DESIGN [catalogue]

Design

New York / 9 December 2020

Design New York / 9 December 2020

Auction

Design Department

Wednesday, 9 December at 1pm Senior International Specialist Please register to bid online, absentee or by phone.

Viewing 1 Hampton Road Southampton, New York 11968 4–9 December Monday–Saturday 10am–6pm Sunday 12pm–6pm

Meaghan Roddy mroddy@phillips.com Head of Department, New York Cordelia Lembo clembo@phillips.com Specialist Kimberly Sørensen ksorensen@phillips.com

Sale Designation When sending in written bids or making enquiries please refer to this sale as NY050220 or Design.

Cataloguer

Absentee and Telephone Bids

Administrator

Tel +1 212 940 1228 Fax +1 212 940 1749 bidsnewyork@phillips.com

Georgina Walsh gwalsh@phillips.com

Ben Green bgreen@phillips.com

Our Team Design New York

Los Angeles

Cordelia Lembo

Kimberly Sørensen

Ben Green

Meaghan Roddy

Head of Department

Specialist

Cataloguer

+1 212 940 1265 clembo@phillips.com

+1 212 940 1259 ksorensen@phillips.com

+1 212 940 1267 bgreen@phillips.com

Senior International Specialist, Americas

Domenico Raimondo

Madalena Horta e Costa

Sofa Sayn-Wittgenstein

Head of Department, Europe & Senior International Specialist

Head of Sale, Associate Specialist

Senior Specialist

+44 20 7318 4019 mhortaecosta@phillips.com

+44 20 7318 4023 ssayn-wittgenstein@phillips.com

+1 267 221 9152 mroddy@phillips.com

London

+44 20 7318 4016 draimondo@phillips.com

Paris

Nicola Krohman

Caroline Pedote

Antonia King

Elie Massaoutis

Senior Cataloguer

Cataloguer

Senior Administrator

+44 20 7901 7926 nkrohman@phillips.com

+44 20 7901 4096 cpedote@phillips.com

+44 20 7901 7944 antonia.king@phillips.com

Head of Design, France, Senior International Specialist +33 7 86 34 53 15 emassaoutis@phillips.com

Executives Edward Dolman

David Norman

Jamie Niven

Chief Executive Ofcer

Chairman, Americas

Senior Advisor to the CEO

+1 212 940 1241 edolman@phillips.com

+1 212 940 1280 dnorman@phillips.com

+1 917 880 2532 jniven@phillips.com

Cheyenne Westphal

Jonathan Crockett

Hugues Jofre

Global Chairwoman

Chairman, Asia, Head of 20th Century & Contemporary Art, Asia

Senior Advisor to the CEO

Š Brigitte Lacombe

+44 20 7318 4044 cwestphal@phillips.com

+44 207 901 7923 hjofre@phillips.com

+852 2318 2023 jcrockett@phillips.com

Arnold Lehman Senior Advisor to the CEO +1 212 940 1385 alehman@phillips.com

Deputy Chairmen & Chairwomen

Svetlana Marich

Jean-Paul Engelen

Robert Manley

Peter Sumner

Miety Heiden

Worldwide Deputy Chairman

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art

Deputy Chairwoman, Head of Private Sales

+1 212 940 1390 jpengelen@phillips.com

+1 212 940 1358 rmanley@phillips.com

+44 20 7318 4063 psumner@phillips.com

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Elizabeth Goldberg

Deputy Chairwoman, Americas, Worldwide Head of Photographs

Deputy Chairman, Americas, Head of Business Development, Americas

Deputy Chairwoman, Europe, Senior Specialist, 20th Century & Contemporary Art

Deputy Chairwoman, Americas, Senior International Specialist, American Art

+32 3257 3026 mhoet@phillips.com

+1 212 940 1239 egoldberg@phillips.com

+44 20 7318 4010 smarich@phillips.com

+1 212 940 1243 vhallett@phillips.com

+1 212 940 1392 vpfeifer@phillips.com

+44 20 7901 7943 mheiden@phillips.com

Business Development

Americas Vivian Pfeifer Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Client Advisory

Americas Philae Knight Client Advisory Director +1 212 940 1313 pknight@phillips.com

Europe Giulia Campaner Mendes Client Advisor +44 20 7318 4058 gcampaner@phillips.com

Laurent Taevernier Client Liaison Coordinator +32 32 573026 ltaevernier@phillips.com

Asia

Middle East & South Asia

Iori Endo

Yassaman Ali

Senior Client Advisor

Client Advisory Director

+44 20 7318 4039 iendo@phillips.com

+44 20 7318 4056 yali@phillips.com

Trusts, Estates & Valuations

Americas Jennifer Jones

Laura Wenger

Senior Vice President, Director of Trusts, Estates & Valuations

Associate Vice President Account Manager Trusts, Estates & Valuations

+1 212 940 1272 jjones@phillips.com

+1 212 940 1302 lwenger@phillips.com

International Specialists & Regional Directors

Americas Cândida SodrÊ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

Senior Specialist, 20th Century & Contemporary Art, Denver

Regional Director, Los Angeles

Specialist, 20th Century & Contemporary Art, Miami

+55 21 999 817 442 csodre@phillips.com

+1 773 230 9192 cehlers@phillips.com

+1 310 922 2841 lauren.peterson@phillips.com

+1 917 657 7193 mdekoning@phillips.com

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Sophia Kinell

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

Regional Director, Seattle

Regional Representative, San Francisco

+52 1 55 5413 9468 clafan@phillips.com

+1 508 642 2579 maurasmith@phillips.com

+1 206 604 6695 scwaltner@phillips.com

+1 650 799 7931 sophia.kinell@phillips.com

Laurence Calmels

Clara Rivollet

Laurence Barret-Cavy

Elie Massaoutis

Thibault Stockmann

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

Head of Design, France, Senior International Specialist

+33 153 71 77 89 lbarret-cavy@phillips.com

+33 7 86 34 53 15 emassaoutis@phillips.com

International Specialist, 20th Century & Contemporary Art, France

+1 323 383 3266 bkoh@phillips.com

+1 917 583 4983 vgarcia@phillips.com

Europe

+33 1 53 71 77 87 lcalmels@phillips.com

+33 6 42 09 97 39 crivollet@phillips.com

+33 601 888 749 tstockmann@phillips.com

Dr. Nathalie Monbaron Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com

Dr. Alice Trier

Tobias Sirtl

Carolina Lanfranchi

Margherita Solaini

Maura Marvao

Kalista Fenina

Specialist, 20th Century & Contemporary Art, Germany

Specialist, 20th Century & Contemporary Art, Germany

Associate Specialist, 20th Century & Contemporary Art, Italy

+49 151 4192 6447 tsirtl@phillips.com

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain

Specialist, 20th Century & Contemporary Art, Moscow

+49 173 25 111 69 atrier@phillips.com

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy

Kirsten MacDonald

Lori Spector

Regional Director, Scandinavia

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Zurich

+45 2010 2111 kmacdonald@phillips.com

+39 338 924 1720 clanfranchi@phillips.com

+39 340 369 5226 msolaini@phillips.com

+351 917 564 427 mmarvao@phillips.com

+7 905 741 15 15 kfenina@phillips.com

+41 76 259 30 39 lspector@phillips.com

Asia Kyoko Hattori

Jane Yoon

Yeonah Lim

Wenjia Zhang

Alicia Zhang

Yolanda Zeng

Regional Director, Japan

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea

Associate Regional Representative, Korea

Regional Director, China

Associate Regional Representative, Shanghai

Associate Regional Representative, Shanghai

+86 139 1828 6589 aliciazhang@phillips.com

+86 132 6290 0120 yolandazeng@phillips.com

+81 90 2245 6678 khattori@phillips.com

+82 10 7389 7714 jyy@phillips.com

+82 2 797 8001 ylim@phillips.com

+86 13911651725 wenjiazhang@phillips.com

Cindy Yen

Meiling Lee

Christine Fernando

Sandy Ma

Vivi Yip

Rika Dila

General Manager, Taiwan

International Specialist, Taiwan

Senior Consultant, Thailand

+886 908 876 669 mlee@phillips.com

International Specialist, South East Asia

Senior Consultant, Indonesia

+886 2 2758 5505 cyen@phillips.com

Associate Regional Representative, Singapore +65 9128 6277 christinefernando@phillips.com

+852 2318 2025 sma@phillips.com

+62 8111 220 824 viviyip@phillips.com

+66 81 818 6878 rdila@phillips.com

Our team is comprised of experts from auction houses, museums, galleries and other leading arts institutions. In addition to auctions in our New York, London, Hong Kong and Geneva salerooms, Phillips holds private sales and curated selling exhibitions across all of our categories around the world. Our range of services includes appraisals for private clients, advisors, attorneys and other key fduciaries, and our dedicated Trusts, Estates & Valuations team provides complimentary reviews of collections.

1. Gino Sarfatti

1912-1985

Rare ceiling light, model no. 2041 circa 1946 Painted aluminum, brass, painted steel.

36 in. (91.4 cm) drop, 40 in. (101.6 cm) diameter Manufactured by Arteluce, Milan, Italy.

Estimate $30,000-50,000

Provenance Private collection, Milan Literature “Consigli per la casa,” Domus, no. 213, September 1946, p. 38 Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, pp. 148, 465

Property from a Private Collection, Switzerland

2. Carlo Scarpa

1906-1978

Floor lamp, model no. 516 circa 1942 Corroso glass, incamiciato glass, brass.

67 1/2 in. (171.5 cm) high Produced by Venini & C., Murano, Italy.

Estimate $18,000-24,000 Provenance Private collection, Florence Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, pp. 116, 208 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 178 A

3. Gio Ponti

1891-1979

Sofa circa 1936 Walnut, fabric upholstery.

38 1/2 x 49 x 22 in. (97.8 x 124.5 x 55.9 cm) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $6,000-8,000

Provenance Private collection, Genoa Literature “Alcuni particolari di un appartamento all’antica in Milano,” Domus, no. 98, February 1936, p. 28 for a similar example

4. Gio Ponti and Emilio Lancia 1891-1979, 1890-1973 Sofa and pair of armchairs circa 1929 Oak, rush.

Sofa: 34 x 65 x 28 1/2 in. (86.4 x 165.1 x 72.4 cm) Each armchair: 34 x 25 1/4 x 32 3/8 in.

(86.4 x 64.1 x 82.2 cm) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $12,000-18,000 Provenance Private collection, Rome

5. Gio Ponti

1891-1979

Pair of rare lounge chairs circa 1937 Painted wood, painted steel, rubber, fabric upholstery.

Each: 23 1/4 x 24 1/2 x 43 in. (59.1 x 62.2 x 109.2 cm) Manufactured by Casa e Giardino, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $8,000-12,000

Provenance Private collection, Rimini Literature “Mobili e oggetti per la casa e il giardino,” Domus, no. 117, September 1937, p. 20 “Mobili e oggetti per la casa al mare di Casa e Giardino,” Domus, no. 152, August 1940, p. 55

6. Tomaso Buzzi

1900-1981

Ceiling light, model no. 5220 circa 1933 Glass, brass.

36 1/2 in. (92.7 cm) drop, 8 1/2 in. (21.6 cm) diameter Produced by Venini & C., Murano, Italy.

Estimate $6,000-8,000 Provenance Private collection, Turin Literature Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 143 Marino Barovier and Carla Sonego, ed., Tomaso Buzzi at Venini, exh. cat., Fondazione Giorgio Cini, Venice, 2014, p. 411

7. Stilnovo Ceiling light circa 1959 Brass, brass-plated metal, glass.

28 in. (71.1 cm) drop, 43 in. (109.2 cm) diameter Manufactured by Stilnovo, Milan, Italy.

Estimate $10,000-15,000 Provenance Private collection, Forlì

8. Giorgio Ferro

b. 1931

Vase, from the “Anse Volanti” series circa 1952 Iridescent glass.

6 1/4 x 7 1/4 x 3 in. (15.9 x 18.4 x 7.6 cm) Produced by A.V.E.M, Murano, Italy.

Estimate $4,200-4,800 Provenance Claudio Gianolla, Venice Acquired from the above by the present owner

Literature Lisa Licitra Ponti, “Murano alla Biennale,” Domus, no. 275, November 1952, p. 49 for similar examples Franco Deboni, Murano ‘900, Milan, 1996, pp. 23, 88 for similar examples Marino Barovier, ed., Venetian glass: The Nancy Olnick and Giorgio Spanu Collection, New York, 2000, p. 138 for a similar example

9. Gio Ponti

1891-1979

Cofee table, from the “Modern by Singer” series circa 1948 Walnut, brass, glass.

14 1/2 in. (36.8 cm) high, 39 in. (99.1 cm) diameter Manufactured by Singer & Sons, New York. Underside of table ink-stamped MADE IN ITALY and glass tabletop acidetched TEMPERATO/RAGAZZI. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $25,000-35,000

Provenance Private collection, Chicago Literature Roberto Aloi, Esempi di arredamento moderno di tutto il mondo: Tavoli, tavolini, carrelli, Milan, 1950, fg. 38 D.B., “Across the seas collaboration for the new Singer collection,” Interiors, December 1951, p. 124 Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 200 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 160

Property from a Private Collection, Switzerland

10. Gio Ponti

1891-1979

Pair of “Distex” armchairs circa 1953 Brass, fabric upholstery.

Each: 32 x 31 x 40 in. (81.3 x 78.7 x 101.6 cm) Manufactured by Cassina, Meda, Italy.

Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $50,000-70,000

Provenance Jackson Design, Stockholm Acquired from the above by the present owner Literature “Alloggio uniambientale alla Triennale,” Domus, no. 301, December 1954, pp. 32-33, 35 Ugo La Pietra, ed., Gio Ponti, New York, 1996, pp. 229, 233-34, 251-52 Perri Lee Roberts, Modern Living: Gio Ponti and the Twentieth-Century Aesthetics of Design, exh. cat., Georgia Museum of Art, Athens, 2017, pp. 79, 113-14

11. Fontana Arte Set of four wall lights, model no. 2135 circa 1962 Brass, glass.

Each: 16 1/4 x 4 5/8 x 6 3/4 in. (41.3 x 11.7 x 17.1 cm) Manufactured by Fontana Arte, Milan, Italy.

Estimate $8,000-12,000

Provenance Private collection, Milan Literature Quaderni Fontana Arte 4, sales catalogue, 1962, p. 55

12. Gio Ponti

1891-1979

Pair of daybeds circa 1955 Beech-veneered wood, fabric upholstery.

Each: 17 1/2 x 78 5/8 x 35 3/8 in. (44.5 x 199.7 x 89.9 cm) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $7,000-9,000 Provenance Private collection, Milan

13. Gio Ponti

1891-1979

Pair of armchairs circa 1950 Walnut, fabric upholstery.

Each: 31 1/4 x 26 x 26 1/2 in. (79.4 x 66 x 67.3 cm) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $6,000-8,000

Provenance Augustus ocean liner, Italy Literature Gio Ponti, “Informazione su alcuni ambienti del ‘Conte Biancamano’,” Domus, no. 245, April 1950, p. 15 Paolo Piccione, Gio Ponti: le navi: il progetto degli interni navali, 1948-1953, Viareggio, 2007, p. 28

14. Ico Parisi

1916-1996

Desk circa 1950 Oak, oak-veneered wood.

32 x 47 5/8 x 22 5/8 in. (81.3 x 121 x 57.5 cm) Estimate $10,000-15,000

Provenance Private collection, Verona Private collection, Modena, acquired from the above, circa 1995 Acquired from the above by the present owner, 2010 Literature Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, illustrated p. 415

Phillips would like to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

15. Gino Sarfatti

1912-1985

Pair of wall lights, model no. 225 circa 1957 Painted aluminum, brass.

Each: 9 3/4 x 13 x 15 1/2 in. (24.8 x 33 x 39.4 cm) Manufactured by Arteluce, Milan, Italy.

Estimate $5,000-7,000 Provenance Private collection, Germany Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, pp. 29, 412

16. Ico Parisi

1916-1996

“Lerici” modular bookcase circa 1958 Teak-veneered wood, teak, nickel-plated brass, painted steel, steel.

96 x 96 x 16 1/2 in. (243.8 x 243.8 x 41.9 cm) Manufactured by MIM, Rome, Italy.

Estimate $24,000-28,000 Provenance Private collection, Florence Literature “Una nuova produzione italiana di serie,” Domus, no. 351, February 1959, p. 47 Roberto Aloi, L’Arredamento Moderno, Settima Serie, Milan, 1964, p. 265 Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 1992, p. 227 Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, pp. 563-64

Phillips would like to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

Property from a Private Collection, Switzerland

17. Gio Ponti

1891-1979

Desk, from the Vetrocoke ofces, Milan circa 1939 Vitrex glass, sycamore-veneered wood, walnut, nickel-plated metal, rubber.

26 3/4 x 37 3/8 x 16 1/4 in. (67.9 x 94.9 x 41.3 cm) Tabletop acid-etched VITREX. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $10,000-15,000

Provenance Della Rocca, Turin, “Design,” April 21, 2010, lot 33 Acquired from the above by the present owner Literature “Il cristallo negli ufci,” Domus, no. 135, March 1939, p. 47 for a similar example Perri Lee Roberts, Modern Living: Gio Ponti and the Twentieth-Century Aesthetics of Design, exh. cat., Georgia Museum of Art, Athens, 2017, p. 58

The Vetrocoke ofces, Milan. © Salvatore Licitra, Gio Ponti Archives

18. Gio Ponti

1891-1979

Occasional table 1950s Walnut, mirrored glass, brass.

29 3/4 in. (75.6 cm) high, 41 1/2 in.

(105.4 cm) diameter Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $7,000-9,000 Provenance Spada family, Buenos Aires

Property from a Private Collection, London

19. Max Ingrand

1908-1969

Set of four “Micro” wall lights, model no. 2093 circa 1961 Glass, nickel-plated brass.

Each: 8 1/2 x 4 1/2 x 5 1/2 in. (21.6 x 11.4 x 14 cm) Manufactured by Fontana Arte, Milan, Italy.

Estimate $7,000-9,000

Provenance Gordon Watson, London Acquired from the above by the present owner, 2007

Literature Quaderni Fontana Arte 1, sales catalogue, Milan, 1960s, p. 62 Edoardo Paoli, “Specchi nell’arredamento,” Vitrum, no. 151, September-October 1965, pp. 45-46 Pierre-Emmanuel Martin-Vivier, Max Ingrand, du verre à la lumière, Paris, 2009, p. 203

20. Pietro Chiesa

1892-1948

Ceiling light 1940s Glass, brass.

65 in. (165.1 cm) drop, 22 in.

(55.9 cm) diameter Manufactured by Fontana Arte, Milan, Italy.

Estimate $6,000-8,000

Provenance Private collection, Milan Literature Roberto Aloi, Esempi Di Arredamento Moderno, Di Tutto Il Mondo: illuminazione d’oggi, Milan, 1956, p. 165 for a similar example

143242

Property from a Private Collection, Switzerland

21. Gio Ponti

1891-1979

Cofee table circa 1948 Brass, marble, glass.

17 3/8 x 68 1/2 x 27 1/2 in. (44.1 x 174 x 69.9 cm) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $70,000-90,000

Provenance Galleria Rossella Colombari, Milan Acquired from the above by the present owner, 2016 Literature “Considerazioni su alcuni mobili,” Domus, no. 243, February 1950, p. 28 “Tavoli del dopoguerra,” Domus, no. 25253, November-December 1950, p. 51 Roberto Aloi, Esempi di arredamento moderno di tutto il mondo: sale da pranzo, Milano, 1953, fgs. 5, 6 Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 159 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 161

22. Max Ingrand

1908-1969

Floor lamp, model no. 2020 circa 1961 Glass, brass, painted metal.

67 1/2 in. (171.5 cm) high Manufactured by Fontana Arte, Milan, Italy.

Estimate $8,000-12,000 Provenance Casa Grimaldi, Naples Literature Quaderni Fontana Arte 1, sales catalogue, 1960s, p. 74 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 212 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 388

23. Gio Ponti

1891-1979

Low table circa 1955 Ash-veneered wood, glass, brass.

21 in. (53.3 cm) high, 29 1/2 in. (74.9 cm) diameter Manufactured by Industria Salotti e Arredamenti, Bergamo, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $6,000-8,000

Literature Franco Bertoni, Gio Ponti: ‘Idee’ d’arte e di architettura a Imola e in Romagna, exh. cat., Centro Polivalente Gianni Isola, Imola, 2012, p. 197

Property from a Private Collection, London

24. Max Ingrand

1908-1969

Set of four wall lights, model no. 2225 circa 1963 Brass, glass.

Each: 15 x 8 x 4 in. (38.1 x 20.3 x 10.2 cm) Manufactured by Fontana Arte, Milan, Italy.

Estimate $7,000-9,000

Provenance Emmerson Troop, Los Angeles Acquired from the above by the present owner, 2007 Literature Quaderni Fontana Arte 5, sales catalogue, Milan, 1963, p. 58 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 342

25. Gio Ponti

1891-1979

Daybed circa 1936 Walnut, fabric upholstery.

27 1/4 x 81 3/4 x 32 1/4 in. (69.2 x 207.6 x 81.9 cm) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $12,000-18,000

Provenance Private collection, Rovigo Literature “Letto per fanciulla,” Domus, no. 106, October 1936, pp. 42-43 for a similar example

26. Guglielmo Ulrich

1904-1977

Ceiling light circa 1954 Brass, walnut.

46 in. (116.8 cm) drop, 9 in. (22.9 cm) diameter Manufactured by Strada, Milan, Italy.

Estimate $4,000-6,000 Provenance Casa Guazzoni, Vicenza Literature Luca Scacchetti, Guglielmo Ulrich: 19041977, Milan, 2009, p. 474

27. Stilnovo

28. Gio Ponti

1891-1979

Table lamp

Dressing table

circa 1959 Brass, glass.

14 1/2 in. (36.8 cm) high Manufactured by Stilnovo, Milan, Italy.

circa 1930 Fruitwood, fruitwood-veneered wood, brass, mirrored glass.

52 x 35 1/2 x 18 in. (132.1 x 90.2 x 45.7 cm) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $2,000-3,000 Provenance Private collection, Rome

Estimate $8,000-12,000 Provenance Private collection, New York

29. Tomaso Buzzi

1900-1981

Vase, model no. 3426 circa 1932 Alga glass with applied gold leaf.

8 1/2 in. (21.6 cm) high Produced by Venini & C., Murano, Italy.

Underside with manufacturer’s paper label printed VENINI/MURANO. Estimate $5,000-7,000 Literature “I nuovi vetri ‘Laguna’ di Venini,” Domus, no. 60, December 1932, p. 761 Marino Barovier and Carla Sonego, ed., Tomaso Buzzi at Venini, exh. cat., Fondazione Giorgio Cini, Venice, 2014, pp. 165, 226, 230-31

30. Barovier & Toso (Co.) Pair of ceiling lights 1950s Glass with gold leaf inclusions, painted steel, painted metal.

Each: 9 in. (22.9 cm) drop, 18 in. (45.7 cm) diameter Produced by Barovier & Toso, Murano, Italy.

Estimate $18,000-24,000 Provenance Private collection, Milan

31. Tomaso Buzzi

1900-1981

Vase circa 1938 Laguna glass with applied gold leaf.

8 in. (20.3 cm) high Produced by Venini & C., Murano, Italy.

Underside acid-etched venini/murano/ MADE IN/ITALY. Estimate $4,000-6,000

Provenance Cambi, Milan, “Murano 1890-1990, un secolo di arte vetraria,” June 16, 2016, lot 336 Acquired from the above by the present owner Literature Marino Barovier and Carla Sonego, ed., Tomaso Buzzi at Venini, exh. cat., Fondazione Giorgio Cini, Venice, 2014, pp. 364, 370

32. Tomaso Buzzi

1900-1981

Pair of pendant ceiling lights 1930s Glass, brass.

Each: 62 in. (157.5 cm) drop, 18 1/4 in.

(46.4 cm) diameter Produced by Venini & C., Murano, Italy.

Estimate $12,000-18,000 Provenance Nilufar, Milan Acquired from the above by the present owner

33. Gio Ponti

1891-1979

“Diamond” fatware service for 24 circa 1958 Sterling silver, stainless steel.

Largest utensil: 10 3/4 in. (27.3 cm) Manufactured by Reed & Barton, Newport, USA and distributed by Arthur Krupp, Milan, Italy. Each fork and spoon impressed Reed & Barton/STERLING, each hollow handle piece impressed REED & BARTON/MIRRORSTELE/STERLING HANDLE. Comprising 24 dinner forks, 24 salad forks, 24 dinner knives, 24 butter knives, 24 soup spoons, 24 teaspoons, 12 additional teaspoons, 2 serving spoons, 1 slotted serving spoon, 1 cold meat fork, 1 ladle, 1 cake knife, 1 baby fork, 1 baby spoon, 1 jelly server, 1 cocktail fork (166).

Estimate $12,000-18,000 Literature “Nice Weather for Parties,” Vogue, April 15, 1958, pp. 118-19 Jewel Stern, Modernism in American Silver: 20th Century Design, exh. cat., Dallas Museum of Art, Dallas, 2005, p. 245 for a drawing and an advertisement William p. Hood and Jewel Stern, “The Diamond Pattern by Reed & Barton,” Silver Magazine, May/June 2007, pp. 1418, 20-22

34. Gio Ponti

1891-1979

Cabinet circa 1937 Beech-veneered wood, beech, birch, painted wood.

37 1/2 x 55 x 20 1/2 in. (95.3 x 139.7 x 52.1 cm) Interior of cabinet with paper label inscribed in pencil Dr. Giovanni Rovella/ Viale Reg. Margherita/14 and other faded text; reverse of cabinet with remnants of paper label. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $12,000-18,000

Provenance Giovanni Rovella, Catania Literature Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2004, p. 112 for a similar example

35. Gio Ponti

1891-1979

Folding mirror circa 1934 Walnut-veneered wood, nickel-plated brass, mirrored glass.

53 x 46 1/2 x 12 3/4 in. (134.6 x 118.1 x 32.4 cm), fully extended Manufactured by Luigi Fontana & C., Turin, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate $8,000-12,000 Provenance Private collection, Forlì Literature Domus, no. 78, June 1934, p. III for a similar example “Una abitazione dimostrativa alla VI Triennale,” Domus, no. 103, July 1936, pp. 18, 22 for a similar example Sergio Montefusco, Fontana Arte: repertorio 1933-1943 dalle immagini dell’epoca, Genoa, 2012, p. 35 for a similar example

Property from a Private Collection, Switzerland

36. Giuseppe Terragni

1904-1943

Set of six dining chairs circa 1937 Teak, rush.

Each: 33 3/8 x 18 5/8 x 18 1/2 in. (84.8 x 47.3 x 47 cm) Likely executed by Meroni & Fossati, Lissone, Italy.

Estimate $10,000-15,000 Provenance Private collection, Como Galleria Rossella Colombari, Milan Acquired from the above by the present owner

Property from a Private Collection, Switzerland

37. Giuseppe Terragni

1904-1943

Dining table circa 1937 Tamo ash-veneered wood, teak-veneered wood, copper.

31 1/2 x 106 1/4 x 33 1/2 in. (80 x 269.9 x 85.1 cm) Likely executed by Meroni & Fossati, Lissone, Italy.

Estimate $15,000-20,000 Provenance Private collection, Como Galleria Rossella Colombari, Milan Acquired from the above by the present owner

38. Hans J. Wegner

1914-2007

Adjustable lounge chair, model no. JH524 circa 1957 Oak, chromium-plated metal, chromiumplated steel, halyard, canvas.

28 1/2 x 24 1/4 x 72 1/2 in. (72.4 x 61.6 x 184.2 cm), fully extended Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark.

Underside branded with manufacturer’s mark and impressed JOHANNES HANSEN/COPENHAGEN/DENMARK. Estimate $12,000-18,000

Provenance Estate of David Mann, Washington, D.C. Acquired from the above by the present owner Literature Johan Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, p. 98 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4: 1957-1966, Copenhagen, 1987, p. 47 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, p. 192

The present model was exhibited at the “Copenhagen Cabinetmakers’ Guild,” Kunstindustrimuseet, Copenhagen, September 19–October 5, 1957, stand 27.

39. Angelo Lelii

1911-1979

Ceiling light circa 1954 Painted aluminum, brass, glass, nylon strings.

32 1/4 in. (81.9 cm) drop, 28 in. (71.1 cm) diameter Manufactured by Arredoluce, Monza, Italy.

Estimate $6,000-8,000 Provenance Private collection, Rome Literature Anty Pansera, Arredoluce: Catalogue Raisonné 1943–1987, Milan, 2018, pp. 159, 295

The present lot has been registered in the Arredoluce Archives, Italy, as number 9712147.

40. Angelo Lelii

1911-1979

Adjustable foor lamp, model no. 12246 circa 1948 Brass, leather, brass-plated iron, fabric shade.

64 in. (162.6 cm) high, as shown Manufactured by Arredoluce, Monza, Italy. Underside marked ARREDOLUCEMONZA/ITALY/13000 in raised lettering.

Estimate $6,000-8,000 Provenance Private collection, Milan Literature Anty Pansera, Arredoluce: Catalogue Raisonné 1943–1987, Milan, 2018, pp. 117, 278

The present lot has been registered in the Arredoluce Archives, Italy, as number 4544851.

41. Ole Wanscher

1903-1985

Four “Egyptian” folding stools, model no. PJ-2000 circa 1957 Honduran mahogany, leather upholstery.

Each: 15 3/4 x 19 x 13 3/8 in. (40 x 48.4 x 34 cm) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Underside of two stools stamped with obscured text.

Estimate $10,000-15,000

Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Vol. 4: 1957–1966, Copenhagen, 1987, p. 21 Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 72

The present model was exhibited at the “Copenhagen Cabinetmakers’ Guild,” Kunstindustrimuseet, Copenhagen, September 20-October 6, 1957, stand 4.

42. Franco Albini and

Franca Helg

1905-1977, 1920-1989

Rare sofa circa 1966 Walnut, fabric upholstery.

33 1/2 x 38 x 96 in. (85.1 x 96.5 x 243.8 cm) Manufactured by Carlo Poggi, Pavia, Italy.

Estimate $6,000-8,000

Provenance Private collection, Lombardy Literature Roberto Dulio, Fabio Marino, Stefano Andrea Poli, Il mondo di Poggi: L’ofcina del design e delle arti, Milan, 2019, p. 123 for a drawing

43. Franco Albini and

Franca Helg

1905-1977, 1920-1989

Pair of armchairs, model no. PL19 designed 1957, produced circa 1966 Painted steel, fabric upholstery.

Each: 35 1/4 x 29 1/4 x 28 in. (89.5 x 74.3 x 71.1 cm) Manufactured by Carlo Poggi, Pavia, Italy.

Estimate $7,000-9,000 Provenance Private collection, Lombardy

Literature “Triennale, nella sezione italiana,” Domus, no. 373, December 1960, p. 21 Giuliana Gramigna, 1950/1980 Repertorio, Milan, 1985, p. 107 Giampiero Bosoni and Federico Bucci, Il Design e gli Interni di Franco Albini, Milan, 2009, p. 106 Roberto Dulio, Fabio Marino, Stefano Andrea Poli, Il mondo di Poggi: L’ofcina del design e delle arti, Milan, 2019, pp. 48, 78, 115

44. Franco Albini and

Franca Helg

1905-1977, 1920-1989

Unique cofee table circa 1966 Painted steel, marble.

16 1/4 in. (41.3 cm) high, 36 in. (91.4 cm) diameter Manufactured by Carlo Poggi, Pavia, Italy.

Estimate $5,000-7,000 Provenance Private collection, Lombardy

Property from an Important Private Collection

45. Gino Sarfatti

1912-1985

Property from an Important Private Collection

46. Gino Sarfatti

1912-1985

Table lamp, model no. 568/N

Pair of table lamps, model no. 594

circa 1960 Painted metal, chromium-plated metal, painted steel.

9 1/8 in. (23.2 cm) high, fully extended Manufactured by Arteluce, Milan, Italy.

circa 1960 Painted sheet iron.

Each: 4 1/2 x 4 1/2 x 4 1/2 in. (11.4 x 11.4 x 11.4 cm) Manufactured by Arteluce, Milan, Italy.

One with remnants of manufacturer’s paper label.

Estimate $1,000-1,500 Provenance Galerie kreo, Paris Acquired from the above by the present owner Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, pp. 29, 433

Estimate $4,000-6,000 Provenance Galerie kreo, Paris Acquired from the above by the present owner

Literature “Lampade enormi e lampade piccolissime,” Domus, no. 403, June 1963, p. 38 Domus, no. 411, February 1964, n.p. for an advertisement Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, pp. 29, 322, 438 Gino Sarfatti: Designing Light, exh. cat., Triennale Design Museum, Milan, 2012, p. 49

Property from an Important Private Collection

47. Gino Sarfatti

1912-1985

Pair of table lamps, model no. 523 circa 1964 Painted metal, chromium-plated metal, Bakelite, Cornalux bulb.

Each: 9 in. (22.9 cm) high Manufactured by Arteluce, Milan, Italy.

Interior of white lamp with manufacturer’s paper label printed AL/MILANO/ ARTELUCE and interior of black lamp with remnants of manufacturer’s paper label.

Estimate $5,000-7,000

Provenance Galerie kreo, Paris Acquired from the above by the present owner Literature Domus, no. 411, February 1964, n.p. for an advertisement Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, pp. 281, 331 Gino Sarfatti: Designing Light, exh. cat., Triennale Design Museum, Milan, 2012, p. 44

Property from an Important Private Collection

48. Gino Sarfatti

1912-1985

Pair of table lamps, model no. 585 circa 1958 Painted metal, painted steel, chromiumplated metal, Bakelite.

Each: 8 3/8 in. (21.3 cm) high Manufactured by Arteluce, Milan, Italy.

Interior of each shade with manufacturer’s paper label printed AL/MILANO/ ARTELUCE. Estimate $5,000-7,000

Provenance Galerie kreo, Paris Acquired from the above by the present owner Literature Domus, no. 411, February 1964, n.p. for an advertisement Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, pp. 296, 436 Gino Sarfatti: Designing Light, exh. cat., Triennale Design Museum, Milan, 2012, p. 50

Property from an Important Private Collection

49. Gino Sarfatti

1912-1985

Floor lamp, model no. 1063 circa 1954 Painted steel, fuorescent tube.

85 in. (215.9 cm) high Manufactured by Arteluce, Milan, Italy.

Base with manufacturer’s paper label printed AL/MILANO/ARTELUCE. Estimate $20,000-30,000 Provenance Galerie kreo, Paris Acquired from the above by the present owner Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, pp. 60, 250, 252, 452 Gino Sarfatti: Designing Light, exh. cat., Triennale Design Museum, Milan, 2012, p. 90

50. Fulvio Bianconi

1915-1996

Vase, model no. 4318 circa 1950 Pezzato glass.

10 in. (25.4 cm) high Produced by Venini & C., Murano, Italy.

Underside acid-etched venini/murano/ ITALIA and with manufacturer’s paper label printed VENINI S.A./MURANO. Estimate $6,000-8,000

Literature Astone Gasparetto, “Arte decorativa alla XXV Biennale,” Domus, no. 251, October 1950, p. 39 Anna Venini Diaz de Santillana, Venini: Catalogue Raisonné 1921-1986, Milan, 2000, p. 219 Franco Deboni, Venini Glass: Its history, artists and techniques, Vol. 1, Turin, 2007, The Red Catalogue (appendix), p. 206 Marino Barovier with Carla Sonego, eds., Fulvio Bianconi alla Venini, exh. cat., Fondazione Giorgio Cini, Venice, 2015, pp. 25, 165, 178-79

The present model was exhibited at the XXV Venice Biennale, 1950.

51. Yoichi Ohira

b. 1946

“Polvere” vase 2000 Hand-blown glass canes with powder inserts.

5 1/4 in. (13.3 cm) high Executed by Livio Serena, master glassblower, and Giacomo Barbini, master cutter and grinder, Murano, Italy. Underside incised Yoichi Ohira/ m° L. Serena/m° G. Barbini/1 / 1 unico/ Thursday 25-05-2000/murano and with artist’s cipher.

Estimate $4,000-6,000

Provenance Barry Friedman, Ltd., New York, acquired directly from the artist Mark Pollack, New York Acquired from the above by the present owner

Literature Rosa Barovier Mentasti, William Warmus and Suzanne Frantz, Yoichi Ohira: A Phenomenon in Glass, New York, 2002, pp. 216, 382

52. Yoichi Ohira

b. 1946

“Foglie Autunnali” vase 1999 Hand-blown glass canes with inciso surfaces.

9 1/2 in. (24.1 cm) high Executed by Livio Serena, master glassblower, and Giacomo Barbini, master cutter and grinder, Murano, Italy. Underside incised Yoichi Ohira/ m° L. Serena/m° G. Barbini/1 / 1 unico/ murano/1999/Friday 29-10 and with artist’s cipher.

Estimate $10,000-15,000

Provenance Barry Friedman, Ltd., New York, acquired directly from the artist Private collection, New York Acquired from the above Tom and Karen Guarriello, Connecticut Acquired from the above by the present owner

Exhibited “Venezia Aperto Vetro 1998: International New Glass,” Palazzo Ducale, Venice, October 16, 1998-January 16, 1999 “Yoichi Ohira: A Phenomenon in Glass: A Retrospective Exhibition,” Barry Friedman Ltd., New York, September 19-November 9, 2002 Literature Rosa Barovier Mentasti, William Warmus and Suzanne Frantz, Yoichi Ohira: A Phenomenon in Glass, New York, 2002, illustrated pp. 141, 376 Barry Friedman, Janet Koplos and JeanLuc Olivié, et al., Venice. 3 Visions in Glass: Cristiano Bianchin, Yoichi Ohira, Laura de Santillana, New York, 2009, illustrated pp. 191, 430

Property from the Estate of Vladimir Kagan

53. Tomas Stearns

1936-2006

Vase circa 1962 Incalmo glass with spiral decoration.

15 in. (38.1 cm) high Produced by Venini & C., Murano, Italy. Underside with remnants of manufacturer’s paper label.

Estimate $8,000-12,000 Provenance Vladimir Kagan, New York, 1960s Thence by descent to the present owners Literature Franco Deboni, Venini Glass, Catalogue 1921-2007, Volume II, Turin, 2007, fg. 236 Marino Barovier and Carla Sonego, eds., Thomas Stearns at Venini, exh. cat., Fondazione Giorgio Cini, Venice, 2019, pp. 139-40, 145, 147, 164

Ahead of the Curve: Design from the Estate of Vladimir Kagan

A Life in Design

by Suzanne Slesin There is hardly a survey on the history of mid-century furniture design that does not include the work of Vladimir Kagan, the talented, debonair, and prolifc designer who died in 2016 at the age of 88.

Ofen, Kagan is contextualized with such contemporaries as Eero Saarinen, Charles and Ray Eames, Edward Wormley, George Nelson, and Harvey Probber. Many of these now also illustrious names made their early reputations either on the West Coast, where a generation of modern architects was setting out to build the perfect houses in which to showcase their designs, or in the center of the United States where such companies as Herman Miller, Knoll, and Dunbar were massproducing new pieces that would furnish homes and ofces across the country. But Kagan occupied a unique place in the era. He was an essential New Yorker and his early works—many of which, especially today, are considered his most desirable—are closely linked to the time he spent in New York City.

In full disclosure, I had met Kagan long before I wrote about him in the 1980s for the Home section of The New York Times. His mother was a friend of my mother’s as they both had apartments in the same building in Palm Beach, Florida, and my husband, Michael Steinberg, reintroduced Kagan’s signature Serpentine sofa at Furniture of the 20th Century’s Chelsea showroom.

But none of these points of connection prepared me for the surprise I received about 18 years ago. It was soon afer I had embarked on the adventure of starting a small independent publishing house that a hefy single-spaced manuscript landed in my in-box. The story that Kagan had written about his life and career was as convoluted as it was fascinating. The memoir encompassed many of the subjects in which I was not only interested, but some of which resonated with my own background as a frst generation child of immigrants who had fed Europe and landed in New York.

His parents and his younger sister had survived a dramatic escape from the Nazis and found refuge with relatives in New Jersey and the Bronx. Furniture making was already part of the family’s legacy from the Old World. Vladimir’s German maternal grandfather had had a fashionable and successful shop that specialized in introducing what he described as “peasant art, furnishings, and costumes into the staid old Munich society.” The family was not pleased with the beautiful young Hildegarde’s infatuation with Illi Kagan, a Russian, who, although he was the son of a trader in skins, had more modern ideas, including the dream of being a sculptor. The marriage celebration in 1926 took place in the basement of the groom’s furniture and cabinetry shop in Worms, Germany, where he had decided to stay afer World War I. The two, seemingly opposite attitudes towards furniture making— the attachment to traditional crafs and the tug toward modernism and abstraction—would coalesce years later when father and son would work together in Manhattan. From a young age, Vladimir Kagan was an artist and his early sketches and close observations of nature were to become a design source for the rest of his career. “I collected and drew leaves with their delicate veining,” he recalled. “I was fascinated by the naked trees, their powerful trunks, the growth pattern of the branches, and the delicacy of their twigs.” It was the designer’s frst lesson in what he called “nature’s engineering” and one that would later be translated into his sculptural furniture designs.

Afer joining his father at their factory on East End Avenue Kagan turned the essence of his father’s overscale, abstract, and organic sculptures into more functional table bases and chair frames. “I wanted to create a piece of sculpture,” he said, “and saw no reason why a chair could not have the same derivative spark.”

Vladimir Kagan in his Contour rocking chair, circa 1955. Vladimir Kagan Š 2015 Vladimir Kagan, courtesy Pointed Leaf Press

The library of Vladimir Kagan and Erica Wilson, featuring the unique cofee table and Tri-symmetric stool included in the present collection.

Photograph by Bob Hiemstra

The frst Kagan workrooms were on Manhattan’s then gritty East Side, when elevated trains lumbered up Third Avenue and furniture makers and other small manufacturers, along with slaughterhouses, flled the blocks by the East River. Kagan was constantly learning and absorbing—from the minimalist designs to which he was drawn by his initial fantasy of becoming an architect, to the Bauhaus, which was revered by his father. But he was also inspired by the purity in the work of such Scandinavian designers as Finn Juhl and Hans Wegner—in contrast to his contemporaries’ sleeker, and sometimes more functional, industrial designs.

There was ofen a push and pull between minimalism and what seems like the nearly magnetic attraction to the sinuous and sensual lines and details Kagan saw in a leaf, an animal’s hoof, or a beautiful woman. Curvaceous sofas, which represent some of his most prescient designs, he would explain, emerged from his observation of the human body, and the female torso in particular. He studied anatomy so that the chairs and sofas would take into account the potential sitter’s spine and provide lumbar support—before ergonomics became an all-around catchword.

Injected into this rather serious way of working and Kagan’s constant search for innovation was his infectious joie de vivre, his irrepressible sense of humor, and his enjoyment of it all along the way. Kagan would also encourage mosaic and ceramic artists to incorporate their own works—from glass tiles to pottery—into his furniture pieces. And ceramicists, jewelry designers, and painters such as Rose Krebs, Mark Kiram, Alexandra Kasuba, and Francisco Rebajes soon saw their artistry appear on lamp bases, cofee-table tops, and cabinet fronts.

But the life of the popular bachelor around town took an interesting detour when he fell in love with Erica Wilson, whom he described as a “lithe young Englishwoman who towered half a head above me when we danced,” afer meeting her at costume party where she was dressed as a black poodle. They married in 1957. Wilson ofered Kagan yet another source for collaboration—the association of her colorful needlepoint works to his more straightforward designs. When the Contour rocking chair, frst introduced around 1955, was overlaid with Wilson’s exuberantly embroidered fowers, it took on a unique appearance.

Crafs, art, sculpture, and modern technology were never at odds in Kagan’s pieces. Rather, they became symbiotic partners in his freewheeling yet surprisingly down-to-earth designs. Kagan loved to explore and push boundaries, and still keep a steady hand on the business side of his enterprises. He never stopped reinventing himself and his furniture—creating collections for major manufacturers, designing ambitious corporate interiors, and exploring new materials, from cast aluminum to Lucite. A walk in the woods, a trip abroad, or a visit to a museum all ofered him new inspirations. For example, Constantin Brancusi’s Bird in Flight at the Museum of Modern Art in New York would be translated into the base of Kagan’s 1957 Unicorn table. Whether crafed in smooth wood or cast in shiny aluminum, the form remains one of its creator’s most admired pieces and one that defnes not only a life in design but also a remarkable era in American creativity.

Suzanne Slesin is the publisher and editorial director of Pointed Leaf Press.

It may be no coincidence that the three-legged milking stool, a primitive piece of folk art furniture that his grandfather had collected was reimagined into the extraordinary cast aluminum and leathercovered Tri-symmetric stool, model no. 504, from around 1955. That was quite a leap. But one that was pure Kagan.

By 1950, and with the fnancial help of Hugo Dreyfuss, a retired textile manufacturer, Kagan was able to open the Kagan-Dreyfuss showroom on fashionable East 57th Street. The partnership would last for 10 years. Dreyfuss’ nubbly and textural fabrics, usually in neutral shades, became the favorite choice for his contoured sofas. Kagan began showing his furniture in the residential settings that drew well-heeled and celebrity clients to visualize how their own homes could be transformed with the purchase of such avant-garde pieces.

Vladimir Kagan and his wife Erica Wilson in their apartment at 222 East 57th Street, New York, with their unique cofee table included in the present collection, circa 1957. Vladimir Kagan © 2015 Vladimir Kagan, courtesy Pointed Leaf Press

Ahead of the Curve: Design from the Estate of Vladimir Kagan

“Contour” rocking chair, model no. 175F

Provenance Collection of the designer Thence by descent to the present owners

circa 1955 Walnut, embroidered fabric upholstery.

33 x 32 x 41 in. (83.8 x 81.3 x 104.1 cm) Upholstery executed by Erica Wilson.

Literature Vladimir Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2015, pp. 98-101, 131, 155

54. Vladimir Kagan

1927-2016

Estimate $10,000-15,000

Erica Wilson was Vladimir Kagan’s wife and a preeminent needlework artist of the 20th century. She arrived in the United States in 1954 for what was originally meant to be a yearlong position teaching her craf in Millbrook, New York, which then turned into a prolifc career as a needle art educator, author and entrepreneur. Kagan introduced the Contour rocking chair in the mid-1950s and later Wilson collaborated with him to create a small number upholstered in hand-embroidered fabric. The present lot is one such example of this fruitful marriage of a traditional art form and contemporary design.

Ahead of the Curve: Design from the Estate of Vladimir Kagan

55. Vladimir Kagan

1927-2016

Table lamp, model no. 2030 circa 1951 Mosaic glass tiles, brass, fabric shade.

29 1/4 in. (74.3 cm) high Manufactured by Kagan-Dreyfuss, Inc., New York. Underside incised P6.

Estimate $4,000-6,000 Provenance Collection of the designer Thence by descent to the present owners Literature Vladimir Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2015, pp. 68, 82 for similar examples

Ahead of the Curve: Design from the Estate of Vladimir Kagan

56. Vladimir Kagan

1927-2016

Unique cofee table circa 1952 Mosaic glass tiles, walnut, walnutveneered wood, steel.

11 3/4 x 66 1/2 x 16 1/2 in. (29.8 x 168.9 x 41.9 cm) Manufactured by Kagan-Dreyfuss, Inc., New York.

Estimate $10,000-15,000

Provenance Collection of the designer Thence by descent to the present owners Literature Vladimir Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2015, illustrated pp. 58, 174-75

Ahead of the Curve: Design from the Estate of Vladimir Kagan

57. Vladimir Kagan

1927-2016

Prototype “Unicorn” table base circa 1957 Painted wood.

28 1/4 x 27 1/2 x 24 in. (71.8 x 69.9 x 61 cm) Estimate $18,000-24,000

Provenance Collection of the designer Thence by descent to the present owners Literature Vladimir Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2015, pp. 13, 122-23 for similar examples

Ahead of the Curve: Design from the Estate of Vladimir Kagan

58. Vladimir Kagan

1927-2016

“Barrel” sofa, model no. 100S circa 1950 Walnut, fabric upholstery.

28 x 85 x 30 1/2 in. (71.1 x 215.9 x 77.5 cm) Manufactured by Kagan-Dreyfuss, Inc., New York.

Estimate $7,000-9,000

Provenance Collection of the designer Thence by descent to the present owners Literature Vladimir Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2015, p. 77

Ahead of the Curve: Design from the Estate of Vladimir Kagan

59. Vladimir Kagan

1927-2016

“Branch” cofee table, model no. 5424 circa 1958 Walnut, travertine.

15 1/4 x 50 x 37 3/4 in. (38.7 x 127 x 95.9 cm) Underside of tabletop inscribed KAGAN/ HONE in crayon and stamped NEW YORK/ ITALY, partially obscured.

Estimate $5,000-7,000 Provenance Collection of the designer Thence by descent to the present owners

Ahead of the Curve: Design from the Estate of Vladimir Kagan

60. Vladimir Kagan

1927-2016

“Tri-symmetric” stool, model no. 504 circa 1955 Aluminum, vinyl upholstery.

13 1/2 x 22 3/4 x 20 in. (34.3 x 57.8 x 50.8 cm) Manufactured by Kagan-Dreyfuss, Inc., New York.

Estimate $4,000-6,000

Provenance Collection of the designer Thence by descent to the present owners Literature Vladimir Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2015, illustrated pp. 107, 174

Ahead of the Curve: Design from the Estate of Vladimir Kagan

61. Vladimir Kagan

1927-2016

“Cygnet” foor lamp circa 1957 Walnut, plastic laminate-covered wood, brass, brass-plated metal, fabric shade.

58 1/4 in. (148 cm) high Manufactured by Kagan-Dreyfuss, Inc., New York.

Estimate $5,000-7,000 Provenance Collection of the designer Thence by descent to the present owners Literature Vladimir Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2015, pp. 75, 122 for similar examples

Ahead of the Curve: Design from the Estate of Vladimir Kagan

62. Vladimir Kagan

1927-2016

L-shaped “Swan-Back” sofa, model no. 507 circa 1955 Walnut, fabric upholstery.

28 x 110 x 67 in. (71.1 x 279.4 x 170.2 cm) Manufactured by Kagan-Dreyfuss, Inc., New York.

Estimate $10,000-15,000 Provenance Collection of the designer Thence by descent to the present owners Literature Vladimir Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design, New York, 2015, pp. 84-85 for a similar example

Property from a Private Collection

63. Jean Prouvé

1901-1984

“Antony” chair, model no. 356 circa 1954 Beech-veneered plywood, painted steel, aluminum.

34 3/8 x 19 1/2 x 26 in. (87.3 x 49.5 x 66 cm) Manufactured by Les Ateliers Jean Prouvé and issued by Galerie Steph Simon, France.

Estimate $15,000-20,000

Provenance Private collection Phillips, London, “Important Design,” October 18, 2018, lot 57 Acquired from the above by the present owner

Literature Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 149, 163 Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 272 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 130-35, 137, 309, 355, 407 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 23, 63, 136-37, 145, 168, 192, 238, 241, 245

64. Flemming Agger

b. 1944

Rare modular “Crown” sofa circa 1967 Fabric upholstery, painted steel.

43 in. (109.2 cm) high, 124 in. (315 cm) diameter, as shown Each chair: 43 x 63 x 36 in. (109.2 x 160 x 91.4 cm) Executed by N.A. Jørgensen, Bramming, Denmark.

Estimate $8,000-12,000 Provenance Private collection, Virginia Acquired from the above by the present owner Literature Torben Schmidt, “Nordiska möbler,” Form: Svenska Slöjdföreningens Tidskrif, no. 5, 1967, p. 334 “The Scandinavian Furniture Fairs 1967”, Mobilia, no. 143, June 1967, n.p.

The present sofa design was the winning entry of the United Foam furniture design competition at the School of Applied Art in Copenhagen in 1967. The present model Kronen (Danish for crown) sofa consists of four modular elements of foam-covered fberglass on one circular steel ring base. It was chosen by N.A. Jørgenson in Bramming to go into production, but ultimately only a few were made and the design never went into full-scale manufacturing. The competition and the winning design were reported about in two major Scandinavian publications at the time – Form and Mobilia.

Shown in the magazines originally covered in Verner Panton “Unisol” fabric, remnants of which were found on the present lot, it is possible this example was the sofa featured in the competition, and thus illustrated in the publications.

The present model sofa displayed at a furniture competition sponsored by United Foam as seen in Form magazine, circa 1967.

65. Lina Bo Bardi

1914-1992

Chair, designed for the SESC-Pompéia Center, São Paulo circa 1980 Pine.

27 1/2 x 15 1/2 x 20 1/4 in. (69.9 x 39.4 x 51.4 cm) Estimate $10,000-15,000

Provenance Marcelo Ferraz, Brazil Acquired from the above by the present owner, 2005 Literature Aric Chen, Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture, 2016, New York, pp. 125-27 Adriano Pedrosa, José Esparza Chong Cuy, et al., eds., Habitat: Lina Bo Bardi, exh. cat., Museu de Arte de São Paulo, 2020, p. 334

Prolifc architect and designer Lina Bo Bardi spent her working life primarily in Brazil, where her projects promoted architecture as an agent for integration between people and their city. Fittingly, Bardi was commissioned to design a center for the Serviço Social do Comércio (SESC) in Pompéia, a working-class district in São Paulo.

The SESC is a non-proft private institution in Brazil that provides members with free or low-cost cultural and social activities. Designed and built between 1977 and 1986, Bardi and her collaborators retroft an existing building that had been a tire factory with a sports complex, cafeteria, common spaces, and theater, among other amenities. Bardi wanted the complex to be accessible and enduring, favoring strong, low-maintenance materials such as the existing concrete structure

and local woods, like the pine used to construct the present chair. This chair, along with the other examples made for the SESC Pompéia, was executed by the construction workers on site with Bardi’s supervision and assistance. A constant promoter of the social and cultural possibilities of design, Bardi said, “For me, architecture is seeing an elderly man or a child with a plate full of food elegantly crossing our restaurant looking for a place to sit at a collective table.” The present chair, which was once in the personal collection of Marcelo Ferraz, one of her co-collaborators on the SESC Pompéia project, embodies this sentiment through its simple, compact design, which allows one to move and place the chair with ease and strike up a conversation.

Property from a Private Collection, Bridgehampton

66. Ettore Sottsass, Jr.

1917-2007

Prototype “Menta” totem designed 1967, produced circa 1985 Glazed earthenware, plastic laminatecovered wood.

88 in. (223.5 cm) high, including base Produced by Bitossi, Florence, Italy.

From the production of 10 artist’s proofs.

Interior of one component inscribed in pen 1 di 2/PA/ES and with manufacturer’s paper label printed le ceramiche di/ BITOSSI. Estimate $20,000-30,000

Provenance Bitossi, Florence Acquired from the above Gansevoort Gallery, New York Acquired from the above by the present owner, 1993 Literature Hans Höger, Ettore Sottsass, jun., Berlin, 1993, p. 169 Fulvio Ferrari, Ettore Sottsass: Tutta La Ceramica, Turin, 1996, p. 139

The present lot is from a production of 10 artist proofs executed by Bitossi, Florence, Italy. The edition of 20 was eventually produced by Mirabili and the 10 “prototype” artist proofs remained with Bitossi.

67. Joe Colombo

1930-1971

“Living System Box 1” circa 1968 Plastic laminate-covered wood, chromium-plated metal, mirrored glass, leather.

Bed and storage units: 71 x 51 x 102 in.

(180.3 x 129.5 x 259.1 cm), as shown Chair: 29 3/4 x 21 1/2 x 17 7/8 in. (75.6 x 54.6 x 45.4 cm) Manufactured by La Linea, Como, Italy. Comprising a closet, bed, chest of drawers, shelf, desk, vanity, and chair.

Provenance Diane Tohn, New York, 1968 Acquired from the above by the present owner Literature “Milano: Mobili all’ottavo salone,” Domus, no. 468, November 1968, p. 34 “Box 1: Blocco individuale abitabile,” Domus, no. 469, December 1958, n.p.

Mateo Kries and Alexander von Vegesack, eds., Joe Colombo: Inventing the Future, exh. cat., Vitra Design Museum, Weil am Rhein, 2005, p. 209

Estimate $20,000-30,000

In the exhibition catalogue for the Museum of Modern Art’s seminal show Italy: The New Domestic Landscape (1972), designer Joe Colombo described his contribution to the exhibition, what he called a Total Furnishing Unit, saying, “The space within this unit…should be in a continual state of transformation, so that cubic space smaller than the conventional norm can nevertheless be exploited to the maximum, with a maximum economy in its interior arrangement.”

Simply put, he believed that interior spaces should be designed with efciency, variability, and modularity in mind. Such characteristics are evident in the present lot and were central preoccupations throughout Colombo’s short but energetic career.

Though trained in painting and architecture, Joe Colombo pivoted his focus towards design and, specifcally, the domestic interior in 1962.

Throughout the 1960s and until his untimely death in 1971 he created spaces that pushed the boundaries of contemporary design and that, in retrospect, capture the zeitgeist of his era. His embrace of mass production and his use of new industrial techniques and materials such as plastics, for example, were radical but today seem singularly representative of the time. It was not just his use of emergent technologies that set Colombo apart; he rigorously applied a certain aesthetic and conceptual framework to his work that ultimately set Colombo apart as a singular talent of his generation.

The present model lot, which was exhibited at the 1968 Salone del Mobile in Milan, includes a bed, wardrobe, bedside table, desk, bookcase, chest of drawers, shelves, and armchair (that also functions as a ladder when inverted). The piece was marketed as a space for nearly every quotidian activity: sleeping, studying, getting dressed, and relaxing. All of the component pieces could be separated from the overall “Box,” allowing the user to create myriad arrangements within his or her space. As the name suggests, the pieces were designed to be a synthesis of everything that a person needs to live.

Colombo saw the domestic space as a microcosm of the larger built environment. The present lot is an example of this philosophy, as an advertisement in Domus described the system as an “architecture within architecture.” In this way, the designer created an efcient space that encouraged organization while allowing a sense of play and exploration through its various arrangements. Living System Box 1 demonstrates Colombo’s forward-thinking values as an architect: concerned not only with form and aesthetic but with re-imagining the way we interact with our environment.

68. Yonel Lebovici

1937-1998

“Fiche Mâle” lamp 1978 Chromium-plated aluminum, chromiumplated steel.

14 1/4 x 15 x 114 in. (36.2 x 38.1 x 289.6 cm), fully extended Number 28 from the edition of 30 plus 2 artist’s proofs. Plug incised Lebovici Y/28.

Together with a certifcate of authenticity from Gilles Lebovici.

Estimate $15,000-20,000

Provenance Private collection, Milan Literature Michèle Chartier, Yonel Lebovici: Sculpteur de haut niveau, Paris, 1995, pp. 64-65 Anne Bony, Yonel Lebovici: Un univers surréaliste, Paris, 2014, pp. 42-43, 46-47, 112, back cover

Yonel Lebovici studied aeronautics before turning to sculpture in the 1960s. His outsize renditions of everyday objects, such as the present Fiche Mâle and Épingle de Nourrice lamps, recall the found objects of surrealist sculpture, while the perfectionism of the execution nods to Lebovici’s engineering background. Lebovici identifed as a sculptor, as opposed to a lighting designer, emphasizing this distinction by exhibiting in galleries and producing only very limited editions.

Property of a Distinguished Collector

69. Yonel Lebovici

1937-1998

“Épingle de Nourrice” foor lamp 1980 Painted cast iron, chromium-plated steel.

75 3/4 in. (192.4 cm) high Number 4 from the edition of 25 plus 2 artist’s proofs. Reverse incised Lebovici Y/N. 4. Together with a certifcate of authenticity from Gilles Lebovici.

Estimate $20,000-30,000 Provenance Private collection Phillips, New York, “20-21st Century Design Art,” May 22, 2002, lot 171 Acquired from the above by the present owner Literature Michèle Chartier, Yonel Lebovici, sculpteur de haut niveau, Paris, 1995, p. 63

Property from an Important American Collection

70. Marc Newson

b. 1963

“Orgone Chop Top” cofee table designed 1990, produced 2004 Polished aluminum, painted aluminum, glass.

13 3/8 x 63 x 28 in. (34 x 160 x 71.1 cm) Produced by POD Edition, London.

Number 3 from the edition of 8 plus 2 artist’s proofs and 2 prototypes. Underside impressed MARC NEWSON/POD/POD EDITION, 3 / 8 and 90—04.

Estimate $80,000-120,000 Provenance Galerie kreo, Paris Acquired from the above by the present owner, 2004 Literature L. Neri, et al., Marc Newson Works, Paris, 2012, p. 110

Australian industrial designer Marc Newson’s entire body of work can be characterized by relentless and ofen groundbreaking experimentations with various materials, processes, and techniques.

The present Orgone Chop Top cofee table is no exception.

Newson began his Orgone works as a continuation of his explorations into the material possibilities of aluminum furniture that he began with his iconic Lockheed Lounge. The Orgone pieces varied in their object type and form, but they share a similar visual language, specifcally an hourglass motif. The name “Orgone” comes from the early-twentieth century doctor and psychoanalyst Wilhelm Reich’s concept to describe certain esoteric energies in the world. Newson’s works seem to focus more on technical and manufacturing feats rather than a conceptual or philosophical exercise, however.

When looking at the present cofee table, it brings to mind the streamlined designs of cars and trains in the 1930s. This infuence is hardly a secret, as Newson has remained fascinated with not only the aesthetics of cars but also their manufacture throughout his life.

The title “Chop Top” also refers to the act of transforming a car into a convertible by sawing the top of. In Newson’s Chop Top versions of his Orgone works, he “cuts” the tabletop in half and places glass on the top so that one can see the interior of the table and also to make the table more durable and practical.

The aluminum and enameled surfaces of the table take on an almost life-like sense of motion, with its ductile surfaces and curvilinear edges. The polished aluminum exterior is sleek and curvaceous along the edges of the table’s base but also in the hourglass motif seen in the shape of the tabletop. Just like the polished aluminum exterior of the table, the saturated pop of orange in the table’s interior is shiny and sleek. Four holes in the table’s interior—what look like vortexes— form the cofee table’s legs. This aspect of the design is similar to many of Newson’s works that play with dimensionality, revealing voids and centers. In Newson’s words, these exposed cores are “a good way of revealing some high-quality manufacturing!”

Property from a Private West Coast Collection

71. Wendell Castle

1932-2018

“Abilene” rocker 2008 Stainless steel.

32 1/2 x 29 1/2 x 51 in. (82.6 x 74.9 x 129.5 cm) Number 4 from the edition of 8 plus 2 artist’s proofs and 2 prototypes. Underside incised Castle 08 4 / 8.

Estimate $30,000-50,000

Provenance Barry Friedman, Ltd., New York Acquired from the above by the present owner, 2008 Literature Emily Evans Eerdmans, Wendell Castle, A Catalogue Raisonné 1958-2012, New York, 2014, p. 397

Property of a Private Collection, Los Angeles

72. Eric Schmitt

b. 1955

“Big Circle” table 2006 Patinated bronze, slate.

28 1/2 in. (72.4 cm) high, 79 in. (200.7 cm) diameter Number 2 from the edition of 2 plus 4 artist’s proofs.

Estimate $10,000-15,000

Provenance Ralph Pucci, New York Private collection Valerie Goodman Gallery, New York Acquired from the above by the present owner Literature Pierre Doze, Eric Schmitt, Paris, 2015, p. 38

73. Marcel Wanders

b. 1963

“Bon Bon Gold” chair, from the “Personal Editions” series 2010 Crocheted rope coated with epoxy resin and precious metal.

22 x 41 3/4 x 41 3/4 in. (55.9 x 106 x 106 cm) Number 11 from the edition of 20 plus 2 artist’s proofs. Base with metal label impressed with designer’s facsimile signature and 11 / 20.

Estimate $30,000-40,000 Provenance Friedman Benda, New York Private Collection, New York

Property from the Collection of Pamela K. and William A. Royall Jr.

74. Joris Laarman

b. 1979

“Cumulus” table 2010 Striato Olimpico marble.

Larger table: 13 3/4 x 72 1/2 x 31 1/2 in. (34.9 x 184.2 x 80 cm) Smaller table: 13 3/4 x 18 x 13 1/2 in. (34.9 x 45.7 x 34.3 cm) Artist’s proof 1 from the edition of 20 plus 5 artist’s proofs. Underside of each table incised Joris Laarman AP 1 / 5.

Estimate $60,000-80,000

Provenance Friedman Benda, New York Acquired from the above by the present owner Literature Mayer Rus, “Power Play,” Architectural Digest, November 2011, p. 151

Property from a New York Collection

75. Fernando Campana and

Humberto Campana b. 1961, b. 1953 Pair of “Bolotas” armchairs and ottoman 2015 Ipe, sheep’s wool upholstery.

Each armchair: 33 1/2 x 48 x 43 in. (85.1 x 121.9 x 109.2 cm) Ottoman: 17 1/2 x 33 x 33 in. (44.5 x 83.8 x 83.8 cm) Produced by Estudio Campana, São Paulo, Brazil. Armchairs are number 6 and 8 from the edition of 8 plus 4 artist’s proofs.

Estimate $30,000-40,000 Provenance Friedman Benda, New York Acquired from the above by the present owner, 2015 and 2018

Phillips would like to thank Daniel Kini of Estudio Campana for his assistance cataloguing the present lot.

Property from an Important American Collection

76. Studio Job - Job Smeets and

Nynke Tynagel

b. 1970, b. 1977

Mantle clock, from the “Robber Baron” series designed 2006, executed 2007 Polished, patinated and gilded cast bronze.

43 x 23 x 15 1/2 in. (109.2 x 58.4 x 39.4 cm) Produced by Studio Job, the Netherlands for Moss, New York. Number 2 from the edition of 5. Base impressed JOB 07 02 / 05.

Estimate $40,000-60,000 Provenance Moss, New York Acquired from the above by the present owner, 2007

The United States’ Gilded Age symbolized rapid economic growth and increased industrialization throughout the country. As the name suggests, it also ushered in a public taste for the country’s elite that favored glamorous and excessive design, ofen reviving historical design motifs and trends. Though created over 100 years afer the Gilded Age’s apex, Studio Job’s Robber Barron series—of which the present lot is one of fve pieces, each produced as an edition of 5— draws on some of the same conceptual and aesthetic ideas that tycoons such as Rockefeller, Vanderbilt, Carnegie, and Frick now symbolize in today’s public imagination. Formidable in its size and weight, the foor clock is an amalgam of symbols. At the base, the arcades of a Florentine palazzo sit atop a mass of jagged coal, a symbol of the oil industry that skyrocketed in the late 19th century. Above the architectural base are gilded oil barrels, another reference to industry. And the clock itself visually draws on London’s Big Ben and is surrounded by low relief sculptures of symbols such as gas masks, missiles, gears and fumes.

And at the top sits a neoclassical mansion resting on what appears to be the golden, dreamy clouds. Or are they fumes of excess? It is this duality—both the rejection and the proselytization of art and industry— that makes the present series endlessly captivating.

Literature Mark Wilson and Sue-An van der Zijpp, Studio Job & the Groninger Museum, exh. cat., Groninger Museum, Groningen, the Netherlands, 2011, pp. 38, 42, 75

Property from the Collection of Pamela K. and William A. Royall Jr.

77. François-Xavier Lalanne 1927-2008 “Rhinocéros bleu” 1981 Enameled iron.

9 1/2 x 22 x 5 1/2 in. (24.1 x 55.9 x 14 cm) Produced by Artcurial, Paris, France.

Number 96 from the edition of 150.

Underside with metal plaque impressed fxl 81/ARTCURIAL/96 / 150.

Estimate $35,000-45,000

Provenance Kasmin Gallery, New York Acquired from the above by the present owner Literature Robert Rosenblum, Les Lalanne, Paris, 1991, pp. 123, 127 Daniel Abadie, Lalanne(s), Paris, 2008, pp. 326, 328

78. Ingrid Donat

b. 1957

“Commode Galuchat” 2013 Patinated bronze.

37 x 42 x 16 in. (94 x 106.7 x 40.6 cm) Produced by Carpenters Workshop Gallery. Cast by Markovstudio, Sofa, Bulgaria. Number 3 from the edition of 8 plus 4 artist’s proofs. Reverse impressed with artist’s cipher, foundry stamp, and cwg-2013-3 / 8.

Estimate $120,000-180,000

Provenance Acquired directly from the designer by the present owner Literature Anne Bony, Ingrid Donat, Paris, 2016, p. 103

79. David Wiseman

b. 1983

Group of four vases 2011-2014 Polished bronze, patinated bronze.

Tallest: 9 3/8 in. (23.8 cm) high Numbers 1, 3, 9, and 23 from separate editions of 25 plus 4 artist’s proofs.

Underside of each impressed with artist’s cipher and 1, DW 3, 9, and 23, respectively.

Comprising two “Marine” vases, a “Geode” vase, and a “Tufed” vase.

Estimate $20,000-30,000 Provenance Acquired directly from the artist by the present owner Literature Mayer Rus, David Wiseman, and Susan Weberp, David Wiseman, New York, 2020, pp. 104-05, 149-52

David Wiseman has described his practice’s raison d’être, saying, “My goal is to speak to nature’s primacy and to introduce its beauty to our built environments, to be embraced by its sublime lessons, and recognize its fragile beauty.” Wiseman clearly achieved this goal in the four present vases, which all take their form from shapes present in nature. Though these intimate objects merge interior and exterior worlds, they do not attempt to domesticate the outdoors. They instead meditate on the beauty of nature’s organic forms and their connection to the transcendent and eternal. The use of a refective bronze does not result in lifelike representations of rocks or waves but underscores Wiseman’s reverence for the natural world. There is a sense of surprise and sublimity in the work—for example, the interruption of the smooth, hexagonal surface on the “Geode” vase with what appears to be a crystalline deposit—that calls to mind design antecedents such as Claude and François-Xavier Lalanne.

Wiseman’s work also ofen draws on a history of ornamentation— design historian Susan Weber has called his work a “three-dimensional glossary of ornament”—whether that be a Japanese cherry blossom or a Gothic quatrefoil motif. His reference points are global in their scope and vast in their chronological sweep, and, yet, they converge to forge a formidable and unique path within contemporary art and design.

This is evident not only through his success with editioned works and in private commissions but also through his recognition by institutions such the Los Angeles County Museum of Art, the Rhode Island School of Design Museum, and the Corning Museum of Glass, all of which include his work in their permanent collections.

Arts du Feu: Works from the Collection of Jason Jacques

Romancing the Clay

by Glenn Adamson It’s a cherished scene in flm history: Nigel Tufnel, as played by Christopher Guest, in the classic mockumentary This Is Spinal Tap (1984). Showing of his new amplifer, the guitarist proudly notes that its knobs go up to eleven—one higher than the traditional maximum. That’s how loud it is. Asked why ten on the knob couldn’t just be set a little louder, he stares blankly at the interviewer. Finally he replies, “These go to eleven.”

Something of that spirit attends the present collection of French Art Nouveau ceramics from the collection of Jason Jacques. Probably the only major decorative art dealer who could be mistaken for a rock star, Jacques has spent his career going all in, and then just that little bit further. He began some thirty years ago, with about four hundred dollars in his pocket, an eye for the extraordinary and a huge appetite for risk. As his business grew, he ofen bought objects he could not aford. His customer base was small, but intense. Curators respected his knowledge. Tastemakers like the interior designer Peter Marino were fascinated by his extreme aesthetic preferences.

Somehow it all worked out. But as Jacques frankly admits, “It’s not practical, what I’ve done. I’ve always been in it for the romance.”

Around 2010, Jacques began branching into contemporary ceramics, beginning with the mercurial British genius Gareth Mason, then swifly building an international roster. As his Upper East Side gallery

became the premier setting for this material in New York City, he still showed his older material, but it gradually became less and less of an emphasis. In efect, he became a contemporary art dealer specializing in clay, who also had a private collection of antique ceramics. Now he is making it ofcial: getting out of the vintage trade entirely, so he can concentrate on living artists. “This is an opportunity to rob me of my life’s work,” he jokes, and he’s not wrong. Little in the present auction has been seen in public (apart from a few short-run displays in his gallery) for at least a decade; it is a gathering of French fn de siècle ceramics the like of which will not be seen again, outside the walls of a museum.

Even so, this material may require some explanation, at least for American audiences. It’s evident on frst glance that the objects are fantastical, with their lavish glazes and organic forms. What may be less obvious is their seminal role in setting the course of modern aesthetics. The one American among them, George E. Ohr, gives an indication of this historic trajectory. He has become celebrated as a singular genius, whose facility and daring led him to anticipate by decades the expressive breakthroughs made by such fgures as Peter Voulkos and Ken Price. When the Museum of Modern Art reopened to much fanfare a year ago, they placed Ohr’s ceramics right in the frst gallery; their undulating forms seemed to dance responsively to those in Vincent Van Gogh’s paintings.

Placing the “Mad Potter of Biloxi” alongside his French contemporaries provides a missing link—helping us see that Ohr was not quite as unique as one might think. This takes nothing away from his achievement; indeed, it may help us to appreciate it all the more, for he lacked the rich creative context that existed in France. Both Taxile Doat and Ernest Chaplet, for example, created things that were every bit as adventurous as Ohr’s; but they had the beneft of long experience in the ceramic industry, including at the storied manufactory Sèvres, before setting up their own ateliers. This exposed them to a level of scientifc understanding that was unprecedented anytime, anywhere. French chemists and engineers (who were among the world’s most advanced at the time) had undertaken in-depth collaborations with factories, advising on clay bodies, glaze formulae, and kiln technology. In what Jacques describes as a “trickle down economy,” this knowledge fowed into independent studios, assuming material expression in the spectacular glazes that coursed over the contours of art pottery.

began by copying the Chinese, and eventually departed from their example, they frst sought to imitate superfcial aspects of Japanese objects – the asymmetry and irregularity of tea ceremony wares, for example. Eventually, however, they embraced the fundamental principles of Japanese design rather than just its external appearance.

In this respect, the French ceramists had a great advantage over all their contemporaries, even those in East Asia—though in other respects, they upheld those traditions as highly superior, and worthy of emulation. Long before the British potter Bernard Leach declared that the “Sung Standard” was one to which all should aspire, masters of grand feu (high-fre) ceramics like Pierre-Adrien Dalpayrat adopted Chinese forms and glazes as models. They frst learned through imitation, then developed the ideas further, in some cases arguably surpassing their sources of inspiration. A good example in the present sale is Daplayrat’s version of a meiping, perhaps the most classic of all Chinese ceramic forms, traditionally used to display plum blossoms.

His treatment of the graceful silhouette is sheathed with a volcanic glaze, which also takes its inspiration from Chinese precedent—the rich oxblood red that so many European and American potters sought to copy—but has a gorgeous, saturnine depth all its own.

Nor are the connections all that difcult to trace. French art pottery was frequently included in the many World’s Fairs that punctuated the fn de siècle era – notably at Chicago in 1893 and Paris in 1900. The visitors who thronged to such events, among whom of course were artists and designers themselves, were utterly captivated by the grand feu ceramics on display. And so the tide of infuence rippled onward, Americans taking their cues from the French, just as the French had been inspired by the Chinese and Japanese.

The other Asian current that informed art nouveau was, of course, Japonisme. Siegfried Bing, whose Paris gallery bequeathed its name to the style, dealt in antiquities from Japan, and also published an infuential magazine entitled Le Japon Artistique from 1888 to 1891. This transmission of global aesthetics has been a particular interest for Jacques throughout his career; in 2010, he created an ambitious exhibition and publication, Exotica, largely devoted to tracing it.

Japonisme afected many European arts at this time, but was certainly nowhere more strongly felt than in ceramics. Just as the French potters

A perfect example in the present sale is the vase by Ernest Bussière, which doesn’t look particularly Asian in style, but employs the idea of abstracting nature, with which Japanese art was so rightly associated.

It sensuous, overlapping lines and its palette are inspired by the tender heart of an artichoke. The upward climb of the design, particularly its delicate, semiengaged handles, evoke the principle of organic growth.

Bussière worked in Nancy close to the famed glass designer Émile Galle, who employed similar motifs in his work; it is impossible to fully understand the work of Americans like Adelaide Alsop Robineau (who trained with Taxile Doat) and Louis Comfort Tifany, or companies like Teco and Grueby, without knowing about these important precedents.

In this sense, perhaps it is appropriate that so many of these stellar objects came to rest in the hands of an American. Now they will be dispersed again—intriguingly enough, at a moment when artistdesigned ceramics are once again all the rage. Go to any of the major contemporary art fairs nowadays—in some respects, the successors to the international expositions of a century ago—and you will see artist designed ceramics in profusion. (Here again Jacques was a pioneer, presenting an all-clay booth at Frieze New York in 2017.) We seem to have rediscovered a basic truth about the medium: ceramics combines the color and gesture of painting with the volume and tactility of sculpture. The art potters of France knew this well, and they exploited the possibilities to the fullest. It’s far too simplistic to evaluate art history in quantitative terms, as if it were a competition. But if one were, for some reason, to assign a score to the ceramics seen here, it would be an eleven out of ten. At least.

Arts du Feu: Works from the Collection of Jason Jacques

80. Ernest Chaplet

1835-1909

Vase circa 1890 Glazed stoneware, deep purple and blue glazes.

6 1/2 in. (16.5 cm) high Underside incised with artist’s mark.

Provenance Galerie Anne-Sophie Duval, Paris Private collection, Connecticut Christie’s, New York, “A Private Collection of French Mid-Century Design,” December 7, 2005, lot 18 Terranova collection, 2019 Acquired from the above by the present owner

Estimate $8,000-12,000

A contemporary critic of Ernest Chaplet perfectly described his work, saying, “[he] seems to have gained absolute control over his capricious materials, so that, apparently at will, he can, on a single piece, obtain the most unexpected and diverse efects of color.” The present works

by Chaplet—with their complex, almost psychedelic, glazes—are aesthetically captivating and illustrate the technical prowess that his critic described. His forms ofen took inspiration from earlier Chinese ceramics, and they required an acute understanding of his materials.

The pair of vases in particular would have presented numerous challenges during the fring process due to their monumental size.

Arts du Feu: Works from the Collection of Jason Jacques

81. Ernest Chaplet

1835-1909

Pair of monumental vases circa 1900 Porcelain, fowing deep purple, green, and blue glazes.

Each: 30 in. (76.2 cm) high Underside of each incised with artist’s mark and one vase with artist’s mark painted in glaze.

Estimate $20,000-30,000 Provenance Private collection Christie’s, New York, “Design,” December 18, 2015, lot 339 Acquired from the above by the present owner

Arts du Feu: Works from the Collection of Jason Jacques

82. Pierre-Adrien Dalpayrat and

Alphonse Voisin-Delacroix 1844-1910 and 1857-1893 Vase with salamander circa 1893 Stoneware, layered light blue glazes over “Dalpayrat red” glazes.

6 3/4 in. (17.1 cm) high Underside signed Dalpayrat in glaze and impressed with artist’s mark.

Arts du Feu: Works from the Collection of Jason Jacques

83. Pierre-Adrien Dalpayrat 1844-1910 Gourd vase circa 1900 Stoneware with blue, green, and deep red glazes.

8 3/4 in. (22.2 cm) high Estimate $3,000-5,000

Estimate $5,000-7,000 Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, p. 138 Jason Jacques, Exotica, Lenox, 2010, p. 211

Pierre-Adrien Dalpayrat is perhaps most remembered for his unique development of the sang de bœuf glaze (commonly referred to as “Dalpayrat red”) as seen in many of the works in the present collection.

His distinctive glazes paired with the sculptural forms of many of his works made him an internationally-recognized ceramist. Some of his forms draw on Asian ceramic antecedents as well as forms found in nature. During his brief collaboration with Alphonse Voisin-Delacroix, the pair created a range of works that ofen featured animals such as crabs, salamanders, and lizards—all present in this collection.

Provenance Moonstone Gallery, Paris Acquired from the above by the present owner, 1998 Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, p. 113 Jason Jacques, Exotica, Lenox, 2010, p. 200

Arts du Feu: Works from the Collection of Jason Jacques

84. Pierre-Adrien Dalpayrat 1844-1910 Monumental vase circa 1900 Stoneware with high and low-fred copper-oxide glazes.

41 1/2 in. (105.4 cm) high

Estimate $15,000-20,000 Provenance Private collection, Paris Acquired from the above by the present owner, 2015

Arts du Feu: Works from the Collection of Jason Jacques

85. Pierre-Adrien Dalpayrat 1844-1910 Vase circa 1892 Stoneware, layered and fowing blue and deep red glazes.

21 1/2 in. (54.6 cm) high Underside impressed with artist’s mark.

Estimate $7,000-9,000

Provenance François Josef Graf, Paris Acquired from the above by the present owner, 2010 Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, p. 103 for a similar example

Arts du Feu: Works from the Collection of Jason Jacques

86. Ernest Bussière

1863-1913

“Chardon” vase circa 1903 Glazed earthenware, purple and green microcrystalline glazes.

11 3/8 in. (28.9 cm) high Executed by Keller et Guérin, Lunéville, France. Underside painted in glaze KG/ Lunéville/Bussière.

Estimate $6,000-8,000

Provenance Alain Cical, Paris, 1992 Private collection, New York, acquired from the above, 2010 Acquired from the above by the present owner

Literature Armand Guérinet, ed., Exposition Lorraine: L’École de Nancy, Paris, 1903, pl. 25-26 Claire Aptel, et al., Nancy 1900: Rayonnement de l’Art Nouveau, Thionville, 1989, n. 217

Ernest Bussière worked primarily as a sculptor, only producing ceramics from around 1896 to 1909, and the present vase’s form reveals his sculptural inclination. Bussière displayed the present model vase at the École de Nancy’s 1903 Exposition Lorraine. This school of artists championed the art nouveau style and the present vase embodies several tenets of their aesthetic.

The vase’s vegetal form beautifully reveals the plasticity of the medium, making the iridescent and organic form seem to grow before your eyes.

Arts du Feu: Works from the Collection of Jason Jacques

87. Pierre-Adrien Dalpayrat

Arts du Feu: Works from the Collection of Jason Jacques

88. Pierre-Adrien Dalpayrat

1844-1910

1844-1910

Vase

Vase

circa 1897 Stoneware, mottled fambé glaze.

13 1/2 in. (34.3 cm) high Underside impressed with artist’s mark.

circa 1900 Stoneware, fowing and layered green and blue glazes.

21 1/8 in. (53.7 cm) high Underside incised 99/Dalpayrat.

Estimate $4,000-6,000 Provenance François Josef Graf, Paris Acquired from the above by the present owner, 2010

Estimate $6,000-8,000 Provenance Sotheby’s, Paris, “Design,” November 22, 2016, lot 267 Acquired from the above by the present owner

Arts du Feu: Works from the Collection of Jason Jacques

89. Pierre-Adrien Dalpayrat

Estimate $8,000-12,000

1844-1910 Large vase circa 1895 Stoneware, amber and deep red glazes.

16 in. (40.6 cm) high Underside impressed with artist’s mark and Dalpayrat.

Provenance H. Blairman and Sons, London Acquired from the above by the present owner, 2018

Arts du Feu: Works from the Collection of Jason Jacques

90. Pierre-Adrien Dalpayrat 1844-1910 Gourd vase circa 1900 Stoneware with fowing blue and amber glazes.

14 in. (35.6 cm) high Underside impressed 1337 and incised Dalpayrat.

Estimate $3,000-5,000 Provenance Private collection, Paris Sotheby’s, Paris, “Design,” November 24, 2015, lot 3 Acquired from the above by the present owner Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, p. 112 for a similar example

Arts du Feu: Works from the Collection of Jason Jacques

91. Pierre-Adrien Dalpayrat 1844-1910 Vase circa 1900 Stoneware, sang de bœuf glaze with highly vitrifed green-blue and black jasper coloration.

15 1/4 in. (38.7 cm) high Underside impressed 98 and incised Dalpayrat.

Estimate $3,000-5,000 Provenance Private collection, New York Acquired from the above by the present owner, 2012

Arts du Feu: Works from the Collection of Jason Jacques

92. Pierre-Adrien Dalpayrat and

Alphonse Voisin-Delacroix 1844-1910 and 1857-1893 Vase with crab circa 1893 Stoneware, sang de bœuf glaze.

8 1/4 in. (21 cm) high Underside incised AD/Dalpayrat and impressed 200.

Estimate $10,000-15,000

Provenance Faber collection, Chicago Acquired from the above by the present owner, 2008 Literature Paul Arthur, French Art Nouveau Ceramics, Paris, 2015, p. 117 Jason Jacques, Exotica, Lenox, 2010, p. 197

Arts du Feu: Works from the Collection of Jason Jacques

93. Ernest Chaplet

1835-1909

Bottle 1899 Porcelain, sang de bœuf glaze.

9 3/4 in. (24.8 cm) high Underside incised with artist’s mark and E/1899.

Estimate $6,000-8,000 Provenance Mostini collection, Paris, 2003 Millon & Associés, Paris, “Art Nouveau Art Déco - Design,” April 4, 2014, lot 192 Acquired from the above by the present owner Literature Jean d’Albis, Ernest Chaplet, 1835-1909, Paris, 1976, p. 74

Arts du Feu: Works from the Collection of Jason Jacques

94. Pierre-Adrien Dalpayrat 1844-1910 Vase circa 1900 Stoneware with mottled blue, teal, green, and burgundy glazes.

13 in. (33 cm) high Underside impressed with artist’s mark and Dalpayrat/2050.

Estimate $4,000-6,000 Provenance Robert A. Ellison Jr., New York Acquired from the above by the present owner

Arts du Feu: Works from the Collection of Jason Jacques

95. Edmond Lachenal

1855-1948

Pitcher circa 1900 Stoneware, fowing layered red and green glazes.

10 in. (25.4 cm) high Underside glazed LACHENAL and 120/129.

Estimate $4,000-6,000 Provenance François Josef Graf, Paris Acquired from the above by the present owner, 2010

Edmond Lachenal was one of the leading fgures in the French art pottery movement at the end of the 19th century. Along with his contemporaries Delaherche and Chaplet, he created works within the art nouveau style that favored expressive and complex glazes with sculptural and naturalistic forms.

The present pitcher is a particularly clever example of this, as Lachenal did not use a vine as a purely decorative element but rather the vine becomes the handle.

Arts du Feu: Works from the Collection of Jason Jacques

96. Pierre-Adrien Dalpayrat and

Alphonse Voisin-Delacroix 1844-1910 and 1857-1893 Pitcher with lizards circa 1893 Stoneware, sang de bœuf glaze.

8 in. (20.3 cm) high Estimate $7,000-9,000

Arts du Feu: Works from the Collection of Jason Jacques

97. Pierre-Adrien Dalpayrat

Arts du Feu: Works from the Collection of Jason Jacques

98. Pierre-Adrien Dalpayrat

1844-1910

1844-1910

Vase

Gourd vase

circa 1900 Stoneware, layered, fowing purple and green glazes.

8 1/4 in. (21 cm) high Underside impressed with artist’s mark.

1895 Stoneware, sang de bœuf glaze.

10 1/8 in. (25.7 cm) high Underside incised 1895/Dalpayrat.

Estimate $4,000-6,000 Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, p. 140

Estimate $4,000-6,000

Provenance Millon & Associés, Paris, “Art Nouveau Art Déco - Design,” April 4, 2014, lot 186 Acquired from the above Sotheby’s, Paris, “Design,” November 22, 2016, lot 265 Acquired from the above by the present owner Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, pp. 107, 184

Arts du Feu: Works from the Collection of Jason Jacques

99. Pierre-Adrien Dalpayrat 1844-1910 Vase circa 1900 Stoneware with “Dalpayrat red” glaze.

7 in. (17.8 cm) high Underside impressed with artist’s mark and Dalpayrat/511.

Estimate $2,000-3,000

Arts du Feu: Works from the Collection of Jason Jacques Provenance François Josef Graf, Paris Acquired from the above by the present owner, 2010 Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, p. 152

100. Pierre-Adrien Dalpayrat and

Alphonse Voisin-Delacroix 1844-1910 and 1857-1893 Inkwell circa 1900 Stoneware, sang de bœuf glaze.

3 in. (7.6 cm) high Underside impressed with artist’s mark.

Estimate $3,000-5,000 Provenance Private collection, California Sotheby’s, New York, “Important Design,” June 6, 2017, lot 46 Acquired from the above by the present owner Literature Horst Makus, et al., Adrien Dalpayrat 1844-1910, Stuttgart, 1998, p. 139

Arts du Feu: Works from the Collection of Jason Jacques

101. Pierre-Adrien Dalpayrat 1844-1910 Vase circa 1895 Stoneware, sang de bœuf glaze.

26 in. (66 cm) high Underside incised Dalpayrat.

Estimate $18,000-24,000 Provenance Private collection, France, 1925 Michel Boo, Paris, acquired from the above, 2003 Acquired from the above by the present owner Literature Jason Jacques, Exotica, Lenox, 2010, p. 217

Arts du Feu: Works from the Collection of Jason Jacques

102. George Ohr

1857-1918

Pot with snakes circa 1895 Glazed earthenware.

5 1/4 in. (13.3 cm) high Underside impressed G. E. OHR/BILOXI. Estimate $20,000-30,000 Provenance Robert A. Ellison Jr., New York Acquired from the above by the present owner

Exhibited “George Ohr: Modern Potter, 1857-1918,” American Craf Museum, New York, September 29, 1989-January 7, 1990 Literature Eugene Hecht, George Ohr: The Greatest Art Potter on Earth, exh. cat., Ohr-O’Keefe Mueum of Art, Biloxi, 2013, p. 109 for a similar example

Working out of his studio in Biloxi, Mississippi, George Ohr created untraditional forms that twisted and contorted in unexpected ways.

He also experimented greatly with glazing techniques, such as his blistering efect in which he purposefully burst glaze bubbles to produce a scaley and delicate surface texture. While Ohr has been characterized as an idiosyncratic and eccentric outsider artist, he also received ample exposure to the innovations of his international contemporaries at exhibitions such as the The World’s Columbian Exposition which took place in Chicago in 1893. Ernest Chaplet and PierreAdrien Dalpayrat were both in attendance.

Arts du Feu: Works from the Collection of Jason Jacques

103. George Ohr

1857-1918

Blistered vase 1898-1907 Glazed earthenware.

8 7/8 in. (22.5 cm) high Underside incised G. E. Ohr. Estimate $15,000-20,000 Provenance Robert A. Ellison Jr., New York Acquired from the above by the present owner

Arts du Feu: Works from the Collection of Jason Jacques

104. George Ohr

1857-1918

Coin bank 1895-1900 Glazed earthenware.

4 3/8 in. (11.1 cm) high Underside impressed G. E. OHR/ Biloxi, Miss.

Estimate $6,000-8,000 Provenance Robert A. Ellison Jr., New York Acquired from the above by the present owner

Arts du Feu: Works from the Collection of Jason Jacques

105. Henri de Vallombreuse 1856-1919 Vase circa 1900 Stoneware, layered fowing ash glazes.

5 1/8 in. (13 cm) high Base impressed with artist’s cipher and underside incised Vallombreuse.

Estimate $2,000-3,000 Provenance François Josef Graf, Paris Acquired from the above by the present owner, 2010

When the French public encountered Japanese stoneware at the 1878 Exposition Universelle, they were inspired by the exquisite drip glazes and rough textures which stood in stark contrast to the almost machine-like perfection of contemporary French ceramics. Artists such as Henri de Vallombreuse began to imitate the Japanese style by experimenting with new glaze techniques. The present vase is an example of this infuence at the fn-de-siècle and demonstrates his mastery of multiple glazes.

Arts du Feu: Works from the Collection of Jason Jacques

106. Taxile Doat

1851-1939

“La Musique et la Danse” bottle and stopper 1903 Glazed porcelain with pâte-sur-pâte decoration.

14 in. (35.6 cm) high Underside signed in glaze 33/1903/T DOAT/SÈVRES. Estimate $12,000-18,000 Provenance Private collection, Paris, acquired 1903 Moonstone Gallery, Paris Acquired from the above by the present owner, 2005 Literature E. Bernard, ed., L’Art Décoratif au Salon de 1903, Paris, 1903, p. 23 Taxile Doat, Grand Feu Ceramics: A Practical Treatise on the Making of Fine Porcelain and Grès, Syracuse, 1905, p. 120 Alastair Duncan, The Paris Salons 18951914, Volume IV: Ceramics & Glass, Sufolk, 1998, p. 182 Jason Jacques, Exotica, Lenox, 2010, illustrated p. 41

Whereas many of his contemporaries benefted from a division of labor, Taxile Doat preferred to experiment with every stage of the production process— from modeling to fring. He advocated for the use of grand feu ceramics as well as the pâte-sur-pâte technique, which involves creating relief designs by applying multiple layers of slip onto an unfred body. The present lots demonstrate his expert control over these complex techniques, seen here in the decorative motifs for which Doat is known.

Arts du Feu: Works from the Collection of Jason Jacques

107. Taxile Doat

1851-1939

Plaque circa 1904 Porcelain, crystalline glaze, pâte-sur-pâte decoration.

7 5/8 in. (19.4 cm) diameter Reverse signed in glaze T DOAT/Sèvres.

Estimate $4,000-6,000

Provenance Jerome Shaw, Michigan Acquired from the above by the present owner, 2003 Literature M.P. Verneuil, “Taxile Doat,” Art et Décoration, September 1904, p. 78 Alastair Duncan, The Paris Salons 18951914, Volume IV: Ceramics & Glass, Sufolk, 1998, p. 186

Property from a Private Collection, Chicago

108. Ritsue Mishima

b. 1962

“Cometa” 2008 Hand-blown and applied clear glass.

16 x 13 x 14 in. (40.6 x 33 x 35.6 cm) Produced by Anfora, Murano, Italy.

Likely executed by Andrea Zilio, master glassblower. Underside acid-etched with artist’s chopmark and MISHIMA/2008.

Estimate $8,000-12,000

Provenance Pierre Marie Giraud, Brussels Private collection, New York, acquired from the above, 2009 Phillips, New York, “Design,” December 13, 2016 Acquired from the above by the present owner

Arts du Feu: Works from the Collection of Jason Jacques

109. Akiyama Yô

b. 1953

Untitled “MV-113” 2011 Unglazed stoneware with iron fllings.

8 1/2 x 16 x 12 in. (21.6 x 40.6 x 30.5 cm) Underside incised with artist’s signature and with paper label inscribed in marker Untitled MV-113.

Estimate $10,000-15,000 Provenance Joan Mirviss, New York Acquired from the above by the present owner, 2011

Property from a Private Collection, New York

110. Rick Owens

b. 1962

Pair of “Stag” stools circa 2015 Painted plywood, moose antlers.

Taller: 35 x 25 x 18 1/2 in. (88.9 x 63.5 x 47 cm) Estimate $15,000-20,000

Provenance Acquired directly from the artist by the present owner Literature Michèle Lamy, Rick Owens Furniture, New York, 2017, n.p.

Property from the Estate of Ruth O’Hara

111. Judy Kensley McKie

b. 1944

“Gazelle” table designed 1987, executed 2011 Carved and painted mahogany, glass.

35 x 64 x 20 in. (88.9 x 162.6 x 50.8 cm) Number 3 from the edition of 6. Underside incised © JKM 3 / 6 ‘11.

Estimate $15,000-20,000 Provenance Pritam & Eames, East Hampton Ruth O’Hara, New York, acquired from the above, 2012 Thence by descent to the present owner

Property from the Estate of Ruth O’Hara

112. Judy Kensley McKie

b. 1944

“Snake” bowl 2010 Patinated bronze.

4 x 13 x 8 1/2 in. (10.2 x 33 x 21.6 cm) Cast by Artworks Foundry, Berkeley, California. Number 2 from the edition of 8 plus 4 artist’s proofs. Underside incised © JKM 2010 2 / 8.

Estimate $5,000-7,000

Provenance Pritam & Eames, East Hampton Ruth O’Hara, New York, acquired from the above, 2010 Thence by descent to the present owner

113. Oscar Niemeyer

1907-2012

Sofa, designed for the SESC Hotel, Rio de Jaineiro designed 1990, produced 2007 Imbuia-veneered wood, fabric upholstery.

29 x 98 3/4 x 31 in. (73.7 x 250.8 x 78.7 cm) Produced by R & Company in collaboration with the Fundaçäo Oscar Niemeyer.

Estimate $15,000-20,000

Literature Aric Chen, Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture, 2016, New York, pp. 262, 268-69

Property from a Private Collection, Minnesota

114. Hans Coper

1920-1981

Flared vase circa 1958 Stoneware, layered white porcelain slips and engobes over a textured body, the interior with manganese glaze.

7 1/2 in. (19.1 cm) high Underside impressed with artist’s seal.

Estimate $8,000-12,000 Provenance Lucie Rie, London Private collection, United States, acquired from the above, 1950s Acquired from the above by the present owner Literature Tony Birks, Hans Coper, Catrine, 2013 p. 99 for a similar example Charles Park, Hans Coper 100, Oxford, 2020, back cover for a similar example

Property from a Private Collection, Canada

115. Lucie Rie

1902-1995

Large conical bowl circa 1980 Porcelain with manganese glaze, radiating inlaid and sgrafto design.

4 5/8 in. (11.7 cm) high, 9 1/4 in. (23.5 cm) diameter Underside impressed with artist’s seal.

Estimate $30,000-40,000

Provenance Acquired by the present owner, circa 1980 Literature John Houston, ed., Lucie Rie: a survey of her life and work, exh. cat., Crafs Council and The Victoria and Albert Museum, London, 1981, p. 88 for a similar example

Property from a Private Collection, Minnesota

116. Lucie Rie

1902-1995

Low bowl circa 1952 Grey, blue, and green glazes over a stoneware body.

2 5/8 in. (6.7 cm) high, 13 3/8 in. (34 cm) diameter Underside impressed with artist’s seal.

Estimate $4,000-6,000

Provenance Private collection, United States, acquired directly from the artist, 1952 Acquired from the above by the present owner

Property from a Private Collection, Minnesota

117. Lucie Rie

1902-1995

Footed bowl circa 1952 Porcelain, matte white glaze with manganese rim.

5 1/4 in. (13.3 cm) high, 8 1/8 in. (20.6 cm) diameter Underside impressed with artist’s seal.

Estimate $6,000-8,000

Provenance Private collection, United States, acquired directly from the artist, 1952 Acquired from the above by the present owner Literature John Houston, ed., Lucie Rie: a survey of her life and work, exh. cat., Crafs Council and The Victoria and Albert Museum, London, 1981, p. 69 for a similar example

Property from a Private Collection, Minnesota

118. Lucie Rie

1902-1995

Property from a Private Collection, Minnesota

119. Lucie Rie

1902-1995

Miniature open bowl

Miniature conical bowl

circa 1952 Porcelain, cobalt blue and manganese glaze with fne sgrafto design.

1 1/2 in. (3.8 cm) high, 3 5/8 in. (9.2 cm) diameter Underside impressed with artist’s seal.

circa 1952 Porcelain, cobalt blue and manganese glaze with fne sgrafto design.

2 1/4 in. (5.7 cm) high, 3 1/2 in. (8.9 cm) diameter Underside impressed with artist’s seal.

Estimate $6,000-8,000

Estimate $6,000-8,000

Provenance Private collection, United States, acquired directly from the artist, 1952 Acquired from the above by the present owner Literature John Houston, ed., Lucie Rie: a survey of her life and work, exh. cat., Crafs Council and The Victoria and Albert Museum, London, 1981, p. 70 for a similar example

Provenance Private collection, United States, acquired directly from the artist, 1952 Acquired from the above by the present owner Literature John Houston, ed., Lucie Rie: a survey of her life and work, exh. cat., Crafs Council and The Victoria and Albert Museum, London, 1981, p. 70 for a similar example

Property from a Private Collection, Minnesota

120. Lucie Rie

1902-1995

Footed bowl circa 1952 Porcelain, white and manganese glaze.

2 1/8 in. (5.4 cm) high, 4 1/4 in. (10.8 cm) diameter Underside impressed with artist’s seal.

Estimate $3,000-4,000 Provenance Private collection, United States, acquired directly from the artist, 1952 Acquired from the above by the present owner

Property from a Private Collection, Minnesota

121. Lucie Rie and Hans Coper 1902-1995, 1920-1981 Set of eight cups and saucers circa 1952 Stoneware, white and manganese glaze with sgrafto design.

Tallest cup: 2 3/4 in. (7 cm) high, 2 7/8 in.

(7.3 cm) diameter Each saucer: 1 in. (2.5 cm) high, 4 1/2 in.

(11.4 cm) diameter Underside of each cup and each saucer impressed twice with artist’s seal.

Estimate $8,000-12,000 Provenance Private collection, United States, acquired directly from the artist, 1952 Acquired from the above by the present owner

Property from a Private Collection, Minnesota

122. Lucie Rie

1902-1995

Footed bowl circa 1952 Porcelain, white glaze with a band of inlaid manganese design.

2 1/4 in. (5.7 cm) high, 4 3/4 in. (12.1 cm) diameter Underside impressed with artist’s seal.

Estimate $5,000-7,000

Provenance Private collection, United States, acquired directly from the artist, 1952 Acquired from the above by the present owner Literature John Houston, ed., Lucie Rie: a survey of her life and work, exh. cat., Crafs Council and The Victoria and Albert Museum, London, 1981, p. 69 for a similar example

Property from a Private Collection, Minnesota

123. Lucie Rie

1902-1995

Set of oil and vinegar bottles and saucers circa 1952 Stoneware, white and manganese glaze.

Taller bottle: 6 in. (15.2 cm) Each tray: 3/4 in. (1.9 cm) high, 4 3/8 in.

(11.1 cm) diameter Underside of each bottle and each tray impressed with artist’s seal.

Estimate $6,000-8,000 Provenance Private collection, United States, acquired directly from the artist, 1952 Acquired from the above by the present owner

Exhibited “Lucie Rie/Hans Coper: Masterworks

by Two British Potters,” Metropolitan Museum of Art, New York, November 15, 1994-May 21, 1995

Property from a Midwestern Private Collection ○◆

124. Peter Voulkos

1924-2002

Black Bulerias 1958 Stoneware constructed from paddled, wheel-thrown and slab elements, brushed slip, clear glaze, epoxy.

63 x 44 x 41 in. (160 x 111.8 x 104.1 cm) Estimate $600,000-800,000

Provenance Amalia de Schulthess, California Philip and Beatrice Gersh, Los Angeles Acquired from the above by the present owner through Wanda Hansen, 1982

Exhibited “Ceramics, Sculpture and Paintings by Peter H. Voulkos,” Pasadena Art Museum, December 16, 1958-January 25, 1959 “Peter Voulkos: Sculpture, Painting, Ceramics,” Felix Landau Gallery, Los Angeles, May 4-23, 1959 “Première Biennale de Paris,” Musée d’Art Moderne de la Ville de Paris, Paris, October 2-25, 1959 “Sculpture and Painting by Peter Voulkos,” The Museum of Modern Art, New York, February 1-March 13, 1960 “Clay’s Tectonic Shif: John Mason, Ken Price and Peter Voulkos, 1956-1968,” The Ruth Chandler Williamson Gallery, Scripps College, Claremont, January 21April 8, 2012

Illustrated Peter Voulkos: Sculpture/Painting/ Ceramics, exh. cat., Felix Landau Gallery, Los Angeles, 1959, n.p.

Gerald Nordland, “Art: Spokesmen for the Know-Nothings,” Frontier, May 1959, p. 20 Elaine Levin, “Peter Voulkos: A Ceramics Monthly Portfolio,” Ceramics Monthly, June 1978, p. 63 Rose Slivka, Peter Voulkos: A Dialogue with Clay, New York, 1978, p. 47 Jun Kaneko, “Refections on the Voulkos Retrospective,” Craf Horizons, February 1979, p. 31 Rose Slivka and Karen Tsujimoto, The Art of Peter Voulkos, exh. cat., The Oakland Museum, Oakland, 1995, p. 20 Janet Koplos and Bruce Metcalf, Makers: A History of American Studio Craf, Chapel Hill, North Carolina, 2010, p. 228 Mary Davis MacNaughton, ed., Clay’s Tectonic Shif: John Mason, Ken Price and Peter Voulkos, 1956-1968, exh. cat., Ruth Chandler Williamson Gallery, Scripps College, Claremont, 2012, p. 130 Glenn Adamson, et. al., Voulkos: The Breakthrough Years, exh. cat., Museum of Arts and Design, New York, 2016, pp. 65, 153

Phillips would like to thank Sam Jornlin, archivist and representative of the Voulkos estate, for her assistance cataloguing the present lot.

Please note that the present lot will be available for viewing at 450 Park Avenue in New York from November 30-December 7.

Peter Voulkos Black Bulerias

Rhythm King

by Glenn Adamson Imagine you are Peter Voulkos in 1958. Here is what is on your mind.

First and always, the landscape of Montana, where you were born and raised: the sublime power of that terrain, the drama of the cragged mountains and the passes cutting through. Second, the potential of clay as a sculptural medium, which you have been thinking about constantly—not abandoning your hard-won potter’s skills, but redeploying them in wholly unconventional ways. Third, an everenlarging constellation of artists, among them Pablo Picasso, Fritz Wotruba, and Franz Kline, as well as the more immediate energies of the Los Angeles scene (notably, the gang at the experimental Ferus Gallery, now in its frst year of programming). Fourth, the new possibilities of scale aforded by your new Glendale Boulevard studio, with its oversized kilns, which you share with a fellow artist, John Mason. The architectonic quality of Mason’s work is itself a ffh element—a level of ambition for you to match, blow for blow.

Now imagine you want to combine all of these disparate infuences into a single artwork. And, fnally, that you succeed. This is Black Bulerias. All of Voulkos’ ambitions are present in this powerful work: geological force, medium-specifc innovation, monumentality, sculptural intelligence, and structural complexity. Its importance derives partly from the circumstances of its making. In 1958, the artist was just arriving at the summit of his career—a short period that lasted only for another two years, when he was obliged to leave Los

Angeles behind to teach in Berkeley. While he did continue to make ceramics in the Bay Area, alongside a new body of work in bronze sculpture, never again would he achieve the combination of scale and experimentalism that he did in these few years. Black Bulerias is one of very few major examples from this period that has remained in private hands, and has an extraordinary provenance to boot. Voulkos clearly considered it one of his most signifcant works; it was one of three that he sent to the 1959 Paris Bienniale, where he won the Rodin Museum Prize, and was also included in his one-man exhibitions at the Pasadena Art Museum in 1958-59, and the Museum of Modern Art, New York, in 1960.

Despite the historical gravitas of Black Bulerias, its physical mass, and the sheer willpower that Voulkos brought to making it, the composition also feels—the only word for it—playful. This quality is signaled in the title, appropriated from the vocabulary of famenco guitar music, which he studied avidly (the bulería is a fast dance form, described as “bustling, happy and cheerful”). The sculpture rises from its two rounded haunches into a tumble of forms, an upward avalanche. It culminates in two craggy outcroppings, suggestive of fsts raised in joy or triumph. The sculpture is marvelously changeable; as one circles around it, its interplay of positive and negative space develops into a muscular, propulsive rhythm.

Peter Voulkos in his Glendale Blvd. studio with Black Bulerias in the background, 1958. Š Pier S. Voulkos and Daniel R. Peters Trust, Photography by Rose Slivka. Courtesy of the Voulkos & Co. Catalogue Project

Black Bulerias installed at the Pasadena Art Museum, 1958. © Pier S. Voulkos and Daniel R. Peters Trust, Courtesy of the Voulkos & Co. Catalogue Project

Black Bulerias installed at the Museum of Modern Art, New York, 1960. © Pier S. Voulkos and Daniel R. Peters Trust. Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY

Despite its singular signifcance in Voulkos’s oeuvre, Black Bulerias does ft into a group of related works by the artist. In hindsight, it is also possible to see how it fts into a longer creative sequence. The immediate context for the work includes several other signifcant works, among them 5000 Feet (now at LACMA), Burnt Smog (also known as Funiculated Smog; in the collection at Frank Lloyd Wright’s Fallingwater), Rasgeado (not to be confused with the earlier work of that title; now in a private collection), Black Butte Divide (Norton Simon Museum of Art); and Flying Black (also private collection).

While none of these have quite the presence or complexity of Black Bulerias, all are executed in a similar idiom, made in stoneware with a dark slip or glaze, and built out of discrete volumes which are quasiintegrated into a fragmentary form.

Each component of Black Bulerias is made from wheel-thrown and slab elements, and is more or less vessel-sized. Voulkos had been experimenting with altered pot forms for a couple of years already; his breakthrough at this moment was to realize that these components could be reconceived as building blocks, opening a whole new sculptural vocabulary.

The efect of these works was aptly described by Gerald Nordlund in a rapturous review of Voulkos’s Pasadena Art Museum exhibition: “one considers the pot-like nature of the material and begins to feel vaguely with the weight, the suggestion of a fgure which never emerges...The individual forms grow together and apart, creating spatial tensions and balancing each other in a personal exploration of the exuberance of sculptural form.”1 As Nordlund acknowledges in this passage, the technical basis for this group of sculptures – despite their groundbreaking character—is still the lexicon of pottery.

Over the subsequent decade, Voulkos would redeploy this modular approach in several diferent ways. A series of great masterworks he produced in 1958-1959, including Rondena (sold at Phillips in 2017), Sitting Bull (Santa Barbara Museum of Art) and Little Big Horn (Oakland Museum of California), are built in much the same way, with the exterior unifed into an envelope. This topological surface then serves as a canvas for expressionist painting, in conversation with the oils on canvas he was producing at the time.2 He went on to apply the idea of unit-based construction to bronze sculpture; this adoption of a new medium is ofen understood as a rupture from his preceding ceramic work, but it was to some degree a logical extension. Finally, there are the Blackwares of 1967-68, which have a more evident relationship to functional ceramic typologies—plates, vases, jars— but feature the same dark palette and modularity he had pioneered a decade earlier.3

Peter Voulkos standing in front of Black Bulerias and other works exhibited at his solo exhibition at the Museum of Modern Art, New York, 1960. © Pier S. Voulkos and Daniel R. Peters Trust.

Photography by Simpson Kalisher, courtesy the Voulkos & Co. Catalogue Project

Voulkos would never again be quite so generative again (though his later, wood-fred works do fnd many admirers). But during this short space of time—his breakthrough years—and especially in the key period from 1958 to 1960, he opened up the full possibilities of his medium for countless artists. These works have served as an essential framework of reference ever since.

To fully take the measure of Black Bulerias, then, we must see it not only as a triumphant milestone in Voulkos’s career. We should also see it as a site of convergence, in which several separate trajectories meet.

In this respect, it is a ftting embodiment of the mountain landscape of his native Montana—which was compounded of primal forces beyond reckoning—and of Voulkos’s own studio, where numerous trains of thought collided to equally seismic efect. Black Bulerias has a duality that all great art works share in common. Perfectly, powerfully resolved in its own terms, it also points the way ahead.

1 Gerald Nordlund, “Art: Spokesmen for the Know-Nothings,” Frontier (May 1959), 22.

2 See Glenn Adamson, “Tower of Power,” Phillips, 12 December 2017.

3 Glenn Adamson, “Back to Black,” in Voulkos: The Breakthrough Years (New York: Museum of Arts and Design, 2016).

Property of a Private Collector, New York

125. Peter Voulkos

1924-2002

Untitled vessel 1963 Stoneware with cobalt oxide slip and glazes.

9 x 8 1/4 x 6 1/2 in. (22.9 x 21 x 16.5 cm) Underside signed and dated in glaze VOULKOS 63.

Estimate $7,000-9,000

Provenance Private collection Dorothy Weiss, California Bonhams, Los Angeles, “20th Century Decorative Arts,” April 16, 2014, lot 2017 Acquired from the above Thence by descent to Paul J. Coady, Los Angeles Bonhams, Los Angeles, “Made in California: Contemporary Art,” October 24, 2018, lot 30 Acquired from the above by the present owner

Exhibited “Peter Voulkos: Stacks, 1969-2001,” Malin Gallery, New York, June 26-September 21, 2019 Literature Glenn Adamson, et. al., Voulkos: The Breakthrough Years, exh. cat., Museum of Arts and Design, New York, 2016, pp. 60, 174 for similar examples

Phillips would like to thank Sam Jornlin, archivist and representative of the Voulkos estate, for her assistance cataloguing the present lot.

Property of a Lady

126. Harry Bertoia

1915-1978

“Sonambient” sounding sculpture circa 1965 Beryllium copper, bronze.

59 x 8 x 8 in. (149.9 x 20.3 x 20.3 cm) Together with a certifcate of authenticity from the Harry Bertoia Foundation.

Estimate $20,000-30,000 Provenance Los Angeles Modern Auctions, “Modern Art & Design,” February 25, 2018, lot 102 Acquired from the above by the present owner Literature Nancy N. Schifer and Val O. Bertoia, The World of Bertoia, Atglen, 2003, p. 11 for a similar example

127. José Zanine Caldas

1919-2001

“Root” table base 1970s Acariquara root.

30 1/2 in. (77.5 cm) high, 30 in. (76.2 cm) diameter Produced by the Zanine workshop, Nova Viçosa, Bahia, Brazil.

Estimate $25,000-35,000

Exhibited “Zanine, l’architecte et la forêt,” Musée des Arts Décoratifs, Paris, November 22, 1989-January 28, 1990 Literature Aric Chen, Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture, 2016, New York, p. 300 for a similar example Amanda Beatriz Palma de Carvalho, et al., José Zanine Caldas, São Paulo, 2019, p. 289 for a similar example

128. José Zanine Caldas

1919-2001

Bench 1980s Cumaru.

31 x 62 x 22 in. (78.7 x 157.5 x 55.9 cm) Produced by the Zanine workshop, Nova Viçosa, Bahia, Brazil.

Estimate $18,000-24,000

Provenance Maria Da Conceição Vianna Collor, Brazil Acquired from the above by the present owner Literature Amanda Beatriz Palma de Carvalho, et al., José Zanine Caldas, São Paulo, 2019, pp. 238, 286 for similar examples

Arts du Feu: Works from the Collection of Jason Jacques

129. Wilhelm Kåge

1889-1960

“Farsta” vase 1952 Glazed earthenware.

12 3/4 in. (32.4 cm) high Produced by Gustavsberg, Sweden.

Underside with manufacturer’s paper label printed GUSTAVBERG/SWEDEN, incised KAGE and with date mark, and impressed with studio mark, FARSTA and GUSTAVSBERG. Estimate $6,000-8,000

Provenance Stuart Tomc, Chicago Jefrey Belkin, Michigan Acquired from the above by the present owner, 2008

Arts du Feu: Works from the Collection of Jason Jacques

130. Wilhelm Kåge

1889-1960

“Dragonfsh” vase, from the “Farsta” series 1960 Glazed stoneware.

30 in. (76.2 cm) long Produced by Gustavsberg, Sweden.

Underside incised KAGE and with date mark and further impressed with studio mark and FARSTA/GUSTAVSBERG. Estimate $3,000-5,000

Provenance Jerome Shaw, Michigan Acquired from the above by the present owner, 2003 Literature Gisela Eronn, Wilhelm Kåge: Keramikens mästare, Stockholm, 2006, p. 93

Arts du Feu: Works from the Collection of Jason Jacques

131. Carlo Bugatti

1855-1940

Vanity circa 1900 Parchment, ebonized wood, pewter, brass, bone, mirrored glass.

62 x 39 1/2 x 25 in. (157.5 x 100.3 x 63.5 cm) Estimate $30,000-40,000 Provenance Private collection, North America Sotheby’s, New York, “Important Twentieth Century Decorative Works of Art,” December 4-5, 1998, lot 517 Private collection, Monte Carlo Private collection, Italy Phillips, New York, “Design,” May 25, 2011, lot 120 Acquired from the above Pandolfni, Florence, “European Furniture and Works of Art,” April 15, 2014, lot 131 Acquired from the above by the present owner Exhibited “Carlo Bugatti, A World of Imagination,” Istituto Italiano di Cultura, Toronto, February 9–May 27, 1995 “The Exotic and the Theatrical: Turn of the Century Furniture by Carlo Bugatti,” Montreal Museum of Decorative Arts, October 18, 1995–January 7, 1996

Property of a Private Collector

132. Albert Cheuret

1884-1966

Pair of wall lights circa 1925 Bronze, alabaster.

Each: 22 x 16 x 5 1/2 in. (55.9 x 40.6 x 14 cm) One wall light incised Albert Cheuret.

Estimate $8,000-12,000 Provenance DeLorenzo Gallery, New York Acquired from the above by the present owner Literature Alastair Duncan, Art Deco Complete, New York, 2009, p. 237

Property from an Important Collection

133. Jean Dunand

1877-1942

Vase circa 1913 Patinated metal.

8 1/2 in. (21.6 cm) high Underside incised JEAN DUNAND. Estimate $8,000-12,000

Literature Félix Marcilhac, Jean Dunand: His Life and Works, New York, 1991, p. 302 for a similar example

134. Gustav Klimt

1862-1918

Portfolio circa 1904 Gold leaf-covered paper board, linencovered paper board.

24 3/8 x 16 3/4 x 2 in. (62 x 42.5 x 5.2 cm) 37 3/4 x 40 3/4 x 1/8 in. (96 x 103.5 x .4 cm) fully extended Executed by the Wiener Werkstätte, Vienna, Austria. Cover embossed with artist’s monogram and interior impressed WIENER/WERK/STATTE. Estimate $15,000-20,000

Provenance Collection of the artist Thence by descent Private collection, Vienna Dorotheum, Vienna, “Design,” November 24, 2009, lot 9 Acquired from the above by the present owner Literature Gustav Klimt: Painting, Design and Modern Life, exh. cat., Tate Liverpool, 2008, illustrated fg. 175

Arts du Feu: Works from the Collection of Jason Jacques

135. Johan Borgersen

1863-1930

Bench circa 1900 Oak. 31 1/2 x 49 x 13 5/8 in. (80 x 124.5 x 34.6 cm) Estimate $8,000-12,000

Provenance Christie’s, Paris, “Galerie Camoin Demachy Meubles et objets d’arts du XVIIIe au début du XXe siècle,” October 1, 2013, lot 224 Acquired from the above by the present owner

Literature O. Gerdeil, “La Norvège à l’Exposition Universelle,” L’Art Décoratif, October 1900, p. 23 Jason Jacques, Exotica, Lenox, 2010, illustrated p. 109

136. Charles Rennie Mackintosh 1886-1928 Chair, designed for the Luncheon Room of Miss Cranston’s Argyle Street Tea House, Glasgow circa 1897 Oak, fabric upholstery.

38 5/8 x 19 1/8 x 17 3/4 in. (98 x 48.5 x 45 cm) Estimate $10,000-15,000

Provenance Gerald and Celia Larner, Cheshire Sotheby’s, London, “Applied Arts from 1880,” June 17, 1988, lot 290 Eleanor Tafner, New York Torsten Bröhan, Germany Dorotheum, Vienna, “Jugendstil,” May 30, 2007, lot 168 Acquired from the above by the present owner

Literature J. Taylor, “Modern Decorative Art At Glasgow. Some notes on Miss Cranston’s Argyle Street Tea House,” The Studio, vol. 39, October 15, 1906, pp. 32, 34 Roger Billclife, Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings, & Interior Designs, London, 1979, p. 48

137. Koloman Moser

1868-1918

Pair of armchairs circa 1903 Oak, rush.

Each: 48 1/2 x 22 5/8 x 22 in. (123.2 x 57.5 x 55.9 cm) Executed by Prag-Rudniker Korbwarenfabrik, Vienna, Austria.

Underside of each inscribed 229450.

Estimate $25,000-35,000

Provenance Private collection, Germany Acquired from the above by the present owner

Phillips would like to thank Dr. Christian Witt-Dörring for his assistance cataloguing the present lot.

Literature J.A. Lux, ed., Das Interieur IV, Vienna, 1903, pp. 87, 201 Renée Price, ed., New Worlds: German and Austrian Art 1890-1940, New York, 2001, p. 449 Sandra Tretter, ed., Koloman Moser 18681918, Vienna, 2007, p. 123

A year afer the Austrian professor and artist Koloman Moser designed the present model armchairs, The Studio magazine extolled his work, writing: “When the history of modern art in Vienna comes to be written in detail, the historian will start at the Secession; and when he comes to personalities it will be found that in one branch—namely, applied art—no one is worthier of a prominent place than Koloman Moser, for in the space of a few years he has created a school and (what is more) has helped to educate not only his pupils but also a public as eager to learn as they, and manufacturers ready to produce things which are artistic besides being useful.” Though the author was specifcally referring to Moser’s role in co-founding the groundbreaking Wiener Werkstätte in 1903, a defense for this praise can still be found in the present lot: the chairs not only unite the artistic with the useful but they also exemplify the ways in which design was used to infuence public taste at the turnof-the-century in Vienna.

Moser’s manipulation of rush into a grid-like pattern on the seat and backrest is both structural and decorative. The geometric simplicity of the form represents Moser’s predilection for austere yet exquisitelycrafed design. Moser designed the chairs for Prag-Rudniker, a celebrated producer of rush furniture, during a time when the Austrian-Hungarian Empire was promoting rush furniture. PragRudniker employed the talents of many crafspeople from the Wiener Kunstgewerbeschule (Vienna School of Applied Arts) such as Moser.

This type of furniture was frequently used in many of the galleries of the Secession’s exhibitions at the beginning of the twentieth century.

The present model armchair was displayed in the galleries of the 18th Secession exhibition at the end of 1903.

Property from an Important Collection

138. Josef Hofmann

1870-1956

Smoking table circa 1910 Painted metal.

26 3/4 in. (67.9 cm) high, 16 1/8 in. (41 cm) diameter Executed by the Wiener Werkstätte, Vienna, Austria. Underside impressed WIENER/WERK/STÄTTE. Estimate $20,000-30,000

Provenance Historical Design, New York Acquired from the above by the present owner

The present model is recorded in the Wiener Werkstätte Archive of the MAK Vienna under inventory number KI 12034-10-1.

Literature Moderne Vergangenheit, 1800-1900, Vienna, 1981, cover, p. 319 Christian Brandstätter, Wiener Werkstätte: Design in Vienna, 19031932, London, 2003, n.p.

Phillips would like to thank Dr. Christian Witt-Dörring for his assistance cataloguing the present lot.

Property from an Important Collection

139. Josef Hofmann

1870-1956

Vase, model no. 2 4454 (S sh 10) circa 1924 Silver.

10 3/4 in. (27.3 cm) high Executed by the Wiener Werkstätte, Vienna, Austria. Underside impressed with artist’s monogram JH, WIENER WERKSTÄTTE, WW, rose mark, 900 silver mark, and the Austrian assay mark.

Estimate $6,000-8,000 Provenance Acquired by the present owner in 2004

The present model is recorded in the Wiener Werkstätte Archive of the MAK Vienna, under inventory number KI 11982-4.

Phillips would like to thank Dr. Christian Witt-Dörring for his assistance cataloguing the present lot.

Property from an Important Collection

140. Josef Hofmann

1870-1956

Centerpiece, model no. S 5178 (S sh 6) circa 1923 Silver.

6 in. (15.2 cm) high Executed by the Wiener Werkstätte, Vienna, Austria. Base impressed WW and with Austrian assay mark twice and centerpiece further impressed WIENER/ WERK/STÄTTE, with artist's monogram JH, and with 900 silver mark.

Estimate $7,000-9,000 Provenance Historical Design, New York Acquired from the above by the present owner

The present model is recorded in the Wiener Werkstätte Archive of the MAK Vienna under inventory number KI 12003-1.

Phillips would like to thank Dr. Christian Witt-Dörring for his assistance cataloguing the present lot.

∆Σ

141. Pierre Chareau

1883-1950

“Tulip” daybed, model no. MP 102 circa 1923 Rosewood, rosewood-veneered wood, fabric.

241/ 4 x 811/ 4 x 337/8 in. (61.6 x 206.4 x 86 cm) Produced by Chanaux & Pelletier, Paris, France. Fabric designed by Hélène Henry, Paris, France. Underside impressed four times with manufacturer’s mark CP. Estimate $60,000-80,000

Provenance Private collection, Europe Thence by descent Christie’s, London, “Important 20th Century Decorative Arts, including Late 19th Century Design,” May 16, 2001, lot 54 Acquired from the above Phillips, New York, “Design,” June 6, 2017, lot 57 Acquired from the above Exhibited “Pierre Chareau: Modern Architecture and Design,” The Jewish Museum, New York, November 4, 2016-March 26, 2017

Literature Les Arts de la Maison, Winter 1923, pp. 47, 49 for drawings “L’Art Urbain et le mobilier au Salon d’Automne,” Art et Décoration, December 1923, p. 179 Mark Vellay and Kenneth Frampton, Pierre Chareau: Architecte-Meublier 1883-1950, Paris, 1984, p. 310 Esther da Costa Meyer, Pierre Chareau: Modern Architecture and Design, exh. cat., The Jewish Museum, New Haven, 2016, p. 91 for a drawing, illustrated p. 162

The present model daybed was exhibited at the 1923 Salon d’Automne, Paris.

For an all-too-brief period spanning approximately a dozen years, Pierre Chareau designed exquisite interiors for the progressive bourgeoisie of interwar Paris. Chareau and his wife Dollie belonged to this cultivated set, who were as forward-thinking in their taste for art, music, theater, and flm as they were in their politics. Though best remembered for the Maison de Verre, the home and medical ofce he completed for Jean Dalsace and his wife Annie Bernheim Dalsace in Paris in 1932, Chareau’s creative output extended to furniture, lighting, and even flm sets. The marvelous Maison de Verre still stands, but no other original interiors survive. The few objects that remain (many having been scattered due to the circumstances of World War II) are the only artifacts lef from this brilliant, yet short-lived career.

Beginning in 1923, Chareau belonged to the Société des Artistes Décorateurs, which also included Maurice Dufrène, René Herbst, and André Groult. Chareau distinguished himself from this cohort of extraordinary talent through his penchant for combining forged iron (executed by the ironsmith Louis Dalbet) with fne exotic woods, ofen incorporating ingeniously devised moving parts, and always favoring fat, unadorned surfaces that highlighted the natural beauty of the wood. Although this was precious, hand-crafed furniture for distinguished clients, Chareau was also a modernist working in the same time and place as Le Corbusier, who declared that “A house is a machine for living in,” a statement which certainly applies to the Maison de Verre. Chareau’s avant-garde designs embodied modernism, yet remained luxurious, tied to the high-quality, laborintensive crafsmanship that had set French decorative arts apart since the eighteenth century.

Property from a Manhattan Collection

142. Robert Mallet-Stevens 1886-1945 Tobacco box circa 1928 Nickel-plated brass.

4 x 7 7/8 x 8 3/4 in. (10.2 x 20 x 22.2 cm) Produced by Maison Desny, Paris, France.

Underside impressed MADE IN FRANCE/ DESNY PARIS/DEPOSE. Estimate $15,000-20,000

Literature Gladys C. Fabre, Marie-Odile Briot, and Barbara Rose, Léger et l’esprit moderne: Une alternative d’avant-garde à l’art nonobjectif, 1918-1931, exh. cat., Musée d’art moderne de la ville de Paris, 1982, p. 469 Alastair Duncan and Audrey Freidman, “La Maison Desny,” The Journal of Decorative and Propaganda Arts, vol. 9, Summer 1988, p. 88

∆

143. Jean-Michel Frank

1895-1941

Pair of side chairs circa 1935 Oak, leather upholstery.

Each: 39 1/2 x 20 1/2 x 25 1/2 in. (100.3 x 52.1 x 64.8 cm) Produced by Chanaux & Company, Paris, France. Underside of each impressed CHANAUX & Co J.M. FRANK 15538.

Together with a certifcate of authenticity from the Comité Jean-Michel Frank.

Estimate $20,000-30,000

Provenance Jean-Pierre Guerlain, Paris, circa 1935 Jacques Grange, Paris, circa 1996 Private collection, acquired from the above, 1998 Phillips, New York, “Design Evening Sale,” December 13, 2016, lot 433 Acquired from the above

Literature Léopold Diego Sanchez, Jean-Michel Frank, Adolphe Chanaux, Paris, 1997, illustrated pp. 140-41 Pierre-Emmanuel Martin-Vivier, JeanMichel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period, New York, 2006, illustrated pp. 165-66

∆

144. Alberto Giacometti

1901-1966

Pair of candle holders circa 1930 Terracotta.

Taller: 3 5/8 in. (9.2 cm) high, 4 in. (10.2 cm) diameter Undersides incised AG 01 and AG 02, respectively. Together with a certifcate of authenticity from the Comité Giacometti.

Provenance Galerie l’Arc en Seine, Paris Private collection, United Kingdom, acquired from the above, 1997 Phillips, New York, “Design Evening Sale,” December 12, 2017 Acquired from the above

Estimate $25,000-35,000

Literature Roger Lannes, “Exégèse poétique de Jean-Michel Frank,” Art et Décoration, no. 1, 1939, pp. 8, 15 Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1980, pp. 166, 179 Pierre-Emmanuel Martin-Vivier, JeanMichel Frank: un décorateur dans le Paris des années 30, exh. cat., Fondation Pierre Bergé-Yves Saint Laurent, Paris, 2009, p. 78 Pierre-Emmanuel Martin-Vivier, JeanMichel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period, New York, 2012, pp. 68, 92, 153, 216, 251, 284

The present lot is registered by the Fondation Alberto and Annette Giacometti in the online Alberto Giacometti Database (AGD) under the numbers 3752 and 3753.

The present rare candle holder design was executed in several materials, including bronze, gilt plaster, and terracotta, in collaboration with Jean-Michel Frank. Frank is believed to have discovered Giacometti’s work at the 1929 Salon de Tuileries exposition held at the Palais de Bois. Giacometti went on to design over seventy objects for Frank, including seventeen lamps, eleven foor lamps, thirteen vases, ten wall lights, and other small accessories. Among the more notable Frank interiors to include Giacometti designs were Elsa Schiaparelli’s showroom on Place Vendôme—she in fact kept two of the present candle holders, executed in white plaster,

on her desk (1934); Jean-Pierre Guerlain’s apartment (1935) and Jorge Born’s villa, Buenos Aires (1939). Giacometti assigned equal importance to his decorative works and sculptures. As he explained in a 1962 interview with André Parinaud, “For my livelihood, I accepted to make anonymous utilitarian objects for a decorator at that time, Jean-Michel Frank. […] it was mostly not well seen. It was considered a kind of decline. I nevertheless tried to make the best possible vases, for example, and I realized I was developing a vase exactly as I would a sculpture and that there was no diference between what I called a sculpture and what was an object, a vase!”

Property from a Private Collection, Palm Beach

145. Alberto Giacometti

1901-1966

“Figure” foor lamp designed circa 1933, later cast Patinated bronze, paper shade.

Height of cast: 61 in. (154.9 cm) Base impressed A. Giacometti, DG, and 056. Together with a certifcate of authenticity from the Comité Giacometti.

Estimate $150,000-200,000 Provenance Acquired by the present owner circa 1980 Literature Waldemar George, “Jean Michel Frank,” Art et Décoration, no. 3, 1936, p. 98 Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1980, pp. 107, 204 Michel Butor, Diego Giacometti, Paris, 1985, p. 125 Daniel Marchesseau, Diego Giacometti, Paris, 1986, p. 11 Pierre-Emmanuel Martin-Vivier, JeanMichel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period, New York, 2012, pp. 68, 143, 198, 250

The present lot is registered by the Fondation Alberto and Annette Giacometti in the online Alberto Giacometti Database (AGD) under the number AGD 4265.

Property of a Distinguished Collector

146. Maxime Old

1910-1991

Console table circa 1958 Painted wood, leather, bronze, brass.

31 x 168 x 20 in. (78.7 x 426.7 x 50.8 cm) Estimate $6,000-8,000

Provenance Galerie Yves Gastou, Paris Acquired from the above by the present owner Literature Yves Badetz, Maxime Old: architectedécorateur, Paris, 2000, pp. 240-41

147. Georges Jouve

1910-1964

Pair of wall lights circa 1950 Glazed ceramic, paper shades.

Each: 12 3/4 x 12 1/4 x 5 1/4 in. (32.4 x 31.1 x 13.3 cm) Estimate $6,000-8,000

Provenance Private collection, Paris Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 305 for a drawing

148. Jean Royère

1902-1981

“Quillle” table circa 1955 Painted wood.

29 1/4 x 37 5/8 x 37 5/8 in. (74.3 x 95.6 x 95.6 cm) Estimate $30,000-50,000

Provenance Ansóm Fernandini, Peru Thence by descent Acquired from the above by the present owner Literature Claudine Chareyron, “La Décoration Française au Liban, trois installations à Beyrouth,” Mobilier et Décoration, June 1960, p. 3 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 1, Paris, 2012, pp. 188 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 2, Paris, 2012, pp. 68, 218-19

The present model is documented in the Jean Royère papers held by the Musée des Arts décoratifs, Paris in the Fernandini ensemble fle for Ancó, Lima, Peru as tracing plan no. 10.006.

Arts du Feu: Works from the Collection of Jason Jacques

149. Émile Decoeur

1876-1953

Vase circa 1930 Glazed stoneware.

8 3/4 in. (22.2 cm) high Underside incised Decoeur.

Estimate $5,000-7,000

Arts du Feu: Works from the Collection of Jason Jacques Literature René Chavance, “Œuvres récentes d’Émile Decœur,” Art et Décoration, November 1933, p. 340 for a similar example

150. Émile Decoeur

1876-1953

Vase circa 1930 Glazed stoneware.

10 1/8 in. (25.7 cm) high Underside incised Decoeur.

Estimate $5,000-7,000

Property from a Private Collection, East Hampton

151. Jacques Adnet

1900-1984

Property of a Distinguished Collector

152. Jacques Adnet

1900-1984

Pair of wall lights

Bar cabinet

1940s Painted steel, painted metal, brass, paper shades.

Each: 72 x 12 1/4 x 10 1/2 in. (182.9 x 31.1 x 26.7 cm)

1940s Painted wood, brass, mirrored glass.

35 1/2 x 47 1/4 x 17 1/2 in. (90.2 x 120 x 44.5 cm)

Estimate $6,000-8,000 Provenance Eric Allart, Paris Acquired from the above by the present owner, 2002

Estimate $8,000-12,000

Literature René Chavance, “Jacques Adnet dans le mouvement contemporain,” Mobilier et Décoration, September 1936, pp. 333, 342, 344 for similar examples Bernard Champigneulle, “Jacques Adnet,” Mobilier et Décoration, December 1948, p. 13 Alain-René Hardy and Gaëlle Millet, Jacques Adnet, Paris, 2014, p. 75

153. Kyohei Fujita

1921-2004

154. Kyohei Fujita

1921-2004

155. Kyohei Fujita

1921-2004

Kazaribako (ornamented box)

Kazaribako (ornamented box)

Kazaribako (ornamented box)

circa 1995 Blown glass with gold leaf, silver-plated metal.

5 3/4 in. (14.6 cm) high Underside incised Kyohei Fujita. Together with custom wood box with artist’s signature to inside of lid.

circa 1995 Blown glass with gold leaf.

3 1/2 in. (8.9 cm) high Underside incised Kyohei/Fujita. Together with custom wood box with artist’s signature to inside of lid.

circa 1995 Blown glass with gold leaf, silver-plated metal.

5 in. (12.7 cm) high Underside incised Kyohei Fujita. Together with custom wood box with artist’s signature to inside of lid.

Estimate $3,000-4,000 Provenance Private collection, Bavaria Acquired from the above by the present owner, 2019 Literature Atsushi Takeda, Kyohei Fujita Glass, Tokyo, 2000, p. 56 for a similar example

Estimate $2,500-3,500 Provenance Private collection, Bavaria Acquired from the above by the present owner, 2019 Literature Atsushi Takeda, Kyohei Fujita Glass, Tokyo, 2000, p. 30 for a similar example

Estimate $3,000-4,000 Provenance Private collection, Bavaria Acquired from the above by the present owner, 2019

153.

155.

154.

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156. Jean Royère

1902-1981

Group of door handles circa 1945 Gilt bronze, bamboo.

Each: 5 1/4 in. (13.3 cm) long Comprising 7 sets of door handles, as shown, in addition to other hardware elements not illustrated, including 5 single door handles, 5 keys, 8 escutcheons and 4 lock covers.

Estimate $7,000-9,000 Provenance Acquired from the designer’s former residence, Paris Phillips, New York, “Design Day Sale,” December 13, 2018, lot 147 Acquired from the above Literature Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 2, Paris, 2012, p. 339 for a drawing Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2017, pp. 151, 154, 157, 281

157. Line Vautrin

1913-1997

“Chardon” mirror circa 1955 Talosel resin, glass, convex mirrored glass.

14 7/8 in. (38 cm) diameter Reverse incised Line Vautrin and with metal label embossed ROI.

Estimate $12,000-18,000 Provenance Dorotheum, Vienna, “Design,” May 20, 2015, lot 344 Acquired from the above by the present owner Literature Patrick Mauriès, Line Vautrin: Miroirs, Paris, 2004, pp. 21, 26, 70-71, 100-01, 115 for similar examples

Sale Information Auction

Auction License

Wednesday, 9 December at 1pm

2013224

Please register to bid online, absentee or by phone.

Auctioneers

Design Department Senior International Specialist

Viewing 1 Hampton Road Southampton, New York 11968 4–9 December Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY050220 or Design.

Absentee and Telephone Bids Tel +1 212 940 1228 Fax +1 212 940 1749 bidsnewyork@phillips.com

Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Rebecca Tooby-Desmond - 2058901 Susan Abeles - 2074459 Aurel Bacs – 2047217 Blake Koh – 2066237 Susanna Brockman – 2058779 Rebekah Bowling - 2078967 Catalogues catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Steve Orridge +1 212 940 1370 Anaar Desai +1 212 940 1320 Photography Kent Pell Alex Braun

Front cover Peter Voulkos, Black Bulerias, 1958, lot 124 Back cover Judy Kensley McKie, “Gazelle” table, designed 1987, executed 2011, lot 111 (detail)

Meaghan Roddy mroddy@phillips.com Head of Department, New York Cordelia Lembo clembo@phillips.com Specialist Kimberly Sørensen ksorensen@phillips.com Cataloguer Ben Green bgreen@phillips.com Administrator Georgina Walsh gwalsh@phillips.com

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Index Adnet, J. 151, 152

Giacometti, A. 144, 145

Albini, F. 42, 43, 44

Parisi, I. 14, 16 Ponti, G. 3, 4, 5, 9, 10, 12, 13, 17,

Agger, F. 64 Helg, F. 42, 43, 43

18, 21, 23, 25, 28, 33, 34, 35

Hofmann, J. 138, 139, 140

Prouvé, J. 63

Ingrand, M. 19, 22, 24

Rie, L. 115, 116, 117, 118, 119, 120,

Barovier & Toso (Co.) 30 Bertoia, H. 126

121, 122, 123

Bianconi, F. 50 Jouve, G. 147

Royère, J. 148, 156

Bugatti, C. 131

Kagan, V. 54, 55, 56, 57, 58,

Sarfatti, G. 1, 15, 45, 46, 47, 48, 49

Bussière, E. 86

59, 60, 61, 62

Scarpa, C. 2

Buzzi, T. 6, 29, 31, 32

Kåge, W. 129, 130

Schmitt, E. 72

Klimt, G. 134

Sottsass, Jr., E. 66

Bo Bardi, L. 65 Borgersen, J. 135

Stearns, T. 53

Caldas, J. Z. 127, 128 Campana, C. 75

Laarman, J. 74

Stilnovo 7, 27

Campana, F. 75

Lachenal, E. 95

Studio Job 76

Castle, W. 71

Lalanne, F.-X. 77

Chaplet, E. 80, 81, 93

Lancia, E. 4

Chareau, P. 141

Lebovici, Y. 68, 69

Cheuret, A. 132

Lelii, A. 39, 40

Ulrich, G. 26

Colombo, J. 67

Mackintosh, C.R. 136

Vautrin, L. 157

Coper, H. 114

Mallet-Stevens, R. 142

Voisin-Delacroix, A. 82, 92, 96, 100

McKie, J. K. 111, 112

Voulkos, P. 124, 125

Terragni, G. 36, 37

Chiesa, P. 20

Dalpayrat, P.-A. 82, 83, 84, 85,

Mishima, R. 108

87, 88, 89, 90, 91, 92, 94, 96, 97,

Moser, K. 137

Wanders, M. 73 Wanscher, O. 41

98, 99, 100, 101 de Vallombreuse, H. 105

Newson, M. 70

Wegner, H. J. 38

Decoeur, É. 149, 150

Niemeyer, O. 113

Wiseman, D. 79

Donat, I. 78

Ohira, Y. 51, 52

Yô, A. 109

Dunand, J. 133

Ohr, G. 102, 103, 104

Doat, T. 106, 107

Old, M. 146 Ferro, G. 8 Fontana Arte 11 Frank, J.-M. 143 Fujita, K. 153, 154, 155

Owens, R. 110

Design

London / 25 March 2021 Enquiries designlondon@phillips.com +44 20 7901 7944

Gio Ponti Set of ten chairs, 1950s

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