasted verticality, graphic geometric patterns, vibrant colours, and perilous proportions. Earlier in the decade, Sottsass had travelled widely in India and America. No doubt he kept those colourful treks in mind. “The Superboxes are pop but I don’t think I would have thought of them if I hadn’t been through India. Even now, no one adopts this idea of using certain colours and staging a tower like a menhir in the middle of a room, which is really a typical way of conceiving space as cosmic and not just as any private space” (Barbara Radice, Ettore Sottsass, A Critical Biography, London, 1993, p. 61). Rather than the thin garments of ambiguity and anonymity, ‘Superbox’ opens on a heavier weave: the totemic force of ancient ritual stones, isolated at the edges of our history, and the instruments of contemporary life – Pop, Op, and gas pumps.

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ETTORE SOTTSASS JR 1917–2007 ‘Superbox’ wardrobe, c. 1968 Plastic laminate-covered wood. Manufactured by Poltronova, Italy. Together with a certificate of authenticity from Poltronova. 169 × 80 × 80 cm (66 1/2 × 31 1/2 × 31 1/2 in)

Estimate £30,000–50,000

$45,000–75,000

€33,300–55,500

SElEctED lItERAtuRE Interni, October 1970, n.p.; Emilio Ambasz, Italy:

The New Domestic Landscape: Achievements and Problems of Italian Design, exh. cat., Museum of Modern Art, New York, 1972, pp. 104–05 for similar examples; Charlotte and Peter Fiell, eds., Domus Vol. VI 1965–1969, Cologne, 2006, pp. 311–16 for similar examples

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57 ETTORE SOTTSASS JR 1917–2007 ‘Asteroid’ table lamp, c. 1968 Coloured methacrylate, fluorescent tube, painted aluminium, chrome-plated metal. Manufactured by Francesconi for Design Centre, Italy and distributed by Poltronova, Italy. Base with manufacturer’s paper label ‘DESIGN CENTRE/ Made in Italy’. 73.5 cm (28 3/4 in) high

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600 literature Emilio Ambasz, Italy: The New Domestic Landscape:

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

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58 ETTORE SOTTSASS JR 1917–2007 Two rare bowls, c. 1955 Glazed stoneware. Manufactured by Bitossi, Italy. Underside of each signed in marker with ‘SOTTSASS’ (2). Largest: 13 cm (5/8 in) high, 21 cm (8 1/4 in) diameter

Estimate £5,000–7,000 $7,500–10,500 €5,600–7,800 literature Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 41 for a

similar example

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59 VETRERIA TOSO Pair of monumental chandeliers, 1960s Textured glass, chrome-plated metal. Manufactured by Vetreria Toso, Italy (2). Each: 48.5 cm (19 1/8 in) diameter, variable drop

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 literature I’arredacasa 1969, Milan, p. 26; Vetreria Fratelli Toso Murano, sales

catalogue, 1970, n.p.

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60 MARZIO CECCHI 1940–1990 Rare armchair, 1970s Suede, painted metal. 83 cm (32 5/8 in) high

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600

61 JOE D’URSO b. 1943 Low rolling table, model no. 6027T, c. 1980 Mirror-polished stainless steel, safety glass. Manufactured by Knoll, USA. Underside with paper label ‘KNOLL INT’. 41.5 × 68.5 × 68.5 cm (16 3/8 × 27 × 27 in)

Estimate £2,500–3,500 $3,800–5,300 €2,800–3,900 Ω literature Eric Larrabee and Massimo Vignelli, Knoll Design, New

York, 1981, pp. 290–91 for similar examples

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62 UGO LA PIETRA b. 1938 ‘Globo Tissurato’ floor lamp, 1966–67 Plastic, painted metal. Manufactured by Zama Electronics, Italy. 68.5 cm (27 in) high, 40.5 cm (15 7/8 in) diameter

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 ♠ literature Fulvio Ferrari and Napoleone Ferrari, Luce:

Lampade 1968–1973: il nuovo design italiano, Turin, 2002, pl. 59; Alberto Bassi, Italian Lighting Design, 1945–2000, Milan, 2004, p. 134; Charlotte and Peter Fiel, eds., Domus Vol. VI 1965–1969, Cologne, 2006, p. 464

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63 PAOLO LOMAZZI, DONATO D’URBINO AND JONATHAN DE PAS b. 1936, b. 1935, 1932–1991 Extending dining table, c. 1969 Painted wood, plastic, chrome-plated metal, painted metal. Manufactured by Esse Acerbis, Italy. Underside of table top with two paper labels with ‘Acerbis/ Seniate / Bergamo / Italy’. 72 × 160 × 120.5 cm (28 3/8 × 63 × 47 3/8 in), fully extended

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 ♠ LITERATURE Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 296

When fully extended, the table reveals the blue motif.

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64 GRUPPO N ENNIO CHIGGIO, MANFREDO MASSIRONI, EDOARDO LANDI b. 1937, b. 1937, b. 1937 Rare ‘California’ chair, c. 1973 Painted wood, painted tubular metal, bicycle seat, painted metal, wood. Manufactured by Nikol, Italy. 186 cm (73 1/4 in) high

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 ♠ PRovEnAncE Galleria TOT, Padua

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65 ALESSANDRO MENDINI b. 1931 Unique set of flatware for one, 1978 Painted stainless steel, stainless steel. Produced by Alessi for Studio Alchimia, Italy. Underside of dinner fork, salad fork, dessert spoon and teaspoon impressed with ‘ALESSI INOX 18 / 10’ and soup spoon impressed with Alessi logo, star and ‘EPSS/ITALY/90-48’. Comprising one dinner fork, one salad fork, one dinner knife, one soup spoon, one dessert spoon and one teaspoon (6). Dinner knife: 22.5 cm (8 7/8 in) long

Estimate £3,000–4,000 $4,500–6,000 €3,300–4,400 ♠

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66 MICHELE DE LUCCHI b. 1951 Prototype ‘Sinvola’ ceiling light, c. 1979 Painted brass, fabric, painted wood, painted metal rod, brass. Produced for Studio Alchimia, Italy. From the Bau.haus Collection 81.5 × 59 × 51 cm (32 × 23 1/4 × 20 in)

Estimate £12,000–18,000 $18,000–27,000 €13,300–20,000 ♠ Ω Provenance Art et Industrie, New York exhibited ‘Studio Alchimia, Progettazione di Immagini per il XX Seculo’, Foro

Buonaparte 55, Milan, 1979 literature Provokationen: Design aus Italien, exh. cat., Orangerie Hannover-

Herrenhausen, 1982 for a similar example; Guia Sambonet, Alchimia: 1977–1987, Turin, 1986, p. 25 for a similar example; Kazuko Sato, Alchimia, Berlin, 1988, p.17 for a drawing

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67 GEORGES JOUVE 1910–1964 Table lamp, c. 1952 Glazed earthenware, paper shade. Underside incised with artist’s monogram and ‘Jouve’. 26 cm (10 1/4 in) high, including shade

Estimate £15,000–20,000 $22,500–30,000 €16,700–22,200 literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 136, 284 and 314 for similar examples

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68 JEAN PROUVÉ 1901–1984 Rare ‘Meuble Suspendu’, c. 1948 Painted bent steel, ‘Diamond Point’ motif aluminium, oak. Manufactured by Les Ateliers Jean Prouvé, France. 225 × 200 × 60 cm (88 1/2 × 78 3/4 × 23 5/8 in)

Estimate £40,000–60,000 $60,000–90,000 €44,400–66,600 literature Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934–1944,

Basel, 2000, p. 299, fig. 928,3; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, p. 461

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69 JEAN PROUVÉ 1901–1984 Rare wardrobe, c. 1950 Aluminium, steel, oak. Manufactured by Les Ateliers Jean Prouvé, France. 160 × 160 × 57 cm (63 × 63 × 22 1/2 in)

Estimate £18,000–28,000 $27,000–42,000 €20,000–31,100 Provenance Galerie Patrick Seguin, Paris, France literature Benedikt Taschen, ed., Jean Prouvé, 1991, Cologne, p. 30 for a similar

model; Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, p. 115 for a similar model; Laurence Allégret and Valérie Vaudou, eds., Jean Prouvé et Paris, Paris, 2001, p. 238 for a similar model; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944–1954, Basel, 2005, p. 175, fig. 1146.4 for a drawing; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, p. 461

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70 CHARLOTTE PERRIAND 1903–1999 Rare small cabinet, from the Air France building, Brazzaville, Congo, Africa, 1951 Painted steel, aluminium, oak. Editioned by Steph Simon, France. 74 × 48.5 × 37 cm (29 1/8 × 19 1/8 × 14 1/2 in)

Estimate £14,000–18,000 $21,000–27,000 €15,500–20,000 Provenance Air France Building, Brazzaville, Congo, Africa literature Mary McLeod, ed., Charlotte Perriand An Art of Living, New York, 2003,

p. 223 for a similar example; Jacques Barsac, Charlotte Perriand. Un Art d’Habiter, Paris, 2005, p. 331

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71 JEAN PROUVÉ 1901–1984 ‘Tropique’ demountable table, model no. 501, c. 1951 Painted tubular and bent steel, aluminium. Manufactured by Les Ateliers Jean Prouvé, France. 74 × 100 × 70 cm (29 1/8 × 39 3/8 × 27 1/2 in)

Estimate £6,000–10,000 $9,000–15,000 €6,700–11,100 literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris,

1998, p. 131 for a similar example; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934–1944, Basel, 2000, p. 132, fig. 545.18,3 and p. 185, fig. 703,1 and p. 240, fig. 791.3 for drawings of similar examples; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944–1954, Basel, 2005, p. 232, fig. 1221.3 for a similar example; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 410–12 for similar examples

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72 GEORGES JOUVE 1910–1964 Table lamp, c. 1954 Glazed ceramic, paper shade. Underside incised with artist’s monogram and ‘Jouve’. 59.5 cm (23 1/2 in) high, including shade

Estimate £12,000–18,000 $18,000–27,000 €13,300–20,000 Provenance Madame Jouve, Aix en Provence, France; purchased in 1990

by Galerie de Beyrie, France, directly from Madame Jouve; Private Collection literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve,

Paris, 2005, p. 194

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73 SERGE MOUILLE 1922–1988 Pair of ‘Tube’ wall lamps, c. 1955 Painted aluminium, brass, painted steel. Manufactured by Atelier Serge Mouille, France (2). Each: 28.5 × 20 × 31 cm (11 1/4 × 7/8 × 12 1/4 in)

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600 literature Anthony Delorenzo, ed., Jean Prouvé / Serge Mouille, New York, 1985,

pp. 111 and 134; Pierre Émile Pralus, Serge Mouille a French Classic, Saint Cyr au Mont d’Or, 2006, pp. 200–01 for drawings

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74 CHARLOTTE PERRIAND AND JEAN PROUVÉ 1903–1999, 1901–1984 Free-form coffee table, c. 1956 Oak, painted steel. Manufactured by Les Ateliers Jean Prouvé and editioned by Galerie Steph Simon, France. 36 × 117 × 75 cm (14 1/4 × 46 × 29 1/2 in)

Estimate £30,000–35,000 $45,000–52,500 €33,300–38,900 Provenance Galerie Patrick Seguin, Paris, France literature Jacques Barsac, Charlotte Perriand. Un Art d’Habiter, Paris, 2005, p. 434 for a

similar example and pp. 394 and 429 for specifications sheets; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, p. 406

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75 JEAN PROUVÉ 1901–1984 Lecture hall chair with adjustable seats, from the University of Besançon, France, 1953 Painted tubular and bent steel, wood, vinyl. Manufactured by Les Ateliers Jean Prouvé, France. 88.5 × 166 × 54.5 cm (34 7/8 × 65 3/8 × 21 1/2 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 Provenance Faculté de Lettres, Université de Besançon, Besançon, France literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, p. 63;

Penelope Rowlands, Jean Prouvé, New York, 2002, pp. 50–51; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944–1954, Basel, 2005, p. 252, fig. 1235.22,2

76 JEAN PROUVÉ 1901–1984 Lecture hall chair with adjustable seats, from the University of Besançon, France, 1953 Painted tubular and bent steel, wood, vinyl. Manufactured by Les Ateliers Jean Prouvé, France. 88.5 × 166 × 54.5 cm (34 7/8 × 65 3/8 × 21 1/2 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 Provenance Faculté de Lettres, Université de Besançon, Besançon, France literature See previous lot

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77 JEAN PROUVÉ 1901–1984 Lecture hall chair with adjustable seats, from the University of Besançon, France, 1953 Painted tubular and bent steel, wood, vinyl. Manufactured by Les Ateliers Jean Prouvé, France. 88.5 × 116 × 54.5 cm (34 7/8 × 45 5/8 × 21 1/2 in)

Estimate £3,500–5,000 $5,300–7,500 €3,900–5,600 Provenance Faculté de Lettres, Université de Besançon, Besançon, France literature See previous lot

78 JEAN PROUVÉ 1901–1984 Lecture hall chair with adjustable seats, from the University of Besançon, France, 1953 Painted tubular and bent steel, wood, vinyl. Manufactured by Les Ateliers Jean Prouvé, France. 88.5 × 116 × 54.5 cm (34 7/8 × 45 5/8 × 21 1/2 in)

Estimate £3,500–5,000 $5,300–7,500 €3,900–5,600 Provenance Faculté de Lettres, Université de Besançon, Besançon, France literature See previous lot

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PROPERTy fROM THE APARTMENT Of LAURENCE AND PATRICk SEGUIN, PARIS LOTS 79 – 81

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ÂŠ Galerie Patrick Seguin DESIGN UK_partOne_pp6-137.indd 105

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ÂŠ Galerie Patrick Seguin

The present lot in situ in Marcel Rouxâ&#x20AC;&#x2122;s apartment, Paris

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SERGE MOUILLE 1922–1988 Unique three-arm ceiling light, c. 1955 Painted tubular metal, painted aluminium, brass. Produced by Atelier Serge Mouille, France. 141.5 × 125 × 43 cm (55 1/4 × 49 × 16 1/8 in)

Estimate £70,000–100,000

$105,000–150,000

€77,700–111,000

Provenance Marcel Roux, Paris, France; Laurence and Patrick Seguin,

Paris, France literature Art et Décoration, 1956, n.p., for this lamp illustrated in situ in Marcel

Roux’s apartment; Pierre Émile Pralus, Serge Mouille a French Classic, Saint Cyr au Mont d’Or, 2006, illustrated pp. 190–91 and 197

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Laurence and Patrick Seguinâ&#x20AC;&#x2122;s apartment, Paris

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Although never a couple, Charlotte Perriand and Jean Prouvé stood hand-in-hand at midcentury, the pragmatic parents of postwar modernism in France. Together they devised economic solutions to the problems of daily life in everyday places: dormitories, locker rooms, apartments, offices. Their unadorned furniture, built from wood, aluminium, and bent sheet steel, never sacrificed clarity for decoration, “but its construction is so powerful that it imposes itself in space like sculpture”, as fashion designer Azzedine Alaïa observed of Prouvé’s work (Laurence Bergerot, Patrick Seguin, Jean Prouvé, Paris, 2007, vol. 1, p. 23). Longtime friends, the two designers formalized their relationship in 1952 at the behest of gallerist Steph Simon. That year and the next, they collaborated on furniture – bookshelves, tables, beds – for the student bedrooms of the Maison de la Tunisie and Maison du Mexique at Cité Universitaire, Paris. In both residences, each room was dominated by a large bookcase whose wide plank shelves were joined by staggered aluminium ‘blocks’ painted black and white, as well as diamond-embossed aluminium sliding doors in various colours. Unlike the ‘Tunisie’, suspended on the wall and supported by a single central leg, the freestanding ‘Mexique’ functioned not only as bookcase and storage unit but also as screen, a chief architectural element separating bed from washbasin and animating the room. “Are we going to have mass or void?” asked Perriand in her autobiography Une Vie de Création (The Monacelli Press, New York, 2003). With its energetic interplay of forms in space, the ‘Mexique’ achieves both. “This seemingly ridiculous question is in fact an important one. For some, the void represents emptiness and destitution; for others it is the key to thought and motion.” No doubt thought is motion, coloured by memory and digression.

With its polychrome patchwork, the ‘Mexique’ in situ must have

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echoed the asymmetric daydreams of the students who lived there. Lacquered Yucatán Yellow and Hacienda Red, did it comfort certain students hankering for home? Seventy-seven examples of the present lot were built for the Maison du Mexique, Cité Universitaire, 9 Boulevard Jourdan, Paris.

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80 CHARLOTTE PERRIAND, ATELIERS JEAN PROUVÉ ‘Mexique’ bookcase, from the Maison du Mexique, Cité Universitaire, Paris, 1953 Pine, painted ‘Diamond Point’ motif aluminium, bent steel. Manufactured by Les Ateliers Jean Prouvé, France. 160.5 × 184.5 × 31 cm (63 1/4 × 72 5/8 × 12 1/4 in)

Estimate £80,000–140,000 $120,000–210,000 €88,800–155,000 Provenance Maison du Mexique, Cité Internationale Universitaire, Paris, France;

Philippe and Patricia Jousse, Paris, France, to 1989; since 1989 with Laurence and Patrick Seguin, Paris, France literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris,

1998, pp. 152–53; Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, p. 231; Peter Sulzer, Jean Prouvé: Oeuvre Complète/Complete Works, Volume 3: 1944–1954, Basel, 2005, p. 260, cat. no. 1240.2; Jacques Barsac, Charlotte Perriand. Un Art d’Habiter, Paris, 2005, front cover and pp. 368–79 for a discussion of this bookcase and interiors at the Maison du Mexique; Elizabeth Védrenne, Charlotte Perriand, New York, 2005, p. 60; Jacques Barsac, Charlotte Perriand et le Japon, Paris, 2008, p. 205

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Fig. 1. Exhibition, Salon des Arts Ménagers, 1962

A recurrent bout with tuberculosis forced Serge Mouille into alpine convalescence in 1959. The interruption lasted two years. When he returned to work, gone were the kinetic lamps of the previous decade: the shell shucks and batted eyes, the rotations of Saturn. As Mouille slowed so did his forms. “What humor in all his work, what gaity!” wrote Jean Prouvé, fellow metal master (Anthony DeLorenzo, Jean Prouvé, Serge Mouille, New York, 1985, p. 109). But the mood changed. Mouille’s insect articulations, alert on spindle legs, walked away. Youthful flirtations matured – no more swinging sconces. In their place reined ‘Les Colonnes,’ geometric floor lamps first exhibited in 1962 at the Salon des Arts Ménagers (fig. 1). The statuesque ‘Grand Totem,’ among Mouille’s last and largest lights, comprises a fluorescent tube caged in rings cut from surplus aluminium cylinders. The swinging arms of his earlier ‘Black Forms’ swept across space, as Mouille himself noted (Pierre Émile Pralus, Serge Mouille: A French Classic, Saint Cyr, 2006, p. 105). With ‘Les Colonnes,’ however, the orientation “shifted from the horizontal to the vertical. Concepts capsized!” – lamps did too; Mouille solved the problem by adding a walnut base to the design. ‘Colonne’ translates variously as column, spine, or tower. The name implies solid support (stolid too) and resolution in light of life’s frailties. Mouille overthrew the fitful arabesques of nature, his earlier flames and corollas, with the blunt certainty of architecture. ‘Grand Totem’ rises like a skyscraper – or a cenotaph. In 1964

Mouille stopped all production of his lamps.

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Laurence and Patrick Seguinâ&#x20AC;&#x2122;s apartment, Paris

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81 SERGE MOUILLE 1922–1988 ‘Grand Totem’ floor lamp, c. 1962 Painted aluminium, painted tubular metal, walnut. Manufactured by SCM (Societé de création de modèles), France. 171.1 cm (67 3/8 in) high

Estimate £80,000–120,000 $120,000–180,000 €88,800–133,000 Provenance Laurence and Patrick Seguin, Paris, France literature Alan and Christine Counord, Serge Mouille, Luminaires, 1953–1962,

Paris, 1983, n.p.; Anthony Delorenzo, ed., Jean Prouvé / Serge Mouille, New York, 1985, pp. 150, 163, 166 and 169; Pierre Émile Pralus, Serge Mouille a French Classic, Saint Cyr au Mont d’Or, 2006, pp. 132, 222 and 224–25

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82 CHARLOTTE PERRIAND 1903–1999 Bench, from Cité Cansado, Mauritania, Africa, 1958 Painted metal, mahogany. Editioned by Steph Simon, France. 23.5 × 189.5 × 70 cm (9 1/4 × 74 5/8 × 27 1/2 in)

Estimate £5,000–8,000 $7,500–12,000 €5,600–8,900 Provenance Cité Cansado, Mauritania, Africa; Galerie Patrick Seguin,

Paris, France literature Jacques Barsac, Charlotte Perriand. Un Art d’Habiter, Paris, 2005,

p. 430 for a similar example

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83 PIERRE GUARICHE 1926–1995 ‘Equilibrium’ floor lamp, c. 1951 Painted perforated metal, brass, painted steel. Manufactured by Disderot, France. 200 cm (78 3/4 in) high, fully extended

Estimate £10,000–15,000 $15,000–22,500 €11,100–16,700 ♠ literature Anne Bony, Les Années 50, Paris, 1982, p. 260; Patrick Favardin,

Les Années 50, Paris, 1999, p. 72; Patrick Favardin, Les Décorateurs des Années 50, Paris, 2002, pp. 216–17; Charlotte and Peter Fiell, eds, 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 452; Pierre Émile Pralus, Serge Mouille a French Classic, Saint Cyr au Mont d’Or, 2006, p. 71 showing this design in comparison to Mouille’s work

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84 CHARLOTTE PERRIAND 1903–1999 File rack, c. 1956 Moulded plastic, painted metal. Each drawer moulded with ‘MODELE CHARLOTTE PERRIAND/BREVETE S.G.D.G’. 33 × 52 × 39.5 cm (13 × 20 1/2 × 15 5/8 in)

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600

85 JEAN PROUVÉ 1901–1984 ‘Cité’ table, model no. 500, c. 1953 Painted tubular and bent steel, oak. Manufactured by Les Ateliers Jean Prouvé, France. 72 × 150 × 53 cm (28 3/8 × 59 × 20 7/8 in)

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600 Provenance Bourse Maritime, Paris, France literature Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944–1954,

Basel, 2005, p. 232, fig. 1221.3; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 404 and 412–13 This table is one of 44 examples completed for the Bourse Maritime.

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86 CHARLOTTE PERRIAND 1903–1999 Set of ten wall lights, model no. CP1, c. 1970 Painted metal. Manufactured for Galerie Steph Simon, France (10). Each: 12.5 × 19 × 10.5 cm (5 × 7 1/2 × 4 1/8 in)

Estimate £4,500–5,500 $6,800–8,300 €5,000–6,100 literature Charlotte Perriand: Un Art de Vivre, exh. cat., Museé des Arts

Décoratifs, Paris, 1985, p. 52

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87 LE CORBUSIER 1887–1965 Wall light, from la Maison du Brésil, Cité Universite de Paris, France, 1956–59 Painted steel, fluorescent tube, aluminium, plastic. 10 × 70 × 7.5 cm (4 × 27 1/2 × 2 1/8 in)

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600 Provenance La Maison du Brésil, Cité Universite de Paris, France

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88 LE CORBUSIER AND CHARLOTTE PERRIAND 1887–1965, 1903–1999 Room divider, from la Maison du Brésil, Cité International Universitaire de Paris, France, 1956-1959 Oak, painted wood, moulded plastic, painted metal. Each drawer moulded with ‘MODELE CHARLOTTE PERRIAND/BREVETE S.G.D.G’. 151 × 178 × 64 cm (59 1/4 × 70 × 28 1/2 in)

Estimate £12,000–16,000 $18,000–24,000 €13,300–17,800 Provenance Maison du Brésil, Cité International Universitaire de Paris, France literature Françoise Choay, ‘Vous montre le Pavillon du Brésil que Le Corbusier

vient d’achever à la Cité Universitaire de Paris,’ L’Oeil, September 1959, pp. 54–59; W. Boesiger, ed., Le Corbusier et son atelier 35 rue de Sèvres, Œuvre Complète 1957–1965, New York, 1990, pp. 192–99; Elisabeth Vedrenne, Le Corbusier: Mémoire de Style, Paris, 1998, pp. 66–67; ‘Le Corbu à La Cité U.,’ L’Oeil, no. 501, November 1998, pp. 70–75; Elisabeth Vedrenne, Le Corbusier, Paris, 1999, pp. 66–67; Jacques Barsac, Charlotte Perriand. Un Art d’Habiter, Paris, 2005, pp. 466–67 for drawings of the room and p. 468 for a similar example

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89 JEAN PROUVÉ WITH CHARLOTTE PERRIAND 1901–1984, 1903–1999 Large ‘Afrique’ room divider, from the Air France building, Brazzaville, Congo, c. 1952 Painted bent steel, mahogany. Manufactured by Les Ateliers Jean Prouvé, France. 282 × 252 × 23.5 cm (111 × 99 1/4 × 9 1/4 in)

Estimate £25,000–35,000 $37,500–52,500 €27,800–38,900 Provenance Air France building, Brazzaville, Congo; Galerie Patrick

Seguin, Paris, France exhibited ‘Jean Prouvé’, Sonnabend Gallery, New York, 22 February–

22 March 2003 literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé,

Paris, 1998, p. 223 for a similar example in Jean Prouvé’s home; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, p. 488 There are only eight existing examples of this large size in addition to eight smaller examples.

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Similar cylinders on display at Galerie Steph Simon, Paris, in the 1980s

90 GEORGES JOUVE 1901–1964 ‘Cylinder’ vase, c. 1955 Glazed ceramic. Underside incised with artist’s mark and ‘Jouve’. 21 cm (8 1/4 in) high, 25 cm (9 7/8 in) diameter

Estimate £12,000–18,000 $18,000–27,000 €13,300–20,000 Provenance Galerie Patrick Seguin, Paris, France literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 62–65 and 105 for similar examples; Steph Simon Retrospective 1956–1974, exh. cat., Galerie Downtown, Paris, 2007, pp. 100–03

91 GEORGES JOUVE 1901–1964 ‘Cylinder’ vase, c. 1955 Glazed ceramic. Underside incised with artist’s mark and ‘Jouve’. 26 cm (10 1/4 in) high, 30 cm (12 in) diameter

Estimate £14,000–18,000 $21,000–27,000 €15,500–20,000 Provenance Galerie Patrick Seguin, Paris, France literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 62–65 and 105 for similar examples; Steph Simon Retrospective 1956–1974, exh. cat., Galerie Downtown, Paris, 2007, pp. 100–03

92 GEORGES JOUVE 1901–1964 ‘Cylinder’ vase, c. 1960 Glazed ceramic. Underside incised with artist’s mark and ‘Jouve’. 32.5 cm (12 3/4 in) high, 14 cm (5 1/2 in) diameter

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 Provenance Galerie Patrick Seguin, Paris, France literature Michel Faré, Jouve Ceramiste, Paris, 1965, p. 71 for a similar example;

Pierre Staudenmeyer, La Céramique Française des Années 50, Paris, 2001, p. 90 for a similar example; Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 62–65, 105 and 289 for similar examples; Steph Simon Retrospective 1956–1974, exh. cat., Galerie Downtown, Paris, 2007, pp. 100–03

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93 ALEXANDRE NOLL 1890–1970 Box, c. 1955 Cherry. Underside incised with ‘ANOLL’. 10 × 28 × 17.5 cm (4 × 11 × 6 7/8 in)

Estimate £8,000–10,000 $12,000–15,000 €8,900–11,100 literature Olivier Jean-Elie and Pierre Passebon,

Alexandre Noll, Paris, 1999, p. 57 for similar examples

94 ALEXANDRE NOLL 1890–1970 Plate, c. 1950 Rosewood. 4 cm (1 5/8 in) high, 50 cm (19 3/8 in) diameter

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 literature Olivier Jean-Elie and Pierre Passebon, Alexandre

Noll, Paris, 1999, p. 56 for a similar example

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95 JEAN PROUVÉ 1901–1984 Bed, model no. 102, from Lycée Fabert, Metz, France, 1936 Painted bent steel, oak, leather. Manufactured by Les Ateliers Jean Prouvé, France. 65.5 × 234.5 × 92 cm (25 3/4 × 92 3/8 × 32 1/4 in)

Estimate £18,000–24,000 $27,000–36,000 €20,000–26,600 Provenance Lycée Fabert, Metz, France; Galerie Patrick Seguin, Paris, France literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998,

p. 124; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934–1944, Basel, 2000, p. 110, figs. 534.1,1–534.1,3 for drawings and specifications sheets and p. 111, fig. 534.1,4; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 354 and 361 This bed is one of 36 examples completed for Lycée Fabert.

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96 ISAMU NOGUCHI 1904–1988 ‘Ellipse’ Akari floor lamp, model no. 31N, designed 1969 Washi paper, painted metal. Produced by Ozeki Company, Japan and editioned by Galerie Steph Simon, France. Underside of shade stamped with artist’s ideograph. 186 cm (73 1/4 in) high, 59 cm (23 1/4 in) diameter

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600 Provenance Galerie Steph Simon, Paris, France; Galerie Downtown, Paris, France literature Ikko Tanaka and Katasuhiro Kinoshita, Isamu Noguchi, Space of Akari &

Stone, San Francisco, 1986, pp. 57 and 73 for this shade model

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97 CHARLOTTE PERRIAND AND PIERRE JEANNERET 1903–1999, 1896–1967 Desk, c. 1948 Pine. Produced in Grenoble and designed for l’Equipment de la Maison series. 72 × 180 × 67 cm (28 3/8 × 71 × 26 1/2 in)

Estimate £15,000–20,000 $22,500–30,000 €16,700–22,200 literature Pierre Kjellberg, Le Mobilier du XXe Siècle, Dictionnaire desi Créateurs,

Paris, 1994, p. 480 for an ebonised version; Jacques Barsac, Charlotte Perriand. Un Art d’Habiter, Paris, 2005, pp. 275 and 375 for a drawing and p. 281, fig. 9

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98 CHARLOTTE PERRIAND AND PIERRE JEANNERET 1903–1999, 1896–1967 Bahut sideboard, c. 1939 Pine, painted wood. 101 × 246 × 41 cm (39 3/4 × 96 7/8 × 16 1/8 in)

Estimate £25,000–35,000 $37,500–52,500 €27,800–38,900 literature Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003,

pp. 135–36 for a similar example

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99 MATHIEU MATÉGOT 1910–2001 ‘Bagdad’ table lamp, c. 1954 Painted perforated metal, brass. Manufactured by Atelier Matégot, France. 38 cm (15 in) high

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 literAture Patrick Favardin, Les décorateurs des années 50, Paris,

2002, p. 39; Philippe Jousse and Caroline Mondineu, Mathieu Matégot, Paris, 2003, pp. 73–76, 125, 135, 153, 225 and 252

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100 PIERRE JEANNERET 1896–1967 Rare dining table, 1950s teak. 74.5 × 184.5 × 90 cm (29 1/4 × 72 3/4 × 35 1/2 in)

Estimate £25,000–35,000 $37,500–52,500 €27,800–38,900 Provenance Acquired from a former employee of le Corbusier

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101 JEAN ROYÈRE 1902–1981 Pair of rare three-arm ‘Fondperdu’ wall lights, c. 1948 Painted iron, paper shades (2). Each: 35.5 × 44.5 × 26.5 cm (14 3/8 × 17 1/2 × 10 3/8 in)

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 Provenance Galerie Jacques Lacoste, Paris, France

102 JEAN ROYÈRE 1902–1981 Pair of rare two-arm ‘Fondperdu’ wall lights, c. 1948 Painted iron, paper shades (2). Each: 35.5 × 44.5 × 26.5 cm (14 3/8 × 17 1/2 × 10 3/8 in)

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 Provenance Galerie Jacques Lacoste, Paris, France

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103 JEAN ROYÈRE 1902–1981 Rare ‘Fondperdu’ floor lamp, c. 1948 Painted iron, gilt wood, paper shades. 159 cm (62 3/8 in) high

Estimate £16,000–20,000 $24,000–30,000 €17,800–22,200 Provenance Galerie Jacques Lacoste, Paris, France

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104 JEAN ROYÈRE 1902–1981 Sideboard, c. 1955 Oak, cane. 112.5 × 170 × 42 cm (44 3/8 × 66 7/8 × 16 1/2 in)

Estimate £10,000–15,000 $15,000–22,500 €11,100–16,700 Provenance Galerie Jacques Lacoste, Paris, France

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105 GILBERT POILLERAT 1902–1988 Table lamp, c. 1950 Patinated bronze, bronze, paper shade. 66.5 cm (26 1/4 in) high, including shade

Estimate £3,000–4,000 $4,500–6,000 €3,300–4,400 literature François Baudot, Gilbert Poillerat: Maître Ferronnier, Paris, 1998, p. 211

for a similar example

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106 GIO PONTI 1891–1979 Sofa, c. 1935 Walnut-veneered wood, ebonised wood, fabric. 85 × 203 × 89.5 cm (33 1/2 × 79 1/8 × 35 1/4 in)

Estimate £10,000–15,000 $15,000–22,500 €11,100–16,700 exhibited ‘Deco Arte in Italia 1919–1939’, Villa Badoer di Palladio, Badoer, Rovigo,

Italy, 31 January–28 June 2009

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107 CARLO SCARPA 1906–1978 Rare ceiling light, model no. 5258, c. 1931 Iridescent ‘Pulegoso’ glass decorated with coloured murrine, copper. Manufactured by Venini, Italy. 113 cm (44 1/2 in) drop, 45 cm (17 3/4 in) diameter

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 literature Franco Deboni, Venini Glass, Its history, artists and techniques, Vol. 1,

Milan, 2007, pl. 142

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Original drawing from the Buzzi Archive

Gio Ponti (architect, etcetera) was nothing if not variable: he

Inspiration…” he said of his years at the Politecnico (Loris Manna,

published, painted, built. In the words of fellow designer Ico Parisi, he

Gio Ponti: Le maioliche, Milan, 2000, p. 17). Although a graduate, Ponti

ably shifted “from a skyscraper to a fork, from a cathedral to a chair…”

remained an impressionable student of classicism. In 1927, with

(Ugo La Pietra, ed., Gio Ponti, New York, 1996, p. xxvii). Throughout his

his then associate Emilio Lancia and former classmates Tomaso

career, Ponti contrasted exuberant decoration with spare elegance:

Buzzi and Michele Marelli, he founded Il Labirinto, a group of young

appliqué butterflies today, rhomboid flatware tomorrow. Following

architects and designers who promoted a line of sound domestic

his graduation from Milan’s Politecnico in 1919, Ponti produced lively

furniture, finished in rich veneers and bronze hardware, which

ceramics for the Tuscan firm Richard-Ginori. Across vases, bowls,

referenced antiquity and its heirs: Palladio, Biedermeier, and, closer

and plates, Ponti painted recumbent nudes on curvaceous clouds and

to home, French Art Deco. Sold through Venini & Co. on Via Monte

hunters chasing stags; ‘La conversazione classica’, a monumental

Napoleone, Milan, the line included cabinetry, glass, lighting fixtures,

majolica urn from 1925, depicted robed nobles and putti spinning

fabrics and metalwork.

against a labyrinthine background – is that the Agora or Corso Como? Regardless, it’s a happening street. In marked contrast to the brio

The following nine lots were commissioned from Ponti by a private

of those cartoons, Ponti’s furniture of the period held its ground:

client in Milan in 1936. Ponti based the commission on earlier designs

stately wardrobes, desks, and chairs settled above straight or saber

by Il Labirinto dating from the late 1920s. The present works, designed

legs; pediments and urn-shaped back splats referenced a sturdy

by Michele Marelli, Tomaso Buzzi and Ponti himself, were built by

past. “I believe that this chapter should better be called ‘Classical

Cusartelli, a local cabinetmaker.

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108 MICHELE MARELLI 1897–1977 Large shelving unit, 1936 Walnut-veneered wood, burr walnut-veneered wood, walnut, bronze. Produced by cabinetmaker Cusartelli, Italy. 173 × 171 × 43 cm (68 1/8 × 67 3/8 × 16 7/8 in)

Estimate £10,000–15,000 $15,000–22,500 €11,100–16,700 provenance Private Collection, Milan, Italy exhibited ‘Art Deco in Italy: 1918–1939’, Chiostro del Bramante, Rome,

20 March–18 July 2004 literature Irene de Guttry and Maria Paola Maino, Il mobile deco italiano

1920–1940, Rome, 1988, p. 1 for a similar example

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Small demilune chest, 1936 Burr walnut-veneered wood, walnut, bronze. Produced by cabinetmaker Cusartelli, Italy. 75.5 × 48.5 × 33 cm (29 3/4 × 19 1/8 × 13 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 provenance Private Collection, Milan, Italy exhibited ‘Gio Ponti: A World of Design’, Triennale Milan, 12 February–27 April 2003 literature Ugo La Pietra, ed., Gio Ponti, New York, 1996, p. 12, fig. 20 and

pp. 14–15 for similar examples

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109 GIO PONTI 1891–1979

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110 GIO PONTI 1891–1979 Occasional table, 1936 Burr walnut-veneered wood, walnut, bronze. Produced by cabinetmaker Cusartelli, Italy. 50.5 cm (19 7/8 in) high, 66 cm (26 in) diameter

Estimate £12,000–18,000 $18,000–27,000 €13,300–20,000 provenance Private Collection, Milan, Italy exhibited ‘Gio Ponti: A World of Design’, Milan Triennale, 12 February–27 April

2003; ‘Deco Arte in Italia 1919–1939’, Villa Badoer di Palladio, Badoer, Rovigo, Italy, 31 January–28 June 2009 literature Lidia Morelli, La casa che vorrei avere, Milan, 1931, p. 477;

Ugo La Pietra, ed., Gio Ponti, New York, 1996, p. 59, fig. 134

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111

111 MICHELE MARELLI 1897–1977 Sideboard, 1936 Walnut-veneered wood, burr walnut-veneered wood, walnut, bronze. Produced by cabinetmaker Cusartelli, Italy. 92 × 91.5 × 31 cm (36 1/4 × 36 × 12 1/8 in)

Estimate £2,500–3,500 $3,800–5,300 €2,800–3,900 provenance Private Collection, Milan, Italy

112 MICHELE MARELLI 1897–1977 Side table, 1936 Walnut-veneered wood, walnut. Produced by cabinetmaker Cusartelli, Italy. 45 cm (17 7/8 in) high, 30 cm (11 7/8 in) diameter

Estimate £800–1,200 $1,200–1,800 €1,000–1,300 provenance Private Collection, Milan, Italy

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112

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113 TOMASO BUZZI 1900–1981 Armchair, 1936 Walnut, fabric, bronze. Produced by cabinetmaker Cusartelli, Italy. 91.5 cm (36 in) high

Estimate £1,500–2,000 $2,300–3,000 €1,700–2,200 provenance Private Collection, Milan, Italy literature Irene de Guttry and Maria Paola Maino, Il mobile deco italiano

1920–1940, Rome, 1988, p. 11, fig. 13 for a similar example and fig. 14 for a drawing of a similar example

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114 MICHELE MARELLI 1897–1977 Bookshelf, 1936 Walnut-veneered wood, walnut. Produced by cabinetmaker Cusartelli, Italy. 95 × 129.5 × 29.5 cm (37 3/8 × 51 × 11 5/8 in)

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300 provenance Private Collection, Milan, Italy

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115 TOMASO BUZZI 1900–1981 Pair of chairs, 1936 Walnut, fabric, bronze. Produced by cabinetmaker Cusartelli, Italy (2). Each: 96.5 cm (38 in) high

Estimate £1,500–2,000 $2,300–3,000 €1,700–2,200 provenance Private Collection, Milan, Italy literature Irene de Guttry and Maria Paola Maino, Il mobile deco italiano

1920–1940, Rome, 1988, p. 116, fig. 11 for a drawing of a similar example

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116 TOMASO BUZZI 1900–1981 Desk, 1936 Burr walnut-veneered wood, walnut-veneered wood, walnut, bronze. Produced by cabinetmaker Cusartelli, Italy. 80 × 141 × 67.5 cm (31 1/2 × 55 1/2 × 26 1/2 in)

Estimate £12,000–18,000 $18,000–27,000 €13,300–20,000 provenance Private Collection, Milan, Italy literature Irene de Guttry and Maria Paola Maino, Il mobile deco italiano

1920–1940, Rome, 1988, p. 118 for a similar example

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117 CARLO SCARPA 1906–1978 Pair of lanterns, model no. 5284, c. 1936 Clear and coloured ‘Tessere’ glass with clear ‘Murrine’ glass, brass. Manufactured by Venini, Italy (2). Each: 121 cm (47 5/8 in) high, 41 cm (16 1/8 in) diameter

Estimate £15,000–20,000 $22,500–30,000 €16,700–22,200 literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921–1986,

Milan, 2000, pp. 97 and 212; Franco Deboni, Venini Glass, Its history, artists and techniques, Vol. 1, Milan, 2007, pl. 164

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118 LUIGI CACCIA DOMINIONI b. 1913 Set of three ‘Italia 22’ wall lights, c. 1957 Painted metal, etched glass. Manufactured by Azucena, Italy (3). Each: 111.5 × 53 × 29 cm (43 1/8 × 20 7/8 × 11 1/2 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 ♠ literature CATALOGO AZUCENA, 1958, n.p.

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119 PAOLO BUFFA 1903–1970 Rare occasional table, c. 1948 Cuban mahogany, mahogany, ebony. 50 × 65 × 65 cm (19 5/8 × 25 1/2 × 25 1/2 in)

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300

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120 OSVALDO BORSANI AND ARNALDO POMODORO 1911–1985, b. 1926 Bookcase with desk and cabinet, c. 1954 Rosewood-veneered wood, wood, painted metal, glass, sculpted bronze, brass. 303 × 213.5 × 58.5 cm (119 1/4 × 84 × 23 in)

Estimate £10,000–15,000 $15,000–22,500 €11,100–16,700

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121 GIO PONTI AND PAOLO DE POLI 1891–1979, 1905–1984 Large vase, 1960s Enamelled copper. Bottom rim incised with ‘De Poli’. 34.5 cm (13 5/8 in) high

Estimate £2,200–2,800 $3,300–4,200 €2,400–3,100 literature Roberto Aloi, L’Arredamento Moderno, Modern Furnishing,

Milan, 1964, p. 55 for similar examples; Ugo La Pietra, ed., Gio Ponti, New York, 1996, p. 310 for similar examples

122 PAOLO DE POLI 1905–1984 Two bowls, 1960s Enamelled copper. Underside of one impressed with ‘P.DE POLI/MADE IN ITALY’ and underside of the other incised with ‘De Poli’ (2). One: 6 cm (2 3/8 in) high, 19 cm (7 1/2 in) diameter; the other: 5.5 cm (2 1/2 in) high, 22 cm (8 5/8 in) diameter

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300 literature Roberto Aloi, L’Arredamento Moderno,

Modern Furnishing, Milan, 1964, p. 55 for similar examples

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123 MAX INGRAND 1908–1969 Pair of wall lights, c. 1958 Textured chiselled glass, brass. Manufactured by Fontana Arte, Italy (2). Each: 33 × 21 × 11 cm (13 × 8 1/4 × 4 1/4 in)

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300

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124 JEAN-BORIS LACROIX 1902–1984 Pair of wall lights, c. 1958 Painted metal, Perspex (2). Each: 41 × 24 × 32.5 cm (16 1/8 × 9 1/2 × 12 7/8 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700

125 PAOLO DE POLI 1905–1984 Two plates, 1960s Enamelled copper. Underside of each impressed with ‘P.DE POLI/MADE IN ITALY’ and one additionally with sticker ‘LAVOTA’ (2). Larger: 3.5 × 33.5 × 33 cm (1 3/8 × 11 5/8 × 10 3/8 in)

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300

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126 GIO PONTI 1891–1979 Set of three unique shelves, c. 1958 Teak-veneered wood, teak, plastic laminate-covered wood. Together with a certificate of authenticity from the Ponti Archives (3). Largest: 35.5 × 170.5 × 50 cm (14 × 67 1/8 × 19 3/8 in)

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 Provenance Commissioned for a private residence, Genoa, Italy

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127 FONTANA ARTE Table lamp, c. 1960 Bronze, brass, frosted glass, painted metal. Manufactured by Fontana Arte, Italy. 66 cm (26 in) high

Estimate £6,000–7,000 $9,000–10,500 €6,700–7,800

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128 ANGELO LELLI Ceiling light, c. 1954 Painted aluminium, brass, nylon string. Manufactured by Arredoluce, Italy. 96 cm (36 1/8 in) drop, 84 cm (33 in) diameter

Estimate £2,500–4,500 $3,800–6,800 €2,800–5,000 literature Anne Bony, Les Années 50, Paris, 1982, p. 257 for a similar example;

Andrea Branzi and Michele de Lucchi, Il Design Italiano degli Anni ’50, Milan, 1985, p. 225 for a similar example; Alberto Bassi, Italian Lighting Design 1945–2000, Milan, 2004, p. 77 for a similar example; Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 463 for a similar example

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129 MAX INGRAND 1908–1969 Pair of wall lights, c. 1960 Chiselled frosted glass, brass, painted metal. Manufactured by Fontana Arte, Italy (2). Each: 32 × 9 × 32 cm (12 1/2 × 23 × 12 1/2 in)

Estimate £5,000–7,000 $7,500–10,500 €5,600–7,800

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130 MALATESTA AND MASON Armchair, c. 1950 Leather, walnut. Manufactured by Malatesta and Mason, Italy. 78 cm (30 3/4 in) high

Estimate £2,500–3,500 $3,800–5,300 €2,800–3,900 literature Charlotte and Peter Fiell, 50s Decorative Art, Cologne, 2000, p. 18

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131 MAX INGRAND 1908–1969 Wall light, model no. 1568, c. 1956 Frosted and partially-chiselled glass, brass. Manufactured by Fontana Arte, Italy. 19.5 × 61 × 20 cm (7 5/8 × 24 × 7 7/8 in)

Estimate £9,000–14,000 $13,500–21,000 €10,000–15,500 literature Fontana Arte Illuminazione, Fontana Arte sales catalogue,

Italy, 1960s, p. 55; Laura Falconi, Luci e Trasparenze: Fontana Arte, Rome, 2006, pp. 64 and 93

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132 GINO SARFATTI 1912–1985 Rare and important wall light, 1960s Painted metal, brass, glass. Manufactured by arteluce, italy. rim of one shade with decal ‘al/Milano/arteluce’ and another shade with partial decal. Designed for the teatro Piccolo, Milan. 73 × 156 × 26 cm (28 3/4 × 61 3/8 × 10 1/4 in)

Estimate £18,000–22,000 $27,000–33,000 €20,000–24,400 literature roberto aloi, Illuminazione D’oggi, Milan, 1956, pp. 54–55

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133 VITTORIANO VIGANO 1919–1996 Floor lamp, c. 1961 Painted aluminium. Manufactured by Arteluce, Italy. 176 cm (69 1/4 in) high

Estimate £2,500–3,500 $3,800–5,300 €2,800–3,900 literature Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 177

134 ACHILLE CASTIGLIONI 1918–2002 ‘Luminator’ floor lamp, c. 1955 Painted tubular metal. Manufactured by Gilardi and Barzaghi, Italy. 175 cm (68 7/8 in) high

Estimate £2,500–3,500 $3,800–5,300 €2,800–3,900 literature Compasso d’oro 1955, Milan, 1955, n.p.; Giuliana Gramigna, Repertorio

1950/1980, Milan, 1985, p. 93; Paolo Ferrari, Achille Castiglioni, exh. cat., Centre Georges Pompidou/CCI, Paris, 1985, p. 49, figs. 46–47; Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 478

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135 GIULIA VERONESI 1906–1970 Pair of ‘Perla’ armchairs and ottomans, c. 1952 Fabric, ebonised wood, brass. Manufactured by Isa, Italy (4). Each chair: 78 cm (30 1/2 in) high; each ottoman: 39 × 54 × 40 cm (15 3/8 × 21 1/4 × 15 3/4 in)

Estimate £4,500–6,500 $6,800–9,800 €5,000–7,200 literature Domus, October 1952, n.p. for an advertisement

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136 FONTANA ARTE Pair of wall lights, c. 1960 Frosted textured glass, chrome-plated metal. Manufactured by Fontana Arte, Italy (2). Each: 33.5 × 6.5 × 9 cm (13 1/4 × 2 1/2 × 3 1/2 in)

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600

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137 MAX INGRAND 1908–1969 Pair of wall lights, c. 1950 Chiselled textured glass, brass. Manufactured by Fontana Arte, Italy (2). Each: 27 × 28 × 8 cm (10 3/4 × 11 × 3 1/4 in)

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 literature Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 111

for a similar example; Laura Falconi, Luci e Transparenze: Fontana Arte, Rome, 2006, pp. 45 and 64–67 for similar examples

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138 GINO SARFATTI 1912–1985 Set of three wall lights, model no. 43, c. 1963 Painted metal. Manufactured by Arteluce, Italy (3). Each: 18.5 × 13.5 × 8.5 cm (7 1/4 × 5 1/4 × 3 3/8 in)

Estimate £2,400–2,800 $3,600–4,200 €2,700–3,100 literature Arteluce sales catalogue, Milan, 1960s; Giuliana Gramigna,

Repertorio 1950/1980, Milan, 1985, p. 199; Galerie Christine Diegoni, Gino Sarfatti, Paris, 2008, p. 108

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139 GINO SARFATTI 1912–1985 Floor lamp, model no. 1001, 1960s Opaque glass, brass, painted metal. Manufactured by Arteluce, Italy. 141.5 cm (55 5/8 in) high

Estimate £4,500–6,500 $6,800–9,800 €5,000–7,200

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140 HARRY BERTOIA 1915–1978 ‘Willow’ sculpture, c. 1970 Stainless steel wire, stainless steel. 165 cm (65 in) high

Estimate £35,000–45,000 $52,500–67,500 €38,900–50,000 Ω literature Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen,

2003, pp. 168–70 for similar examples

“Take wire. Add poetry”, stated a 1950s Knoll advertisement for Harry Bertoia’s chairs, among that firm’s most popular offerings. Designer, sculptor, graphic artist, jewellery maker, Bertoia fit the definition of a polymath. Born into a family of music lovers (his father worked in the theatre, his brother composed), Bertoia from an early age devoted himself to art: he drew accomplished portraits at eleven; at fifteen he enrolled in drafting classes in San Lorenzo, his birthplace in northern Italy. Years later, on an application to the renowned Cranbrook Academy, Bertoia wrote: “I can use any tool or machinery with dexterity”. Although a painting major, he refused to confine himself to canvas. After the 1950s, Bertoia never returned to furniture production but concentrated instead on unique abstract constructions in steel, brass, bronze, copper, and nickel alloys. For the next quarter century he welded, cast and bundled a menagerie of forms including screens, panels, flowers, cones, spills, trees, and bushes, among others. Abstracted from their legs, the seats of his chairs now read as early sculptural experiments. Although fundamental to his output, they represent a stopover in his “long quest to seek and sometimes find a form, a structure, a sound or a way”. That statement affirms Bertoia’s earnest desire for grand truths, for understanding, for music, and for movement. Working one day in 1959, he snapped a standing rod in error. It struck another – the way forward was clear as a bell. “For a number of years I had realized that sculpture had existed in silence through time … I thought: ‘Why is sound left outside?’” From the late 1950s, outward from the closed geometry of his chairs and dense panels, Bertoia opened his forms to air: thin lines of copper rods danced and rang; bundled wires twisted out like fans or ‘wept’ as willows, inspired no doubt by the vast tree waving beside his pond in Bally, Pennsylvania. Bertoia stated in 1976, “At this eternal moment, I have a gut feeling that awareness of the miracle of life is the purpose of life.” All citations: Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, PA, 2003

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141 GEORGE NAKASHIMA 1905–1990 ‘Wepman’ side table, 1960s American black walnut. 43 × 60 × 44 cm (17 × 23 1/2 × 17 1/4 in)

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600 Ω literature Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George

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

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142 VLADIMIR KAGAN b. 1927 Pair of ‘Contour’ lounge chairs and ottomans, c. 1955 Walnut, leather. Manufactured by Kagan-Dreyfuss, USA (4). Each chair: 89.5 cm (35 1/4 in) high; each ottoman: 38 × 52 × 51 cm (15 × 20 1/2 × 20 in)

Estimate £5,000–7,000 $7,500–10,500 €5,600–7,800 literature Vladimir Kagan, The Complete Kagan: A Lifetime of Avant–Garde Design,

New York, 2004, pp. 120–21 for the chair; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, pp. 112, 117 and 122 for similar examples

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143 PAUL EVANS 1931–1987 ‘Argente’ wardrobe, 1968 Welded, painted, sculpted and polished aluminium, painted wood, welded and patinated steel. Produced by Paul Evans Studio, USA. Bottom interior edge welded with ‘Paul Evans 68’. 192 × 92 × 52 cm (75 1/2 × 36 1/4 × 20 1/2 in)

Estimate £20,000–25,000 $30,000–37,500 €22,200–27,800 Ω literature John Sollo, ‘Out of the Ordinary: Paul Evans and His Style’,

Modernism Magazine, Fall 1998, p. 41 for another example from the ‘Argente’ series; David Rago and John Sollo, Collecting Modern, a Guide to Midcentury Studio Furniture and Ceramics, Salt Lake City, 2001, pp. 98 and 100–01 for other examples from the ‘Argente’ series; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 96 for a similar example

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144 PAUL EVANS 1931–1987 Dining table, 1970s Sculpted and welded bronze, sculpted, welded and patinated steel, glass. Produced by Paul Evans Studio, USA. 73.5 × 244 × 122 cm (29 × 96 × 48 in)

Estimate £20,000–25,000 $30,000–37,500 €22,200–27,800 Ω Provenance Janice Lapin, Potomac, Maryland literature John Sollo, ‘Out of the Ordinary: Paul Evans and His Style’,

Modernism Magazine, Fall 1998, p. 42 for a similar sculpture; David Rago and John Sollo, Collecting Modern, a Guide to Midcentury Studio Furniture and Ceramics, Salt Lake City, 2001, p. 95 for a similar sculpture

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145 HANS WEGNER 1914–2007 Early ‘Ox’ chair, c. 1960 Leather, tubular steel. Manufactured by AP Stolen, Denmark. 88 cm (34 5/8 in) high

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 literature Interiors, November 1963, p. 16; Ulf Hård af Segerstad, Modern

Scandinavian Furniture, Copenhagen, 1963, p. 89; Johan Møller Nielson, Sitting Pretty: Wegner en Dansk Mobelkunstner, Copenhagen, 1965, pp. 11 and 71–72; Jens Bernsen, Hans Wegner on Design, Copenhagen, 1995, pp. 19, 23 and 81; Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 121; Peter and Charlotte Fiell, Scandinavian Design, Cologne, 2002, p. 657

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146 ALVAR AALTO 1898–1976 ‘Angel’s Wing’ floor lamp, model no. A805, c. 1956 Painted metal, leather, brass. Manufactured by Valaistustyö Ky, Finland. Stem impressed with ‘VALAISTUSTYO/A/805/M’. 173 cm (68 1/8 in) high

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 literature Suomen Koristetaiteilijain Liitto Ornamo, The Ornamo Book of Finnish

Design, Helsinki, 1962, p. 12 for a similar example; Museum of Finnish Architecture, Alvar Aalto Furniture, London, 1985, p. 177, fig. 277 for a similar example; Thomas Kellein, Alvar & Aino Aalto; Collection Bischofberger, Zurich, 2005, p. 186

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147 BODIL KJÆR b. 1932 Desk, c. 1960 Rosewood-veneered wood, rosewood, chrome-plated steel. Manufactured by E. Pedersen & Son, Denmark. Sold together with two filing cabinets (3). Desk; 72 × 200 × 100 cm (28 3/8 × 78 3/4 × 39 3/8 in)

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 ♠

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148 POUL KJÆRHOLM 1929–1980 Daybed, model no. PK80, c. 1957 Matt chrome-plated steel, leather, painted plywood, rubber. Manufactured by E. Kold Christensen, Denmark. 32 × 193 × 82 cm (12 1/2 × 76 32 1/4 in)

Estimate £7,000–10,000 $10,500–15,000 €7,800–11,100 literature Poul Kjærholm, Industrial Design, 1960, p. 62; Christoffer Harlang,

Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 1999, pp. 104–05 and 177; Michael Sheridan, Poul Kjærholm: Furniture Architect, exh. cat., Louisiana Museum of Modern Art, exh. cat., Esberg, 2006, pp. 9, 15, 77, 162–63 and 187; Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 104–05

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149 ERIK GUNNAR ASPLUND 1885–1940 ‘Parachute’ ceiling light, c. 1925 Painted metal, frosted glass. 51 cm (20 in) wide, 126 cm (49 1/2 in) drop

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 literature Stuart Wrede, The Architecture of Erik Gunnar Asplund,

Cambridge, 1980, p. 187

DESIGN UK_partTwo_pp138-205.indd 189

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150 WILLIAM KATAVOLOS WITH DOUGLAS KELLY

151 WILLIAM KATAVOLOS WITH DOUGLAS KELLY

AND ROSS LITTELL b. 1924, b. 1928, 1924–2000

Pair of ‘T-Chairs’, c. 1952

Leather, tubular steel, painted metal. Manufactured by Laverne International,

Leather, tubular steel, painted metal. Manufactured by Laverne

USA (2).

International, USA (2).

Each: 81 cm (31 7/8 in) high

Estimate £2,000–3,000 $3,000–4,500 €2,200–3,300

literature Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 313

DESIGN UK_partTwo_pp138-205.indd 190

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152 TAPIO WIRKKALA 1915–1985 ‘Rhythmic Plywood’ coffee table, c. 1957 Birch-veneered wood, birch. Manufactured by Asko, Finland. Underside branded with ‘TAPIO WIrkkALA/ASkO/MADE IN FINLAND’. 39.5 × 124 × 62 cm (15 1/2 × 48 7/8 × 24 1/2 in)

Estimate £8,000–10,000 $12,000–15,000 €8,900–11,100 literature Marianne Aav, rosa Barovier Mentasti and Gordon Bowyer, et al.,

Tapio Wirkkala – eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, pp. 283 and 380; Judith Gura, Scandinavian Furniture: A Sourcebook of Classic Designs for the 21st Century, London, 2007, p. 39 for a similar example

DESIGN UK_partTwo_pp138-205.indd 191

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DES_pp192-193_rev2.indd 192

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153 POUL HENNINGSEN 1894–1967 Exceptional rare and important large wall light, for the Concert Hall, Scala Theatre, Århus, Denmark, 1955 Painted aluminium, brass. 85 × 190.5 × 27.2 cm (33 1/2 × 75 × 10 5/8 in)

Estimate £15,000–20,000 $22,500–30,000 €16,700–22,200 Provenance Concert Hall, Scala Theatre, Århus, Denmark literature Tina Jørstian and Poul Eric Munk Nielsen, Light Years Ahead, The Story

of the PH Lamp, Copenhagen, 1994, p. 268 for a period photo of the light in situ

DES_pp192-193_rev2.indd 193

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154 WERNER WEST 1890–1959 Set of six chairs, model no. W1, c. 1930 Stained birch, bent wood. Manufactured by Wilhelm Schauman Oy, Finland (6). Each: 71.5 cm (28 in) high

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 literature Marianne Aav, Nina Stritzler–Levine and Jari Ehrnrooth, et al., eds.,

Finnish Modern Design, London, 1998, p. 261

DESIGN UK_partTwo_pp138-205.indd 194

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155

155 ILMARI TAPIOVAARA 1914–1999 Small ‘Mija the Bee’ floor lamp, c. 1957 Painted aluminium, brass. Manufactured by Asko, Finland. Interior impressed with ‘HEINOTERAS’. 50 cm (19 5/8 in) high

Estimate £3,000–4,000 $4,500–6,000 €3,300–4,400 literature Pekka Korvenmaa, Ilmari Tapiovaara, Salamanca, 1997, front cover and

p. 415, figs. 407–08, and p. 195, fig. 471

156

156 ILMARI TAPIOVAARA 1914–1999 Large ‘Mija the Bee’ floor lamp, c. 1957 Painted aluminium, brass. Manufactured by Asko, Finland. Interior impressed with ‘HEINOTERAS’. 77 cm (30 3/8 in) high

Estimate £6,000–8,000 $9,000–12,000 €6,700–8,900 literature Jarno Peltonen, Ilmari Tapiovaara: Sisustusarkkitehti. Inredningsarkitekt.

Interior architect, Helsinki, 1984, p. 39; Pekka Korvenmaa, Ilmari Tapiovaara, Salamanca, 1997, front cover, p. 415, figs. 407–08 and p. 195, fig. 471

157 ILMARI TAPIOVAARA 1914–1999 Low ‘Pirkka’ chair, c. 1960 Pine, ebonised wood. Manufactured by Asko, Finland. Underside of seat impressed with ‘LP/LAUKAAN PUUO/MADE IN FINLAND/TAPIOVAARA/ DESIGN’. 71 cm (28 in) high

Estimate £4,000–5,000 $6,000–7,500 €4,400–5,600 literature Jarno Peltonen, Ilmari Tapiovaara : Sisustusarkkitehti. Inredningsarkitekt.

Interior architect, Helsinki, 1984, p. 5 for a similar example; Pekka Korvenmaa, Ilmari Tapiovaara, Salamanca, 1997, p. 135, fig. 243 for a drawing and p. 136, figs. 244–45 and 248 for a similar example

DESIGN UK_partTwo_pp138-205.indd 195

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158 EDWARD WORMLEY 1907–1995 Set of six ‘Alexandria’ armchairs, model no. 6004, 1960s Walnut, leather. Manufactured by Dunbar, USA. Underside of each with brass plaque impressed with ‘DUNBAR/BERNE, INDIANA’ (6). Each: 85 cm (33 1/2 in) high

Estimate £8,000–12,000 $12,000–18,000 €8,900–13,300 literature Judith Gura and Larry Weinberg, Edward Wormley: The Other Face of

Modernism, exh. cat., Lin–Weinberg Gallery, New York, 1997, p. 65

DESIGN UK_partTwo_pp138-205.indd 196

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159 PAAVO TYNELL 1890–1973 Pair of floor lamps, c. 1954 Brass, opaque coloured glass (2). Each: 163.5 cm (64 5/8 in) high

Estimate £10,000–15,000 $15,000–22,500 €11,100–16,700 literature Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959,

Cologne, 2005, p. 396 for a similar chandelier

DESIGN UK_partTwo_pp138-205.indd 197

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160 AXEL SALTO 1889–1961 Group of three ‘Budding’ vases, 1950s Stoneware, blue glazes. Various designer and manufacturer marks, each incised with ‘SALTO’ (3). Tallest: 18.5 cm (7 1/4 in) high

Estimate £3,000–4,000 $4,500–6,000 €3,300–4,400

DES_pp198-199_rev.indd 198

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DES_pp198-199_rev.indd 199

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161 AXEL SALTO 1889–1961 Bowl, c. 1944 Stoneware, glaze, the herringbone pattern carved into the body. Manufactured by Royal Copenhagen, Denmark. Painted with ‘20730’, printed with manufacturer’s mark, painted with three waves motif and incised with ‘SALTO/ P160’. 23 cm (9 1/8 in) diameter

Estimate £3,000–4,000 $4,500–6,000 €3,300–4,400

162 AXEL SALTO 1889–1961 Large bowl, c. 1944 Stoneware, glaze, the leaf design carved into the body. Manufactured by Royal Copenhagen, Denmark. Painted with ‘20722’, printed with manufacturer’s mark, painted with three waves motif and incised with ‘SALTO’. 30 cm (11 3/4 in) diameter

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 A similar bowl is held in the collection of the Victoria and Albert Museum in London

DESIGN UK_partTwo_pp138-205.indd 200

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163 HANS WEGNER 1914–2007 Pair of folding chairs, c. 1950 Oak, cane, bronze. Produced by Johannes Hansen, Denmark. Underside of each impressed with ‘JOHANNES HANSEN/COPENHAGEN/DENMARK’ and manufacturer’s logo (2). Each: 76 cm (29 7/8 in) high

Estimate £10,000–12,000 $15,000–18,000 €11,100–13,300 literature Johan Møller Nielson, Sitting Pretty: Wegner en Dansk Mobelkunstner,

Copenhagen, 1965, pp. 48, 52, 85, 98–99, 102 and 106–07; Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 110

DESIGN UK_partTwo_pp138-205.indd 201

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164 POUL HENNINGSEN 1894–1967 ‘Anchor’ ceiling light, model no. PH 3/2, 1930s Bronze, frosted glass. Manufactured by Louis Poulsen, Denmark. 97 cm (38 1/4 in) drop, 77 cm (30 1/4 in) diameter

Estimate £4,000–6,000 $6,000–9,000 €4,400–6,700 literature Tina Jørstian and Poul Erik Munk Nielsen, eds., Light Years Ahead, The

Story of the PH Lamp, Copenhagen, 1994, p. 191 for a similar example

165 PEDER MOOS 1906–1991 Table, 1936 Oak. Produced by cabinetmaker Peder Moos, Denmark. Underside signed in ink with ‘Moos/January 1936’. 57 × 67 × 45 cm (22 1/2 × 26 3/8 × 17 3/4 in)

Estimate £3,000–5,000 $4,500–7,500 €3,300–5,600 Provenance Private Collection, Århus, Denmark

DESIGN UK_partTwo_pp138-205.indd 202

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166 PAAVO TYNELL 1890–1973 Two desk lamps, c. 1954 Brass, painted brass, leather. Manufactured by Taito Oy, Finland. Underside of one impressed with ‘OY.TAITO AB/MADE IN FINLAND/TT/9224’ and the other impressed on back of base with ‘TAITO’ (2). Each: 63 cm (24 3/4 in) high

Estimate £10,000–15,000 $15,000–22,500 €11,100–16,700 literature Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959,

Cologne, 2005, pp. 398–99 for similar examples; Charlotte and Peter Fiell, Scandinavian Design, Cologne, 2005, p. 627 for a similar example

DESIGN UK_partTwo_pp138-205.indd 203

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167 PAAVO TYNELL 1890–1973 Eight-arm chandelier, c. 1948 Brass, opaque coloured glass. Manufactured by Taito Oy, Finland. 108 cm (42 1/2 in) drop, 61 cm (24 in) diameter

Estimate £5,000–7,000 $7,500–10,500 €5,600–7,800 literature Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959,

Cologne, 2005, p. 397 for the five-arm version

DESIGN UK_partTwo_pp138-205.indd 204

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DESIGN UK_partTwo_pp138-205.indd 205

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INDEX

Aalto, A.

146

Adjaye, D.

Aranda, B.

Aranda\ Lasch

Asplund, E. G.

149

Atelier Van Lieshout Baas, M.

Meredith, M. Moos, P.

Baldwin, G.

MOS Architects

29, 30, 31, 32, 33, 34, 35,

Mouille, S.

36, 37, 38, 39, 40, 41, 42 Bertoia, H.

140

Boontje, T.

Borsani, O. Buffa, P.

Nauta, r.

119 52, 53

Gunnar Asplund, E. Hadid, Z.

Castiglioni, A.

134

Henningsen, P.

44, 45

Chiggio, E.

ingrand, M.

123, 129, 131, 137

Crespi, G.

49, 50, 51

De Lucchi, M.

De Pas, J.

De Poli, P.

121, 122, 125

Dominioni, L.C. D’Urbino, D. D’Urso, J.

118

JAM

Jeanneret, P.

97, 98, 100

Jongerius, H.

12, 13, 14

Jouve, G.

67, 72, 90, 91, 92

Kagan, V.

142

Katavolos, W.

150, 151

Kær, B.

fontana Arte frança, H. Gordijn, L.

Kuenzel, i.

Grawunder, J.

Kuramata, S.

La Pietra, U.

Lacroix, J. B.

124

Landi, E. 23, 24

Lap, G.

Gruppo N.

Le Corbusier

70, 74, 80, 82, 84, 86, 88, 89, 97, 98, 105

Poillerat, G.

105

68, 69, 71, 74, 75, 76, 77, 78, 80, 85, 89, 95

Quinet, J.

remy, T.

rizzo, W.

48 101, 102, 103, 104 160, 161, 162 5 107, 117 56, 57, 58 17

Tapiovaara, i. 87, 88 22 63

Marelli, M. 108, 111, 112, 115 64

Matégot, M.

Mendini, A.

155, 156, 157

Tynell, P.

159, 166, 167

Van Severen, M. Veenhuizen, r.

Vigano, V.

135 59

133

Walmsley, L.

Wanders, M.

Wegner, H. West, W.

26 20

Vetreria Toso

Mangematin, M.

Toso, V.

Veronesi, G.

Malatesa and Mason 130

Massironi, N.

Prouvé, J.

Suppanen, i.

Littell, r. 150,151

Macapia, P.

120

106, 109, 110, 121, 126

Sottsass Jr, E.

128

Lomazzi, P.

Ponti, G.

Scarpa, C.

Libeskind, D.

DESIGN Backmatter_pp206-218.indd 206

Perriand, C.

Sarfatti, G. 132, 138, 139

Lasch, C. Lelli, A.

7 43

Sample, H.

55 83

Pergay, M.

Salto, A.

Gregotti, V. Guariche, P.

148

127, 136

8, 10

Partridge, J.

royère, J.

147

Kjærholm, P. 143, 144

Odundo, M.

Pomodoro, A.

Kelly, D.

Evans, P.

153, 164

54, 60

Chale, A.

DrifT

149

113, 114, 116

Cecchi, M.

Noll, A. 93, 94

Burchiellaro, L. Buzzi, T.

141

Noguchi, i.

73, 79, 81

Nakashima, G.

120

Brajkovic, S.

165

145, 163

154

Wirkkala, T.

152

Wormley, E.

158

30/03/10 08:14

GUIDE FOR PROSPECTIVE BUYERS BUYING aT aUCTION

Symbol Key

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

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

Phillips de Pury & Company. Our staff will be happy to assist you. O Guaranteed Property CONDITIONS OF SalE

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

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

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

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

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

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

guarantee may benefit financially if a guaranteed lot is sold successfully and may incur

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

a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed

Pury & Company generally acts as agent for the seller.

lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful bidder.

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

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

premium, on the hammer price of each lot sold. The buyer’s premium is payable by the

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

buyer as part of the total purchase price at the following rates: 25% of the hammer price up

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

to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000, and 12% of the portion of the hammer price above £500,000.

•

No Reserve

•

Unless indicated by a , all lots in this catalogue are offered subject to a reserve. VaT

A reserve is the confidential value established between Phillips de Pury & Company and

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

the seller and below which a lot may not be sold. The reserve for each lot is generally set at

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

a percentage of the low estimate and will not exceed the low pre-sale estimate.

AND OTHER TAX INFORMATION FOR BUYERS’ section in this catalogue.

♠ Property Subject to the artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of 1 PRIOR TO aUCTION

the hammer price and payable as part of the purchase price as follows:

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

Portion of the Hammer Price (in EUR)

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

From 0 to 50,000

From 50,000.01 to 200,000

Royalty Rate

Pre-Sale Estimates

From 200,000.01 to 350,000

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

From 350,000.01 to 500,000

0.5%

and low estimate range should, in our opinion, offer a chance of success. However, many

Exceeding 500,000

0.25%

lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. It is advisable

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to

to contact us closer to the time of the auction as estimates can be subject to revision.

a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be

Pre-sale estimates do not include the buyer’s premium or VAT.

based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank.

Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction

†, §, ‡, or Ω Property Subject to VaT

catalogues may also be printed in US dollars and/or euros. Since the exchange rate is

Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

that at the time of catalogue production and not at the date of auction, you should treat

in this catalogue for additional information.

estimates in US dollars or euros as a guide only. Catalogue Entries Phillips de Pury & Company may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and mechanical lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

DESIGN Backmatter_pp206-218.indd 207

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2 BIDDING IN ThE SalE

4 aFTER ThE aUCTION

Bidding at auction

Payment

Bids may be executed during the auction in person by paddle or by telephone or prior to

Buyers are required to pay for purchases immediately following the auction unless other

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identification will be required, as will an original signature. We may also require that

the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK

you furnish us with a bank reference.

bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of the local currency equivalent of US$10,000.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to

Credit Cards

allow sufficient time for us to process your information. All lots sold will be invoiced to

As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and

the name and address to which the paddle has been registered and invoices cannot be

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transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the

Collection

end of the auction, please return your paddle to the registration desk.

It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has

Bidding by Telephone

received full and cleared payment and we are not owed any other amount by the buyer.

If you cannot attend the auction, you may bid live on the telephone with one of our

After the auction, we will transfer all lots to our fine arts storage facility located at 110–112

multilingual staff members. This service must be arranged at least 24 hours in advance of

Morden Road, Mitcham, Surrey CR4 4XB and will so advise all buyers. Please contact the

the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone

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bids may be recorded. By bidding on the telephone, you consent to the recording of your

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conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium

days to collect their purchases, after which date Phillips de Pury & Company will levy for

and VAT, which we can execute on your behalf in the event we are unable to reach you

each uncollected lot an administrative fee of £25, a storage fee of £3 per day and a pro

by telephone.

rated insurance charge of 0.1% of the purchase price per month.

absentee Bids

loss or Damage

If you are unable to attend the auction and cannot participate by telephone, Phillips de

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage

Pury & Company will be happy to execute written bids on your behalf. A bidding form can

to lots for a maximum of five days following the auction.

be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the

Transport and Shipping

lowest possible price taking into account the reserve and other bidders. Always indicate

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand

a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be

carry only. We do not provide packing, handling or shipping services directly. However, we

accepted. Any absentee bid must be received at least 24 hours in advance of the sale.

will coordinate with shipping agents instructed by you in order to facilitate the packing,

In the event of identical bids, the earliest bid received will take precedence.

handling and shipping of property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the

Export and Import licences

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

Before bidding for any property, prospective bidders are advised to make independent

the reserve when submitting their absentee bids and otherwise comply with our employee

enquiries as to whether a licence is required to export the property from the United

bidding procedures.

Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The

Bidding Increments

denial of any required licence or permit or any delay in obtaining such documentation will

Bidding generally opens below the low estimate and advances in increments of up to 10%,

not justify the cancellation of the sale or any delay in making full payment for the lot.

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

UK£50 to UK£1,000 by UK£50s

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

UK£1,000 to UK£2,000 by UK£100s

require a licence or certificate prior to exportation and additional licences or certificates

UK£2,000 to UK£3,000 by UK£200s

upon importation to any country outside the European Union (EU). Please note that the

UK£3,000 to UK£5,000 by UK£200s, 500, 800 (i.e., UK£4,200, 4,500, 4,800)

ability to obtain an export licence or certificate does not ensure the ability to obtain an

UK£5,000 to UK£10,000 by UK£500s

import licence or certificate in another country, and vice versa. We suggest that

UK£10,000 to UK£20,000 by UK£1,000s

prospective bidders check with their own government regarding wildlife import

UK£20,000 to UK£30,000 by UK£2,000s

requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any

UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000

necessary export or import licences or certificates as well as any other required

UK£50,000 to UK£100,000 by UK£5,000s

documentation. The denial of any required licence or certificate or any delay in obtaining

UK£100,000 to UK£200,000 by UK£10,000s

such documentation will not justify the cancellation of the sale or any delay in making full

above UK£200,000

payment for the lot.

at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 ThE aUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

DESIGN Backmatter_pp206-218.indd 208

30/03/10 08:14

the international art fair for contemporary objects presented by the crafts council www.craftscouncil.org.uk

14 – 17 may 2010 saatchi gallery duke of york’s hq chelsea london

book tickets +44 (0) 844 209 0338 advance tickets £10 (plus booking fee)

Crafts Council Registered Charity Number 280956

DESIGN Backmatter_pp206-218.indd 209

30/03/10 08:14

VaT aND OThER TaX INFORmaTION FOR BUYERS The following paragraphs provide general information to buyers on the VAT and certain

Where the buyer carries purchases from the EU personally or uses the services of a third

other potential tax implications of purchasing property at Phillips de Pury & Company.

party, Phillips de Pury & Company will charge the VAT amount due as a deposit and

This information is not intended to be complete. In all cases, the relevant tax legislation

refund it if the lot has been exported within the timelines specified below and either

takes precedence, and the VAT rates in effect on the day of the auction will be the rates

of the following conditions are met:

charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not usually treated as agent and most property is sold as if it is the property of Phillips de

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules,

Pury & Company. In the following paragraphs, reference to VAT symbols shall mean those

Phillips de Pury & Company is provided with appropriate documentary proof of

symbols located beside the lot number or the pre-sale estimates in the catalogue (or

export from the EU within three months of the date of sale. Buyers carrying their

amending saleroom addendum).

own property should obtain hand-carry papers from the Shipping Department to facilitate this process.

1 PROPERTY wITh NO VaT SYmBOl Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s

• For lots sold under temporary admission, Phillips de Pury & Company is provided

Margin Scheme, and VAT will not normally be charged on the hammer price.

with a copy of the correct paperwork duly completed and stamped by HM Revenue & Customs which shows the property has been exported from the EU via the UK

Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will

within 30 days of payment date. It is essential for shippers acting on behalf of

charge an amount in lieu of VAT at 17.5% on the buyer’s premium. This amount will form

buyers to collect copies of original import papers from our Shipping Department.

part of the buyer’s premium on our invoice and will not be separately identified.

HM Revenue & Customs insist that the correct customs procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the

2 PROPERTY wITh a † SYmBOl

export documents do not exactly comply with governmental regulations. Property

These lots will be sold under the normal UK VAT rules, and VAT will be charged at 17.5%

subject to temporary admission must be transferred to another customs procedure

on both the hammer price and buyer’s premium.

immediately if any restoration or repair work is to be carried out.

Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business

Buyers carrying their own property must obtain hand-carry papers from the Shipping

person in a non-EU country then no VAT will be charged on the buyer’s premium. This is

Department, for which a charge of £20 will be made. The VAT refund will be processed

subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT

once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips

registration number in the relevant Member State (non-UK) or the buyer’s business status

de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK

in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence

or EU private residents unless the lot is subject to temporary admission and the property

not be provided then VAT will be charged on the buyer’s premium.

is exported from the EU within 30 days of payment date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20.

3 PROPERTY wITh a § SYmBOl Lots sold to buyers whose registered address is in the EU will be assumed to be remaining

Buyers intending to export, repair, restore or alter lots under temporary admission should

in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer

notify the Shipping Department before collection. Failure to do so may result in the import

advises us that the property is to be exported from the EU, Phillips de Pury & Company will

VAT becoming payable immediately and Phillips de Pury & Company being unable to

re-invoice the property under the normal VAT rules.

refund the VAT charged on deposit.

Lots sold to buyers whose address is outside the EU will be assumed to be exported from

6 VaT REFUNDS FROm hm REVENUE & CUSTOmS

the EU. The property will be invoiced under the normal VAT rules. Although the hammer

Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be

price will be subject to VAT, the VAT will be cancelled or refunded upon export. The

possible to seek repayment from HM Revenue & Customs (‘HMRC’). Repayments in this

buyer’s premium will always bear VAT unless the buyer is a relevant business person in

manner are limited to businesses located outside the UK and may be considered for example

the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips

for Import VAT charged on the hammer price for lots sold under temporary admission.

de Pury & Company receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such

All claims made by customers located in another member state to the UK will need to be

as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will

made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is

be charged on the buyer’s premium.

no longer in operation.

4 PROPERTY SOlD wITh a ‡ OR Ω SYmBOl

If you are located in an EU member state other than the UK you will now need to apply for a

These lots have been imported from outside the EU to be sold at auction under temporary

refund of UK VAT directly to your local tax authority. This is done via submission of an

admission. Property subject to temporary admission will be offered under the

electronically based claim form which should be accessed through the website of your

Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 17.5%,

local tax authority. As a result, your form may include VAT incurred in a number of

marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 17.5%

member states. Furthermore, from 1 January 2010 you should only submit one form per

on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin

year, rather than submitting forms throughout the year.

Scheme should notify the Client Accounting Department before the sale. Please note that the time limits by which you must make a claim have been extended. Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant

When making a claim for VAT incurred in another EU member state any claim will still be

business person in the EU (non-UK) or is a relevant business person in a non-EU country

made on a calendar year basis but must now be made no later than 30 September

then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury &

following that calendar year. This effectively extends the time by which claims should be

Company receiving evidence of the buyer’s VAT registration number in the relevant

made by three months (e.g. for VAT incurred in the year 1 January to 31 December 2010 you

Member State (non-UK) or the buyer’s business status in a non-EU country such as the

should make a claim to your local tax authority no later than 30 September 2011). Once you

buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be

have submitted the electronic form to your local tax authority it is their responsibility to

charged on the buyer’s premium.

ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest

5 EXPORTS FROm ThE EUROPEaN UNION

on the unpaid amounts.

The following types of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within three months of the sale date if strict conditions are met:

If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC (The rules for those located outside of the EU have not changed). Claim forms are

• The amount in lieu of VAT charged on the buyer’s premium for property sold

only available from the HMRC website. Go to http://www.hmrc.gov.uk/index.htm, and

under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol);

follow Quick Links then Find a Form. The relevant form is VAT65A. Completed forms should be returned to: HM Revenue & Customs, VAT Overseas Repayment Directive, Foyle

• The VAT on the hammer price for property sold under the normal VAT rules

House, Duncreggan Road, Londonderry, Northern Ireland, BT48 7AE, (tel) +44 2871 305100

(i.e., with a † or a § symbol).

(fax) +44 2871 305101.

The following type of VaT may be cancelled or refunded by Phillips de Pury &

You should submit claims for VAT to HMRC no later than six months from the end of the

Company on exports made within 30 days of payment date if strict conditions are met:

12 month period ending 30 June (e.g. claims for the period 1 July 2009 to 30 June 2010 should be made no later than 31 December 2010).

• The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a

Please note that refunds of VAT will only be made where VAT has been incurred for a business

Ω symbol) under the Auctioneer’s Margin Scheme.

purpose. Any VAT incurred on articles bought for personal use will not be refunded.

In each of the above examples, where the appropriate conditions are satisfied, no VAT

7 SalES aND USE TaXES

will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury &

Buyers from outside the UK should note that local sales taxes or use taxes may

Company to export the property from the EU. If such instruction is received after payment,

become payable upon import of lots following purchase. Buyers should consult their

a refund of the VAT amount will be made.

own tax advisors.

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CONDITIONS OF SalE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

between bidders and buyers, on the one hand, and Phillips de Pury & Company and

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

sellers, on the other hand. All prospective buyers should read these Conditions of Sale

Telephone bidding is available for lots whose low pre-sale estimate is at least £500.

and Authorship Warranty carefully before bidding.

Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is

1 INTRODUCTION

accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

telephone, a bidder consents to the recording of the conversation.

and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

catalogue or other written material posted by Phillips de Pury & Company in the saleroom,

accepts personal liability to pay the purchase price, as described more fully in Paragraph

in each case as amended by any addendum or announcement by the auctioneer prior to

6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing

the auction.

with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury &

By bidding at the auction, whether in person, through an agent, by written bid, by

Company and that we will only look to the principal for such payment.

telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

undertaking such activity, we cannot accept liability for failure to execute such bids except

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

where such failure is caused by our wilful misconduct.

2 PhIllIPS de PURY & COmPaNY aS aGENT

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own

the reserve when submitting their absentee bids and otherwise comply with our employee

a lot, in which case we will act in a principal capacity as a consignor, or may have a legal,

bidding procedures.

beneficial or financial interest in a lot as a secured creditor or otherwise. 5 CONDUCT OF ThE aUCTION

•

3 CaTalOGUE DESCRIPTIONS aND CONDITION OF PROPERTY

(a) Unless otherwise indicated by the symbol

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

which is the confidential minimum selling price agreed by Phillips de Pury & Company with

such description is changed or supplemented, as provided in Paragraph 1 above) and in

the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

, each lot is offered subject to a reserve,

the condition that they are in at the time of the sale on the following basis. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

lot for sale (including after the fall of the hammer) if he or she believes there may be error

dependent on information provided to us by the seller, and Phillips de Pury & Company is

or dispute and take such other action as he or she deems reasonably appropriate.

not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and

investigations to satisfy themselves as to the lots in which they may be interested.

or she considers appropriate. In order to protect the reserve on any lot, the auctioneer

Notwithstanding the foregoing, we shall exercise such reasonable care when making

may place one or more bids on behalf of the seller up to the reserve without indicating he

express statements in catalogue descriptions or condition reports as is consistent with

or she is doing so, either by placing consecutive bids or bids in response to other bidders.

our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling.

opinions of relevant experts, in each case at the time any such express statement is made.

For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

Accordingly, estimates in US dollars or euros should be treated only as a guide.

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

appropriate given the nature and value of the lot and the bidder’s own expertise) have fully

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

inspected the lot prior to bidding and have satisfied themselves as to both the condition of

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk

the lot and the accuracy of its description.

and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’,

that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company

‘returned to owner’ or ‘bought-in’.

may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of

particular imperfections of a lot, but bidders should note that lots may have other faults

Sale and Authorship Warranty as if sold in the auction.

not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as

6 PURChaSE PRICE aND PaYmENT

precise indications of size or to convey full information as to the actual condition of lots.

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including

estimate, whether written or oral, and information in any catalogue, condition or other

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

report, commentary or valuation, is not a representation of fact but rather a statement of

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

opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and

Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury &

expenses set out in these Conditions of Sale are quoted exclusive of VAT.

Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

(c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we

4 BIDDING aT aUCTION

undertake to the buyer to pay such amount to the artist’s collection agent. Lots subject to

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction

the Artist’s Resale Right are identified with the symbol ♠ next to the lot number.

or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company.

(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import licence or

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury

other permit for such lot. Payments must be made by the invoiced party in pounds

& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows:

behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips de Pury &

(i) Phillips de Pury & Company will accept payment in cash provided that the total

Company. Bids must be placed in the currency of the sale. The bidder must clearly

amount paid in cash or cash equivalents does not exceed the local currency

indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and

equivalent of US$10,000.

value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute

(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and

an absentee bid at the lowest possible price taking into account the reserve and other

the buyer provides to us acceptable government-issued identification. Cheques

bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the

and banker’s drafts should be made payable to ‘PDEPL LTD’. If payment is sent by

event of identical bids, the earliest bid received will take precedence.

post, please send the cheque or banker’s draft to the attention of the Client

DESIGN Backmatter_pp206-218.indd 211

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Accounting Department at Howick Place, London SW1P 1BB and ensure that the

and instruct our affiliated companies to exercise a lien over any of the buyer’s property

sale number is written on the cheque. Cheques or banker’s drafts drawn by third

which is in their possession and, in each case, no earlier than 30 days from the date of

parties will not be accepted.

such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company.

sale proceeds of our standard vendor’s commission, all sale-related expenses and any

Bank transfer details are as follows:

applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood

Bank of Scotland

that in the event such resale is for less than the original hammer price and buyer’s

Gordon Street

premium for that lot, the buyer will remain liable for the shortfall together with all costs

Glasgow

incurred in such resale; (vii) commence legal proceedings to recover the hammer price

G1 3RS

and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to

For the account of PDEPL LTD

commence legal proceedings to recover the amounts due and legal costs.

Sort code: 80-54-01 Account no.: 00440780

(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the

SWIFT BIC: BOFSGB21138

buyer’s property which is in our possession upon notification by any of our affiliated

IBAN: GB36BOFS 8054 0100 4407 80

companies that the buyer is in default of payment. Phillips de Pury & Company will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury &

(e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and

Company, upon notification by any of our affiliated companies that the buyer is in default

UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

delivered to an affiliated company by way of pledge.

release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s

unconditional obligation to pay the Purchase Price.

Company to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by

7 COllECTION OF PROPERTY

Phillips de Pury & Company to hold the property on our behalf as security for the payment

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

of the Purchase Price and any other amount due and, no earlier than 30 days from the date

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding

of written notice to the buyer, to sell the property in such manner and for such

amounts due to Phillips de Pury & Company or any of our affiliated companies, including

consideration as can reasonably be obtained on a forced sale basis and to apply the

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

proceeds to any amount owed to Phillips de Pury & Company or any of our affiliated

other terms as we in our sole discretion shall require, including completing any anti-

companies after the deduction from sale proceeds of our standard vendor’s commission,

money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied

all sale-related expenses and any applicable taxes thereon.

all of the foregoing conditions, and no later than five days after the conclusion of the auction, he or she should contact us at (tel) +44 207 318 4081 or (fax) +44 20 7318 4038 to

10 RESCISSION BY PhIllIPS de PURY & COmPaNY

arrange for collection of purchased property.

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the

(b) After the auction, we will transfer all lots to our fine arts storage facility located at

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

110–112 Morden Road, Mitcham, Surrey, CR4 4XB, and will so advise all buyers. Purchased

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

collection or (ii) five days after the auction, whichever is the earlier. Until risk passes,

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

Phillips de Pury & Company will compensate the buyer for any loss or damage to a

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

purchased lot up to a maximum of the Purchase Price paid, subject to our usual

& Company and the seller with respect to such rescinded sale.

exclusions for loss or damage to property. 11 EXPORT, ImPORT aND ENDaNGERED SPECIES lICENCES aND PERmITS (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap

Before bidding for any property, prospective buyers are advised to make their own

purchased lots for hand carry only. We do not provide packing, handling, insurance or

enquiries as to whether a licence is required to export a lot from the United Kingdom or to

shipping services. We will coordinate with shipping agents instructed by the buyer,

import it into another country. Prospective buyers are advised that some countries

whether or not recommended by Phillips de Pury & Company, in order to facilitate the

prohibit the import of property made of or incorporating plant or animal material, such as

packing, handling, insurance and shipping of property bought at Phillips de Pury &

coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age,

Company. Any such instruction is entirely at the buyer’s risk and responsibility, and

percentage or value. Accordingly, prior to bidding, prospective buyers considering export

we will not be liable for acts or omissions of third party packers or shippers.

of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply

(d) Phillips de Pury & Company will require presentation of government-issued

with these laws and to obtain any necessary export, import and endangered species

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

8 FaIlURE TO COllECT PURChaSES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days

12 DaTa PROTECTION

of the auction, the buyer will incur a late collection fee of £25, storage charges of £3 per

(a) In connection with the management and operation of our business and the marketing and

day and pro rated insurance charges of 0.1% of the Purchase Price per month on each

supply of auction related services, or as required by law, we may ask clients to provide

uncollected lot.

personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as

(b) If a purchased lot is paid for but not collected within six months of the auction, the

‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use

buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item

it for the above purposes. Phillips de Pury & Company and our affiliated companies will not

by auction or private sale, with estimates and a reserve set at Phillips de Pury &

use or process sensitive information for any other purpose without the client’s express

Company’s reasonable discretion. The proceeds of such sale will be applied to pay for

consent. If you would like further information on our policies on personal data or wish to make

storage charges and any other outstanding costs and expenses owed by the buyer to

corrections to your information, please contact us at +44 20 7318 4010. If you would prefer not to

Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited

receive details of future events please call the above number.

unless collected by the buyer within two years of the original auction. (b) In order to fulfil the services clients have requested, Phillips de Pury & Company may 9 REmEDIES FOR NON-PaYmENT

disclose information to third parties such as shippers. Some countries do not offer

(a) Without prejudice to any rights the seller may have, if the buyer without prior

equivalent legal protection of personal information to that offered within the European

agreement fails to make payment of the Purchase Price for a lot in cleared funds within

Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties

five days of the auction, Phillips de Pury & Company may in our sole discretion exercise

respect the privacy and confidentiality of our clients’ information and provide the same

one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s

level of protection for client information as provided within the EU, whether or not they are

premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot,

located in a country that offers equivalent legal protection of personal information. By

retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject

agreeing to these Conditions of Sale, clients agree to such disclosure.

future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase

13 lImITaTION OF lIaBIlITY

Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien

(a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company,

over any of the buyer’s property which is in the possession of Phillips de Pury & Company

our affiliated companies and the seller to the buyer in connection with the sale of a lot

DESIGN Backmatter_pp206-218.indd 212

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design auction NEw YORK 5 June 2010 Viewing 29 May – 4 June 2010 Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1268 / designnewyork@phillipsdepury.com Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com lUCIE RIE Large conical bowl with concentric rings of sgraffito and inlay grid design, c. 1978 Estimate $12,000–18,000

DESIGN Backmatter_pp206-218.indd 213

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aUThORShIP waRRaNTY shall be limited to the Purchase Price actually paid by the buyer for the lot.

Phillips de Pury & Company warrants the authorship of property in this auction catalogue

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury &

for a period of five years from date of sale by Phillips de Pury & Company, subject to the

Company, any of our affiliated companies or the seller (i) is liable for any errors or

exclusions and limitations set forth below.

omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer

responsibility to any bidder in respect of acts or omissions, whether negligent or

of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty

otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection

does not extend to (i) subsequent owners of the property, including purchasers or

with the conduct of the auction or for any other matter relating to the sale of any lot.

recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be

counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive)

warranty of satisfactory quality and fitness for purpose, are specifically excluded by

and has a value at the date of the claim under this warranty which is materially less than

Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent

the Purchase Price paid; (iii) property where the description in the catalogue states that

permitted by law.

there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted

(d) Subject to sub-paragraph (e) below, none of Phillips de Pury & Company, any of our

opinions of specialists, scholars or other experts; or (v) property whose description or

affiliated companies or the seller shall be liable to the buyer for any loss or damage

dating is proved inaccurate by means of scientific methods or tests not generally

beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether

accepted for use at the time of the publication of the catalogue or which were at such time

such loss or damage is characterised as direct, indirect, special, incidental or

deemed unreasonably expensive or impractical to use.

consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law.

(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability

buyer to provide to us at the buyer’s expense the written opinions of two recognized

of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of

experts approved in advance by Phillips de Pury & Company. We shall not be bound by any

any fraud or fraudulent misrepresentation made by any of us or in respect of death or

expert report produced by the buyer and reserve the right to consult our own experts at

personal injury caused by our negligent acts or omissions.

our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts

14 COPYRIGhT

commissioned by the buyer and approved in advance by us.

The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall

remain at all times the property of Phillips de Pury & Company and, subject to the

claim for breach of the Authorship Warranty provided that (i) he or she has notified

provisions of the Copyright, Designs and Patents Act 1988, such images and materials

Phillips de Pury & Company in writing within three months of receiving any information

may not be used by the buyer or any other party without our prior written consent. Phillips

which causes the buyer to question the authorship of the lot, specifying the auction in

de Pury & Company and the seller make no representations or warranties that the buyer of

which the property was included, the lot number in the auction catalogue and the reasons

a lot will acquire any copyright or other reproduction rights in it.

why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able

15 GENERal

to transfer good and marketable title in the lot free from any third party claim arising after

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1

the date of the auction.

above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

contemporaneous written, oral or implied understandings, representations and

Authorship Warranty shall be rescission of the sale and refund of the original Purchase

agreements.

Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the

any other remedy available as a matter of law. This means that none of Phillips de Pury &

department in charge of the sale, quoting the reference number specified at the beginning

Company, any of our affiliated companies or the seller shall be liable for loss or damage

of the sale catalogue. Notices to clients shall be addressed to the last address notified by

beyond the remedy expressly provided in this Authorship Warranty, whether such loss or

them in writing to Phillips de Pury & Company.

damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

(c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 16 law aND JURISDICTION (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips de Pury & Company, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips de Pury & Company shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips de Pury & Company.

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PhIllIPS de PURY & COmPaNY

Chairman

Directors

advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg

Chief Executive Officer Bernd Runge

Marc Jacobs

Senior Directors

Malcolm McLaren

Michael McGinnis

Ernest Mourmans

Dr. Michaela de Pury

Aby Rosen Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

INTERNaTIONal SPECIalISTS

Berlin Brussels Buenos aires

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

london

Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

los angeles milan moscow Shanghai/Beijing Singapore Zurich/Israel

Maya McLaughlin, Contemporary Art +1 323 791 1771 Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805 Chin-Chin Yap, International Specialist, Contemporary Art +1 347 784 6916 Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

GENERal COUNSEl

maNaGING DIRECTORS

Patty Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

wORlDwIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

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

tel +49 30 8800 1842 fax +49 30 8800 1843

LONDON

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

23 quai des Bergues, 1201 Geneva, Switzerland

tel +44 20 7318 4010 fax +44 20 7318 4011

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

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SPECIalISTS aND DEPaRTmENTS

CONTEmPORaRY aRT Michael McGinnis, Senior Director

+1 212 940 1254

and Worldwide Head, Contemporary Art LONDON Peter Sumner, Head of Sales, London

+44 20 7318 4063

Henry Allsopp

+44 20 7318 4060

Laetitia Catoir

+44 20 7318 4064

Judith Hess

+44 20 7318 4075

Leonie Moschner

+44 20 7318 4074

Ivgenia Naiman

+44 20 7318 4071

mODERN aND CONTEmPORaRY EDITIONS NEW YORK Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Jannah Greenblatt

+1 212 940 1332

Joy Deibert

+1 212 940 1333

PhOTOGRaPhS LONDON Lou Proud

+44 20 7318 4018

Sebastien Montabonel

+44 20 7318 4025

Sarah Buchwald

+44 20 7318 4085

Catherine Higgs

+44 20 7318 4089

Alexandra Bibby

+44 20 7318 4087

George O’Dell

+44 20 7318 4093

Rita Almeida Freitas

+44 20 7318 4087

Raphael Lepine

+44 20 7318 4078

Helen Hayman

+44 20 7318 4092

Edward Tang

+44 20 7318 4024

Emma Lewis

+44 20 7318 4092

Tanya Tikhnenko

+44 20 7318 4065

Phillippa Willison

+44 20 7318 4070

NEW YORK Aileen Agopian, New York Director

+1 212 940 1255

Sarah Mudge, Head of Part II

+1 212 940 1259

NEW YORK Vanessa Kramer, New York Director

+1 212 940 1243

Shlomi Rabi

+1 212 940 1246

Caroline Shea

+1 212 940 1247

Jeremy Goldsmith

+1 212 940 1253

Carol Ehlers, Consultant

+1 212 940 1245

Timothy Malyk

+1 212 940 1258

Sarah Krueger

+1 212 940 1245

Jean-Michel Placent

+1 212 940 1263

Rodman Primack

+1 212 940 1256

Roxana Bruno

+1 212 940 1229

Maria Bueno

+1 212 940 1261

Sara Davidson

+1 212 940 1262

Alexandra Leive

+1 212 940 1252

Peter Flores

+1 212 940 1223

(Uli) Zhiheng Huang

+1 212 940 1288

JEwElRY Nazgol Jahan, Worldwide Director

+1 212 940 1283

NEW YORK Carmela Manoli

+1 212 940 1302

Emily Bangert

+1 212 940 1365

Heather Zises

+1 212 940 1290

PARIS Edouard de Moussac

+ 33 1 42 78 67 77

GENEVA Carolin Bulgari

+41 22 906 80 00

Veronica Lota

+41 22 906 80 00

DESIGN Alexander Payne, Worldwide Director

+44 20 7318 4052

LONDON Lane McLean

+44 20 7318 4032

LONDON Domenico Raimondo

+44 20 7318 4016

Ellen Stelter

+44 20 7318 4021

Ben Williams

+44 20 7318 4027

Marcus McDonald

+44 20 7318 4014

Marine Hartogs

+44 20 7318 4021

NEW YORK Marcus Tremonto

+1 212 940 1268

Alex Heminway, New York Director

+1 212 940 1269

Tara DeWitt

+1 212 940 1265

Meaghan Roddy

+1 212 940 1266

Alexandra Gilbert

+1 212 940 1268

ThEmE SalES LONDON Tobias Sirtl, London Manager

+44 20 7318 4095

Henry Highley

+44 20 7318 4061

Arianna Jacobs

+44 20 7318 4054

Siobhan O’Connor

+44 20 7318 4040

NEW YORK Corey Barr, New York Manager

+1 212 940 1234

Steve Agin, Consultant

+1 908 475 1796

Anne Huntington

+1 212 940 1210

Stephanie Max

+1 212 940 1301

PARIS Johanna Frydman

+33 1 42 78 67 77

PRIVaTE SalES NEW YORK Andrea Hill

aRT aND PRODUCTION Fiona Hayes, Art Director LONDON Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

+1 212 940 1238

maRKETING NEW YORK Trish Walsh, Marketing Manager Gizelle Ferrer, Graphic Designer

NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager

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SalE INFORmaTION

aUCTION Wednesday 28 April 2010, 5pm VIEwING Wednesday 21 – Friday 23 April, 10am – 6pm Saturday 24 – Sunday 25 April, 12pm – 6pm Monday 26 – Tuesday 27 April, 10am – 6pm Wednesday 28 April, 10am – 12pm VIEwING & aUCTION lOCaTION Howick Place, London SW1P 1BB waREhOUSE & COllECTION lOCaTION 110–112 Morden Road, Mitcham, Surrey CR4 4XB SalE DESIGNaTION When sending in written bids or making enquiries, please refer to this sale as UK050110 or Design wORlDwIDE DIRECTOR Alexander Payne London +44 20 7318 4052 New York +1 212 940 1267 DIRECTOR NEw YORK Alex Heminway New York +1 212 940 1269 CONSUlTaNT Marcus Tremonto New York +1 212 940 1268 SPECIalISTS Ben Williams +44 20 7318 4027 Domenico raimondo +44 20 7318 4016 Ellen Stelter +44 20 7318 4021 Tara DeWitt New York +1 212 940 1265 Meaghan roddy New York +1 212 940 1266 Johanna Frydman Paris +33 1 42 78 67 77 CaTalOGUER Marcus McDonald +44 20 7318 4014 SalE aDmINISTRaTORS Marine Hartogs +44 207 318 4021 Alexandra Gilbert New York +1 212 940 1268

aBSENTEE aND TElEPhONE BIDS Anna Ho tel +44 20 7318 4045 fax +44 20 7318 4035

D A

KNIG

hTS

BRID

BUCKINGHAM PALACE GARDENS P

LA C

BIRD

ING

K WAL CAGE

ST. JAMES’S PARK HA

GA TE

VE NO

VICTORIA

VIC

TOR

TR IA S

EET

PL HOWICK

RO AD

SEllER aCCOUNTS

OS GR

Carolyn Whitehead +44 20 7318 4020

ST. JAMES’S PARK

bids@phillipsdepury.com BUYERS aCCOUNTS

GREEN PARK

CONSTITUTION HILL R O

New York +1 212 940 1240 Catalogues £30/$60 at the Gallery

HYDE PARK CORNER

CaTalOGUES London +44 20 7318 4039 catalogues@phillipsdepury.com

’S

L PA

PROPERTY maNaGERS Oliver Gottschalk +44 20 7318 4038 ferran Martin New York +1 212 940 1364

AM .J ST

GREEN PARK

PA L

AC E

Elliot Depree +44 20 7318 4072

Katherine Walters +44 20 7318 4010

HA ING CK

Charlotte Salisbury +44 20 7318 4010

Harmony Johnston +44 20 7318 4010

ClIENT SERVICES

VA UX

waREhOUSE & ShIPPING Kate Spalding + 44 20 7318 4081 Cláudia Gonçalves + 44 20 7318 4026 PhOTOGRaPhY Byron Slater Clint Blowers Kent Pell SElECT ESSaYS Alex Heminway

Back cover Atelier Van Lieshout, ‘Fisherman’s house’, 2000, Lot 11 Inside back cover Paul Evans, ‘Argente’ wardrobe (detail), 1968, Lot 143

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w w w. p h i l l i p s d e p u ry.c o m

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