Design Masters by Phillips de Pury & Co.

DE SIGN MAS TER S 13

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DECEMBER

2 011

NEW YORK

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90 YEARS VENINI 1921–2011

For ninety years, Venini has been passionate about glass. This love is reflected in the brand through its purest characteristics: research, innovation, and quality. Over nearly a century, Venini has revealed itself as a true leader and in the process has rekindled the art of Venetian glassmaking. Among innumerable colors and the constant evolution of technique, Venini’s craftsmen have established a heritage of creativity. The company’s design approach celebrates the past while looking forward into the future and towards new objectives. This is the vision of Venini. Dott. Giancarlo Chimento Chairman, Venini SpA

VARIOUS PROPERTIES

Phillips de Pury & Company wish to thank Franco Deboni for granting

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4 TOMASO BUZZI 1900–1981

access to his extensive archive and for his kind assistance in the

“Laguna” vase, model no. 3298, ca. 1931–1935

cataloguing of these lots.

Estimate $20,000–30,000

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PROPERTY FROM THE VENINI ARCHIVES

PROPERTY FROM

22 FERNANDO and HUMBERTO CAMPANA

25 ALESSANDRO MENDINI b. 1931

A NORTHERN ITALIAN COLLECTION

b. 1961, b. 1953

“Colonna di Venini,” 2011

32 FULVIO BIANCONI 1915–1996

Unique “Esmeralda” ceiling light, 2010

Estimate $20,000–30,000

Rare a macchie vase, model no. 4324, ca. 1955

Estimate $30,000–40,000

Estimate $50,000–70,000

VARIOUS PROPERTIES

PROPERTY FROM THE VENINI ARCHIVES

PROPERTY FROM

37 MIROSLAV HRSTKA 1933–1983

A NORTHERN ITALIAN COLLECTION

47 CARLO SCARPA 1906–1978

“Miros 2” vase, ca. 1968

41 CARLO SCARPA 1906–1978

“Applied bands” plate, model no. 4476, ca. 1940

Estimate $10,000–15,000

“Pennellate” vase, model no. 3911, ca. 1942

Estimate $15,000–20,000

Estimate $50,000–70,000

PROPERTY FROM THE VENINI ARCHIVES

49 TADAO ANDO b. 1941

51 VITTORIO ZECCHIN 1878–1947

59 CARLO SCARPA 1906–1978

Set of three vases, 2011

Large “soffiato” vase, ca. 1921–1926

“A bollicine” vase, model no. 11020, ca. 1931–1934

Estimate $40,000–50,000

Estimate $8,000–12,000

Estimate $22,000–28,000

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DE SIGN MAS TER S 13 DECE MB ER 2 0 11

4 PM

4 5 0 PARK AVENU E

N E W YO RK

LOTS 1 –75

Viewing December 7 – 13, 2011 Monday – Saturday, 10am – 6pm Sunday, 12pm – 6pm

Front and back cover Emile-Jacques Ruhlmann, Pair of ‘Gonse’ armchairs, model no. 278 NR, ca. 1930 –1932, lot 53, detail Inside front cover Tadao Ando, Set of three vases, 2011, lot 49, detail Previous pages Gio Ponti, Monumental chandelier, for the Hotel Parco dei Principi, Rome, ca. 1964, lot 36, detail; Scott Burton, Pair of chairs, ca. 1988, lot 46, detail Opposite Jean Royère, Unique dining table, ca. 1953, lot 30 (detail) Inside back cover George Nakashima, Custom “Sanso” table, 1987, lot 5, detail; Jean Dunand, Side table, ca. 1925, lot 60, detail; Pierre Chareau, Important desk, model no. MB 405, ca. 1927, lot 66, detail; Peter Collingwood, Important unique wall hanging, for Sir Gordon Russell, 1959, lot 31, detail

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MAK-Austrian Museum of Applied Arts/Contemporary Art, Vienna, Photo © MAK

Dagobert Peche’s preparatory drawing for the present model (MAK K.I. 12115/3)

1 DAGOBERT PECHE 1887–1923 Rare table lamp, model no. M 3566-M la 15, ca. 1921 Hammered brass, fabric. Executed by the Wiener Werkstätte, Austria. Base impressed with “WIENER/WERK/STÄTTE” and artist’s mark. 24 in. (61 cm.) high, 13 1/4 in. (33.7 cm.) including shade

Estimate $15,000–20,000 PROVENANCE Private collection, Cambridge, Massachusetts LITERATURE Max Eisler, Dagobert Peche, Vienna, 1925, p. 22; Peter Noever, ed.,

Dagobert Peche and the Wiener Werkstätte, New York, 2002, pp. 96 and 229 for similar examples

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2 GIO PONTI 1891–1979 Large covered vase, ca. 1928 Gilt glazed porcelain. Manufactured by Richard-Ginori, Italy. Underside of lid with paper label in ink “dec628e,” underside of vase painted “RICHARD/ GINORI/29 = 7” and with decal with “RICHARD-GINORI/PITTORIA/DI DOCCIA.” 25 in. (63.5 cm.) high, 4 1/2 in. (36.8 cm.) diameter

Estimate $70,000–90,000 PROVENANCE Private collection, France LITERATURE Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 26; Ugo La Pietra,

ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 26, fig. 54; Germano Celant, ed., Espressioni di Gio Ponti, exh. cat., Triennale, Milan, 2011, p. 20, fig. 10

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3 JOSEF HOFFMANN 1870–1956 “Gitterwerk” basket, model no. S 509, ca. 1905 Sterling silver, ivory. From the production of 29. Handle impressed with Diana hallmark, “WW,” rose mark, and “JH.” 6 × 8 3/8 × 6 3/8 in. (15.2 × 21.3 × 16.2 cm.)

Estimate $40,000–60,000 ∑ PROVENANCE Estate of Mildred Burrage, Wiscasset, Maine LITERATURE Maria F. Rich, Vienna 1900–1930: Art in the Home, exh. cat.,

Historical Design Inc., New York, 1996, p. 33; Renée Price, ed., New Worlds: German and Austrian Art 1890–1940, exh. cat., Neue Galerie, New York, 2001, p. 432, cat. no. III.25; Michael Huey, ed., Viennese Silver: Modern Design 1780–1918, Ostfildern-Ruit, 2003, p. 323, fig. 176

Josef Hoffmann’s preparatory drawing for the present lot is registered at the MAK, Vienna, as “K.I. 12033/42, model no. S 509 FS.”

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90 YEARS VENINI 1921–2011

VARIOUS PROPERTIES

4 TOMASO BUZZI 1900–1981 “Laguna” vase, model no. 3298, ca. 1931–1935 Pink glass cased in lattimo glass with applied gold leaf. Produced by Venini, Italy. Underside with partially detached manufacturer’s paper label with “VENINI S.A.” 10 in. (25.4 cm.) high

Estimate $20,000–30,000 PROVENANCE Private collection, Italy LITERATURE “LATTIMI 1931–1935,” Venini: Catologo Blu, Murano, pl. 29, model

no. 3298; Marc Heiremans, Art Glass From Murano, Stuttgart, 1993, p. 241, fig. 194 for a similar example; Alessandro Bettagno, Gli Artisti Di Venini: Per Una Storia Del Vetro D’Arte Veneziano, Milan, 1996, p. 81, fig. 55 for a similar example; Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921–1986, Milan, 2000, p. 238, pl. 29, model no. 3298; Marino Barovier, Venetian Art Glass: 1840–1970: An American Collection, Stuttgart, 2004, p. 232, fig. 160 for a similar example of laguna glass; ; Franco Deboni, Venini Glass, Its history, artists and techniques, Volume 1, Milan, 2007, pl. 29, model no. 3298

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5 GEORGE NAKASHIMA 1905–1990 Custom “Sanso” table and set of ten “Conoid” lounge chairs, 1987 Table: single-board claro walnut, American black walnut, seven East Indian rosewood butterfly keys; chairs: single-board American black walnut, hickory. Underside of table signed in black marker with “George Nakashima/Nov 12 1987,” and “Schwab.” Underside of each chair signed in black marker with “George Nakashima/Nov 12 1987.” Together with the original drawing of the table and correspondence between George Nakashima and the original owner (11). Table: 25 1/4 × 101 × 63 3/4 in. (64.1 × 256.5 × 161.9 cm.); each chair: 33 1/4 in. (84.5 cm.) high

Estimate $300,000–400,000 PROVENANCE Mr. and Mrs. Walter Schwab, Providence, Rhode Island LITERATURE George Nakashima, The Soul of a Tree, A Woodworker’s Reflections,

Tokyo, 1981, p. 188 for a drawing of a “Minguren II” base; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 163 for the chairs; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 210 for an example of a claro walnut board, and p. 239 for the 1986 “Peace Altar” in claro walnut and of a similar form

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George Nakashima’s “Sanso” tables, similar in design to his monumental “Altar of Peace” of 1986, typically consist of two matched walnut boards held together by rosewood butterfly keys. When Mr. and Mrs. Schwab requested the present table, Nakashima found in his studio two boards for the project, but he also found a more impressive single board made of claro walnut. Highly figured with striking grain patterns, claro walnut exemplifies the richness of materials and impeccable craftsmanship characteristic of Nakashima’s output in the 1980s. Nakashima wrote to the Schwabs: “I don’t know whether you are familiar with Claro Walnut or not, but I consider this wood some of the finest that we have. It runs quite colorfully, from a grey to dark greys, to dark browns, in variegated shades. This particular piece has a very fine crotch grain running the whole length of the board.” Given these factors—a single-board top, the use of claro walnut—the price of this project would increase considerably. The date for the Schwabs to meet Nakashima and to view the board was set for August 8, 1987. The studio was closed at the time for vacation, which Nakashima cut short: “As I am rather excited about these selections, I can make a special appointment.” To complement this custom “Sanso” order, the Schwabs requested a set of ten “Conoid” lounge chairs. The “Conoid”, designed in 1960, is widely regarded as one of Nakashima’s most successful works due to the chair’s architectonic shape and its departure from the designer’s typical “Windsor” adaptations. Twenty years later, Nakashima redesigned the “Conoid” to a lower height for more comfort. This became known as the “Conoid” lounge chair, which was only produced for ten years and was crafted in far fewer quantities. In addition, the chairs in the present lot were designed with singleboard seats, much rarer than this design’s usual construction of multiple laminated boards. The present lot represents one of the finest examples of Nakashima’s output toward the end of his career. In contrast to his earliest works, beautiful simple designs crafted from locally sourced woods, the present set demonstrates his growth as a designer and craftsman whose craft had been honed over four decades in celebration of what he referred to as “the soul of a tree.”

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PROPERTY OF A TEXAS COLLECTOR 6 FRITS HENNINGSEN 1889–1969 Wingback armchair, ca. 1935 Leather, beech. Produced by Master Cabinetmaker Frits Henningsen. Two legs numbered in black marker with “212” and one incised with “7567.” 44 1/2 in. (113 cm.) high

Estimate $40,000–60,000 PROVENANCE Christie’s South Kensington, Scandinavian Design, September 15, 1999, lot 19 LITERATURE Bodil Busk Laurse and Christian Holmsed Olesen, eds., Mesterværker: 100 års

dansk mobelsnedkeri, Copenhagen, 2003, p. 39; Diane Dorrans Saeks, Orlando Diaz-Azcuy, New York, 2009, front cover and p. 19

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7 ISAMU NOGUCHI and ROBERTO MATTA 1904–1988, 1911–2002 Unique handpainted “Akari” hanging light, 1960s Ink on Japanese mulberry bark paper, copper. Light produced by Ozeki Company, Gifu, Japan. Top stamped with Noguchi’s ideograph and signed by Matta with his monogram. 61 in. (155 cm.) long

Estimate $8,000 –12,000 PROVENANCE Clara Scremini Gallery, Paris EXHIBITED “Lumières, je pense à vous,” Centre de Création Industrielle (CCI), Centre Pompidou

Musée national d’art moderne, Paris, June 3–August 5, 1985 LITERATURE Lumières, je pense à vous, exh. cat., Centre Pompidou Musée national d’art

moderne, Paris, 1985, illustrated p. 128, fig. 51

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PROPERTY OF A EUROPEAN COLLECTOR 8 DIEGO GIACOMETTI 1902–1985 “Berceau” table, first version, ca. 1965 Patinated bronze, glass. Together with a letter of authenticity from James Lord and a copy of the original invoice from Pierre Matisse Gallery, New York. 15 1/2 × 17 × 45 3/4 in. (39.4 × 43.2 × 116.2 cm.)

Estimate $80,000–120,000 PROVENANCE Pierre Matisse Gallery, New York, 1970; Sr. Moises Stoliar, Buenos

Aires; acquired directly from the above in 1988 LITERATURE Michel Butor, Diego Giacometti, Paris, 1985, p. 143; Daniel

Marchesseau, Diego Giacometti, Paris, 1986, pp. 66–67; François Baudot, Diego Giacometti, Paris, 1998, pp. 58–59 for similar examples

Diego Giacometti designed the present model “table-berceau, première version” (ca. 1965) for filmmaker Raoul Lévy, who acted in and produced notable films by Roger Vadim and Jean-Luc Godard. Giacometti produced a later zoomorphic “seconde version” (ca. 1970) noted for its variant table supports terminating in the heads of cats, dogs, and foxes.

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PROPERTY OF A EUROPEAN COLLECTOR 9 DIEGO GIACOMETTI 1902–1985 “Berceau” table, first version, ca. 1965 Patinated bronze, glass. Together with a letter of authenticity from James Lord and a copy of the original invoice from Pierre Matisse Gallery, New York. 15 1/2 × 17 × 45 3/4 in. (39.4 × 43.2 × 116.2 cm.)

Estimate $80,000–120,000 PROVENANCE Pierre Matisse Gallery, New York, 1970; Sr. Moises Stoliar, Buenos

Aires; acquired directly from the above in 1988 LITERATURE Michel Butor, Diego Giacometti, Paris, 1985, p. 143; Daniel

Marchesseau, Diego Giacometti, Paris, 1986, pp. 66–67; François Baudot, Diego Giacometti, Paris, 1998, pp. 58–59 for similar examples

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PROPERTY OF A GENTLEMAN

10 EYRE DE LANUX 1894–1996 Side table, ca. 1935 Straw marquetry. 15 1/4 × 27 1/2 × 18 1/4 in. (38.7 × 69.9 × 46.4 cm.)

Estimate $30,000–50,000 PROVENANCE Collection of Eyre de Lanux; Christie’s, Important 20th-Century Decorative Art,

including Arts & Crafts and Architectural Designs, New York, December 13 and 14, 1996, lot 237

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11 JEAN DUNAND 1877–1942 Tall “dinanderie” vase, ca. 1925 Lacquered brass, lacquered oxidized copper. Underside impressed with “4710.” Together with a letter of authenticity from Dorothée Dunand. 11 in. (27.9 cm.) high, 7 in. (17.8 cm.) diameter

Estimate $40,000–50,000 PROVENANCE Galerie Georges Petit, Paris, 1927; Edgar Brandt, Paris, 1928 EXHIBITED Galerie Georges Petit, Paris, 1927 LITERATURE Felix Marcilhac, Jean Dunand: His Life and Works, New York, 1991, p. 312,

fig. 1060 for a similar motif In the accompanying letter of authenticity, Dorothée Dunand states that the present lot was purchased by Edgar Brandt in 1928 from Galerie Georges Petit, a prominent Paris gallery which later held exhibitions of Henri Matisse and Pablo Picasso.

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12 STUDIO JOB JOB SMEETS and NYNKE TYNAGEL b. 1970, b. 1977 “Perished” table, 2006 Macassar ebony, bird’s eye maple inlay. From the edition of six. One leg inlaid with “Job.” 30 1/8 × 88 1/2 × 35 3/8 in. (76.5 × 224.8 × 89.9 cm.)

Estimate $50,000–60,000 LITERATURE Willy van den Bussche, et al., Studio Job: The Book of Job, New York, 2010, pp. 104

and 106–107 for a drawing; Adam Lindemann, Collecting Design, Colgne, 2010, p. 135 for the “Perished” bench

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13 HANS COPER 1920–1981

14 HANS COPER 1920–1981

Rare white “Cycladic” arrow form, ca. 1974

Rare black “Cycladic” form, ca. 1975

Stoneware, layered white porcelain slips and engobes over a body with textured

Stoneware, black glaze over a body with incised spirals and turning marks.

and incised linear designs, the base with a black glaze over a textured body.

Impressed with artist’s seal.

14 1/2 in. (36.8 cm.) high

12 3/4 in. (32.4 cm.) high

Estimate $40,000–60,000 Estimate $40,000–60,000 PROVENANCE Lucie Rie, Albion Mews Studio, London, 1992; the collection of PROVENANCE Bonhams, Contemporary Ceramics, London, October 16, 1995, lot 111

Michael and Lucy Foster, Portland, Oregon; Phillips Auctioneers, Lucie Rie/Hans

LITERATURE Tony Birks, Hans Coper, Somerset, 2005, p. 195; Cyril Frankel, Hans

Coper: Masterworks, June 20, 2000, lot 66

Coper, Modern Pots: Lucie Rie & their Contemporaries: The Lisa Sainsbury Collection,

LITERATURE Cyril Frankel, Hans Coper, Modern Pots: Lucie Rie & their Contemporaries:

London, 2000, p. 56, fig. 40 for a similar example

The Lisa Sainsbury Collection, London, 2000, p. 59, figs. 47, 48 and 49 for three variants of this form

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PROPERTY OF A EUROPEAN COLLECTOR 15 DIEGO GIACOMETTI 1902–1985 “Lustre aux Acrobates” ceiling fixture, ca. 1978 Patinated bronze. Reverse incised with “Diego.” Together with a letter of authenticity from James Lord. 44 5/8 in. (113.3 cm.) drop, 22 1/4 in. (56.5 cm.) diameter

Estimate $80,000–120,000 PROVENANCE Pierre Matisse Gallery, New York; Sr. Moises Stoliar, Buenos Aires LITERATURE Michel Butor, Diego Giacometti, Paris, 1985, pp. 136–137 for a similar

example; Daniel Marchesseau, Diego Giacometti, Paris, 1986, p. 117 for an early bronze sculpture of the couple and p. 169 for a similar example

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16 VIVIANNA TORUN BÜLOW-HÜBBE 1927–1904 Rare table clock, model no. 1188, 1970s Silver, moonstone, silver-plated brass, teak. Produced by Georg Jensen, Denmark. Reverse marked with “DESIGN TORUN,” “GEORG JENSEN,” and “1188.” Interior of rim marked with “2,” and “BRASS.” 4 in. (10.2 cm.) high, 5 1/2 in. (14 cm.) diameter

Estimate $10,000–12,000 PROVENANCE Georg Jensen Museum, Copenhagen

The present lot is one of three extant examples, one of which is in the estate of Vivianna Torun Bülow-Hübbe and another in a private collection.

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17 JAMES TOWER 1919–1988 “Waving reeds” vessel, no. 40, 1979 Earthenware, layered black and white glazes, the design etched through the unfired glaze. Underside incised with “James Tower/79.” 12 1/2 × 23 × 9 in. (31.8 × 58.4 × 22.9 cm.)

Estimate $12,000–18,000 PROVENANCE Art Latitude, New York; Bonhams, Contemporary Ceramics, London,

March 21, 1991 EXHIBITED “James Tower,” Art Latitude, New York, January 8–February 2, 1980

The present lot will be included in the forthcoming catalogue raisonné by Timothy Wilcox, The Ceramic Art of James Tower, Lund Humphries, April 2012.

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18 SAM MALOOF 1916–2009 Rocking chair, 1983 Walnut, ebony. Underside incised with “No. 17 1983/Sam Maloof fACC.” 44 in. (111.8 cm.) high

Estimate $30,000–40,000 PROVENANCE Private collection, Los Angeles LITERATURE Sam Maloof, Sam Maloof: Woodworker, Tokyo, 1983, pp. 47, 61 and 118–127;

Jeremy Adamson, The Furniture of Sam Maloof, exh. cat., The Smithsonian American Art Museum, Washington D.C., 2001, inset and pp. 176, 179, 190, 192–193; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 74; Jeannine Falino, ed., Crafting Modernism: Midcentury American Art and Design, exh. cat., Museum of Arts and Design, New York, 2011, p. 240

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PROPERTY FROM A NEW YORK COLLECTION 19 CHARLOTTE PERRIAND 1903–1999 Monumental “Bibliothèque murale,” ca. 1954 Aluminum, oak. Manufactured by Les Ateliers Jean Prouvé, France and editioned by Galerie Steph Simon, France. 55 1/4 × 126 × 13 1/4 in. (140.3 × 320 × 33.6 cm.)

Estimate $200,000–300,000 PROVENANCE Galeries Jousse Seguin, Paris; Private collection, New York; Phillips

de Pury & Company, Design, London, October 15, 2009, lot 32 LITERATURE Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998,

p. 120 for a Galerie Steph Simon advertisement and illustrated p. 121

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20 GIO PONTI 1891–1979 Unique and monumental pair of wall lights, from the entrance hall of the Dalmine S.p.A. headquarters, Via Brera, Milan, ca. 1948 Glass, brushed sheet steel, painted steel. Manufactured by Fontana Arte, Italy. From the set of four. Together with a certificate of authenticity from the Gio Ponti Archives (2). Each: 61 1/2 × 17 3/4 × 23 5/8 in. (156.2 × 45.1 × 60 cm.)

Estimate $28,000–34,000 PROVENANCE Dalmine S.p.A. headquarters, Via Brera, Milan LITERATURE “Lastre di vetro e cristallo,” Vitrum, no. 34, August 1952, pp. 10–12;

Roberto Aloi, “Illuminazione D’oggi,” Esempi, Milan, 1956, p. 237

The present lights are the only surviving examples from the set of four produced for the Milan headquarters of Dalmine S.p.A., a manufacturer of steel products.

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Estimate $28,000–34,000 PROVENANCE Dalmine S.p.A. headquarters, Via Brera, Milan LITERATURE “Lastre di vetro e cristallo,” Vitrum, no. 34, August 1952, pp. 10–12;

Roberto Aloi, “Illuminazione D’oggi,” Esempi, Milan, 1956, p. 237

The present lights are the only surviving examples from the set of four produced for the Milan headquarters of Dalmine S.p.A., a manufacturer of steel products.

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21 JEAN PROUVÉ 1901–1984 Panel with porthole windows, from the Bouqueval School, ca. 1949 Aluminum, painted aluminum, oak, glass. Manufactured by Les Ateliers Jean Prouvé, France. 115 7/8 × 35 5/8 × 2 3/4 in. (294.6 × 90.5 × 7 cm.)

Estimate $70,000–110,000 PROVENANCE Bouqueval School, Bouqueval, France; Galerie

Patrick Seguin, Paris LITERATURE Jean Prouvé Constructeur 1901–1984, exh. cat., Musée

des Beaux-Arts, Paris, 2001, p. 98 for similar examples; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944–1954, Basel, 2005, pp. 104–105 for a discussion of the school; Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, pp. 544–553

The present lot is one of nine original panels from the Bouqueval School.

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90 YEARS VENINI 1921–2011

“We wanted to create a kind of fantasy. We imagined the world being attacked by nature. There would be so many plants that they would gradually engulf all man-made objects, becoming inseparable from them.” FERNANDO CAMPANA

PROPERTY FROM THE VENINI ARCHIVES 22 FERNANDO and HUMBERTO CAMPANA b. 1961, b. 1953 Unique “Esmeralda” ceiling light, 2010 Colored glass, wicker, rope. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 62 in. (157.5 cm.) drop

Estimate $30,000–40,000 LITERATURE Campana Brothers, Complete Works (So Far), New York, 2010, pp. 212–

240 for a discussion of their designs cased in wicker

“Esmeralda,” a unique hanging light, comprising hand-blown colored glass encased in wicker, derives from Fernando and Humberto Campana’s earlier TransPlastic series (2007) which combined repurposed objects—plastic chairs, tables, tires— wrapped in woven natural fibers, a comment on the “invasion of plastic,”¹ and a celebration of Brazilian weaving traditions. The series marked a return of sorts for Fernando, who had woven wicker baskets after graduating from law school. 1. Darrin Alfred in Complete Works (So Far), 2010, pp. 214–232

Phillips de Pury & Company wish to thank Estudio Campana for their assistance in cataloguing this lot.

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23 JEAN PROUVÉ 1901–1984 Bed, model no. 102, ca. 1936 Painted bent steel, oak, leather. Manufactured by Les Ateliers Jean Prouvé, France. 25 1/2 × 93 1/4 × 36 in. (64.8 × 236.9 × 91.4 cm.)

Estimate $35,000–45,000 PROVENANCE Galeries Jousse Seguin, Paris; Private collection, London 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, pp. 110–111, figs. 534.1,1 – 534.1,5 for drawings, specification sheets and period illustrations; Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, pp. 354 and 361

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PROPERTY FROM AN IMPORTANT COLLECTION 24 JEAN ROYÈRE 1902–1981 Unique “Œuf” chest of drawers, ca. 1958 Ash, ash-veneered wood, fabric, brass. 37 1/2 × 59 × 19 3/8 in. (95.3 × 149.9 × 49.2 cm.)

Estimate $120,000–180,000 PROVENANCE Galerie Patrick Seguin, Paris LITERATURE Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, illustrated p. 258

The present lot will be included in the forthcoming Catalogue raisonné de Jean Royère by Galerie Patrick Seguin and Galerie Jacques Lacoste. Phillips de Pury & Company wish to thank Jacques Lacoste for his assistance in cataloguing this lot.

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Courtesy of Musée des arts décoratifs, Paris

“To create a harmonious spectacle to enchant the eye, rejoice the heart and elevate the spirit.” JEAN ROYÈRE

Jean Royère’s preparatory drawing for a bedroom with Œuf bed and chairs, 1955–1961

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90 YEARS VENINI 1921–2011

PROPERTY FROM THE VENINI ARCHIVES 25 ALESSANDRO MENDINI b. 1931 Unique “La Colonna di Venini,” 2011 Clear and colored glass, marble. Produced by Venini, Italy. Artist’s proof for the edition of nine. One glass element acid-etched with “venini 2011

that our creation would need to be composed of different parts, each expressing specific elements of the composition and together becoming a single symbol, a Venini emblem. We thought of an ascending and lightweight shape, a kind of large necklace fixed in

A. Mendini . P.d.A.” Together with a certificate of authenticity from Venini.

a vertical position, made up of distanced spheres, each of which

100 in. (254 cm.) high

would contain a part of the Venini history. The result is a story,

Estimate $20,000–30,000

a classification. Each different part represents an analyzed and motivated element; together they are an agile and almost acrobatic

“Our idea was to create a single object that transmitted the history

arrangement. And we said to ourselves, ‘We have created a column.’

of Venini and all its specializations: sophisticated craftsmanship,

That is how the Colonna di Venini came to be: a monument to

a multitude of colors and textures, the expertise, the special

dedication, hard work, aesthetics and the iridescent ripples on the

techniques, and the prodigious artists who lent their talent to the

surface of the lagoon.”

company from the beginning, throughout the years. This meant

Alessandro Mendini

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26 JEAN ROYÈRE 1902–1981 Pair of two-arm “Bouquet” wall lights, ca. 1948 Painted tubular metal, paper (2). Each: 13 × 18 × 10 in. (33 × 45.7 × 25.4 cm.)

Estimate $20,000–35,000 PROVENANCE Galerie Patrick Seguin, Paris; Galerie Jacques Lacoste, Paris LITERATURE Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 39, 151,

185, 238 for similar examples; Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, pp. 16 and 31 for similar examples

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“Mr. Templeton Crocker has built the first large and luxurious apartment done completely in the modern manner in the United States.” VOGUE, “A TWENTIETH CENTURY APARTMENT”, 1929

Templeton Crocker’s study, panelled in straw marquetry, with the present chair, San Francisco, 1929, “Une décoration française à San Francisco. Chez M. Templeton Crocker,” Art et Industrie, Paris, May 1930

27 JEAN-MICHEL FRANK 1895–1941 Side chair, from the Templeton Crocker residence, San Francisco, ca. 1929 Straw marquetry veneered wood, fabric. Produced by Chanaux & Company, France. Impressed twice with manufacturer’s mark and with “623_.” 32 1/4 in. (81.9 cm.) high

society. A collector of art, books, artifacts, and friends, Crocker befriended the great designers of the day, whom he commissioned to decorate his expansive penthouse on San Francisco’s Russian Hill. The residence comprised three rooms by Jean Dunand, a bathroom by Perre Legrain, and a dressing room by Madame Lipska. The chief author of the apartment,

Estimate $90,000–110,000

however, was Jean-Michel Frank.

PROVENANCE Templeton Crocker, Russian Hill, San Francisco; Mr. & Mrs. P. Brant, 1970s;

Delorenzo Gallery, New York, 1977; Private collection LITERATURE “Une décoration française à San Francisco. Chez M. Templeton Crocker,”

Art et Industrie, Paris, May 1930, p. 15; “A Twentieth-Century Apartment,” Vogue, August 3, 1929, p. 33; Patricia Bayer, Art Deco Interiors: Decoration and Design Classics of the 1920s and

In “A Twentieth Century Apartment”, a Vogue article dated August 3, 1929, a staff writer celebrated the commission: “Perhaps the most unusual feature from a decorator’s point of view is the exotic use of unusual materials. Walls

1930s, London, 1990, p. 94; Leopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, pp. 76–77

and furniture are of parchment and straw, tables of sharkskin, andirons of

and 130; Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank, Paris, 2006, p. 130

rock-crystal, curtains of lacy woven steel like fairy coats of mail…”

Templeton Crocker (1884–1948), grandson of Charles Crocker—founder of the Union Pacific Railroad, controlling shareholder of Wells Fargo— enjoyed the fruits of his forbear’s labors. The younger Crocker traveled widely too, on scientific expeditions to the Galapagos and to Bora Bora,

Like the walls, ceiling and divan in Mr. Crocker’s study, the present chair was veneered by Jean-Michel Frank in straw marquetry. It was purchased by a Connecticut collector in the 1970s along with a larger group of furnishings formerly of the Crocker residence.

and on less arduous journeys to Europe, where he joined Parisian café

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28 MARTIN SZEKELY b. 1956 “Table Blanche,” 2007 Corian, honeycomb aluminum, resin. Produced by Galerie kreo, France. Number four from the edition of eight plus two artist’s proofs and two prototypes. Underside signed in black marker with “Martin/Szekely/4 / 8 /2007.” 29 1/2 × 110 × 55 in. (74.9 × 279.4 × 139.7 cm.)

Estimate $50,000–70,000 PROVENANCE Galerie kreo, France LITERATURE Clément Dirié, Martin Szekely, Zurich, 2010, pp. 78–79; Martin Szekely:

No More Drawing, exh. cat., Centre Pompidou, Musée national d’art modern, Paris, 2011, p. 10

“Table Blanche” will be included as MSZ – 03-2007 in the forthcoming catalogue raisonné of limited editions by Martin Szekely being prepared by Didier Krzentowski of Galerie kreo, Paris. “Table Blanche” is in the permanent collection of the Centre Pompidou, Musée national d’art modern, Paris, where it is currently on view in the exhibition “Martin Szekely: No More Drawing” until January 2, 2112.

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â&#x20AC;&#x153;Today, to me my work seems like a subtraction, down to the expressionism of drawing. This notion came from my relationship with industrial design and its creation for the largest audience possible.â&#x20AC;? MARTIN SZEKELY

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Alternative view

29 KEN PRICE b. 1935 “Green and Gold,” 2007 Fired and painted clay. 12 in. (30.5 cm.) high

Estimate $20,000–30,000 PROVENANCE Frank Lloyd Gallery, Santa Monica, California

Since the 1960s, Ken Price’s deliberate disassociation with the conventions of his chosen material have resulted in a consistently ambitious exploration of form and surface that is more closely allied to sculpture and painting than ceramics. His most recent body of work, the free-form amorphous ‘blobs’, create an uneasy tension that on the one hand seem to celebrate the organic plasticity of the clay while rejoicing in the synthetic artificiality of the applied layers of paint that make up the surface.

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30 JEAN ROYÈRE 1902–1981 Unique dining table, ca. 1953 Straw marquetry, brass. 29 1/2 × 62 7/8 × 35 3/8 in. (75 × 160 × 90 cm.)

Estimate $220,000–320,000 PROVENANCE Private collection, Paris; Galerie Patrick Seguin and Galerie Jacques

Lacoste, Paris LITERATURE Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, illustrated p. 59;

Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 133 for a similar example; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 154–155 for the ball and undulation motif and 209, 242–243 for straw marquetry examples, illustrated p. 276

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Archives Jean Royère, courtesy Galerie Jacques Lacoste and Galerie Patrick Seguin

The present lot in situ, Paris, 1950s

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31 PETER COLLINGWOOD 1922–2008 Important unique wall hanging, for Sir Gordon Russell, 1959 Blockweave, hand-dyed Wilton wool, genappe yarn, Icelandic worsted wool and vat-dyed mercerised linen in over 60 colors. Three panels containing the lettering “G.R,” “CoICD” and “1944–1959.” 119 5/8 × 88 5/8 in. (304 × 225 cm.)

Estimate $20,000–30,000 PROVENANCE Commissioned by the Council of Industrial Design as a gift marking

the retirement of its Director, Sir Gordon Russell; presented January 5, 1960 and subsequently hung on the landing of his Cotswold house “Kingcombe,” Broadway, UK LITERATURE Peter Collingwood, “A Weaving Project,” The Quarterly Journal of the

Guilds for Weavers, Spinners and Dyers, Journal No. 33, March 1960, pp. 115–122 for an extensive explanation of the commission; Peter Collingwood: Master Weaver, exh. cat., The Minories Art Gallery, Colchester, 1998, p. 4 for a detail and p. 18

Collingwood recalled that while making the present lot he first tied warp threads to heddles in order to change the design as he went along. He stated in The Journal for Weavers, Spinners and Dyers, “I had no sketch to follow and made all decisions about the design as I went along. But also as I went along I sketched to scale what I had woven… Although I had over sixty colours I used two or three together, the actual combinations used were far greater in number and they were changing every few inches in both the blocks and the ground… It was for me a real excitement to put this almost barbaric pink against the brightest orange-red – it made the optic nerves dance a jig. In fact, throughout, my object was so to combine the colours that they glowed. This can only be done if all muddy colours are excluded. Only pure colours have the power to produce this effect, when seen in isolation these colours may be called crude by some but when placed together appropriately they react on each other and produce this exciting glow. There is an element of dissonance in this sort of combination, that touch of dissonance that puts the excitement into a Debussy chord that is lacking in an English Hymnal chord.”

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â&#x20AC;&#x153;Handweaving is artistically justifiable only if it can keep abreast of contemporary movements in the world of architecture and fashion, if it can capture the spirit of the age in its textilesâ&#x20AC;?PETER COLLINGWOOD

The artist holding a sample length of the present lot

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90 YEARS VENINI 1921–2011

Period photo of a group of ‘a macchie’ vases, ca. 1955

PROPERTY FROM A NORTHERN ITALIAN COLLECTION 32 FULVIO BIANCONI 1915–1996 Rare ‘a macchie’ vase, model no. 4324, ca. 1955 Clear glass with aubergine ‘a macchie’ inclusions. Produced by Venini, Italy. Underside with manufacturer’s paper label “VENINI S.A.” 10 in. (25.4 cm.) high

Estimate $50,000–70,000 LITERATURE Venini: Red Catalogue, Murano, model no. 4327; Marc Heiremans,

Art Glass From Murano: 1910–1970, Stuttgart, 1993, p. 265, fig. 218 for a similar example; Marina Barovier, Rosa Barovier Mentasti and Attilia Dorigato, Il Vetro Di Murano: Alle Biennali 1895–1972, Milan, 1995, p. 157, no. 83 for a similar example; Franco Deboni, Murano ’900, Turin, 1996, pp. 74 and 296, fig. 212 for similar examples; Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930–1970, Munich, 1997, pp. 102–103 for similar examples; Franco Deboni, Venini Glass, Its history, artists and techniques, Volume 1, Milan, 2007, n.p. model no. 4327

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33 GIO PONTI 1891–1979 Unique pair of armchairs, from an important private commission, ca. 1950 Original velvet, brass, walnut. Together with a certificate of authenticity from the Gio Ponti Archives (2). Each: 30 in. (76.2 cm.) high

Estimate $60,000–80,000 PROVENANCE Important private commission LITERATURE Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 203, fig. 435 for a

similar example

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PROPERTY OF A LONDON COLLECTOR 34 LUCIE RIE 1902–1995 Deep bowl, ca. 1980 Porcelain, dark green glaze with bright gold lip. Impressed with artist’s seal. 4 in. (10 cm.) high; 6 1/4 in. (16 cm.) diameter

Estimate $20,000–30,000 PROVENANCE Lucie Rie, Albion Mews Studio, London, 1980 EXHIBITED “Lucie Rie-A Retrospective,” The National Art Centre, Tokyo, Japan,

April 28 – June 21, 2010; The Mashiko Museum of Ceramic Art, Tochigi Prefecture, Japan, August 7 – September 26, 2010; MOA Museum of Art, Shizuoka Prefecture, Japan, October 9 – December 1, 2010; The Museum of Oriental Ceramics, Osaka, Japan, December 11 – February 13, 2011; Paramita Museum, Mie Prefecture, Japan, February 26 – April 17, 2011; Hagi Uragami Museum, Yamaguchi Prefecture, Japan, April 29 – June 26, 2011 LITERATURE Lucie Rie – A Retrospective, exh. cat., The National Museum of Modern Art, Tokyo,

illustrated p. 240, item 183

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PROPERTY OF A LONDON COLLECTOR 35 LUCIE RIE 1902–1995 Open bowl, ca. 1980 Porcelain, dark green glaze with bright gold lip. Impressed with artist’s seal. 3 3/4 in. (9.5 cm.) high, 8 in. (20.5 cm.)

Estimate $20,000–30,000 PROVENANCE Lucie Rie, Albion Mews Studio, London, 1980 EXHIBITED “Lucie Rie – A Retrospective,” The National Art Centre, Tokyo, Japan, April

28 – June 21, 2010; The Mashiko Museum of Ceramic Art, Tochigi Prefecture, Japan, August 7 – September 26, 2010; MOA Museum of Art, Shizuoka Prefecture, Japan, October 9 – December 1, 2010; The Museum of Oriental Ceramics, Osaka, Japan, December 11 – February 13, 2011; Paramita Museum, Mie Prefecture, Japan, February 26 – April 17, 2011; Hagi Uragami Museum, Yamaguchi Prefecture, Japan, April 29 – June 26, 2011 LITERATURE Lucie Rie – A Retrospective, exh. cat., The National Museum of Modern Art,

Tokyo, illustrated p. 241, item 184

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36 GIO PONTI 1891–1979 Monumental chandelier, for the Hotel Parco dei Principi, Rome, ca. 1964 Frosted glass, brass. Manufactured by Arredoluce, Italy. Together with a certificate of authenticity from the Gio Ponti Archives. 23 1/4 in. (59 cm.) drop, 81 7/8 in. (208 cm.) diameter

Estimate $80,000–120,000 EXHIBITED “Espressioni di Gio Ponti,” Triennale, Milan, May 6 – July 24, 2011 LITERATURE “Il Nuovo Albergo ‘Parco dei Principi’ in Roma,” Domus, no. 425, April

1965, p. 53; Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 372, fig. 773; Graziella Roccella, Gio Ponti: Master of Lightness, Cologne, 2009. pp. 78–79 for background on Hotel Parco dei Principi, Rome; Germano Celant, ed., Espressioni di Gio Ponti, exh. cat., Triennale, Milan, 2011, p. 109, fig. 174

The present model was designed for the Hotel Parco dei Principi, Rome. It was thereafter produced by Arredoluce in a very small series, of which four examples are known.

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90 YEARS VENINI 1921–2011

PROPERTY FROM THE VENINI ARCHIVES 37 MIROSLAV HRSTKA 1933–1983 “Miros 2” vase, ca. 1968 Inciso glass. Produced by Venini, Italy. Together with a certificate of authenticity from Venini. 12 1/2 in. (31.8 cm.) high

Estimate $10,000–15,000 LITERATURE Franco Deboni, Venini Glass, Catalogue 1921–2007, vol. 2, Turin, 2007, pl. 248

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38 GIO PONTI 1891–1979 Dressing table and side chair, from Casa Ceccato, Milan, ca. 1950 Dressing table: rosewood-veneered wood, brass, mirrored glass, glass; chair: stained mahogany, fabric, brass. Produced by cabinetmaker Giordano Chiesa, Italy. Together with a certificate of authenticity from the Gio Ponti Archives (2). Dressing table: 47 3/4 × 45 1/2 × 17 in. (121.3 × 115.6 × 43.2 cm.); chair: 33 1/2 in. (85.1 cm.) high

Estimate $35,000–45,000 PROVENANCE Casa Ceccato, Milan; Christie’s, 20th-Century Decorative Art and

Design, London, March 23, 2006, lot 5 LITERATURE “Particolari di una Casa.” Domus 256, April 1951, illustrated p. 30;

Ugo La Pietra, ed., Gio Ponti: L’Arte Si Innamora Dell’Industria, New York, 2009, pp. 342–343, 373 for a discussion of the commission; Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923–1978, Cambridge, MA, 1990, p. 145 for a discussion of the commission

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39 SUEHARU FUKAMI b. 1947 “Bô,” 1990 Porcelain, Seihakuji celadon glaze, walnut. Number three from the series of eight. Reverse incised under glaze with “3/8 S. Fukami.” 14 1/2 × 50 × 4 1/2 in. (36.8 × 127 × 11.4 cm.)

Estimate $20,000–30,000 EXHIBITED “White porcelain and Celadon,” Ibaraki Ceramic Art Museum,

April 26 – June 29, 2003 LITERATURE “Fukami Sueharu,” L’Toh’, vol. 81, July 25, 1993, illustrated pp. 14–15;

White porcelain and Celadon, exh. cat., Ibaraki Ceramic Art Museum catalogue, no. 96, 2003, illustrated p. 112

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40 GEORGE NAKASHIMA 1905–1990 Early “Conoid” bench with single free-form arm, 1961 American black walnut, hickory, three East Indian rosewood butterfly keys. Underside signed in black marker with “Reed.” Together with a copy of the original order card and a letter of authenticity from Mira Nakashima. 29 3/4 × 120 × 31 1/2 in. (75.6 × 304.8 × 80 cm.)

Estimate $100,000–150,000 PROVENANCE George Reed, Coconut Grove, Florida LITERATURE Lee Nordness, OBJECTS: USA, New York, 1970, p. 263 for a similar

example; George Nakashima, The Soul of a Tree, New York, 1981, p. 151 for a sketch of a similar example; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 157 for a similar example; Mira Nakashima, Nature, Form & Spirit, The Life & Legacy of George Nakashima, New York, 2003, pp. 147, 173 and 176 for similar examples

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“There was no other way for me but to go alone, secure with my family, placing stone upon stone, seeking kinship with each piece of wood, eventually creating an inward mood of space …” GEORGE NAKASHIMA

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90 YEARS VENINI 1921–2011

Similar examples of the present lot exhibited at the XXIII Exposizione Internazionale d’arte di Venezia, 1942

PROPERTY FROM A NORTHERN ITALIAN COLLECTION

41 CARLO SCARPA 1906–1978 ÒPennellateÓ vase, model no. 3911, ca. 1942 Bloomed transparent glass with applied pink and amethyst pasta vitrea. Produced by Venini, Italy. Underside acid-etched with “venini murano ITALIA.” 7 in. (17.8 cm.) high

Estimate $50,000–70,000 LITERATURE “Lattimi 1931–1935,” Venini: Catologo Blu, Murano, pl. 58, model no.

3911; Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, pp. 178 and 223, fig. 270 and p. 285, fig. 53 for a period illustration; Marino Barovier, ed., Venetian glass: The Nancy Olnick and Giorgio Spanu Collection, New York, 2000, p. 104; Franco Deboni, Venini Glass, Catalogue 1921–2007, vol. 2, Turin, 2007, pl. 102 for a similar example

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PROPERTY FROM A CANADIAN COLLECTION 42 CARLO MOLLINO 1905–1973 Low table, model no. 1114, ca. 1950 Maple, glass, brass. Produced by Appelli & Varesio, Italy and retailed by Singer & Sons, USA.

18 1/4 × 52 × 23 1/4 in. (46.4 × 132.1 × 59.1 cm.)

Estimate $80,000–120,000 PROVENANCE Acquired by the previous owner from Singer & Sons, New York LITERATURE Fulvio Ferrari, Carlo Mollino Cronaca, Turin, 1985, p. 129, fig. 215;

Giovanni Brino, Carlo Mollino, Munich, 1987, p. 132; Renate Ulmer and Silvio San Pietro, eds., Carlo Mollino: Sedie e Arredi, exh. cat., Institut Mathildenhöhe Darmstadt, Milan, 1994, p. 74; Giovanni Brino, Carlo Mollino: Architecture as Autobiography, London, 2005, p. 137, fig. 316; Rossella Colombari, Carlo Mollino: Catologo del Mobili, Milan, 2005, p. 114, fig. 105; Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino, London, 2006, pp. 109, fig. 131 and 133 for a drawing, and 226; Charlotte and Peter Fiell, eds., Domus, Vol. III, 1950–1954, Cologne, 2006, p. 239; Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino: arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, p. 104, fig. 165

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43 HANS COPER 1920–1981 Rare white “Cycladic” bud form with wings, 1975 Stoneware, layered white porcelain slips and engobes over a body with textured and incised designs. Impressed with artist’s seal. 6 3/4 in. (17.1 cm.) high

Estimate $30,000–40,000 PROVENANCE Robert Welch Gallery, Chipping Camden, UK, 1975; Garth Clark

Gallery, New York, 1985 LITERATURE Tony Birks, Hans Coper, Somerset, 2005, illustrated p. 72 in situ at the

Robert Welch Gallery

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44 MAX INGRAND 1908–1969 “Diavolo” table lamp, ca. 1957 Brass, painted metal, glass. Manufactured by Fontana Arte, Italy. 23 in. (58.4 cm.) high

Estimate $40,000–60,000 PROVENANCE Private collection, Como, Italy LITERATURE Domus, no. 328, March 1957, n.p. for an advertisement of a similar

example; Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 113 for a similar example; Charlotte and Peter Fiell, eds., Domus Vol. IV 1955–1959, Cologne, 2006, p. 295 for an advertisement of a similar example

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“Clay stops being just a vehicle for water and becomes a register of fire; this is what ceramics is all about.” CLAUDI CASANOVAS

45 CLAUDI CASANOVAS b. 1956 Large bowl, 1988 Stoneware, mixed clays (including clay from Moutiers-en-Puisaye, France), engobes and glazes. Underside incised with “5,88 Cassanovas.” 15 × 33 × 27 in. (38.1 × 83.8 × 68.6 cm.)

Estimate $10,000–15,000 LITERATURE Tony Birks, Claudi Casanovas, Somerset, 1996, fig. 4a–d for similar

examples

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46 SCOTT BURTON 1939–1989 Rare pair of chairs, ca. 1988 Stainless steel. From the edition of five (2). Each: 31 1/2 × 21 2/3 × 32 in. (80 × 55 × 81.3 cm.)

Estimate $225,000–275,000 PROVENANCE Max Protetch Gallery, New York, 1988; Private collection, New York LITERATURE Scott Burton, exh. cat., Kunstverein für die Rheinland und Westfalen,

Düsseldorf, March 3–April 6, 1989, pp.–26–27; Nancy Princethal, ed., Scott Burton: Chaises Longings, exh. cat., Max Protetch Gallery, New York, 1996, p. 11; Anna-Maria Torres, ed., Scott Burton, exh. cat., Institut Valencia d’Art Modern, 2004, illustrated p. 212 Of the five pairs produced by Scott Burton, one set is in the permanent collection of the Philadelphia Museum of Art and two further sets are in important private American collections.

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â&#x20AC;&#x153;[Art should] place itself not in front of, but around, behind, underneath (literally) the audience.â&#x20AC;? SCOTT BURTON

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90 YEARS VENINI 1921–2011

VARIOUS PROPERTIES

47 CARLO SCARPA 1906–1978 ‘A fasce applicate’ plate, model no. 4476, ca. 1940 Bloomed transparent glass with applied red and aquamarine glass fasce. Produced by Venini, Italy. Underside acid-etched with “venini/murano/ITALIA.” 2 × 10 3/4 × 14 1/2 in. (5.1 × 27.3 × 36.8 cm.)

Estimate $15,000–20,000 PROVENANCE Private collection, Italy LITERATURE Venini: Red Catalogue, Murano, model no. 4476; Helmut Ricke and Eva

Schmitt, Italian Glass Murano, Milan 1930–1970, Munich, 1997, p. 65, fig. 28 for a similar example; Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, pp. 162–163 and 220, fig. 235 and p. 238, fig. 47 for a period illustration of a similar example; Marino Barovier, ed., Venetian Glass: The Nancy Olnick and Giorgio Spanu Collection, New York, 2000, p. 216 for a similar example; Franco Deboni, Venini Glass, Its history, artists and techniques, Volume 1, Milan, 2007, n.p. model no. 4476; Franco Deboni, Venini Glass, catalogue 1921–2007, vol. 2, Turin, 2007, pl. 104 for a similar example

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48 SHIRO KURAMATA 1934–1991 Unique table, from the Tachibana restaurant, Shinagawa, Tokyo, 1991 Acrylic. Together with a certificate of authenticity from Mieko Kuramata. 40 1/2 × 157 1/2 × 23 5/8 in. (103 × 400 × 60 cm.)

Estimate $80,000–120,000 PROVENANCE Tachibana restaurant, Shinagawa, Tokyo LITERATURE Japanese Restaurants & Taverns: 51 Outstanding Japanese Speciality Dish Restaurants

& Taverns, Volume III, Japan, 1996, front cover and pp. 176–180; Shiro Kuramata 1934–1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, p. 198 for a mention of the commission

Tachibana is a Japanese variety of sweet wild orange. Phillips de Pury & Company wish to thank Mieko Kuramata in cataloguing this lot.

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90 YEARS VENINI 1921–2011

THIS LOT IS BEING SOLD TO BENEFIT TADAO ANDO’S “REQUIEM FORESTS” PROJECT

PROPERTY FROM THE VENINI ARCHIVES 49 TADAO ANDO b. 1941 Set of three vases, 2011 Colored glass. First artist’s proof. Produced by Venini, Italy. Each is the first artist’s proof from their respective editions of 30. Underside of each vase acidetched with “90/VENINI/2011/ANDO” and “venini 2011 – 1 / 9 P.d.A” and with manufacturer’s sticker with “90/1921/2011/VENINI.” Together with a certificate of authenticity from Venini (3). Each: 22 1/4 in. (56.5 cm.)

Estimate $40,000–50,000

REQUIEM FORESTS FOR THE DISASTER-STRICKEN AREAS

the reconstruction of this region, which they see in parallel with their own futures. The sounds of construction from the recovery effort will surely

The great earthquake, tsunami, and nuclear accident that struck the

provide hope and calm for the people, and become a source of renewed

Tohoku region of Japan on March 11, 2011 caused damages that exceeded

energy for the nation. Although it is a small step, it is my hope that the

our imagination. Entire hometowns, family histories, and workplaces were

“Requiem Forests” can be become a foothold for this effort.

washed away in an instant and countless irreplaceable lives were lost. Tadao Ando (architect), August 11, 2011 Five months have passed from that day, but there are still many people who are missing from the disaster areas, and the work of removing the mounds of

被災地に「鎮魂の森」を

debris created by the tsunami has proven to be a strenuous task. While the provision of aid to those who continue to suffer of course must be the utmost

2011年3月11日、東日本を襲った、大地震、大津波、そして原発事故は、私たちの想

priority, it is also now time for us to begin thinking about our next step on the

像をはるかにこえた大災害をもたらし、多くの人々の尊い命を奪い、故郷や、家族の

road to recovery. For this, before anything else, we must raise the depressed

歴史、職業までも一瞬にして奪い去りました。

spirit of the citizens and redirect them to look forward once again. あれから5カ月、被災地ではいまだ行方不明者も多く、津波によってできた瓦礫の山 As one way to achieve this, I propose to create “Requiem Forests” in the

の撤去には、相当な困難が伴っています。もちろん、今この瞬間も、被災地で苦しんで

disaster areas. High grounds that can serve as safe evacuation areas will

いる人々を救うことが最優先ですが、そろそろ私たちは次のステップとして復興への

be planted with grasses, flowers, and trees, and maintained together by

道のりを考えなければいけません。そのためには、何よりもまず深く沈んだ国民の気

the community as “Requiem Forests”. The forests will also contribute to

持ちを前に向かせることが先決です。

sustaining the memory of the earthquake for future generations. その一つの方法として、提案するのが、被災地での「鎮魂の森」づくりです。安全のた The mounds of debris will probably remain for yet a while. However, people

めに、避難場所になる高台に草花や木を植え、「鎮魂の森」としてその周辺の整備を

cannot raise their hopes if the creation of new cities cannot begin until all of

進め、みんなで育てるのです。それは、震災の記憶の継承にもつながります。

the debris has been removed. I thus propose to have the mounds sown with seeds of grasses and flowers and to grow tree seedlings upon them. The

瓦礫の山は当分、なくならないでしょう。しかし、その処理が終わるまで、新しい街づ

small flowers will gain life even among the rubble. The tree saplings will be

くりが何もはじまらないのでは、人々に希望は生まれません。瓦礫の山に草花の種を

planted as appropriate in the various areas. I believe that the creation of such

蒔き、苗を育てる。瓦礫の中でも命を得た小さな花が咲いている。そして各地に適し

landscapes can give hope to the people. The trees will eventually mature and

た苗木を植えていく。そんな風景をつくることが人々の希望につながるのではないか

form forests connected to everyone’s heart.

と思います。やがて木々は育ち、人々の心の森となります。

In the Sanriku district, which is among the disaster areas, there is a saying:

今回被災地にもなった三陸地域では、「津波てんでんこ」という言葉が伝わっていま

“tsunami tendenko”. It tells of how when there is a tsunami, everyone should

す。津波の際は、肉親に構わず、てんでんばらばらで良いのでとにかく高台に逃げろと

scramble to higher grounds caring only for their own safety, even if they

いう意味です。先人たちは、先の災害の教訓を、言葉にして後世に託しました。この津

are separated from their family. Their predecessors put their lessons from

波の脅威を、今回は「鎮魂の森」という形で伝承していってはどうかと考えます。悲惨

experience into words and passed on their wisdom to later generations.

な災害の経験を、二度とくりかえさないために、次の世代、またその次の世代に伝え

Similarly, I think the menace of the recent tsunami can be transmitted to later

ていく。その役割を、「鎮魂の森」が担うのです。

generations through the “Requiem Forests”. The forests will take on the role of telling the experience of the disaster to the next generations in order to

東北の農村、漁村には、日本の原風景や、家族や地域社会の姿が残っています。多く

prevent the tragedy from happening again.

の国民は、この地の復興を、自分たちの未来と重ねて注目しています。復興の槌音が、

The farming and fishing villages of the Tohoku region retain qualities of

かけとなります。「鎮魂の森」が、小さくともその足がかりの一つとなればと思います。

人々にとって何よりの希望と安心感をもたらすでしょうし、国が元気を取り戻すきっ the idyllic Japanese landscape, and the model of the traditional family and regional society are still intact. The people of Japan are focused on

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90 YEARS VENINI 1921–2011

THIS LOT IS BEING SOLD TO BENEFIT TADAO ANDO’S “REQUIEM FOREST” PROJECT

Estimate $40,000–50,000

REQUIEM FOREST FOR THE DISASTER-STRICKEN AREAS

the reconstruction of this region, which they see in parallel with their own futures. The sounds of construction from the recovery effort will surely

The great earthquake, tsunami, and nuclear accident that struck the

provide hope and calm for the people, and become a source of renewed

Tohoku region of Japan on March 11, 2011 caused damages that exceeded

energy for the nation. Although it is a small step, it is my hope that the

our imagination. Entire hometowns, family histories, and workplaces were

“Requiem Forest” can be become a foothold for this effort.

被災地に「鎮魂の森」を

debris created by the tsunami has proven to be a strenuous task. While the provision of aid to those who continue to suffer of course must be the utmost

2011年3月11日、東日本を襲った、大地震、大津波、そして原発事故は、私たちの想

priority, it is also now time for us to begin thinking about our next step on the

像をはるかにこえた大災害をもたらし、多くの人々の尊い命を奪い、故郷や、家族の

road to recovery. For this, before anything else, we must raise the depressed

歴史、職業までも一瞬にして奪い去りました。

spirit of the citizens and redirect them to look forward once again. あれから5カ月、被災地ではいまだ行方不明者も多く、津波によってできた瓦礫の山 As one way to achieve this, I propose to create “Requiem Forest” in the

の撤去には、相当な困難が伴っています。もちろん、今この瞬間も、被災地で苦しんで

disaster areas. High grounds that can serve as safe evacuation areas will

いる人々を救うことが最優先ですが、そろそろ私たちは次のステップとして復興への

be planted with grasses, flowers, and trees, and maintained together by

道のりを考えなければいけません。そのためには、何よりもまず深く沈んだ国民の気

the community as “Requiem Forest”. The forests will also contribute to

持ちを前に向かせることが先決です。

めに、避難場所になる高台に草花や木を植え、「鎮魂の森」としてその周辺の整備を

cannot raise their hopes if the creation of new cities cannot begin until all of

進め、みんなで育てるのです。それは、震災の記憶の継承にもつながります。

the debris has been removed. I thus propose to have the mounds sown with seeds of grasses and flowers and to grow tree seedlings upon them. The

瓦礫の山は当分、なくならないでしょう。しかし、その処理が終わるまで、新しい街づ

small flowers will gain life even among the rubble. The tree saplings will be

くりが何もはじまらないのでは、人々に希望は生まれません。瓦礫の山に草花の種を

planted as appropriate in the various areas. I believe that the creation of such

蒔き、苗を育てる。瓦礫の中でも命を得た小さな花が咲いている。そして各地に適し

landscapes can give hope to the people. The trees will eventually mature and

た苗木を植えていく。そんな風景をつくることが人々の希望につながるのではないか

form forests connected to everyone’s heart.

と思います。やがて木々は育ち、人々の心の森となります。

In the Sanriku district, which is among the disaster areas, there is a saying:

今回被災地にもなった三陸地域では、「津波てんでんこ」という言葉が伝わっていま

“tsunami tendenko”. It tells of how when there is a tsunami, everyone should

す。津波の際は、肉親に構わず、てんでんばらばらで良いのでとにかく高台に逃げろと

scramble to higher grounds caring only for their own safety, even if they

いう意味です。先人たちは、先の災害の教訓を、言葉にして後世に託しました。この津

are separated from their family. Their predecessors put their lessons from

波の脅威を、今回は「鎮魂の森」という形で伝承していってはどうかと考えます。悲惨

experience into words and passed on their wisdom to later generations.

な災害の経験を、二度とくりかえさないために、次の世代、またその次の世代に伝え

Similarly, I think the menace of the recent tsunami can be transmitted to later

ていく。その役割を、「鎮魂の森」が担うのです。

generations through the “Requiem Forest”. The forests will take on the role of telling the experience of the disaster to the next generations in order to

東北の農村、漁村には、日本の原風景や、家族や地域社会の姿が残っています。多く

prevent the tragedy from happening again.

の国民は、この地の復興を、自分たちの未来と重ねて注目しています。復興の槌音が、

The farming and fishing villages of the Tohoku region retain qualities of

かけとなります。「鎮魂の森」が、小さくともその足がかりの一つとなればと思います。

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50 MARC NEWSON b. 1963 “Chop Top Table,” ca. 2006 Polished and painted aluminum, glass. Produced by Pod Edition, UK and Galerie kreo, France. Editioned by Galerie kreo, France. Number eight from the edition of 12 plus one prototype. Underside impressed with “MARC NEWSON/ POD/POD EDITION” and with “8 / 12.” 31 1/2 × 70 7/8 × 38 1/4 in. (80 × 180.1 × 97.2 cm.)

Estimate $180,000–220,000 PROVENANCE Galerie kreo, Paris; Private collection, UK

The “Chop Top Table” will be included as MN – 13NEHT-2006 in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris.

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90 YEARS VENINI 1921–2011

A similar example on view at the Murano glass retrospective at the 26th Biennale di Venezia, 1952

PROPERTY FROM THE VENINI ARCHIVES 51 VITTORIO ZECCHIN 1878–1947 Large “soffiato” vase, ca. 1921–1926 Translucent amethyst glass. Produced by Venini, Italy. Acid-etched “venini/ murano/ITALIA.” Together with a certificate of authenticity from Venini. 7 7/8 × 9 1/2 in. (20 × 24 cm.)

Estimate $8,000–12,000 EXHIBITED “Vittorio Zecchin, 1878–1947: Pittura, Vetro, Arti Decorative,” Museo

Correr, Venice, 2002 LITERATURE Franco Deboni, I vetri Venini, 1996, p. 35

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Courtesy of the Gio Ponti Archives

Gio Ponti’s preparatory drawing for the present model

52 GIO PONTI 1891–1979 Monumental “Vaso delle donne e dei fiori,” model no. 1036, ca. 1924 Glazed earthenware. Manufactured by Richard-Ginori, Italy. From the My Women series. Underside painted with maker’s mark and with “Richard/Ginori/M982/M206E/GioPonti.” 20 1/2 in. (52.1 cm.) high

Estimate $70,000–90,000 PROVENANCE Christie’s, 20th-Century Decorative Art and Design, London, April 30, 2008, lot 58 LITERATURE Carlo Pirovano, ed., Gio Ponti: Ceramiche 1923–1930, exh. cat., Milan, 1983, pp. 39,

110, 173–175; Loris Manna, Gio Ponti: Le Maioliche, Milan, 2000, pp. 73–75; Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 34; Graziella Roccella, Gio Ponti: Master of Lightness, Cologne, 2009, pp. 18–19

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53 EMILE-JACQUES RUHLMANN 1879–1933 Pair of “Gonse” armchairs, model no. 278 NR, ca. 1930–1932 Lacquered wood, fabric. Underside of one frame branded with “Ruhlmann” (2). Each: 29 × 42 × 45 1/4 in. (73.7 × 106.7 × 114.9 cm.)

Estimate $600,000–800,000 PROVENANCE Private collection, Paris, ca. 1930; Private collection, Paris, 1980s;

DeLorenzo Gallery, New York, 1988; Private Midwest collection LITERATURE Leon Moussinac, Croquis de Ruhlmann, Paris, 1924, pl. 31 for a design

sketch; Curtis Moffat, “Furniture and Hangings,” The Studio Year Book, Decorative Art, London, 1931, p. 82; Raymond Foulk, Centenary Exhibition Emile-Jacques Ruhlmann, London, 1979, pl. 27 for a similar example; Pierre Kjellberg, Les Maîtres du Mobilier Art Deco, Paris, 1981, p. 163; Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984, pp. 159, 216 for a design sketch and 261; Philippe Garner, “Chow Wow,” House and Garden, May 1988, pp. 168–169; Emmanuel Breon, Jacques-Emile Ruhlmann, the Designer’s Archives, Furniture, Paris, 2004, pp. 103 and 107 for an archive sketch

In his sketchbook dated 1915, Ruhlmann explored the concept of a low lounge chair whose arms sweep down in a continuous curve to form the rear legs, as in the present model. Only three examples of the “Gonse” armchair produced in black lacquer are known to exist, including the present pair as well as a single example sold at Christie’s New York on June 1, 2004.

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“…Rationalism, Comfort, Progress” EMILE-JACQUES RUHLMANN

Salon area for a Parisian Collector, ca. 1930

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54 HANS COPER 1920–1981

55 HANS COPER 1920–1981

White “Cycladic” pot, ca. 1977

Black “Cycladic” pot, ca. 1974

Stoneware, layered white porcelain slips and engobes over a body with textured

Stoneware, black glaze over a body with textured and incised linear

and incised linear designs. Impressed with artist’s seal.

designs. Impressed with artist’s seal.

10 1/8 in. (25.7 cm.) high

7 7/8 in. (19.8 cm.) high

Estimate $25,000–35,000

Estimate $16,000–24,000

EXHIBITED “Lucie Rie/Hans Coper,” The Metropolitan Museum of Art, New York,

PROVENANCE The New Craftsman Gallery, St. Ives, UK, 1970s

November 15, 1994–May 21, 1995; “Hans Coper Retrospective: Innovation in 20thCentury Ceramics,” The Museum of Ceramic Art, Hyogo, September 12–November 29, 2009, then travelled to: The Shigaraki Ceramic Cultural Park, Museum of Contemporary Ceramic Art, Shiga (March 13–June 17, 2010), Panasonic Electric Works, Shiodome Museum, Tokyo (June 26–September 5, 2010), Museum of Modern Ceramic Art, Gifu (September 18 – November 23, 2010), Iwate Museum of Art, Iwate (December 4, 2010–February 13, 2011), and Shizuoka City Museum of Art, Shizuoka (April 9–June 26, 2011) LITERATURE John P. O’Neill, ed., Lucie Rie/Hans Coper, exh. cat., The Metropolitan

Museum of Art, New York, 1994, p. 19, fig. C74; Maya Nishi, ed., Hans Coper Retrospective: Innovation in 20th-Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, illustrated p. 111, fig. 95

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56 EMILE-JACQUES RUHLMANN 1879–1933 Monumental set of doors, ca. 1925 Black lacquered oak, oak, silvered bronze, bronze (2). Each: 98 3/8 × 26 1/4 × 1 3/8 in. (249.9 × 66.7 × 3.5 cm.)

Estimate $250,000–350,000 PROVENANCE Michael Chow, USA EXHIBITED “Ruhlmann, Genius of Art Deco,” The Metropolitan Museum of Art, New

York, June 10 – September 5, 2004, then travelled to: The Montreal Museum of Fine Arts, Jean Noel Desmarais Pavilion, Montreal, September 30 – December 12, 2004 LITERATURE “L’Entrée, Le Vestibule, Le Hallm,” Les Echos des Industries d’Art,

no. 19, February 1927, p. 8 for a similar example, “Salons et Boudoirs,” Les Echos d’Art, no. 42, January 1929, p. 8 for a similar example; Raymond Foulk, Centenary Exhibition Emile-Jacques Ruhlmann, London, 1979, pl. 24 for a similar example; Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984, pp. 134, 151 and 201 for similar examples; Bruno Foucart, et al., Ruhlmann, Connaissance des Arts, Special Issue, Paris, 2001, p. 44 for a similar example

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COLLECTION OF A GENTLEMAN 57 JEAN EMILE PUIFORCAT

1887–1945

Footed bowl, ca. 1938 Silver, walnut, ivory. Outside of lip impressed with maker’s mark and the Minerva head mark. 6 7/8 in. (17.5 cm.) high, 8 1/8 in. (20.6 cm.) diameter

Estimate $18,000–24,000 ∑ PROVENANCE Fay Lucas Gallery, London

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58 EMILE-JACQUES RUHLMANN 1879–1933 Wall light, model no. 3691, ca. 1929 Silvered bronze, alabaster. 8 1/2 × 27 × 6 1/2 in. (21.6 × 68.6 × 16.5 cm.)

Estimate $40,000–60,000 PROVENANCE L’Arc en Seine, Paris LITERATURE Florence Camard, Ruhlmann: Master of Art Deco, New York, 1984,

p. 295, ref. 3691 for a similar example; Jean-Louis Gaillemin, Antiquaires, The Finest Antique Dealers in Paris, New York, 2000, p. 115

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90 YEARS VENINI 1921–2011

Preparatory drawing for the present lot

PROPERTY FROM THE VENINI ARCHIVES 59 CARLO SCARPA 1906–1978 ‘A bollicine’ vase, model no. 11020, ca. 1931–1934 Heavily bloomed opaque green glass. Produced by Venini, Italy. Underside acid-etched with “venini/murano/ITALIA.” Together with a certificate of authenticity from Venini. 8 5/8 in. (22 cm.) high, 7 1/2 in. (19 cm.) diameter

Estimate $22,000–28,000 LITERATURE “A BOLLICINE 1931–1934,” Venini: Catologo Blu, Murano, pl. 34, model

no. 11020; Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, p. 204, fig. 10 for a similar example; Franco Deboni, Venini Glass, Its history, artists and techniques, Volume 1, Milan, 2007, n.p. pl. 34, model no. 11020; Franco Deboni, Venini Glass, Catalogue 1921–2007, vol. 2, Turin, 2007, pl. 79 for a similar example

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60 JEAN DUNAND 1877–1942 Side table, ca. 1925 Lacquered wood, lacquered eggshell mosaic. Underside branded with “769” and “JEAN/DUNAND/ LAQUEUR.” 13 1/2 × 15 3/4 × 13 in. (34.3 × 40 × 33 cm.)

Estimate $70,000–90,000 PROVENANCE Olivier Jean Elie, France LITERATURE Felix Marcilhac, Jean Dunand: His Life and Works, London, 1991, pp. 151

and 246–247 for similar examples

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61 WENDELL CASTLE b. 1932 Rare music stand, 1980 Ebonized oak. brass. Reverse incised with “W. Castle 80.” 55 1/2 in. (141 cm.) high

Estimate $25,000–35,000 PROVENANCE Barbara Fendrick Gallery, Washington, D.C.; Private collection,

McLean, Virginia LITERATURE Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American

Craft Museum, New York, 1989, p. 177 for a similar example; Davira S. Taragin, Edward S. Cooke and Joseph Giovannini, Furniture by Wendell Castle, New York, 1989, p. 25 for a similar example; Jeremy Adamson, The Furniture of Sam Maloof, exh. cat., The Smithsonian American Art Museum, Washington, D.C., 2001, p. 121 for a similar example; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 45; Jeannine Falino, ed., Crafting Modernism: Midcentury American Art and Design, exh. cat., Museum of Arts and Design, New York, 2011 for a similar example

The present lot is the first of two music stands produced with an ebonized finish and brass inlay.

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COLLECTION OF A GENTLEMAN

62 DIEGO GIACOMETTI 1902–1985 “Oiseau,” ca. 1970 Patinated bronze. Impressed with “DG.” 3 1/4 × 5 3/4 × 2 1/2 in. (8.3 × 14.6 × 6.4 cm.)

Estimate $12,000–18,000 PROVENANCE Collection of the artist; Christie’s, 20th-Century Art (Day Sale), New

York, November 10, 1992, lot 692; Christie’s, Impressionist and Modern Art (Day Sale), New York, May 5, 2004 LITERATURE Michel Buxtor, Diego Giacometti, Paris, 1985, pp. 108, 111 and 11 for

examples of similar “oiseau” figures; Daniel Marchesseau, Diego Giacometti, Paris, 1986, pp. 94–95 for examples of similar “oiseau” figures; Francois Baudot, Diego Giacometti, Paris, 1998, pp. 26–27 and 66–67 for examples of similar “oiseau” figures

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63 GEORGES CHEVALIER 1894–1987 The “Jets d’eau” chandelier, from the Baccarat-Christofle Pavilion, Paris, 1925 Crystal, brass. Produced by Compagnie des Cristalleries de Baccarat, France. 108 in. (274.3 cm.) drop, 78 in. (198.1 cm.) diameter

Estimate $200,000–250,000 PROVENANCE Baccarat-Christofle Pavilion, Exposition Internationale des Arts

Décoratifs et Industriels Modernes, Paris, 1925; purchased from the above by Frank Thring, Sr. for the Lobby of the Regent Theater, Sydney, Australia, 1928–1984 EXHIBITED “Exposition Internationale des Arts Décoratifs et Industriels Modernes,”

Baccarat-Christofle Pavilion, Esplanade des Invalides, Paris, April–October 1925

Phillips de Pury and Company would like to thank Michaela Lerch and Sandrine Fritz of the Heritage Department at Baccarat, for their help in cataloguing this lot.

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Courtesy of the Baccarat Archives

The present lot in situ, the Baccarart-Christofle Pavilion, Exposition Internationale des Arts

A pamphlet depicting the Baccarat-Christofle Pavilion where the present lot appeared,

Décoratifs et Industriels Modernes, Paris, 1925

Paris, 1925

Georges Chevalier (1894–1987) designed the present chandelier for the

grand opening of his flagship, the Regent Theater on George Street in

joint Baccarat-Christofle Pavilion at the 1925 Exposition Internationale

Sydney. The “Jet d’Eau” enjoyed pride of place until 1984, when the theater

des Arts Décoratifs et Industriels Modernes, Paris, where it hung in

was destroyed.

the building’s dome that summer and fall. Designed in the shape of a

cascading fountain, the chandelier comprises 24 arms, 156 lights, and

A graduate of the École Nationale Supérieure des Arts Décoratifs and an

approximately 100,000 Baccarat crystals.

associate of decorator Maurice Dufrène, Chevalier brought a contemporary,

modern focus to Baccarat, where he remained active until the 1970s.

Viewed in situ during the Exposition, the chandelier was purchased by

Mr. Frank Thring, founder of Hoyt’s Theaters in Australia. He shipped

A smaller, later version of the present chandelier hangs in the Salle Gérard

the work to his native Australia, where he installed it in 1928 for the

Garouste at the Musée Baccarat, Place des États-Unis, Paris.

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64 EMILE-JACQUES RUHLMANN 1879–1933 ‘Chaud Porte-Feuille’ wall light, 1922 Silvered bronze, alabaster. 5 × 20 × 8 in. (12.7 × 50.8 × 20.3 cm.)

Estimate $70,000–90,000 PROVENANCE Camard, June 2, 2006 LITERATURE Florence Camard, Ruhlmann: Master of Art Deco, New York: Abrams,

1984, p. 295 for a similar example; Jean-Louis Gaillemin, Antiquaires: The Finest Antique Dealers in Paris, New York, 2001, p. 115 for a similar example

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65 HANS COPER 1920–1981 Monumental early “Thistle” form, ca. 1958 Stoneware, layered white porcelain slips and engobes over a body with scrubbed radiating linear design. Impressed with artist’s seal. (18 1/8 × 15 3/8 × 5 7/8 in. (46 × 39 × 15 cm.)

Estimate $50,000–70,000 EXHIBITED “Hans Coper Retrospective: Innovation in 20th-Century Ceramics,” The Museum

of Ceramic Art, Hyogo, September 12–November 29, 2009, then traveled to: The Shigaraki Ceramic Cultural Park, Museum of Contemporary Ceramic Art, Shiga (March 13–June 17, 2010), Panasonic Electric Works, Shiodome Museum, Tokyo (June 26–September 5, 2010), Museum of Modern Ceramic Art, Gifu (18 September 18–November 23, 2010), Iwate Museum of Art, Iwate (December 4, 2010–February 13, 2011), and Shizuoka City Museum of Art, Shizuoka (April 9–June 26, 2011) LITERATURE Tony Birks, Hans Coper, Somerset, 2005, illustrated p. 106 in the studio at Albion

Mews; Maya Nishi, ed., Hans Coper Retrospective: Innovation in 20th Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, illustrated p. 81, fig. 38

The present lot was featured prominently in a panel discussion on the Hans Coper documentary broadcast by the Japan Broadcasting Corporation (NHK) in 2010.

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PROPERTY OF AN EAST COAST GENTLEMAN

66 PIERRE CHAREAU 1883–1950 Important desk, model no. MB 405, and stool, model no. SN 3, ca. 1927 Rosewood-veneered walnut, painted iron. 36 1/4 × 64 × 40 3/8 in. (92.1 × 162.6 × 102.6 cm.)

Estimate $475,000–525,000 PROVENANCE Thierry Couvrat Desvergnes, Paris; Sotheby’s, Arts

Décoratifs du XXe Siècle, Paris, November 20, 2006, lot 110 EXHIBITED “Pierre Chareau Architecte, un Art Intérieur,” Centre Georges

Pompidou, Paris, November 3, 1993–January 17, 1994 LITERATURE Pierre Chareau: architecte, un art intérieur, exh. cat., Centre

Georges Pompidou, Paris, 1993, illustrated p. 149; Brian Brice Taylor, Pierre Chareau, Cologne, 1998, pp. 76–78; Pierre Kjellberg, Art Déco: Les Maîtres du Mobilier-Le Décor das Paquebots, Paris, 1998, p. 57 Pierre Chareau designed a similar desk for Dr. Jean Dalsace, original owner of Chareau’s Maison de Verre, Paris.

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COLLECTION OF A GENTLEMAN 67 JEAN-MICHEL FRANK 1895–1941 Lidded box, ca. 1930 Shagreen, wood, brass. Interior of lid impressed with “9083.” 2 1/4 × 4 3/4 × 3 1/2 in. (5.7 × 12.1 × 8.9 cm.)

Estimate $8,000–12,000 ∑ PROVENANCE Alexandre Biaggi, Paris LITERATURE Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997,

p. 247 for a similar example

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COLLECTION OF A GENTLEMAN 67 JEAN-MICHEL FRANK 1895–1941 Lidded box, ca. 1930 Shagreen, wood, brass. Interior of lid impressed with “9083.” 2 1/4 × 4 3/4 × 3 1/2 in. (5.7 × 12.1 × 8.9 cm.)

Estimate $8,000–12,000 ∑ PROVENANCE Alexandre Biaggi, Paris LITERATURE Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997,

p. 247 for a similar example

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68 BERNARD LEACH 1887–1979 Large vase with “Leaping Fish” design, ca. 1970 Stoneware, shino type glazes, the repeated fish designs cut back through a brushstroke of glaze and enclosed within a banded design. Impressed with “BL” and Bernard Leach’s pottery seals. 15 3/4 in. (40 cm.) high

Estimate $9,000–14,000 PROVENANCE Janet Leach, The New Craftsman Gallery, St. Ives, UK

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PROPERTY OF A GENTLEMAN 69 JEAN-MICHEL FRANK 1895–1941 ‘Pagoda’ side table, ca. 1930 Pearwood, leather. 17 1/2 × 16 1/4 × 16 3/4 in. (44.5 × 41.3 × 42.5 cm.)

Estimate $50,000–70,000 PROVENANCE Galerie Vallois, Paris; Friedman Vallois, New York, 2006 LITERATURE Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, pp. 161, 205

and 211 for similar examples; Pierre Emmanuel Martin-Vivier, Jean-Michel Frank, Paris, 2006, pp. 159 and 278 for similar examples

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70 LUCIE RIE 1902–1995 Large conical bowl, ca. 1985 Stoneware, white feldspathic glaze over a mixed clay body producing a delicate pink and blue spiral. Underside impressed with artist’s seal and with applied label “LR/135.” 5 in. (12.7 cm.) high, 12 1/4 in. (31.1 cm.) diameter

Estimate $25,000–35,000 PROVENANCE Galerie Besson, London, 1990 EXHIBITED “Nine Potters,” Fischer Fine Art, London, September–October 1986;

“Lucie Rie,” Galerie Besson, London, April–June 1988 LITERATURE Nine Potters, exh. cat., Fischer Fine Art, London, 1986, illustrated p. 28;

Lucie Rie, exh. cat., Galerie Besson, London, 1988, illustrated p. 58; Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo and Museum of Oriental Ceramics, Osaka, 1989, p. 12, item 95 for a similar example

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COLLECTION OF A GENTLEMAN 71 JEAN DUNAND 1877–1942 Lidded box, ca. 1925 Lacquered wood, lacquered eggshell mosaic, brass. Underside painted in red with “J.D.” 1 3/4 × 3 1/2 × 4 1/8 in. (4.4 × 8.9 × 10.5 cm.)

Estimate $7,000–9,000 PROVENANCE Rainbow Fine Art, New York, 2002 LITERATURE Felix Marcilhac, Jean Dunand, His Life and Works, New York, 1990,

p. 277 for similar examples

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COLLECTION OF A GENTLEMAN 72 JEAN DUNAND 1877–1942 Lidded box, model no. 704, ca. 1925 Brass, lacquered oroide inlaid with eggshell. Underside painted in red with “JEAN DUNAND.” 1 1/2 × 3 1/2 × 3 in. (3.8 × 8.9 × 7.6 cm.)

Estimate $12,000–18,000 PROVENANCE Tajan, Paris, 20th-Century Decorative Arts, June 28, 2005, lot 12 LITERATURE Felix Marcilhac, Jean Dunand, His Life and Works, New York, 1990,

p. 276 for a similar example

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COLLECTION OF A GENTLEMAN 73 JEAN-MICHEL FRANK 1895–1941 Table lamp, ca. 1927 Glass, bronze, parchment. Underside of base impressed with “MADE IN FRANCE” and with L’Arc en Seine gallery label. 18 in. (45.7 cm.) high, 14 in. (35.6 cm.) diameter including shade

Estimate $40,000–60,000 PROVENANCE Private collection, Switzerland; L’Arc en Seine, Paris, 2007 LITERATURE Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, p. 245; Pierre

Emmanuel Martin-Vivier, Jean-Michel Frank, Paris, 2006, p. 277; Pierre Bergé, et al., Jean-Michel Frank: Un décorateur dans le Paris des années 30, exh. cat., Fondation Pierre Bergé–Yves Saint Laurent, Paris, 2010, p. 89

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COLLECTION OF A GENTLEMAN 74 JEAN DUNAND 1877–1942 Vase, ca. 1925 Lacquered metal. Underside impressed with “JEAN · DUNAND.” 6 3/4 in. (7.2 cm.) high, 5 3/4 in. (14.5 cm.) diameter

Estimate $30,000–40,000 PROVENANCE DeLorenzo Gallery, New York LITERATURE Felix Marcilhac, Jean Dunand, His Life and Works, New York, 1990,

p. 313, fig. 1058 for a similar example

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75 STUDIO JOB JOB SMEETS and NYNKE TYNAGEL

b. 1970, b. 1977

“Robber Baron” floor lamp, 2007 Polished and patinated bronze. Number one from the edition of five. Base impressed with “JOB 07 01 / 05.” 63 in. (160 cm.) high

Estimate $100,000–150,000 LITERATURE Willy van den Bussche, et al., Studio Job: The Book of Job, New York, 2010,

pp. 181 or a drawing and 187, 190

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INDEX

Ando, T.

Maloof, S.

Matta, R. Bianconi, F. Burton, S. Buzzi, T.

Mendini, A.

Mollino, C.

4 Nakashima, G.

Campana, F.

Newson, M.

Campana, H.

Noguchi, I.

Casanovas, C. Castle, W.

Peche, D.

Perriand, C.

Chevalier, G.

Collingwood, P. Coper, H.

Chareau, P.

13, 14, 43, 54, 55, 65

Ponti, G.

2, 20, 33, 36, 38, 52

Price, K.

Prouvé, P.

21, 23

Puiforcat, J. E. De Lanux, E.

11, 60, 71, 72, 74

Rie, L.

34, 35, 70

Royère, J. Frank, J-M.

27, 67, 69, 73

24, 26, 30

Ruhlmann, E-J.

53, 56, 58, 64

Giacometti, D.

8, 9, 15, 62

Henningsen, F. Hoffmann, J. Hrstka, M.

Scarpa, C.

41, 47, 59

Smeets, J.

12, 75

Studio Job

12, 75

Szekely, M.

3 Torun Bülow-Hübbe, V.

Tower, J. Ingrand, M. Kuramata, S. Leach, B.

Dunand, J.

Fukami, S.

5, 40

44 Tynagel, N.

12, 75

Zecchin, V.

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GUIDE FOR PROSPECTIVE BUYERS

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∑ Endangered Species This property may require an export, import or endangered species license or permit. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. 2 BIDDING IN THE SALE Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be 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 end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can 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 lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, 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. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s 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

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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. 4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy a late collection fee of $50, an additional administrative fee of $10 per day and insurance charges of 0.1% of the Purchase Price per month on each uncollected lot.

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Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

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The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding.

of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury & Company reserves the right to require written conﬁrmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identiﬁed third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

CONDITIONS OF SALE

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with lotthe buyer. 2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

(f) Employees of Phillips de Pury & Company and our afﬁliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 CONDUCT OF THE AUCTION (a) Unless otherwise indicated by the symbol each lot is offered subject to a reserve, which is the conﬁdential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

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(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. lotRisk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company.

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows:

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identiﬁcation. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

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(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. lotBank transfer details:

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Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, and no later than five days after the conclusion of the auction, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, each lot will incur a late collection fee of $50, administrative charges of $10 per day and insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs.

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

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15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the 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. 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 laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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PHILLIPS de PURY & COMPANY

Chairman

Directors

Advisory Board

Simon de Pury

Sean Cleary

Maria Bell

Finn Schouenborg Dombernowsky

Janna Bullock

Patricia G. Hambrecht

Lisa Eisner

Alexander Payne

Lapo Elkann

Olivier Vrankenne

Ben Elliot

Chief Executive Officer Bernd Runge

Lady Elena Foster H.I.H. Francesca von Habsburg Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

INTERNATIONAL SPECIALISTS

Berlin Brussels

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Bérénice Chef, Specialist, Contemporary Art +32 473 12 27 06

Buenos Aires & London Brooke Metcalfe, International Specialist, Contemporary Art +44 777 551 7060 Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London

Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 736 11

Los Angeles Milan Moscow Paris

Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Thomas Dryll, Specialist, Contemporary Art +33 1 42 78 67 77

GENERAL COUNSEL

MANAGING DIRECTORS

Patricia G. Hambrecht

Sean Cleary, New York Finn Schouenborg Dombernowsky, London/Europe

WORLDWIDE OFFICES NEW YORK

PARIS

GENEVA

450 Park Avenue, New York, NY 10022, USA

6, avenue Franklin D. Roosevelt, 75008 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +1 212 940 1300 fax +1 212 940 1230

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

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

NEW YORK

BERLIN

MOSCOW

450 West 15 Street, New York, NY 10011, USA

Auguststrasse 19, 10117 Berlin, Germany

TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia

tel +1 212 940 1200 fax +1 212 924 5403

tel +49 30 8800 1842 fax +49 30 8800 1843

tel +7 495 225 88 22 fax +7 495 225 88 87

LONDON Howick Place, London SW1P 1BB, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011

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SPECIALISTS AND DEPARTMENTS

CONTEMPORARY ART Michael McGinnis, Senior Director +1 212 940 1254 and Worldwide Head, Contemporary Art

MODERN AND CONTEMPORARY EDITIONS NEW YORK Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Audrey Lindsey

+1 212 940 1333

Jannah Greenblatt

+1 212 940 1332

NEW YORK Zach Miner, Head of Part I +1 212 940 1256 Sarah Mudge, Head of Part II +1 212 940 1259 Roxana Bruno Jean-Michel Placent

+1 212 940 1229 +1 212 940 1263

Peter Flores Winnie Scheuer Alyse Serrell Amanda Stoffel Roxanne Tahbaz Jonathan Winter

+1 212 940 1223 +1 212 940 1226 +1 212 940 1303 +1 212 940 1261 +1 212 940 1292 +1 212 757 0190

PHOTOGRAPHS Vanessa Kramer, Worldwide Director +1 212 940 1243 NEW YORK Shlomi Rabi +1 212 940 1246 Caroline Deck +1 212 940 1247

LONDON Peter Sumner, Head of Evening Sale +44 20 7318 4063 George O’Dell, Head of Day Sale +44 20 7318 4093 Matt Langton Raphael Lepine Karen Levy

+44 20 7318 4074 +44 20 7318 4078 +44 20 7318 4082

Paul de Bono Henry Highley Helen Rohwedder Charlotte Salisbury

+44 20 7318 4070 +44 20 7318 4061 +44 20 7318 4042 +44 20 7318 4010

PARIS Thomas Dryll +33 1 42 78 67 77 Edouard de Moussac +33 1 42 78 67 77

Sarah Krueger

+1 212 940 1225

Deniz Atac Carol Ehlers, Consultant

+1 212 940 1245 +1 212 940 1245

LONDON Lou Proud, Head of Photographs, London +44 20 7318 4018 Sebastien Montabonel +44 20 7318 4025 Alexandra Bibby +44 20 7318 4087 Rita Almeida Freitas Emma Lewis

JEWELS NEW YORK Nazgol Jahan, Worldwide Director +1 212 940 1283 Joanna Bengoa Brittany Gersh

DESIGN Alexander Payne, Director +44 20 7318 4052 and Worldwide Head, Design

+1 212 940 1268 +1 212 940 1266

Alexandra Gilbert

+1 212 940 1265

Lauren Sohn

+1 212 940 1268

Rose Curran Lane McLean Stephen Gilbert

Megan McGee

+44 20 7318 4010 +44 20 7318 4032 +44 20 7318 4104

THEME SALES Henry Allsopp, Worldwide Director +44 20 7318 4060 NEW YORK Corey Barr +1 212 940 1239 Steve Agin, Consultant +1 908 475 1796

LONDON Domenico Raimondo +44 20 7318 4016 Ben Williams +44 20 7318 4027 Marine Hartogs +44 20 7318 4021 Marcus McDonald

+1 212 940 1302 +1 212 940 1365

LONDON Ardavan Ghavami, Head of Jewels, Europe +44 20 7318 4064

NEW YORK Alex Heminway, New York Director +1 212 940 1268 Marcus Tremonto Meaghan Roddy

+44 20 7318 4062 +44 20 7318 4092

Laura González Stephanie Max

+1 212 940 1216 +1 212 940 1301

+44 20 7318 4095 LONDON Arianna Jacobs +44 20 7318 4054 Lisa de Simone +44 20 7318 4090

+44 20 7318 4023

Eleanor Crabtree Tamila Kerimova

+44 20 7318 4040 +44 20 7318 4085

PRIVATE SALES Matt Langton +44 20 7318 4074

PRIVATE CLIENT SERVICES Judith Hess, Director, London +44 20 7318 4075 Simon Tovey, Assistant +44 20 7318 4084

MUSEUM SERVICES DEPARTMENT NEW YORK Lauren Shadford +1 212 940 1257 Cecilia Wolfson +1 212 940 1258

OFFICE OF THE CHAIRMAN Anna Furney, New York +1 212 940 1238 Harmony Johnston, London +44 20 7318 4099

ART AND PRODUCTION Mike McClafferty, Consultant Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Steven Mosier, Graphic Designer Orlann Capazorio, US Production Manager

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LONDON Mark Hudson, Deputy Art Director Andrew Lindesay, Sub-Editor Tom Radcliffe, Production Director

MARKETING & COMMUNICATIONS

NEW YORK Trish Walsh, Marketing Manager

LONDON Giulia Costantini, Head of Communications Fiona McGovern, Communications Assistant Alex Godwin-Brown, Communications Assistant

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SALE INFORMATION

AUCTION 450 PARK AVENUE NEW YORK 10022

CATALOGUES

Tuesday, December 13, 2011, 4pm

Barbara Escobar +1 212 940 1240 $35/€25/£22 at the gallery

VIEWING

catalogues@phillipsdepury.com

450 PARK AVENUE NEW YORK 10022 Wednesday, December 7 – Tuesday, December 13

ABSENTEE AND TELEPHONE BIDS

Monday – Saturday 10am – 6pm

Main +1 212 940 1228 fax +1 212 924 1749 bids@phillipsdepury.com

Sunday 12pm – 6pm

Marissa Piedra, Bid Manager +1 212 940 1304 Amanda Mazloom, Bid Clerk +1 212 940 1215

SALE DESIGNATION In sending in written bids or making enquiries please

CLIENT ACCOUNTING

refer to this sale as NY050311 or Design Masters.

Sylvia Leitao +1 212 940 1231 Buyers Accounts

WORLDWIDE DIRECTOR

Nicole Rodriguez +1 212 940 1235

Alexander Payne London +44 20 7318 4052

Seller Accounts

New York +1 212 940 1268

Barbara Doupal +1 212 940 1232

INTERNATIONAL CONSULTANT

CLIENT SERVICES

Marcus Tremonto +1 212 940 1268

450 Park Avenue +1 212 940 1300 450 West 15 Street +1 212 940 1200

NEW YORK DIRECTOR Alex Heminway +1 212 940 1268

SHIPPING Beth Petriello +1 212 940 1373

SPECIALISTS

Jennifer Brennan +1 212 940 1372

Meaghan Roddy +1 212 940 1266 Ben Williams London +44 20 7318 4027 Domenico Raimondo London +44 20 7318 4026 Marine Hartogs London +44 20 7318 4021 CATALOGUERS Alexandra Gilbert +1 212 940 1265 Marcus McDonald London +44 20 7318 4014 ADMINISTRATORS Lauren Sohn +1 212 940 1268 Megan McGee London +44 207 318 4023 PROPERTY MANAGERS Eric Mingus +1 212 940 1364 Oliver Gottschalk London +44 20 7318 4033 PHOTOGRAPHY Kent Pell Byron Slater Morten Smidt SELECT ESSAYS Alex Heminway Meaghan Roddy

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

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