DESIGN [Catalogue] by PHILLIPS

Design

London / 26 March 2020

Design London / 26 March 2020

Auction & Viewing Location 30 Berkeley Square, London, W1J 6EX Auction 26 March at 2pm Viewing 21–26 March Monday–Saturday 10am–6pm Sunday 12pm–6pm

Design Department Head of Department Europe, Senior International Specialist Domenico Raimondo draimondo@phillips.com Head of Sale, Associate Specialist Madalena Horta e Costa mhortaecosta@phillips.com

Sale Designation

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Antonia King antonia.king@phillips.com Senior Cataloguer Nicola Krohman nkrohman@phillips.com Cataloguer Caroline Pedote cpedote@phillips.com

Our Team Design London

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Madalena Horta e Costa

Sofa Sayn-Wittgenstein

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Europe Laurence Calmels

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Kalista Fenina

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Sujeong Shin

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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.

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1. Gio Ponti

1891-1979

Rare two-seater sofa 1950s Vinyltex, brass, painted brass. 73 x 122.5 x 86 cm (28 3/4 x 48 1/4 x 33 7/8 in.) Possibly manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £22,000-28,000 $28,500-36,300 €26,300-33,400

Provenance Private collection, Milan Literature ‘’Proposte per la casa’ alla XI Triennale’, Domus, no. 337, December 1957, p. 33 for a similar example Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 239 for a similar example Laura Falconi, ed., Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 183 for a similar example

plus Buyers Premium and VAT*

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

A Sofa, a Cypher, and a Gem By Brian Kish

The present austere two-seater sofa turns out to be perhaps the most reductive, but also the most complete embodiment of Gio Ponti’s obsession with the diamond form, whose complex geometries served as a matrix for many outstanding designs in his long career. Starting with the 1953 Distex armchair and soon followed by the Mariposa, a seat concept that frst appeared at the Villa Planchart in Caracas and then reemerged in the Mariposa sofa for the 1957 Milan Triennale, Ponti multiplied the diamond form ad infnitum in his most productive decade. A close relative of the Mariposa, however, this time without sides or profled arms, the present work still retains the essence of the diamond form as a distant memory. In Ponti’s own words the diamond or crystal is a metaphor, ‘used to pursue an image of purity, order, impulse...of eternity, of silence and charm at the same time; an image of closed forms in which everything would be consummated in the rigour of volumes and of thought; and let me add an image of classicism’ (Gio Ponti, Amate l’architettura, Genoa, 1957, p. 29). The manufacturer of this rare sofa was most likely Cassina, corresponding with all of Ponti’s other experimental furniture designs in the 1950s. Of note is the original Vinyltex fabric with its inherent properties of stretchability, which gave the upholstered form sharp lines, enhanced durability, and easy maintenance appropriate for modern living while announcing a better future. Ponti was aware and remarked on how the frst impression we have of a chair or sofa is ofen from behind or from profle before it reveals itself in its entirety in a frontal perspective. Here the compact proportions give us a chance of experiencing the gestalt of the work in an instant. Ponti had a great understanding of Leon Battista Alberti’s 1485 treatise on architecture, the frst printed book on architecture, in which he explains how the application of musical and mathematical principles can achieve absolute perfection of proportion in architecture design. However, Alberti does pause in the midst of these remarks to consider for a moment a bend in a medieval street in Florence, noting how pleasant it is for one’s eye to rest on that angle as it disrupts static harmony. In turn, we encounter Ponti here at play with a fragmentary diamond form, a two-seater sofa with a gentle angle that brings unexpected delight as we approach it.

2. Gino Sarfatti

1912-1985

Wall light, model no. 208 circa 1955 Painted aluminium, brass, painted brass, Bakelite. As shown: 28 x 45 x 38 cm (11 x 17 3/4 x 14 7/8 in.) Manufactured by Arteluce, Milan, Italy. Interior of shade with manufacturer’s label printed AL/MILANO/ARTELUCE. Estimate £7,000-9,000 $9,100-11,700 €8,400-10,800 plus Buyers Premium and VAT*

Provenance Private collection, Germany Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 262, 409

3. Fontana Arte Rare cofee table, model no. 1774 circa 1958 Glass, coloured mirrored convex glass, painted steel, brass. 37.6 cm (14 3/4 in.) high, 83 cm (32 5/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Base impressed FONTANA/ITALY. Estimate £30,000-50,000 $38,900-64,800 €35,800-59,700 plus Buyers Premium and VAT*

Provenance Private collection, Bologna Literature ‘Cristalli Fontana Arte’, Domus, no. 344, July 1958, p. 52 Quaderni Fontana Arte 2, sales catalogue, 1960s, p. 8 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 409

4. Gio Ponti

1891-1979

Unique ‘Pontesca’ vase circa 1930 Glazed earthenware. 35 cm (133/4 in.) high Produced by Richard-Ginori, Doccia, Italy. Underside painted Richard/Ginori under the glaze and enamelled 1151. Estimate £15,000-20,000 $19,400-25,900 €17,900-23,900

Provenance Private collection, Rome, circa 1930 Acquired from the above by the present owner Literature Loris Manna, Gio Ponti: Le Maioliche, Milan, 2000, pp. 226-27 for a plate with the same design Phillips wishes to thank Dott.ssa Oliva Rucellai for her assistance cataloguing the present lot.

plus Buyers Premium and VAT*

The spherical form of the present vase designed by Gio Ponti corresponds to the shape of vase, model number 1151, illustrated in the 1930 Richard-Ginori catalogue Ceramiche moderne d’arte. The present example is distinguished by its vividly coloured design entitled ‘Pontesca’. Featuring an ochre yellow painted composition of allegorical motifs—including keys, arrows, hands, pierced hearts, headless fgures and winged busts—against a cobalt blue background, Ponti frst presented this design on a large plate, model no. 381, at the 1930 Monza Triennale. This plate is now part of the collection of the Museo Richard-Ginori in Sesto Fiorentino. Ponti translated the ‘Pontesca’ decoration from the plate to the curved surface of the vase with minimal variation, apart from the addition of a second winged fgure—the only exception to the principle of non-repetition that informs Ponti’s fantastical composition. The ‘Pontesca’ vase is thought to be unique as no other examples or archival sources are known.

5. Carlo Mollino

1905-1973

Set of ten armchairs, designed for the Lutrario Ballroom, Turin circa 1960 Resinfex, walnut-veneered plywood, painted iron, brass, rubber. Tallest: 77 x 61 x 56.3 cm (30 3/8 x 24 x 22 1/8 in.) Manufactured by Doro, Cuneo, Italy. Reverse of nine armchairs with manufacturer’s label printed DORO/CUNEO. Estimate £25,000-35,000 $32,400-45,400 €29,900-41,800 plus Buyers Premium and VAT*

Provenance Savona Football Club, Italy

The present lot is registered in the library of the Museo Casa Mollino, Turin, as numbers CM-267-26 to 35.

Literature Fulvio Ferrari, Carlo Mollino Cronaca, Turin, 1985, p. 140 Giovanni Brino, Carlo Mollino: Architettura come autobiografa, Milan, 1985, pp. 144-45 Rossella Colombari, Carlo Mollino Catalogo dei Mobili - Furniture Catalogue, Milan, 2005, p. 90 Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino, New York, 2006, pp. 153-55, 231 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, pp. 95-97

6. Gio Ponti

1891-1979

Rare sideboard circa 1932 Burr walnut-veneered wood, walnut, glass, mirrored glass, brass. 91.2 x 240 x 40.5 cm (35 7/8 x 94 1/2 x 15 7/8 in.) Possibly produced by Quarti, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £25,000-35,000 $32,400-45,400 €29,900-41,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan

Learning from Loos: A Rationalist Sideboard, 1932 By Brian Kish

Some key elements of the present elongated sideboard already appear in sketches for related pieces published in Domus in 1932. Together they mark Gio Ponti’s earliest departure from his late 1920s Novecento inventions towards the emerging Rationalist mode of 1930s Milan. His late 1920s ‘Domus Nova’ production pieces for La Rinascente department stores were an abstract distillation of neo-classicism and were met with great success in furnishing the rapidly expanded dwellings of the Milanese middle classes. This paved the way for recurring 1930s private commissions that allowed Ponti to experiment with newer concepts. Throughout that period Ponti published extensive documentation of these unique furnishings in Domus in the context of the Rationalist buildings or interiors to which they were destined. In his own words, they were ‘demonstrations’—‘demonstrations of the possibility of a ‘pleasant’ urban architecture...pointing out the aims achieved’ (Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 65). ‘I learned it from Loos, Adolf Loos, the great pioneering Austrian architect (whom I met personally). He used to tell me that the foot and leg of a chair or any piece of furniture must be always ‘a little too thin’, a spire always ‘a little too high’, a bridge always ‘a little too tense’. Always a challenge, always a success’ (Gio Ponti, Amate l’architettura, Genoa, 1957, p. 110). When it came to his own furniture designs, Ponti who had met Adolf Loos probably in late 1920s Paris, seems to have absorbed some of the older master’s methods of articulating interior space. With Loos the ornament was achieved in manipulating natural materials, such as marble or wooden wall paneling cut in bookmatched patterns, which imparted a note of luxury to every aspect of these interiors. In the present Ponti sideboard we see his rare use of radica ferrarese (burled root wood), which was cut into halves or quarters and veneered across the expansive surface.

This achieved a unity, as well as a slight obliteration of each element within the overall scheme, culminating in an exhilarating kaleidoscope efect obtained by lining the two short ends with quartered veneers. The 1932 sideboard rests on four brass bands whose folded ribbon shape is repeated at the four curved corners of the top surface. This design functioned as both a room divider separating living and dining spaces and as a utilitarian object for storing dining utensils. The lateral end sections with interior shelves are left exposed by glass windows, thereby revealing the ceramic, silver, and stemware. The front elevation that faced the living room has a large rectangular expanse of mirrored glass. This not only mitigated the expansive volume of the sideboard, but spatially distorted the living room by refecting back upon itself the contents of that space. This device of twisting perspective with mirrored surfaces was also used to convincing efect in Loos’ interiors to highlight his room transitions. The 1930s was the decade when Ponti was busiest with architectural commissions for industry, including Montecatini, RAI, and Ferrania as well as signifcant residential buildings: Casa Rasini, Casa Marmont and all the various Case Tipiche projects. All were rationalist designs and the interior fxtures and fttings were closely aligned with his architectural methods. Writing in a 1933 Domus editorial titled ‘La casa all’italiana’, Ponti begins with the sentence: ‘Comfort in the home lies in something higher, it lies in obtaining through architecture a measure for our own thoughts’ (Licitra Ponti, 266). This complex but clearly designed custom sideboard echoes these words and is a brilliant precursor to many of Ponti’s achievements in the postwar decades.

7. Max Ingrand

1908-1969

Rare mirror circa 1957 Mirrored glass, partially acid-etched glass, nickel-plated brass, painted wood. 93 x 80.6 x 4 cm (36 5/8 x 31 3/4 x 1 5/8 in.) Manufactured by Fontana Arte, Milan, Italy. Reverse with manufacturer’s label printed GALVANIT/FONTANA/ ITALY/REGISTRATO/LUIGI FONTANA & C. - S.p.A./MILANO-TORINOGENOVA-CANTU-MESSINA/GALVANIT E’ LO SPECCHIO DI CRISTALLO CON PROTEZIONE IN RAME CHE NE GARANTISCE LA DURATA.

Estimate £18,000-22,000 $23,300-28,500 €21,500-26,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Edoardo Paoli, L’importanza dello Specchio, Milan, p. 21 Edoardo Paoli, ‘Specchiere e specchi: appesi, nel mobile e tecnici’, Quaderni di Vitrum, no. 8, Milan, p. 116 ‘Rassegna Domus per Natale’, Domus, no. 337, December 1957, n.p.

8. Gino Sarfatti

1912-1985

Unique standard lamp circa 1951 Acrylic, brass, painted steel. 208 cm (81 7/8 in.) high, 53.5 cm (21 1/8 in.) diameter Manufactured by Arteluce, Milan, Italy. Together with a certifcate of expertise from Sandra Severi Sarfatti. Estimate ÂŁ22,000-28,000 $28,500-36,300 â&#x201A;Ź26,300-33,400 plus Buyers Premium and VAT*

Provenance Private collection, Milan

9. Gio Ponti

1891-1979

Drawing for demountable ‘Round’ easy chair 1950s Ink on paper, painted wood frame. 34.5 x 28.5 x 5 cm (13 5/8 x 11 1/4 x 1 7/8 in.) including frame

Estimate £1,500-2,500 $1,900-3,200 €1,800-3,000 ♠ plus Buyers Premium and VAT, ARR applies*

10. Gio Ponti

1891-1979

Prototype demountable ‘Round’ easy chair, model no. 852

An archival photo illustrating the present model in assembled and dissembled confgurations. © Gio Ponti Archives.

circa 1954 Vinyl, ash-veneered plywood, chromium-plated brass, chromium-plated steel. 73 x 60.5 x 74.3 cm (28 3/4 x 23 7/8 x 29 1/4 in.) Manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £15,000-20,000 $19,400-25,900 €17,900-23,900 plus Buyers Premium and VAT*

Provenance Private collection, Modena Exhibited ‘Tutto Ponti, Gio Ponti Archi-Designer’, Musée des Arts Décoratifs, Paris, 18 October 2018-5 May 2019 Literature ‘’Proposte per la casa’ alla XI Triennale’, Domus, no. 337, December 1957, p. 34 Pier Carlo Santini, Gli anni del Design Italiano, Ritratto di Cesare Cassina, Milan, 1981, p. 109

11. Max Ingrand

1908-1969

Large ceiling light, model no. 1705 1958 Acid-etched glass, glass, brass. 176 x 86 x 88 cm (69 1/4 x 33 7/8 x 34 5/8 in.) Manufactured by Fontana Arte, Milan, Italy. Together with a facsimile of the original invoice. Estimate £30,000-50,000 $38,900-64,800 €35,800-59,700 plus Buyers Premium and VAT*

Provenance Private collection, Rome Archival image illustrating the present ceiling light model, no. 1705.

12. Mario Gottardi

1913-2004

Rare executive desk, designed for a lawyer’s ofce, Turin circa 1945 Walnut-veneered wood, walnut, glass, brass, felt. 77.3 x 250.5 x 85.5 cm (30 3/8 x 98 5/8 x 33 5/8 in.) Estimate £10,000-15,000 $13,000-19,400 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Turin Preparatory drawing of the present desk. © Archivio Mario Gottardi.

13. Ico Parisi

1916-1996

Pair of rare armchairs circa 1952 Fabric, stained wood. Each: 103 x 86 x 92 cm (40 1/2 x 33 7/8 x 36 1/4 in.) Manufactured by Ariberto Colombo, Cantù, Italy. Estimate £12,000-18,000 $15,500-23,300 €14,300-21,500

Provenance Private collection, Rovigo

The present model was exhibited at the XXX Fiera Campionaria, Milan, 1952.

Literature Roberto Aloi, Esempi Di Arredamento Moderno Di Tutto Il Mondo, Sedie, poltrone, divani, Seconda serie, Milan, 1953, fg. 117 Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, p. 256

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

plus Buyers Premium and VAT*

14. Gio Ponti

1891-1979

Cofee table, designed for the Second Montecatini building, Milan circa 1951 Oak, vinyl, glass, brass. 45.5 x 91.2 x 44.8 cm (17 7/8 x 35 7/8 x 17 5/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

The present model illustrated in situ, Second Montecatini building, Milan. © Gio Ponti Archives.

Estimate £15,000-20,000 $19,400-25,900 €17,900-23,900 plus Buyers Premium and VAT*

Provenance Private collection, Savona Literature Domus, no. 278, January 1953, n.p. Irene de Guttry and Maria Paola Maino, Il mobile italiano degli anni ‘40 et ‘50, Bari, 2010, p. 238 for a similar example

15. Pietro Chiesa

1892-1948

Rare wall or ceiling light late 1940s Glass, painted and stained oak, painted aluminium, painted brass. 12.5 x 64.4 x 34.1 cm (47/8 x 253/8 x 133/8 in.) Manufactured by Fontana Arte, Milan, Italy. Reverse incised with manufacturer’s mark FX and numbered VI.

Estimate £8,000-12,000 $10,400-15,500 €9,600-14,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan, 1948 The present light was commissioned in 1948 by the architect Maurizio Tempestini for a residential project in Milan.

16. Ico Parisi

1916-1996

Rocking chaise longue circa 1952 Painted iron. 81.3 x 75.5 x 162.5 cm (32 x 29 3/4 x 63 7/8 in.) Manufactured by Sampietro, Como, Italy. Estimate £12,000-18,000 $15,500-23,300 €14,300-21,500 plus Buyers Premium and VAT*

Provenance Private collection, Brescia Literature Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, p. 474 Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

17. Gio Ponti

1891-1979

Armchair, designed for Casa Grimaldi, Naples circa 1949 Oak, fabric. 79.9 x 61.5 x 62 cm (31 1/2 x 24 1/4 x 24 3/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 plus Buyers Premium and VAT*

Provenance Casa Grimaldi, Naples, circa 1949

18. Carlo Scarpa and Paolo

Venini

1906-1978 and 1895-1959

Rare ‘Diamante’ vase, model no. 11001 circa 1935 Diamante coloured glass. 31.8 cm (12 1/2 in.) high Produced by Venini & C., Murano, Italy. Estimate £10,000-15,000 $13,000-19,400 €11,900-17,900 plus Buyers Premium and VAT*

Literature Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 33 Marino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, pp. 108, 114, 195 for the models executed in bollicine and lattimo glass

Technical drawing of the present model illustrated in Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa e Max Ingrand, Turin, 2012, fg. 105.

19. Pietro Chiesa

1892-1948

Rare standard lamp, model no. 1098 circa 1938 Painted brass, brass, oak. 234 cm (92 1/8 in.) high Manufactured by Fontana Arte, Milan, Italy. Estimate ÂŁ10,000-15,000 $13,000-19,400 â&#x201A;Ź11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 105

20. Carlo Scarpa

1906-1978

Rare vase, from the ‘Bicolore a incalmo’ series circa 1938 Pesante iridescent coloured glass. 9.4 x 23.1 x 13.5 cm (3 3/4 x 9 1/8 x 5 3/8 in.) Produced by Venini & C., Murano, Italy. Underside acid-etched venini/murano.

Provenance Private collection, Milan Literature Marino Barovier, Carlo Scarpa, I vetri di un architetto, Milan, 1997, p. 213 The present model was exhibited at the XXI Venice Biennale, 1938.

Estimate £4,000-6,000 $5,200-7,800 €4,8007,200 plus Buyers Premium and VAT*

21. Giovanni Ferrabini

1909-1969

Unique prototype desk 1950s Painted iron, glass. 77.2 x 199.2 x 79.2 cm (30 3/8 x 78 3/8 x 31 1/8 in.) Frame with metal label with facsimile signature Giovanni Ferrabini and impressed PROTOTIPO. Estimate ÂŁ6,000-8,000 $7,800-10,400 â&#x201A;Ź7,200-9,600 plus Buyers Premium and VAT*

Provenance Private collection, Milan

Suspended Expression: Kuramata’s ‘Miss Blanche’ Chair

Shiro Kuramata frst exhibited his now iconic Miss Blanche chair at KAGU Tokyo Designer’s Week, Axis Gallery Annex in 1988 and in Paris the following year in a solo exhibition of the designer’s work at Galerie Yves Gastou. The design initiated a series of works in Kuramata’s late career, which explored the expressive potential of acrylic. Experimenting with the material’s transparent ‘nonexistent’ quality, ofen combined with industrial materials such as aluminium as seen in the present work, Kuramata created objects imbued with feeling and memory, which carried a meaning beyond their practical function. Reflecting Kuramata’s poetic approach to design and affinity for experimenting with new materials and innovative technologies, these works demonstrate a sensitive exploration of light, colour and form, considered within the surrounding space. Describing the present design, Kuramata explained, ‘This chair has no details. Or rather, please think of the whole chair as a detail. This work has been designed in homage to Miss Blanche DuBois in A Streetcar Named Desire written by Tennessee Williams’ (‘Details of furniture: Miss Blanche’, Shitsunai, no. 409, January 1989, p. 43). The year of the chair’s design in 1988, Kuramata had seen the 1951 film adaptation of Williams’ Pulitzer Prize-winning play. It has been suggested that the foral printed dresses or corsages worn by the flm’s heroine inspired Kuramata’s use of roses in his design for the armchair. Whilst any direct motivation remains unknown, Kuramata’s inclusion of red roses introduced a fgurative vocabulary to an otherwise abstract and seemingly ‘unmaterial’ form of the chair’s seat, comprised of acrylic blocks simply supported by tubular aluminium legs. Western culture has historically assigned symbolic meaning to the rose; associated with Aphrodite and Venus in classical antiquity, carrying through to Williams’ use of roses to symbolise Blanche DuBois’ desire to preserve her beauty and later in the play to signify the character’s tragic downfall.

The red coloured rose is specifcally understood to convey a heightened emotional state. Appearing suspended in space, the red roses contained by the acrylic blocks in Miss Blanche obscure the prevalent ‘narrative’ of the chair’s largely transparent, abstract composition— which communicates a clarity of construction—and alters the viewer’s perception of the work. Describing Kuramata’s Miss Blanche chair, Tasahi Yokoyama explained, ‘Once again he had succeeded in creating a chair that could be appreciated without even being sat in… It is because it took the form of a chair, an apparatus designed to carry people, that we are able to project an image of our own being upon it when we look at it’. Defned only in part by its physical function as a chair, the work has a contemplative and ephemeral quality, which extends into the surrounding space and the viewer’s imagination, and illustrates Kuramata’s interest in denying materiality, or gravity, and the idea that design could embody many things at once. The design of Miss Blanche also demonstrates Kuramata’s ability to defy the conventional ‘naming’ of objects, instead questioning these identifcations by using new materials to create his own distinctive forms, rather than designing work to fulfl the roles of ‘named’ objects. Kuramata’s work, particularly towards the end of his career, explored historical visual references, recalling the juxtaposed realist and dreamlike quality of Metaphysical art, and the subsequent Dada and Surrealist movements with ideas of the unconscious. Kuramata’s use of inexpensive artificial roses recall Duchamp’s readymades, in which the artist presented ordinary, commercially available objects as art. The infuence of the ‘assisted’ readymade is more directly evident in the designer’s Homage to Josef Hofmann Vol. 2 (1986), in which Kuramata modifed a 1970s reproduction of an easy chair designed by the Viennese architect in 1911, enhancing the design by replacing the chair’s piping with tiny light bulbs. As with Duchamp, Kuramata’s designs reveal their sense of humour, however, the designer does not withhold the ‘retinal’ quality, exploring both conceptual and formal concerns in his work.

Kuramata also described the infuence of Italian design on his work, which he admired for its richness of expression and the ability of Italian designers, foremost Ettore Sottsass, Jr., to transform existing objects, liberating their work and its users. Kuramata was invited by Sottsass to join the new design collective Memphis in 1981 and he participated in the group’s inaugural exhibition that same year held at the Salone del Mobile, Milan. The Memphis group’s postmodern visual language, characterised by bold colours, playful forms, and geometric and ofen plastic-laminated surfaces—which had its own ephemeral quality—ofered a deviation from the linear furniture Kuramata had previously created (‘My relationship with Italian design’, Soshoku Tairu Kenkyu, July 1986, pp. 24-25). In Miss Blanche, the chair’s arms and backrest comprise gentle curves, whilst the overall structure retains an angularity and the quality of sharpness of Kuramata’s earlier work. However, the armchair’s exacting structural form is interrupted by the asymmetrical pattern of the artifcial fowers. The incorporation of light, creating foral shadows, alters the chair’s symmetrical outline. Whilst exploring the potential of industrial materials, Kuramata’s designs were not conceived for serial production and were produced in limited numbers, refecting the importance of crafsmanship to his work. Kuramata developed close relationships with the highly skilled crafsmen and manufacturers that produced his designs, notably Takao Ishimaru who made many of his works and with whom Kuramata experimented with acrylic. The tranquillity of the present design conceals the traces of labour required to make this carefully executed work. The 60 mm thick acrylic resin sections, dynamically intersected by metallic purple aluminium legs, convey a sense of elegant weightlessness whilst the synthetic roses appear suspended in space. To achieve this expression of apparent simplicity, the designer and crafsmen painstakingly experimented with diferent materials, initially glass blocks and natural roses, and varied techniques. Diferent artifcial fowers were sourced from across Japan before deciding on the present acrylic version, which best retained their colour and shape.

The resulting process required the crafsmen to pour the acrylic resin into four moulds in several stages at which point each fower was held in place with tweezers whilst the surrounding resin hardened adequately. In addition to informing the technique for Kuramata’s subsequent designs in acrylic, the process inserted a humanness into the work. Combined with the optical efects of the transparent acrylic, this human quality transformed inexpensive and industrial materials into a precious object. The form of the design’s tubular aluminium legs became an element of Kuramata’s late visual language, which he reimagined in vibrant colours with variations in shape in order to support tabletops, lighting, the display of clothing and natural fowers. Refecting Kuramata’s age at the time of his death, 56 Miss Blanche chairs were produced between 1988 and 1998. The design embodies Kuramata’s career-long exploration of surface and transparency, material and light. The considerable weight of the minimalist acrylic blocks, which enclose the composition of roses—possibly inseparable from a larger context, whether symbolic association or the surrounding space—result in a design that appears both fxed in form and ephemeral. Through his poetic and idiosyncratic approach to his work, Kuramata created designs that were never defnitively defned by their physicality or ideology, as they continue to incite feeling or memory. The present Miss Blanche chair is number 21 from the edition of 56, executed in 1991—the year of Kuramata’s death. Examples of the Miss Blanche chair are held in the permanent collection of international museums, including the Vitra Design Museum; Museum of Modern Art, New York; Museum of Modern Art, San Francisco; Philadelphia Museum of Art; the Dallas Museum of Art; Nakanoshima Museum of Art; M+ Museum; and ADAM Brussels Design Museum.

22. Shiro Kuramata

1934-1991

‘Miss Blanche’ chair designed 1988, executed 1991 Acrylic resin, synthetic roses, anodised aluminium. 92.5 x 63 x 60 cm (36 3/8 x 24 3/4 x 23 5/8 in.) Manufactured by Ishimaru Co., Japan. Number 21 from the edition of 56. Together with a copy of the certifcate of authenticity from Mieko Kuramata. Estimate £200,000-300,000 $259,000-389,000 €239,000-358,000 plus Buyers Premium and VAT*

Provenance Cappellini International Interiors, Milan Private collection, Italy, 1991, acquired from the above Phillips, London, ‘Design’, 27 September 2012, lot 52 Acquired from the above by the present owner Literature Matthias Dietz and Michael Mönninger, Japanese Design, Cologne, 1994, front cover, pp. 74-75 Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, pp. 26-27, 39-40, 187, 192 Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, cover, p. 205 Ettore Sottsass, ‘An Exhibition Dedicated to Shiro Kuramata’, Domus, no. 788, December 1996, p. 56

Akari Matsuura, Japan Design to the new generation, Japan, 2001, p. 77 Francesca Picchi, ‘Kuramata’s Tokyo’, Domus, no. 858, April 2003, pp. 121, 126 George H. Marcus, Masters of Modern Design: A Critical Assessment, New York, 2005, p. 155 Jean-Louis Gaillemin, ed., Design Contre Design: Deux siècles de créations, exh. cat., Galerie Nationale du Grand Palais, Paris, 2007, p. 301 Glenn Adamson and Jane Pavitt, eds., Postmodernism: Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 153 Shiro Kuramata and Ettore Sottsass, exh. cat., 21_21 Design Sight, Tokyo, 2011, pp. 68-69, 208, 211 Deyan Sudjic, Shiro Kuramata: Essays & Writings, London, 2013, pp. 77, 104-105 Deyan Sudjic, Shiro Kuramata: Catalogue of Works, London, 2013, p. 362

Te Seduction of Stillness By Glenn Adamson

You can spend a lot of time counting Edmund de Waal’s Kamen. The work consists of fve cabinets, containing 125 round hand-thrown porcelain pots—all those circles held within a square. The vessels are between two and four inches tall, arranged in five to seven groups per cabinet, and from two to nine pots per group. It is an intricate numerology, suggesting that a math problem or a musical composition—or perhaps a passage from the Kaballah or some other ancient text—is being worked out before your eyes. The miracle is that despite this internal complexity, the convoluted rhythms cascading through the work, it projects an atmosphere of refective calm. Negative spaces, the gaps between, are as important as the pots themselves. The intervals activate the whole.

These first arrangements of pots were often set within carefully calibrated installations, located mostly in historic venues. De Waal describes these undertakings as ‘site sensitive’, noting that they are about ‘playing architect, creating my own spaces, frameworks, in which to see the work’. In 2007 he realised three such projects: at Kettle’s Yard, Cambridge; MIMA, in Middlesbrough; and Chatsworth, the greatest of all English country houses, a place with many garnitures, as well as a whole porcelain room. De Waal’s installation at Chatsworth, entitled A Sounding Line, took ghostly occupation of an old freplace, transforming it into a sculptural situation.

In conceiving this work de Waal was indebted to numerous sources, as he would be the frst to tell you. There is, of course, Minimalism: the serially arranged boxes of Donald Judd, which exemplifed the theory of gestalt, a sculptural whole that transcends its parts. There are the paintings of Giorgio Morandi, those marvels of acute observation, in which the color white is shown to be an infinite spectrum. And the work of other British potters: Bernard Leach, Lucie Rie, Hans Coper, and Gwyn Hanssen Pigott. De Waal has studied and written about them all, for, as his many readers well know, he is as much an historian as he is an artist.

Two years later, de Waal realised Signs & Wonders, a permanent installation for the Victoria and Albert Museum. It is a steel ring painted bright red, with a staggered line of white pots mounted within it. The work sits at the very top of the museum, an encircling halo, and a way of saying to the visitor, ‘you are here’. Kamen is a more portable afair—it can be situated on any wall—but its message is the same. It exerts a quiet insistence, or perhaps better to say certainty, that acts of looking matter. They help to ground us. This intention is signaled in the work’s title, borrowed from that of the poet Osip Mandelstam’s frst collection of verse. Kamen means ‘stone’ in Russian, and was an apt choice by a poet who (as de Waal comments) ‘seems to concretise language, so that poems become things’.

Still deeper in de Waal’s personal archive is the garniture: a group of vases, typically of Chinese porcelain, set atop a cabinet or mantelpiece for the sole purpose of being looked at. This particular reference loomed large for de Waal when he first developed his vessel orchestrations, in 2007. It was then that he created his frst wall cabinet works, lined with vessels of various heights and variously glazed. One of the frst examples was aptly entitled A Change in the Weather, a phrase that describes both its own incrementally shifing tonalities, and the larger transformation that was occurring in de Waal’s career.

It is no coincidence that de Waal has developed his pot-arrays at the same time that digital technology was on the rise, a time of increasingly rampant distraction. He is a man in love with museums— he ofen speaks of his boyhood visits to the V&A and elsewhere, losing track of time as he gazed into the display cases, standing on tiptoe to peer at the upper shelves. He knows the seduction of stillness. Thus Kamen exerts a gentle pressure on the viewer’s attention— analogous, perhaps, to the rabbit netsuke that centered De Waal’s celebrated book The Hare with the Amber Eyes.

Property from a Private Collection, Switzerland

23. Edmund de Waal

b. 1964

‘Kamen’ 2012 Porcelain, celadon and cream glazes, painted aluminium, acrylic. Each vitrine: 28 x 180 x 14 cm (11 x 707/8 x 51/ 2 in.) Overall: 162 x 180 x 14 cm (633/4 x 707/8 x 51/ 2 in.)

Estimate £150,000-200,000 $194,000-259,000 €179,000-239,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Gagosian Gallery, New York Acquired from the above by the present owner, 2013 Literature A. S. Byatt, et al., Edmund de Waal, New York, 2014, illustrated p. 243

That little carved Japanese object, a precious remnant from his family’s tragic past, was something he felt he had to live up to. The netsuke placed demands on him, prompting him to profound exploration. While less obviously narrative in its operation, Kamen does resemble—among its other affinities—a neatly arranged bookshelf. And like a good library, it invites us in to wander, and learn. And learn what, exactly? Above all, the value born of long experience. De Waal is a firm believer in the principle of ‘joy in labor’, a phrase borrowed from William Morris. He likes to say that his happiest hours are those spent at the potter’s wheel. These days he gets less opportunity to do that, what with the increasing demands of his practice and fame. But then, de Waal has a great deal of time already stored up in his head and hands. In 2012, the same year that he made Kamen, he chose to title a similar piece A Thousand Hours. This referred not to the duration of its own making—like any profcient crafsman, he’s quick at his work— but rather to the steady accumulation of artisanal expertise. Such ideas have been much in circulation in the past few years, doubtless another reaction against the frictionless speed of the digital.

Malcolm Gladwell helped popularise the notion in his 2008 book Outliers: The Story of Success, hypothesising that it took about 10,000 hours to become really good at anything. It’s one thing to consider such a rule in the abstract; quite another to embody it. This is what one is looking at, when looking at Kamen. Nor is it only de Waal’s own personal investment that is witnessed here. The porcelain itself, and the glazes on the pots—various intensities of green-tinged celadon—continue a trajectory from Sung Dynasty China (a path that de Waal again has explored in his writing, notably his 2015 book The White Road). And in the slight depressions and protuberances of the pots’ profles, one sees the echo of all the ceramics that de Waal has handled and emulated. Kamen is an impressive feat of sustained making, to be sure. It is also an act of reception, attentive to what potters have been doing for centuries, circling back again and again to the same forms and materials, refining, improving, extending, inventing. 125 pots: that’s a big number. But to cite another of de Waal’s titles, once is as good as never.

24. Gino Sarfatti and Studio

BBPR - Gian Luigi Banf, Ludovico Belgiojoso, Enrico Peressuti and Ernesto Nathan Rogers Unique ceiling light, designed for a private commission, Turin circa 1962 Painted aluminium, aluminium, painted brass, acid-etched prismatic glass. 128 x 305 x 137 cm (503/8 x 1201/8 x 537/8 in.) Manufactured by Arteluce, Milan, Italy. Together with a certifcate of expertise from Sandra Severi Sarfatti.

Estimate £60,000-80,000 $77,700-104,000 €71,700-95,600 plus Buyers Premium and VAT*

Provenance Private collection, Turin The present ceiling light comprises thirteen light sources, model no. 3055, designed by Gino Sarfatti and connective elements designed by Studio BBPR (also used for their ceiling light model no. 2045).

25. Mario Vender and Mario Merendi Unique dining table circa 1961 Oak-veneered wood, oak. 78.5 x 240.1 x 79.8 cm (30 7/8 x 94 1/2 x 31 3/8 in.) Estimate £12,000-18,000 $15,500-23,300 €14,300-21,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Un appartamento con molte soluzioni da copiare’, Annabella, no. 18, 30 April 1961, p. 50

26. Carlo Scarpa

1906-1978

Flatware service for twelve circa 1977 Precious metal, stainless steel. Largest: 23.6 cm (9 1/4 in.) long Produced by Cleto Munari, Vicenza, Italy. Each with facsimile signature C. Scarpa/ per cleto munari/silversmith’s mark 266 VI and purity mark 925. Comprising 24 dinner forks, 12 fruit forks, 12 dinner knives, 12 fruit knives, 12 soup spoons, 12 tea spoons, 12 cofee spoons, 4 serving utensils (100). Estimate £5,000-7,000 $6,500-9,100 €6,000-8,400 plus Buyers Premium and VAT*

Literature Enzo Bif Gentili, Cleto Munari: Dandy Design, exh. cat., Scuderie di Palazzo Reale, Naples, 1997, pp. 56-57

∑

27. Ico Parisi

1916-1996

Unique bookcase circa 1948 East Indian rosewood-veneered wood, East Indian rosewood, brass, painted steel. 310 x 220 x 29 cm (122 x 86 5/8 x 11 3/8 in.) Estimate £15,000-20,000 $19,400-25,900 €17,900-23,900 plus Buyers Premium and VAT*

Provenance Casa E. G., Turin, commissioned directly from the designer, circa 1948 Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

28. Luigi Caccia Dominioni 1913-2016 Rare ‘Sasso’ standard lamp circa 1948 Painted aluminium, brass, chromiumplated steel, polished river stone. 180.7 cm (711/8 in.) high Manufactured by Azucena, Milan, Italy. Estimate £25,000-35,000 $32,400-45,400 €29,900-41,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Roberto Aloi, L’Arredamento Moderno, Quarta serie, Milan, 1949, fg. 642 Maria Antonietta Crippa, Luigi Caccia Dominioni. Flussi, spazi e architettura, Turin, 1996, p. 87 Alberto Bassi, Italian Lighting Design, 1945-2000, Milan, 2004, p. 52 Anni Cinquanta: La nascita della creatività italiana, exh. cat., Palazzo Reale, Milan, 2005, n.p.

29. Gio Ponti

1891-1979

Sofa circa 1936 Fabric, beech. 76 x 145.5 x 69 cm (29 7/8 x 57 1/4 x 27 1/8 in.) Manufactured by Casa e Giardino, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £8,000-12,000 $10,400-15,500 €9,600-14,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Un’abitazione dimostrativa alla VI Triennale’, Domus, no. 103, July 1936, pp. 15, 17, 19 for the armchair version of the model

30. Gio Ponti

1891-1979

Pair of armchairs circa 1936 Fabric, beech. Each: 74 x 67 x 76 cm (29 1/8 x 26 3/8 x 29 7/8 in.) Manufactured by Casa e Giardino, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £7,000-9,000 $9,100-11,700 €8,40010,800 plus Buyers Premium and VAT* Provenance Private collection, Milan

Literature ‘Un’abitazione dimostrativa alla VI Triennale’, Domus, no. 103, July 1936, pp. 15, 17, 19 ‘Una collezione di poltrone’, Domus, no. 129, September 1938, p. 51 Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923-1978, London, 1990, p. 83 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2004, pp. 111-12 Ugo La Pietra, ed., Gio Ponti, New York, 2009, pp. 102-03 The present model was exhibited at the VI Milan Triennale, 1936.

31. Venini Vase, model no. 3655 circa 1952 Iridescent coloured glass. 50.4 cm (19 7/8 in.) high Produced by Venini & C., Murano, for Caliari, Turin, Italy. Underside acidetched venini/murano/ITALIA and with label printed CALIARI VENINI/TORINO/VIA CAVOUR, 1. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Private collection, Lake Maggiore Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 276 Marino Barovier, ed., Paolo Venini e la sua fornace, exh. cat., Fondazione Giorgio Cini, Milan, 2016, p. 144 The present model was exhibited at the XXVI Venice Biennale, 1952.

32. Seguso Ceiling light 1950s Coloured glass, brass. 100 cm (39 3/8 in.) drop, 42 cm (16 1/2 in.) diameter Produced by Seguso Vetri d’Arte, Murano, Italy. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 plus Buyers Premium and VAT*

Provenance Private collection, Turin

33. Gio Ponti

1891-1979

Pair of large ‘Sole’ ceiling or wall lights circa 1957 Acrylic, brass. Each: 11 x 89 x 89 cm (4 3/8 x 35 x 35 in.) Manufactured by Arredoluce, Monza, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £14,000-18,000 $18,100-23,300 €16,700-21,500 plus Buyers Premium and VAT*

One ceiling light from the present pair was exhibited at ‘Tutto Ponti, Gio Ponti Archi-Designer’, Musée des Arts Décoratifs, Paris, 2019.

Provenance Istituto Gallini, Voghera Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, pp. 190, 313

34. Jules Wabbes

1919-1974

Dining table circa 1970 Wenge end-grain wood, painted steel. 74.6 cm (29 3/8 in.) high, 205.5 cm (80 7/8 in.) diameter Estimate £18,000-24,000 $23,200-31,000 €21,500-28,600 plus Buyers Premium and VAT*

Provenance Galerie Dutko, London Literature J.J. Wabbes, exh. cat., Galerie Les Années 50, Brussels, 2001, p. 24 Marie Ferran-Wabbes, Jules Wabbes, 1919-1974, Architecte d’intérieur, Tournai, 2002, p. 147 Jules Wabbes, Furniture Designer, exh. cat., Bozar Centre for Fine Arts, Brussels, 2013, fg. 139

35. Paolo Venini

1895-1959

‘Barchetta’ ceiling light circa 1958 Acid-etched glass, coloured glass, painted iron. Variable drop, 90.8 x 18.6 cm (33 1/8 x 35 3/4 x 7 3/8 in.) Produced by Venini & C., Murano, Italy.

Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Literature Alessandro Bettagno, Gli Artisti Di Venini: Per Una Storia Del Vetro D’Arte Veneziano, exh. cat., Milan, 1996, p. 144

36. Lucie Rie

1902-1995

Footed bowl circa 1978 Porcelain, ‘American’ yellow glaze. 12 cm (4 3/4 in.) diameter Impressed with artist’s seal. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Cyril Frankel, London, acquired directly from the artist, circa 1980 Gifed from the above to the present owner, late 1980s

37. Lucie Rie

1902-1995

Swan-necked vase circa 1956 Stoneware, shiny white glaze with integrated manganese speckle. 36.5 cm (14 3/8 in.) high Impressed with artist’s seal. Estimate £18,000-24,000 $23,300-31,100 €21,500-28,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Rosemary Devine, London Thence by descent to the present owner Literature Tony Birks, Lucie Rie, Catrine, 2009, p. 129 for a similar example Lucie Rie – A Retrospective, exh. cat., The National Museum of Modern Art, Tokyo, 2010, p. 109 for a similar example

38. Lucie Rie

1902-1995

Flaring bowl circa 1970 Porcelain, golden manganese glaze, terracotta and black well. 14.5 cm (5 3/4 in.) diameter Impressed with artist’s seal. Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Cyril Frankel, London, acquired directly from the artist, circa 1980 Gifed from the above to the present owner, late 1980s 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. 82 for a similar example Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, p. 107 for a similar example

39. Lucie Rie

1902-1995

Planter circa 1958 Stoneware, fowing green glaze. 20.4 x 28.5 x 21.5 cm (8 x 11 1/4 x 8 1/2 in.) Impressed with artist’s seal. Estimate £3,000-4,000 $3,900-5,200 €3,600-4,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Bunny and Sandy Rogers, Dundonnell, commissioned from the artist Sotheby’s, London, ‘The Rogers Collection’, 28 January 1998, lot 403 Acquired from the above by the present owner The present work was part of a larger commission of patio furnishings designed by Lucie Rie and Hans Coper for the couturier Bunny Rogers and his brother Sandy’s country house in Dundonnell on Loch Broom, Scotland. Photo by Byron Slater.

40. Lucie Rie

1902-1995

Footed bowl circa 1978 Porcelain, ‘American’ yellow glaze. 18.2 cm (7 1/8 in.) diameter Impressed with artist’s seal. Estimate £16,000-24,000 $20,700-31,100 €19,100-28,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Acquired directly from the artist, early 1980s Thence by descent to the present owner

41. Lucie Rie

1902-1995

Footed bowl circa 1964 Porcelain, manganese glaze with sgrafto, white well and foot. 15.1 cm (5 7/8 in.) diameter Impressed with artist’s seal. Estimate £10,000-15,000 $13,000-19,400 €11,900-17,900 ♠ plus Buyers Premium and VAT, ARR applies*

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. 76 for a similar example

42. Hans Coper

1920-1981

Cycladic arrow form circa 1975 Stoneware, layered white porcelain slips and engobes over a body with textured designs, the interior with manganese glaze. 26.5 cm (10 3/8 in.) high Impressed with artist’s seal. Estimate £40,000-60,000 $51,800-77,700 €47,800-71,700 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private collection, Cumbria Thence by descent to the present owner Literature Tony Birks, Hans Coper, Yeovil, 2013, p. 188 for a similar example

43. Gino Sarfatti

1912-1985

Wall or ceiling light, model no. 3026 circa 1954 Painted brass, painted steel, fuorescent bulbs. 123.5 x 20 x 17 cm (48 5/8 x 7 7/8 x 6 3/4 in.) Manufactured by Arteluce, Milan Italy. Estimate £7,000-9,000 $9,100-11,700 €8,400-10,800 plus Buyers Premium and VAT*

Provenance Pieter De Bruyne, Aalst, Belgium Acquired from the above by the present owner, circa 2005 Literature Roberto Aloi, Esempi Di Decorazione Moderna Di Tutto Il Mondo, Illuminazione d’Oggi, Milan, 1956, p. 180 Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 260, 484

44. Jean Royère

1902-1981

‘Œuf’ chair 1950s Fabric, oak. 67 x 88 x 73.5 cm (26 3/8 x 34 5/8 x 28 7/8 in.) Estimate £40,000-60,000 $51,800-77,700 €47,800-71,700 plus Buyers Premium and VAT*

Provenance Private collection, France

Literature René Chavance, ‘Le Salon des Arts Ménagers: au Foyer d’aujourd’hui, l’évolution du style contemporain’, Mobilier et DŽcoration, no. 3, April 1954, p. 103 ‘Pour grouper la famille: Le Foyer d’aujourd’hui’, Le dŽcor dÕaujourdÕhui, no. 86, 1954, p. 187 René Chavance, ‘Les aménagements nouveaux de Jean Royère et les réfexions qu’ils inspirent’, Mobilier et DŽcoration, no. 8, November 1956, p. 11 Jean Roy•re, dŽcorateur ˆ Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, pp. 72, 164

Catherine and Stephane de Beyrie and Jacques Ouaiss, Jean Roy•re, New York, 2000, p. 59 Pierre-Emmanuel Martin-Vivier, Jean Roy•re, Paris, 2002, pp. 186, 243, 255, 259 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Roy•re, Volume 1, Paris, 2012, pp. 45, 110, 114-15 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Roy•re, Volume 2, Paris, 2012, pp. 49-50, 284-85

45. Jean-Michel Frank

1895-1941

Pair of guéridons circa 1940 Painted iron. Each: 62.5 x 48.8 x 36.5 cm (24 5/8 x 19 1/4 x 14 3/8 in.) Produced by Comte, Buenos Aires, Argentina. Together with a certifcate of authenticity from the Comité Jean-Michel Frank.

Estimate £15,000-20,000 $19,400-25,900 €17,900-23,900 plus Buyers Premium and VAT*

Provenance Marta Madero Unzué, Buenos Aires, circa 1940 Private collection, Mar del Plata, 2002 Acquired from the above by the present owner

Literature Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period, New York, 2006, pp. 161-63 Léopold Diego Sanchez, Jean-Michel Frank, Adolphe Chanaux, Paris, 2017, pp. 180-81

46. Jean-Michel Frank

1895-1941

Pair of table lamps

Estimate £15,000-20,000 $19,400-25,900 €17,900-23,900 plus Buyers Premium and VAT*

circa 1940 Painted iron, paper shade. Each: 53.5 cm (21 1/8 in.) high including shade Produced by Comte, Buenos Aires, Argentina. Together with a certifcate of authenticity from the Comité Jean-Michel Frank.

Provenance Marta Madero Unzué, Buenos Aires, circa 1940 Private collection, Mar del Plata, 2002 Acquired from the above by the present owner

Literature Pierre-Emmanuel Martin-Vivier, JeanMichel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period, New York, 2006, p. 316 for the foor lamp version of the model The present pair of table lamps, which are possibly unique, were specially made for Marta Madero Unzué whose collection also included a foor lamp version of the same design.

Job Smeets and Nynke Tynagel, the duo behind Studio Job, produce conceptual objects, lighting, furniture, and graphics that seem to delight in traversing between design and art, past and present. Their one-of pieces draw inspiration from high and low culture in equal measure, often exalting everyday objects and iconography with extravagant materials and arcane craf techniques. By adopting a lexicon of symbols and playing with scale, Studio Job’s works deploy a cartoonish humour to ofer cheeky commentary on such serious subjects as capitalism, taste, and the legacies of art, design, and the decorative arts.

Dystopia and Decadence: A Table and Jewel Safe from the ‘Robber Baron’ Series by Studio Job By Luke T. Baker

Studio Job released their Robber Baron suite of art furnishings in 2006, on the eve of the most disastrous economic crisis since the Great Depression. This limited edition collection of fve luxurious pieces was imagined as a tongue-in-cheek critique of wealth and power, inspired by nineteenth-century tycoons and designed to appeal to the oligarchs of the present day. Originally developed as an edition for Moss Gallery, the series comprises a table, jewel safe, cabinet, clock, and foor lamp, all fgural, functional pieces, constructed from iconic works of architecture or modeled afer precious objects housed in the world’s great museum collections. The furnishings are exquisitely crafed from cast bronze, with polished and patinated details and gilded passages of graphic relief. But each piece features a surrealistic twist that counters its formality with a touch of irreverence: a hole blasts through the center of the Louis XIV cabinet, a train track to nowhere winds around the mantel clock, clouds of bubbles and piles of rubble serve as unlikely ornamental devices. These mysterious and dreamlike elements lend the objects an allegorical quality and invite contemplation of their larger symbolic signifcance.

Detail of the library table designed by the Herter Brothers for William Henry Vanderbilt’s Fifh Avenue mansion, 1879–82. The library table is held in the permanent collection of the Metropolitan Museum of Art, New York.

The Robber Baron table appears like a tiny factory, spewing plumes of pollution as it assiduously churns out widgets. Industrialism and its impact is a recurring target in Studio Job’s oeuvre, which ofen champions traditional handcraf techniques such as glassblowing, stained glass, and inlay. Of course, industry also happens to be the source of vast wealth for America’s steel, oil, and railroad magnates of the nineteenth and twentieth centuries. As such, the architectural miniature that forms the base of the table was inspired by factory buildings, specifcally Peter Behrens’ archetypal turbine hall for AEG, designed in 1907, and the Battersea Power Station in London, built in the 1930s. Yet in Studio Job’s interpretation, this diminutive bronze building looks almost church-like, its four smokestack ‘steeples’ billowing clouds of holy smoke as though from a cathedral of commodities. These noxious fumes, rendered in a gleaming, polished bronze, are truncated on top, forming a fat surface that literally smooths over and conceals the means of production in order to enable consumption. The bronze jewel safe from the series is transformed into a disquieting jack-in-the-box by the garishly painted clown head that appears to be emerging from its top. Adding to the unnerving efect, the surfaces of the safe are decorated with reliefs of apocalyptic accoutrements, among them gas masks, nuclear cooling towers, assault rifes, grenades, and fghter jets. To open the door and access the vault requires turning the clown’s red nose and confronting the grimacing fgure face to face. In Studio Job’s conception of a safe, the stockpiling of wealth becomes a game in which precious stones are equated with childish playthings, and the grandiosity of the sculptural bust is reduced to a mockery. Perhaps the heavy, wheeled object is meant to serve only as an elaborate stand for the cockroach-covered vessel that’s balanced atop the clown’s head—an absurdist fower vase with a saucy, anti-capitalist agenda.

These works find a precedent in many narrative, symbolically charged buildings, interiors, and furnishings commissioned by the so-called robber barons of America’s Gilded Age, such as the Rockefellers, Carnegies, Fricks, and Vanderbilts. These newly-minted millionaires sought out the nineteenth century’s leading crafsmen to create spectacular designs that combined the fashionable taste of the day with references to past styles and loaded iconography, lending the imprimatur of history to families whose wealth and status had only recently been established. A prime example is the magnifcent rosewood library table designed in 1882 by the Herter Brothers firm for the Fifth Avenue mansion of William Henry Vanderbilt, who became the country’s wealthiest man after the death of his father, railroad mogul Cornelius Vanderbilt. This object, now belonging to the Metropolitan Museum of Art, employs conspicuous materials and historic motifs to communicate Vanderbilt’s destiny as heir to his family’s legacy. The table’s carved lions-paw feet and stylised palmettes allude to the grand furnishings of the Roman Empire, while inlays of Napoleonic heraldry recall iconography associated with one of history’s greatest rulers. Globe details on either end tell of Vanderbilt’s boundless domain. A mother-of-pearl constellation inlaid on the table’s surface even memorialises the position of the stars on the fateful night of William’s birth. The Robber Baron series refects a fascination with narratives of power and prestige embedded within historical objects like the Vanderbilt library table. Through the self-conscious use of symbol and style, Studio Job create hyper-referential meta-works that both celebrate and critique these traditions of myth-making within the decorative arts.

Property from an Important American Collection

47. Studio Job - Job Smeets

and Nynke Tynagel b. 1970, b. 1977 Table, from the ‘Robber Baron’ series designed 2006, executed 2007 Polished, patinated, gilded and painted cast bronze. 75.5 x 197 x 100 cm (29 3/4 x 77 1/2 x 39 3/8 in.) Produced by Studio Job, the Netherlands for Moss, New York. Number 2 from the edition of 5. Base impressed JOB 07 02 / 05.

Estimate £50,000-70,000 $64,800-90,700 €59,700-83,600 Ω plus Buyers Premium and VAT*

Provenance Moss, New York Acquired from the above by the present owner, 2007 Literature Willy van den Bussche, et al., Studio Job: The Book of Job, New York, 2010, pp. 181, 188-89 Job Smeets, Studio Job: Monkey Business, exh. cat., Museum of Arts and Design, New York, 2016, p. 158

Property from an Important American Collection

48. Studio Job - Job Smeets

and Nynke Tynagel b. 1970, b. 1977 Jewel safe, from the ‘Robber Baron’ series designed 2006, executed 2007 Polished, patinated, gilded and painted cast bronze. 152.5 x 57 x 46.5 cm (60 x 22 1/2 x 18 1/4 in.) Produced by Studio Job, the Netherlands for Moss, New York. Number 2 from the edition of 5. Base impressed JOB 07 02 / 05.

Estimate £30,000-50,000 $38,900-64,800 €35,800-59,700 Ω plus Buyers Premium and VAT*

Provenance Moss, New York Acquired from the above by the present owner, 2007 Literature Willy van den Bussche, et al., Studio Job: The Book of Job, New York, 2010, pp. 180-81, 196-97 Job Smeets, Studio Job: Monkey Business, exh. cat., Museum of Arts and Design, New York, 2016, pp. 28, 144, 158

Property from an Important American Collection

49. Maria Pergay

b. 1930

Pair of ‘Feuille’ table lamps circa 1968 Silver-plated brass, fabric shades. Each: 89.5 cm (35 1/4 in.) high including shade

Estimate £8,000-12,000 $10,400-15,500 €9,600-14,300 Ω plus Buyers Premium and VAT*

Provenance Demisch Danant, New York Acquired from the above by the present owner, 2011 Literature Suzanne Demisch and Stephane Danant, Maria Pergay: Complete Works 1957-2010, Bologna, 2011, p. 176

Property from an Important American Collection

50. Maria Pergay

b. 1930

‘Drapé’ cabinet 2005 Macassar ebony-veneered wood, stainless steel. 91.5 x 137.5 x 63 cm (36 x 54 1/8 x 24 3/4 in.) Reverse with label incised M Pergay/A1. Estimate £18,000-24,000 $23,300-31,100 €21,500-28,700 Ω plus Buyers Premium and VAT*

Provenance Demisch Danant, New York Acquired from the above by the present owner Literature Suzanne Demisch, Maria Pergay: Between Ideas and Design, Verona, 2006, p. 125 Suzanne Demisch and Stephane Danant, Maria Pergay: Complete Works 1957-2010, Bologna, 2011, pp. 239-40

Pedal to the Metal: Te Automotive Origins of Marc Newson’s ‘Orgone’ Chair By Luke T. Baker

Marc Newson’s design education commenced long before he enrolled at the Sydney College of Art to study jewellery and silversmithing at age 19. Rather, he received his first lessons on form, materials, and process as a curious four-year-old kid, watching his uncle and friends take apart and rebuild one novel car after another in the garage attached to the Sydney home he shared with his mother and grandparents. By his teenage years, Newson was spending all his free time in the garage-cum-workshop, using his grandfather’s tools to construct soapbox racers of his own design. He cultivated a connoisseur’s expertise in classic Italian sports cars of the 1950s and 60s—the Ferraris, Bugattis and Alfa Romeos whose sleek lines conveyed not just speed, but also embodied the brio of postwar progress. This obsession only intensifed as Newson entered adulthood, and he began amassing what has become a formidable collection of rare vintage racing cars. The shape, speed, and symbolism of the automobiles have had tremendous infuence on Newson throughout his career as a designer of furniture, industrial objects, interiors, aircraft—even a vehicle of his own. More so than any of his other designs, the Orgone chair of 1993 channels Newson’s lifelong fascination with the streamlined ‘Continental look’ that characterises many cars designed during Italy’s postwar automotive renaissance. The chair’s compound curves create depressions on its seat and back that cradle the sitter’s body before swelling into fender-like contours at either end of its waspwaisted form. With its sculptural shape and seamless aluminium surface, the Orgone chair recalls the aerodynamic forms made

possible by Italian single-shell coachbuilding techniques, frst pioneered by the body stylist Pinin Farina in the 1940s. On the chair’s front, an open maw grins benignly to reveal a brightly coloured internal void, like the ovoid grilles found on many racing vehicles. The Orgone chair (and its related Orgone stretch lounge) is also significant because it marked the culmination of years of experimentation with materials and techniques as Newson endeavored to produce a chair with the fowing metal surface and sensuous fanks of the vehicles he long admired. Despite his training as a silversmith, Newson found the project of an aluminium chair challenging, ‘I had this vision of a liquious lump of metal, like a big blob of mercury. But I didn’t know how to do it. I didn’t have the expertise, the money, or the resources’ (Alice Rawsthorn, ‘An Australian in Paris’, Blueprint, no. 104, February 1994, p. 31). Numerous earlier works show Newson attempting to develop what he was later able to achieve with the Orgone chair. One of his frst major projects as a professional designer was the LC1 chair of 1986, a handmade, Neoclassical-inspired chaise. To construct its metallic skin, Newson painstakingly cut, formed, and afxed hundreds of individual pieces of aluminium over its fberglass body using rivets. While the resultant patchwork efect lacked the precision and smoothness Newson was seeking, he would revisit the technique the following year with his aluminium-clad Pod of Drawers, and further refine the process for his now-famous Lockheed Lounge chaise in 1988.

Property from an Important American Collection

51. Marc Newson

b. 1963

‘Orgone’ chair 1993 Polished aluminium, painted aluminium. 87.6 x 72.4 x 99.7 cm (34 1/2 x 28 1/2 x 39 1/4 in.) Produced by POD Edition, UK. Number 3 from the edition of 6 plus 2 artist’s proofs and 1 prototype. Underside impressed 3 / 6, MARC NEWSON/POD/POD EDITION and with artist’s mark.

Estimate £200,000-300,000 $259,000-389,000 €239,000-358,000 Ω plus Buyers Premium and VAT*

Provenance Barry Friedman Ltd., New York Acquired from the above by the present owner, 2005 Literature Alice Rawsthorn, ‘An Australian in Paris’, Blueprint, no. 104, February 1994, front cover, p. 28 Simon Mills, ‘Watch this Space’, The Sunday Times: The Magazine, 27 November 1994, pp. 63-64

With his Coil chair and Felt prototype chairs of 1989, Newson introduced the hourglass form later used by the Orgone chair, one wound from a continuous thread of aluminium wire and the other covered with a shell of thick felt. The Wicker chair and lounge followed in 1990 as Newson continued to explore the car-like shape, now in rattan and with an open bottom. By this time, Newson was returning to the seamless metal furnishing designs that had vexed him before. Teaming up with skilled metalworkers in both Sydney and Paris, he was able to produce prototypes of the hollow Event Horizon table, whose polished aluminium surface and enameled inner void prefgure his Orgone series of seating. Fittingly, it was Newson’s passion for collecting vintage cars that would lead him to discover the means by which to make his vision for the Orgone chair a reality. In 1992, while hunting down a 1959 Aston Martin DB4 to add to his collection (a legendary British car wrapped in a sleek, Italian-designed body), Newson visited Body Lines, an Aston Martin restoration shop outside of London.

Marc Newson: Bucky, dalla chimica al design, exh. cat., Triennale di Milano, 1995, fg. 38 Alice Rawsthorn, Marc Newson, London, 1999, pp. 84-87 Conway Lloyd Morgan, Marc Newson, London, 2002, p. 184 Alison Castle, Marc Newson Works, London, 2012, pp. 74-77 The present model chair will be included as number MN-9OC-1993 in the forthcoming catalogue raisonné of Marc Newson’s editioned works produced by Galerie kreo, Paris.

There, he encountered aluminium fabrication specialists trained in the advanced panel-shaping techniques developed by famed Italian coachbuilding workshops (carrozzerie), and, suddenly, a light went off. ‘I had always dreamed of taking a flat sheet of metal and bending it like a piece of Plasticine into a complex, three-dimensional form’, Newson recalled of his initial struggles with large-scale metalworking. ‘This specialised skill really only exists in two contexts, the production of aircraf in the traditional manner, and the production of car bodies in carrosseries’ (Alison Castle, Marc Newson Works, London, 2012, p. 557). Working with these master body shapers, Newson could beat and bend sheets of aluminium into the contiguous forms of the Orgone chair and stretch lounge; he even used them to fabricate a new edition of the aluminium Event Horizon table. By bringing his inspiration full circle back to the means of its production, Newson was fnally able to create the chair he had dreamed of since his earliest days as a designer.

52. Alexandre Noll

1890-1970

Visage circa 1950 Ebony. 22.3 cm (8 3/4 in.) high Reverse incised ANoll.

Provenance Jean-March Lelouch, Paris Acquired from the above by the present owner Literature Olivier Jean-Elie and Pierre Passebon, Alexandre Noll, Paris, 1999, p. 95 for a similar example

Estimate £10,000-15,000 $13,000-19,400 €11,900-17,900 ♠ plus Buyers Premium and VAT, ARR applies*

Property from a Distinguished Private Collection, Florida

53. Jean Dunand

1877-1942

Vase circa 1925 Patinated copper, lacquered decoration. 27 cm (10 5/8 in.) high Underside impressed Jean Dunand/4488.

Provenance Sotheby Parke Bernet, Monaco, ‘Arts Décoratifs Styles 1900 et 1925’, 18 November 1978, lot 169 Estimate £20,000-30,000 $25,900-38,900 €23,900-35,800 Ω plus Buyers Premium and VAT*

Literature Félix Marcilhac, Jean Dunand: His Life and Works, New York, 1991, p. 95 for a similar example

Brilliant Repetition: Dunand’s Eggshell Lacquer Designs

Jean Dunand overseeing the application of eggshell decoration by a crafsman in his workshop, Paris, circa 1941. © Fond d’archives Félix Marcilhac, Paris.

Born in Switzerland, Jean Dunand studied sculpture at the École des

Among the few Western designers to practice the traditional art of

Arts Industriels in Geneva before moving to Paris in 1897, where he

lacquer, Dunand created original and luxurious furnishings using the

apprenticed under the Art Nouveau artist Jean Dampt. Working as a

rare material, demonstrating the skilful crafsmanship for which his

sculptor until 1907, Dunand expanded his practice to include metalwork

work became renowned. Initially drawn to the use of lacquer as a

around 1903, the medium through which he first established his

technique to protect his metal surfaces, Dunand sought to master the

reputation as a preeminent artist-crafsman. Returning for periods

difcult medium. Distinct from the imitation lacquer varnish prevalent in

of study to Switzerland, Dunand trained in the traditional technique

France during this period, natural lacquer is made from a resin extracted

of dinanderie. Working from a single sheet of metal, Dunand created

from the Rhus vernicifera—a tree indigenous to China and Japan. Once

elegant vessels in hammered copper, brass and bronze. Renowned

fltered using fne linen cloth to remove any impurities, the raw material

for his refned fnishes and surface efects, Dunand’s early metalwork

is then stored in sealed bamboo baskets for several months, during

retained a stylised, organic inspired decoration, which later developed

which time layers of varying density form, which are then graded and

into an abstract visual vocabulary, refecting the multi-faceted style

priced accordingly, and adapted to diferent stages of use in the lengthy

now known as Art Deco. During the 1920s, Dunand created a series

lacquering process. The material can be applied to diferent surfaces,

of spherical vases, as illustrated by lot 53, which features a rhythmic

including metal, wood, stone, leather and natural silk, the latter which

composition of superimposed dotted shapes in gold, red and black

Dunand also experimented with creating lacquered silk dresses and

lacquer. Exploring the relationship between form and surface, these

designs for couturiers including Jeanne Lanvin and Madeleine Vionnet.

works combine traditional artisan crafsmanship with avant-garde inspired compositions of dynamic geometric shapes in vibrant

In order to achieve lacquer’s highly lustrous, impermeable surface,

colours—demonstrative of the contending values informing the

numerous thin layers are painstakingly applied to the base surface—

French decorative arts during this period. Often more sculptural

which in the case of wood, frst must be smoothed before the grain

than utilitarian in practice, Dunand’s metalwork features intricate

is filled and the surface covered with a thin layer of silk or hemp

inlays, gilding, oxidised patination and notably lacquer decoration,

using rice gum paste. The surface is then prepared by applying

transforming natural materials into luxurious objects, which were

initial coats of lacquer mixed with sawdust from exotic woods in

readily collected by an elite Parisian clientele.

order to ensure the evenness of the surface.

Between fve to ffeen layers of clay-based lacquer are then typically

In addition to vases, Dunand designed jewellery, trays and small

added before the fnal stages of decorative lacquer layers are applied.

boxes, as illustrated by lot 59, with delicate eggshell lacquer patterns.

Following each coat, the lacquer is slowly dried in a carefully

However, he also applied the technique on a strikingly grand scale,

controlled humid and dust-free environment over the course of

to create furniture, screens, and large series of wall panels.

several days. The surface is then fnely sanded before the process is repeated. The Irish designer Eileen Gray had begun working with

The present set of nesting tables illustrates Dunand’s elegant eggshell

lacquer a decade earlier, initially in London and then in Paris, where

lacqured furniture, which seamlessly combines simplicity of form and

she opened a workshop with the Japanese lacquer artist Seizo

decoration. Descending across the three tabletops, the design features

Sugawara. Gray’s early lacquerwork demonstrated the possibilities

a brilliant composition integrated into the curved structure of the

of using the ancient craf for contemporary furnishings and in 1912

elegantly proportioned brown lacquer tables. The geometric pattern

she introduced Dunand and Sugawara. Interested in the other’s

retains an organic quality, whilst subtly anticipating a more mechanised

respective material practices, Dunand received thirteen lessons

expression of the Art Deco style, refected in the repetition of the set

in the demanding process of natural lacquer in exchange for

of three tables. The surface efect created by the eggshell decoration

introducing Sugawara to the exacting technique of dinanderie.

is further enhanced by the addition of red lacquer, applied over each shell and polished to the intended degree of shading. Dunand designed

In its natural state lacquer dries as a rich dark brown colour, whilst

a multitude of eggshell lacquer compositions, experimenting with the

vegetable dyes or metal oxides can be added to the material to

diferent efects of using either the exterior or interior shell, as well

obtain black, diferent shades of brown, and vibrant orange or

as diferent types of eggs to achieve variations in colour, heightened

red. However, in order to achieve a white surface, which is not

further by his use of shading.

possible to create with lacquer using natural pigments, around 1925 Dunand began incorporating the technique of coquille d’œuf

Dunand regularly exhibited his work at the salons in Paris, notably

or eggshell lacquer in his work. The process involves delicately

designing a lacquer Smoking Room for the French Embassy at the

breaking eggshells into tiny fragments, which were organised

landmark ‘Exposition Internationale des Arts Décoratifs et Industriels

according to size and individually inlaid on the lacquer surface to

Modernes’ in 1925. Throughout the 1920s and 1930s Dunand ofen

create intricate patterns. The resulting craquelure efect provides a

collaborated with other designers, many of them friends including

spectacular contrast with the depth of the lustrous lacquer surface.

Émile-Jacques Ruhlmann, Eugène Printz and Pierre Legrain, creating

Demonstrating his interest in surface texture and efect, Dunand

refned lacquer fnishes for their furniture. Dunand’s premises located

explored the technique extensively in his work in lacquer. Whilst

at 72, rue Hallé in Paris eventually comprised a showroom, studio, and

traditionally used both in Chinese and Japanese lacquerware, due

metal, lacquer and cabinetmaking workshops, where he employed a

to its painstaking nature, eggshell lacquer was primarily reserved

large team of highly skilled crafsmen, in addition to housing his own

for the decoration of small objects.

fock of chickens—refecting the great success of his work in lacquer.

Property from a Distinguished Private Collection, Florida

54. Jean Dunand

1877-1942

Set of three nesting tables circa 1925 Lacquered wood, eggshell inlay. Tallest: 43 x 48 x 40 cm (16 7/8 x 18 7/8 x 15 3/4 in.) Underside of each impressed JEAN DUNAND/72 RUE HALLE/PARIS/MADE IN FRANCE and numbered 493 and 1.

Estimate £120,000-150,000 $155,000-194,000 €143,000-179,000 Ω plus Buyers Premium and VAT*

Provenance Christie’s, New York, ‘Nineteenth Century Sculpture, Art Nouveau & Art Déco’, 21 March 1981, lot 378 Literature Félix Marcilhac, Jean Dunand: His Life and Works, New York, 1991, p. 76 for a similar example

55. Albert Cheuret

1884-1966

Rare ceiling light circa 1920 Alabaster, partially silvered bronze, coloured glass. 70.5 x 22 x 24.5 cm (273/4 x 85/8 x 95/8 in.) Bronze incised Albert Cheuret and impressed MADE IN FRANCE. Estimate £12,000-18,000 $15,500-23,300 €14,300-21,500 plus Buyers Premium and VAT*

Provenance Private collection, France Thence by descent Acquired from the above by the present owner

Albert Cheuret’s distinctive use of alabaster and bronze in the present ceiling light illustrates the artist’s background in sculpture which he studied at the École des Beaux-Arts in Paris before becoming a decorator. Cheuret’s designs include furniture and lighting, which he regularly exhibited at the major Paris salons and exhibitions, and that were largely inspired by nature as illustrated by the bronze cast owl in the present work which integrates decoration and form. This motif, set against the translucency of the illuminated alabaster shade, evokes an owl in the night sky.

56. Josef Hofmann

1870-1956

Occasional table, model no. T 1295 circa 1914 Stained wood, fabric, glass. 72.7 cm (28 5/8 in.) high, 70.3 cm (27 5/8 in.) diameter Manufactured by Jacob & Josef Kohn, Austria. Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200

Literature Jacob & Josef Kohn, Munich, 1916, p. 73 Derek E. Ostergard, ed., Bent Wood and Metal Furniture: 1850-1946, exh. cat., The American Federation of Arts, New York, 1987, p. 113 The present model was exhibited at the Deutsche Werkbund Ausstellung, Cologne, 1914. Phillips wishes to thank Dr. Christian Witt-Dörring for his assistance cataloguing the present lot.

plus Buyers Premium and VAT*

57. André Arbus

1903-1969

‘Bateau’ daybed circa 1936 Parchment-covered wood, brass. Frame: 52 x 222 x 82 cm (20 1/2 x 87 3/8 x 32 1/4 in.) Estimate £20,000-30,000 $25,900-38,900 €23,900-35,800 plus Buyers Premium and VAT*

Provenance Collection of Pierre Hebey, Paris Michael Pruskin, London Acquired from the above by the present owner Literature Waldemar George, André Arbus, Paris, 1948, pl. 4 Anne Bony, Les Années 40, Paris, 1985, p. 463 Yvonne Brunhammer, André Arbus, Architecte-Décorateur Des Années 40, Paris, 2003, pp. 104, 124, 366

The present model was exhibited at the ‘Exposition des Artistes de ce temps’, Petit Palais, Paris, 1936 and the Pavilion of the ‘Société des artistes décorateurs’, Exposition Internationale, Paris, 1937.

Te Whimsical and the Tropical: A Unique Table

The nineteenth-century French painter Jean-François Millet wrote that it is in ‘the treating of the commonplace with the feeling of the sublime that gives…art its true power’. Working over a century later, Claude Lalanne’s œuvre proved this maxim true: she transforms the everyday into a magical and dreamlike world and her designs inspire awe through their beauty, opulence, and crafsmanship. The daughter of a musician and an alchemist, it is no wonder that Claude Lalanne’s fantastical world combines the lyrical with the technical, art with science, and the imaginary with the natural world. Though she trained as an architect and painter, Lalanne and her partner François-Xavier Lalanne turned to decorative arts in the early 1950s. The pair, collectively known as Les Lalannes, worked separately but both ofen drew on the natural world in a whimsical and Surrealist fashion. Whereas her husband preferred to begin with sketches, Claude Lalanne operated intuitively, taking inspiration from the gardens in Ury, France that surrounded her home and studio, where she made the present lot. Over her seven-decade career, Claude Lalanne created pieces, from furniture to decorative objects and jewellery, that incorporate depictions of flora and fauna in surprising and beautiful ways. For example, the present table appears light and whimsical despite being made in bronze—a testament to her technical mastery—and the artist incorporated silhouettes of two tropical birds into the tabletop’s design. The birds’ faunting tails morph into a whiplash motif that meanders like a scandent vine growing across the tabletop, while the feathers on its head double as a group of leaves. Her inclusion of these birds is not merely a zoological interest but a reference to the table’s original setting. Lalanne designed this unique table for a patron’s home in the Caribbean, and it exemplifes how Lalanne preferred to create unique pieces for individual clients around the world, most famously for Yves Saint Laurent and Salvador Dalí. In the catalogue for a 1975 exhibition at the Centre Pompidou, art critic John Russell wrote, ‘The Lalannes…like to work for a particular person, or for a particular place. Within those seeming limitations, their imagination operates quite freely, raiding departments of life where imagination has long slumbered’. This unique table certainly reveals Claude Lalanne’s imagination in full force, as it magnifes and extends the beauty of the tropics into a luxurious interior and, as Millet suggested, showcases a powerful ability to translate the commonplace into the sublime.

58. Claude Lalanne

1925-2019

Unique low table 1998 Patinated bronze, copper, glass. 43 x 153 x 61 cm (167/8 x 601/4 x 24 in.) Tendril impressed 1 / 1 LALANNE CL 98. Together with two colour photographs inscribed and signed by the artist, a black and white photograph of the table maquette, and a copy of original correspondence signed by the artist and dated 30 August 1998.

Estimate £250,000-350,000 $324,000-454,000 €299,000-418,000 plus Buyers Premium and VAT*

Provenance Private collection, Dominican Republic, acquired directly from the artist, 1998 Acquired from the above by the present owner

59. Jean Dunand

1877-1942

Two lidded boxes circa 1925 Lacquered nickel-plated brass, eggshell inlay. Largest: 4 cm (1 5/8 in.) high, 9 cm (3 1/2 in.) diameter Underside of largest box signed in red lacquer JEAN DUNAND/7117.

Estimate £8,000-12,000 $10,400-15,500 €9,600-14,300 plus Buyers Premium and VAT*

Literature Félix Marcilhac, Jean Dunand: His Life and Works, New York, 1991, p. 277 for similar examples

∆

60. Alberto Giacometti

1901-1966

‘Tête de femme’ table lamp designed circa 1934, later cast Patinated bronze, paper shade. 74.3 cm (29 1/4 in.) high including shade Reverse impressed AG 17 and with partial artist’s signature metti. Together with a certifcate of authenticity from the Comité Giacometti. Estimate £100,000-150,000 $130,000-194,000 €119,000-179,000 plus Buyers Premium and VAT*

Provenance Jay Spectre, Connecticut, acquired directly from Diego Giacometti, 1980 Sotheby’s, New York, ‘The Jay Spectre Collection: Works of Art and Furniture by Alberto and Diego Giacometti’, 18 May 1990, lot 259 A. Alfred Taubman, Michigan, acquired from the above Sotheby’s, New York, ‘The Collection of A. Alfred Taubman: Modern & Contemporary Art’, 5 November 2015, lot 211 Acquired from above by the present owner

Literature Peter Carlsen, ‘Virtuosity, Reclaiming a Modern Classic in Connecticut’, Architectural Digest, February 1985, illustrated p. 64 Michel Butor, Diego Giacometti, Paris, 1985, p. 59 Françoise Francisci, Diego Giacometti: Catalogue de l’œuvre, Volume I, Paris, 1986, pp. 26-27 Daniel Marchesseau, Diego Giacometti, Paris, 1986, pp. 11, 35 Diego Giacometti, Möbel und Objekte aus Bronze, exh. cat., Museum Bellrive, Zurich, 1988, p. 30 Christian Boutonnet and Rafael Ortiz, Diego Giacometti, exh. cat., L’Arc en Seine, Paris, 2003, p. 35 Pierre-Emmanuel Martin-Vivier, JeanMichel Frank: un décorateur dans le Paris des années 30, Paris, 2009, p. 122 The present lot is registered by the Fondation Alberto and Annette Giacometti in the online Alberto Giacometti Database (AGD) under the number AGD 3498.

61. Ado Chale

b. 1928

Low table circa 1970 Marcasite, resin, painted steel. 34.3 x 111.4 x 100.2 cm (13 1/2 x 43 7/8 x 39 1/2 in.) Tabletop with brass inlay Chale.

Literature Iona Chale, Ado Chale, Brussels, 2017, p. 18 for a similar example Phillips wishes to thank Ilona Chale from the Ado Chale studio for her assistance cataloguing the present lot.

Estimate £12,000-18,000 $15,500-23,300 €14,300-21,500 plus Buyers Premium and VAT*

62. Max Ingrand

1908-1969

Ceiling light circa 1955 Acid-etched glass, painted aluminium, brass. 12 x 90.3 x 90.3 cm (4 3/4 x 35 1/2 x 35 1/2 in.) Manufactured by Fontana Arte, Milan, Italy.

Estimate ÂŁ8,000-12,000 $10,400-15,500 â&#x201A;Ź9,600-14,300 plus Buyers Premium and VAT*

Provenance Private collection, Turin

Tree Silver Plates by Henry van de Velde By Tomas Föhl

The design of the present set of three plates undoubtedly traces back to the Belgian architect and designer Henry van de Velde. His estate holds a drawing illustrating a comparable design, noted with almost identical dimensions (Wvz Vol. I; No. I.2.128). The hallmarks also indicate this authorship and confirm the present plates were executed at van de Velde’s School of Applied Arts in Weimar, rather than produced by the Weimar court jeweller Theodor Müller, who was commonly responsible for the production of his silverwork. Since 1911, van de Velde’s second private studio mark, set as a square ‘vdV’ over the hallmark of the School of Applied Arts, has occasionally been used in this form and it is thought the mark was probably used exclusively by the silversmith Albert Feinauer.

built in 1893 on the island of Rügen. Following which, Count Douglas entrusted van de Velde with the complete reftting and extension of the residence, completed in 1916. The chairman of the supervisory board of Krupp in Essen, then Europe’s biggest armaments company, Baron Bodenhausen, held doctorates in both law and art history, and was a loyal patron of van de Velde. After 1912, he had a brief love affair with Countess Margarete Douglas, during which time van de Velde played the Postillon d’Amour, exchanging letters and delivering gifts on his many trips to Ralswiek.

The story behind this ‘silver gif’ is also of interest as it leads us to the provenance of the present lot, which originally belonged to the Counts of Douglas. The family was closely connected with van de Velde, having commissioned the designer in 1897 to develop a comprehensive advertising strategy for their newly founded company ‘Tropon’, which included the design of a logo and packaging, printed advertisement in addition to the ofce furnishings. This frst example of commercial corporate identity, ofen cited in literature, was conceived by Count Angus Douglas (1870-1938), together with his friend Baron Eberhard von Bodenhausen (1868-1918), who had met as students.

The present set of three silver plates from 1915 was most likely sent by Baron Bodenhausen to Ralswiek as birthday and Christmas presents. The date of ‘24 November 1915’ engraved on the reverse of one of the plates is of signifcance as it corresponds to the birthday of the young Countess Anga Douglas (1900-1976). Coincidentally in 1925, Anga married the only son of her mother’s former lover. The gif was reciprocated in mid-December 1915, when Margarete von Douglas sent her own ‘silver gifts’ to her lover. This gift is referenced in a letter dated 16 December 1915 from van de Velde to Baron Bodenhausen, in which he complained that the two works still required some reworking due to the urgency of the request.

In 1898, Count Douglas married Margarete von Enckefort (18781938), with whom he had three daughters and a son. In 1912, he inherited a summer residence in Ralswiek, an opulent castle

Given the undoubted authorship, we may record the Douglas family as the provenance of the present lot, in all probability having been gifed to the married Baroness Anga von Bodenhausen, née Countess Douglas.

63. Henry van de Velde

1863-1957

Three plates

Estimate £10,000-15,000 $13,000-19,400 €11,900-17,900 plus Buyers Premium and VAT*

circa 1915 Precious metal. Each: 19.8 cm (7 3/4 in.) diameter Reverse of each impressed with purity mark 900, crescent and crown mark. Two further impressed with artist’s private studio mark and Grand Ducal Saxon School of Arts and Crafs, Weimar mark and incised 24. November 1915 and Weihnachten 1915, respectively.

Provenance Counts of Douglas, Ralswiek Castle, 1915 Private collection, Milan Literature Thomas Fohl and Antje Neumann, eds., Henry van de Velde. Interior Design and Decorative Arts. A Catalogue Raisonné in Six Volumes, Volume 1: Works in Metal, Leipzig, 2009, p. 238 for a similar example

Phillips wishes to thank Dr. Thomas Fohl from the Klassik Stifung Weimar for his assistance cataloguing the present lot.

64. Georges Jouve

1910-1964

Table lamp

Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 plus Buyers Premium and VAT*

circa 1960 Glazed stoneware, brass, paper shade. 45.9 cm (18 1/8 in.) high including shade Underside signed with artist’s cipher and JOUVE.

Provenance Private collection, France Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 201

65. Jean Prouvé

1901-1984

‘Aile d’avion’ desk circa 1945 Oak-veneered wood, oak, painted steel. 74 x 160.4 x 84 cm (291/8 x 631/8 x 331/8 in.) Manufactured by Les Ateliers Jean Prouvé, France. Estimate £12,000-18,000 $15,500-23,300 €14,300-21,500 plus Buyers Premium and VAT*

Provenance Private collection, France Literature Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934-1944, Basel, 2005, p. 289 for a similar example Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005, p. 179 for a similar example

66. Egon Eiermann

1904-1970

Sofa, designed for Villa Vollberg, Berlin circa 1941 Oak, fabric. 80.5 x 222 x 81 cm (31 3/4 x 87 3/8 x 31 7/8 in.)

Provenance Villa Vollberg, Berlin Phillips wishes to thank Dr Gerhard Kabierske from the Archiv für Architektur und Ingenieurbau (saai) for his assistance cataloguing the present lot.

Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 plus Buyers Premium and VAT*

67. Egon Eiermann

1904-1970

Pair of armchairs, designed for Villa Vollberg, Berlin circa 1941 Oak, fabric. Each: 80.2 x 83 x 76 cm (31 5/8 x 32 5/8 x 29 7/8 in.) Estimate £4,000-6,000 $5,200-7,800 €4,800-7,200 plus Buyers Premium and VAT*

Provenance Villa Vollberg, Berlin Phillips wishes to thank Dr Gerhard Kabierske from the Archiv für Architektur und Ingenieurbau (saai) for his assistance cataloguing the present lot.

68. Gino Sarfatti

1912-1985

Unique ceiling light, variant of model no. 194n 1950s Painted aluminium, nickel-plated brass, brass-plated steel, chromium-plated steel, painted steel. Variable drop, 40.1 x 149 cm (15 3/4 x 58 5/8 in.) Interior of shade with partial manufacturer’s label printed AL/MILANO/ARTELUCE. Estimate £12,000-18,000 $15,500-23,300 €14,300-21,500 plus Buyers Premium and VAT*

Provenance Private collection, Rovigo

69. Flemming Lassen

1902-1984

‘Third’ armchair designed circa 1935, executed 1941 Sheepskin, Cuban mahogany. 74.9 x 79 x 88.8 cm (29 1/2 x 31 1/8 x 34 7/8 in.) Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark. Together with a copy of the original invoice from A.J. Iversen.

Detail from a preparatory drawing illustrating the present model. Image courtesy of the Danish National Art Library - Royal Danish Library

Estimate £30,000-50,000 $38,900-64,800 €35,800-59,700 plus Buyers Premium and VAT*

Provenance Private collection, Denmark, acquired directly from the designer, 1941 Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 1: 1927-1936, Copenhagen, 1987, p. 247 for the sofa version of the model

70. Jean Després

1889-1980

Pair of vases circa 1970 Silver-plated metal, macassar ebony-veneered wood. Each: 36.4 x 34 x 10 cm (14 3/8 x 13 3/8 x 3 7/8 in.) Underside of each incised J-Després. Estimate £12,000-18,000 $15,500-23,300 €14,300-21,500 plus Buyers Premium and VAT*

Provenance Private collection, Texas Acquired from the above by the present owner Literature Yvonne Brunhammer, Les Styles des Années 30 à 50, Paris, 1987, p. 81 for a similar example Melissa Gabardi, Jean Després: Jeweler, Maker and Designer of the Machine Age, London, 2009, pp. 138-39 for similar examples Phillips wishes to thank Philippe Rapin for his assistance cataloguing the present lot.

∑

71. Finn Juhl

1912-1989

Extendable dining table, model no. FJ 49 designed 1948 Brazilian rosewood-veneered wood, teak, precious metal. 71.5 x 309.4 x 139.8 cm (28 1/8 x 121 3/4 x 55 in.) fully extended Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark and retailed by Illums Bolighus A/S, Copenhagen, Denmark. Underside impressed NIELS VODDER CABINETMAKER/COPENHAGEN DENMARK/DESIGN FINN JUHL and with metal label impressed ILLUMS BOLIGHUS/KØBENHAVN. Estimate £18,000-24,000 $23,300-31,100 €21,500-28,700 plus Buyers Premium and VAT*

Provenance Private collection, Germany

Literature ‘Finn Juhl, architetto danese’, Domus, no. 252-53, November/December 1950, p. 21 Esbjørn Hiort, Modern Danish Furniture, New York, 1956, p. 58 Niels Vodder Furniture, Copenhagen, 1959, pp. 16, 26 Illums Bolighus, sales catalogue, Copenhagen, 1961, n.p. Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, p. 25 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, p. 187 The present extendable dining table is commonly known as the ‘Judas’ or ‘Silver’ table in reference to the 30 precious metal inlays in the shape and sizes of coins that decorate the tabletop. This detail also serves the practical function of indicating the place settings for four, six, eight or ten guests. Finn Juhl included the present design in the dining room of his own residence, which he built for himself and his family in Ordrup, outside of Copenhagen a few years earlier, in 1942.

72. Max Ingrand

1908-1969

Ceiling light, model no. 2338 1960s Partially acid-etched glass, brass. 105 x 45 x 37 cm (41 3/8 x 17 3/4 x 14 5/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £8,000-12,000 $10,400-15,500 €9,600-14,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Quaderni Fontana Arte 7, sales catalogue, 1960s, p. 11 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 229 for a similar example

73. Barbro Nilsson

1899-1983

‘Snäckorna’ (Sea shells) rug designed 1943, executed 1950s Handwoven wool on a linen warp. 266 x 183 cm (104 3/4 x 72 in.) Produced by Märta Måås-Fjetterström AB, Båstad, Sweden. Handwoven by Maja Jansson and Maj-Britt Karlsson at Märta Måås-Fjetterström AB, Båstad, Sweden. Woven with manufacturer’s mark AB MMF and artist’s initials BN. Estimate £10,000-15,000 $13,000-19,400 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Phillips, London, ‘Design’, 29 April 2014, lot 110 Acquired from the above by the present owner Literature Marta Maas-Fjetterstrom Och Verkstaden I Bastad, Stockholm, 1940s, p. 23 Tyra Carolina Lundgren, Marta MaasFjetterstrom och vav-verkstaden i Bastad, Stockholm, 1968, p. 114 Dag Widman, Konsten i Sverige: Konsthantverk, konstindustri, design 1895-1975, Stockholm, 1975, p. 86 Barbro Hovstadius, ed., A Swedish Legacy: Decorative Arts 1700-1960, Stockholm, 1998, p. 86

Marta Maas-Fjetterstrom: Marta fyger igen! : 90 ar med Marta MaasFjetterstrom 3.10.2009-6.1.2010, exh, cat., Liljevalchs konsthall, Stockholm, 2009, p. 145 Phillips wishes to thank Angelica Persson and Martin Chard from Märta MååsFjetterström AB for their assistance cataloguing the present lot.

74. Kaare Klint

1888-1954

Three-seater box-shaped sofa, model no. 4118 designed 1930, executed 1978 Niger leather, mahogany. 87 x 198.5 x 82 cm (34 1/4 x 78 1/8 x 32 1/4 in.) Executed by cabinetmakers Rud. Rasmussen A/S, Copenhagen, Denmark. Underside with manufacturer’s paper label printed RUD. RASMUSSENS/ SNEDKERIER/KØBENHAVN N/ DANMARK, handwritten inventory number 37670 and architect’s monogrammed paper label.

Estimate £8,000-12,000 $10,400-15,500 €9,600-14,300 plus Buyers Premium and VAT*

Literature Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 29 Frederik Sieck, Contemporary Danish Furniture Design: a short illustrated review, Copenhagen, 1990, p. 15 Gorm Harkær, Kaare Klint: Volume 1, Copenhagen, 2010, pp. 259, 267 Gorm Harkær, Kaare Klint: Volume 2, Copenhagen, 2010, p. 39

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 10 September–3 October 1937, stand 1. Phillips wishes to thank Mette J. Dederding from Rud. Rasmussen for her assistance cataloguing the present lot.

75. Paavo Tynell

1890-1973

Table lamp, model no. 9208

Estimate £10,000-15,000 $13,000-19,400 €11,900-17,900 plus Buyers Premium and VAT*

1940s Brass, brass-plated steel, cane. 46 x 27 x 27 cm (18 1/8 x 10 5/8 x 10 5/8 in.) Manufactured by Taito Oy, Helsinki, Finland. Light switch impressed 9208/ OY.TAITO AB./MADE IN FINLAND.

Provenance Private collection, Sipoo, Finland, 1940s Acquired from the above by the present owner Literature Idman, sales catalogue, no. 135, 1953, p. 42

76. Stilnovo Standard lamp 1950s Glass, brass, painted brass, brass-plated steel, painted brass-plated steel, marble. 128 cm (50 3/8 in.) high Manufactured by Stilnovo, Milan, Italy. Estimate £3,000-5,000 $3,900-6,500 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Private collection, Milan

77. Charlotte Perriand

1903-1999

Low bench, from Cité Cansado, Mauritania circa 1962 Stained oak, painted steel. 23.6 x 190 x 70 cm (9 1/4 x 74 3/4 x 27 1/2 in.) Metal produced by Métal Meubles and wood produced by Négroni, France. Issued by Galerie Steph Simon, Paris, France.

Estimate £6,000-8,000 $7,800-10,400 €7,200-9,600 plus Buyers Premium and VAT*

Provenance Miferma, Cansado Acquired from the above by the present owner Literature Jacques Barsac, Charlotte Perriand: Complete Works Volume 3, 1956-1968, Paris, 2017, p. 119

78. Axel Salto

1889–1961

Unique vase in ‘Den Spirende Stil’ (The Sprouting Style) 1942 Stoneware, fowing Sung with elements of vivid emerald green glazes. 37 cm (14 5/8 in.) high Produced by Royal Copenhagen, Denmark. Underside incised SALTO/1942, stamped ROYAL/ COPENHAGEN/DENMARK and painted blue wave mark under the glaze. Estimate £30,000-40,000 $38,900-51,800 €35,800-47,800 plus Buyers Premium and VAT*

Provenance Hostler Burrows, New York Acquired from the above by the present owner, circa 2010 Literature Nyt Tidsskrif For Kunstindustri, no. 7, July 1945, front cover, p. 72 for a similar example Axel Salto, Den Spirende Stil, Copenhagen, 1949, pp. 92-94 for similar examples Pierre Lübecker, Salto, Copenhagen, 1952, n.p. for a similar example Lars Dybdahl, ed., Det Brændende Nu ∙ Axel Salto, exh. cat., Kunstindustrimuseet, Copenhagen, 1989, p. 44 for a similar example Forces of Nature: Axel Salto: Ceramics & Drawings, exh. cat., Antik, New York, 1999, pp. 2, 9 for similar examples

The present work is a unique variation of the Sprouting Style vase designs Axel Salto created for Royal Copenhagen. In his 1949 book Den spirende Stil, Salto describes these works as expressing movement or growth, writing, ‘the vase is like a living organism; the body buds, the buds develop, and a sprouting—even prickly—vessel results from the urgency of life within’. The present sprouting vase is an experimental and unusually large example, which notably features combined nodes, alongside the single nodes that typically comprise these vessels in the Sprouting Style. Additionally, the work features a vivid emerald green glaze, not known in any other example of Salto’s work for Royal Copenhagen.

79. Flemming Lassen

1902-1984

Pair of armchairs circa 1940 Sheepskin, ash. Each: 75 x 77 x 79 cm (29 1/2 x 30 3/8 x 31 1/8 in.) Executed by master cabinetmaker Jacob Kjær, Denmark. Estimate £12,000-18,000 $15,500-23,300 €14,300-21,500

Literature Hans Christian Hansen, ‘Snedkerlaugets 14. Møbeludstilling’, Nyt Tidsskrif For Kunstindustri, no. 11, November 1940, p. 171 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 116 The present model was exhibited at the Copenhagen Cabinetmakers’ Guild, Kunstindustrimuseet, Copenhagen, 20 September–6 October 1940, stand 14.

plus Buyers Premium and VAT*

80. Flemming Lassen

1902-1984

Sofa circa 1940 Sheepskin, ash. 75 x 154 x 87 cm (29 1/2 x 60 5/8 x 34 1/4 in.) Executed by master cabinetmaker Jacob Kjær, Denmark. Estimate £8,000-12,000 $10,400-15,500 €9,600-14,300 plus Buyers Premium and VAT*

Literature Hans Christian Hansen, ‘Snedkerlaugets 14. Møbeludstilling’, Nyt Tidsskrif For Kunstindustri, no. 11, November 1940, p. 171 for the armchair version of the model Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 116 for the armchair version of the model

81. Hans J. Wegner

1914-2007

Rare and early ‘Chinese’ armchair, model no. FH4283 designed and executed 1943 Cherry, leather. 83 x 55.6 x 54.8 cm (32 5/8 x 21 7/8 x 21 5/8 in.) Manufactured by Fritz Hansen, Copenhagen, Denmark. Underside of frame stamped 7018. Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

Phillips wishes to thank Marianne Wegner from the Hans J. Wegner Design Studio for her assistance cataloguing the present lot.

The present armchair designed in 1943 by Hans J. Wegner is considered a preliminary version of the model no. FH4283, part of the series of chairs informed by the expressive possibilities of traditional Chinese models. Marking the frst project having established his own studio, Wegner, then twenty-nine years old, designed this early example of the ‘Chinese’ armchair in response to a brief from Fritz Hansen seeking new designs for their production of bentwood furniture. Working with wartime restrictions, in order to retain the desired quality of material, the wood Wegner used for his design could not exceed 130 cm in length. This early version executed in cherry—a hardwood valued in cabinetry for its workability—features an organically curved upper rail produced from a single piece of steam-bent wood, as illustrated in the original drawing of the chair dated from 1943 and demonstrating the initial task outlined by Fritz Hansen. Between 1943 and 1944 a version of the armchair in cherry (model no. FH4283) went into production. A black and white photograph in the Wegner design studio’s archive illustrates an example of this version, which included changes to the shape of the back splat and construction of the seat, but appears to retain an upper rail comprising a single piece of steam-bent wood. The model was reintroduced in 1963 featuring an upper rail with two joints, which remains in production at present day. It is thought this detail was probably designed by Wegner for this fnal version, which allowed the armchair to be produced in mahogany.

82. Max Ingrand

1908-1969

Standard lamp, model no. 1692 1960s Acid-etched glass, glass, brass. 173 cm (68 1/8 in.) high Manufactured by Fontana Arte, Milan, Italy. Estimate ÂŁ5,000-7,000 $6,400-9,000 â&#x201A;Ź6,000-8,300 plus Buyers Premium and VAT*

Provenance Private collection, Lake Maggiore Literature Quaderni Fontana Arte 1, sales catalogue, 1960s, p. 75

Property from an Important American Collection

83. Ado Chale

b. 1928

Low table circa 1970 Lapis lazuli, resin, painted steel. 34.5 x 120 x 117 cm (13 5/8 x 47 1/4 x 46 1/8 in.) Edge of tabletop with brass inlay Chale and further incised Ado Chale.

Estimate £15,000-20,000 $19,300-25,800 €17,900-23,800 Ω

Literature Iona Chale, Ado Chale, Brussels, 2017, pp. 140-41 for a similar example

plus Buyers Premium and VAT*

Provenance Sotheby’s, London, ‘Fine 20th Century Design,’ 2 April 2008, lot 5

Phillips wishes to thank Ilona Chale from the Ado Chale studio for her assistance cataloguing the present lot.

84. François-Xavier Lalanne

and Kazuhide Takahama 1927-2008 and 1930-2010 ‘Rhinocéros’ fve-panelled screen, from the ‘Ultramobile’ series 1971-1976

Lacquered plywood, serigraph print, rubber. Each panel: 220 x 45 x 2 cm (86 5/8 x 17 3/4 x 0 3/4 in.) Produced by Gavina for Studio Simon, Bologna, Italy.

Estimate £20,000-30,000 $25,800-38,700 €23,800-35,800 plus Buyers Premium and VAT*

Literature Simon Gavina, Ultramobile, sales catalogue, 1970s, p. 21

85. Paavo Tynell

1890-1973

Two wall lights, model no. K8-1/1 1950s Brass. Largest: 25 x 17 x 21 cm (9 7/8 x 6 3/4 x 8 1/4 in.) Manufactured by Idman, Finland. Interior of one impressed IDMAN/MADE IN/FINLAND.

Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300 plus Buyers Premium and VAT*

Literature Finland House Lighting: harmony in lighting for harmony in living, original designs by Paavo Tynell, sales catalogue, New York, 1950s, p. 25 Idman, sales catalogue, no. 142, 1958, p. 106

86. Axel Einar Hjorth

1888-1959

Set of twelve chairs, from the ‘Utö’ series 1930s Pine. Each: 80.5 x 46 x 45.6 cm (31 3/4 x 18 1/8 x 17 7/8 in.) Produced by AB Nordiska Kompaniet, Stockholm, Sweden.

Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300 plus Buyers Premium and VAT*

Literature Christian Björk, Thomas Ekström and Eric Ericson, Axel Einar Hjorth: Möbelarkitekt, Stockholm, 2009, p. 130

87. Hans J. Wegner

1914-2007

Extendable dining table, model no. JH 567 circa 1952 Oak-veneered wood, oak. 72 x 243 x 130.8 cm (28 3/8 x 95 5/8 x 51 1/2 in.) extended with one leaf Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300

Literature Johan Møller Nielsen, Wegner: en dansk møbelkunstner, Copenhagen, 1965, p. 105 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 213 The present model was exhibited at the Copenhagen Cabinetmakers’ Guild, Kunstindustrimuseet, Copenhagen, 26 September–12 October 1952, stand 23.

plus Buyers Premium and VAT*

88. Hans J. Wegner

1914-2007

‘Sawbuck’ armchair, model no. JH523 designed 1955, executed late 1950s Oak, fabric, brass. 73 x 79.5 x 75 cm (28 3/4 x 31 1/4 x 29 1/2 in.) Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside impressed JOHANNES HANSEN/ COPENHAGEN/DENMARK and with manufacturer’s stamp.

Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Den Permanente, Copenhagen Private collection, Denmark, acquired from the above, late 1950s Bruun Rasmussen, Copenhagen, ‘Nordic Design’, 3 December 2015, lot 1261 Acquired from the above by the present owner

Literature J. Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, p. 73 C. H. Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, p. 205 Phillips wishes to thank Marianne Wegner from the Hans J. Wegner Design Studio for her assistance cataloguing the present lot.

89. Arne Jacobsen

1902-1971

Pair of wall lights, model no. 34505 circa 1967 Chromium-plated metal. Each: 3.6 x 21.1 x 4.5 cm (1 3/8 x 8 1/4 x 1 3/4 in.) Manufactured by Louis Poulsen, Copenhagen, Denmark.

Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 plus Buyers Premium and VAT*

Literature Louis Poulsen, sales catalogue, 1967, p. D3 Mobilia, no. 159, October 1968, pp. 44-45

Donated by Luqman Arnold. Proceeds from this sale will be used to beneft the Design Museum’s collection, London

Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200 plus Buyers Premium and VAT*

90. Poul Kjærholm

1929-1980

Lounge chair, model no. PK 20 designed 1967 Leather, chromium-plated steel. 90 x 80 x 75 cm (35 3/8 x 31 1/2 x 29 1/2 in.) Manufactured by E. Kold Christensen, Denmark, France. Underside impressed with manufacturer’s mark DENMARK.

Provenance Phillips, London, ‘Design’, 30 April 2009, lot 52 Acquired from the above by the present owner

Literature Frederik Sieck, Contemporary Danish Furniture Design – a short illustrated review, Copenhagen, 1990, p. 150 Christofer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, Poul Kjærholm, Copenhagen, 1999, pp. 30–31, 120–21 Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 146–49

91. Josef Frank

1885-1967

Dining table, model no. 1020 circa 1940 Amboyna-veneered wood, walnut, boxwood and ebonised boxwood inlays. 71 cm (27 7/8 in.) high, 143.4 cm (56 1/2 in.) diameter Produced by Svenskt Tenn, Stockholm, Sweden. Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300

Literature Svenskt Tenn: Strandvägen 5A, Stockholm, 1950s, n.p. Monica Boman, Monica Eriksson, Hedvig Hedqvist, et al., Estrid Ericson: Founder of Svenskt Tenn, Stockholm, 1989, p. 39 Christopher Long, Josef Frank: Life and Work, Chicago, 2002, pp. 152, 236 Phillips wishes to thank Per Ahldén of Svenskt Tenn for his assistance cataloguing the present lot.

plus Buyers Premium and VAT*

92. Carl Halier and Knud Andersen 1873-1948 and 1892-1966 Large lidded vase on stand 1938 Stoneware, oxblood glaze, bronze. 46 cm (18 1/8 in.) high Produced by Royal Copenhagen, Denmark. Underside stamped with Royal Copenhagen mark and painted with artist’s cipher CH/blue wave mark/2-8 / 1938 under the glaze.

Lid and stand each impressed with Royal Copenhagen mark and incised with artist’s cipher KA. Lid additionally impressed DANKSE KULIMPORTØRERS ASSOCIATION/REPRÆSENTANTSKABET - 1.AUGUST 1943 - BESTYRELSEN. Estimate £12,000-18,000 $15,500-23,200 €14,300-21,500 plus Buyers Premium and VAT*

Provenance Galerie Philippe Denys, Brussels Acquired from the above by the present owner, circa 2010

∑

93. Finn Juhl

1912-1989

Pair of easy chairs, model no. FJ 45 designed 1945 Brazilian rosewood, fabric, leather. Each: 83 x 69.5 x 76 cm (32 5/8 x 27 3/8 x 29 7/8 in.) Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark. Underside of each impressed CABINETMAKER NIELS VODDER/ COPENHAGEN DENMARK/ DESIGN FINN JUHL. Estimate £30,000-50,000 $38,700-64,500 €35,800-59,600

Provenance Bruun Rasmussen, Copenhagen, ‘Design’, 7 March 2018, lot 930 Acquired from the above by the present owner Literature Ebbe Kornerup, ‘Ægte og uægte Form og Konstruktion’, Nyt Tidsskrif For Kunstindustri, no. 12, December 1945, p. 166 Esbjørn Hiort, Modern Danish Furniture, New York, 1956, p. 52 Niels Vodder Furniture, Copenhagen, 1959, p. 8 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, pp. 276-77

Esbjørn Hiort, Finn Juhl: FurnitureArchitecture-Applied Art, Copenhagen, 1990, pp. 20, 25-26, 28, 34-35, 78, 101, 105 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, pp. 24, 42-45, 130 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 4, 31, 41, 46, 79, 150, 152-53, 158-60, 185, 206 Anne-Louise Sommer, Watercolors by Finn Juhl, Berlin, 2016, pp. 32-33, 103, 109, 112 The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 28 September–14 October 1945, stand 14.

plus Buyers Premium and VAT*

94. Gio Ponti

1891-1979

Vase, model no. 3703 1946-1947 A canne coloured glass. 16.5 cm (6 1/2 in.) high Produced by Venini & C., Murano, Italy. Underside acid-etched venini/ murano/ITALIA.

Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 plus Buyers Premium and VAT*

Literature Marino Barovier, ed., Paolo Venini e la sua fornace, exh. cat., Fondazione Giorgio Cini, Milan, 2016, p. 393

∑

95. Finn Juhl

1912-1989

Two-seater sofa, model no. FJ 45 designed 1945 Brazilian rosewood, fabric, leather. 83 x 118.5 x 76.5 cm (32 5/8 x 46 5/8 x 30 1/8 in.) Executed by master cabinetmaker Niels Vodder, Copenhagen, Denmark.

Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Literature Niels Vodder Furniture, Copenhagen, 1959, p. 9 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, p. 130

96. Palle Suenson

1904-1987

Set of ten dining chairs, designed for the canteen, Aarhus Oliefabrik A/S ofce building 1938-1942 Beech, teak. Tallest: 88 x 49.6 x 43.5 cm (34 5/8 x 19 1/2 x 17 1/8 in.)

Possibly manufactured by Fritz Hansen, Copenhagen, Denmark. Underside of each impressed F and four additionally impressed 6-10-80, 08-8-8, 081181 and 181180 respectively.

Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300 plus Buyers Premium and VAT*

Provenance Aarhus Oliefabrik A/S ofce building, Aarhus

97. Verner Panton

1926-1998

Set of eight ‘Flower Pot’ ceiling lights, model no. 16562 circa 1968 Painted steel, aluminium, fabric cord. Each: variable drop, 21.7 cm (81/2 in.) diameter

Manufactured by Louis Poulsen, Copenhagen, Denmark. Interior of each shade with manufacturer’s paper labels printed FLOWERPOT DESIGN VERNER PANTON/LOUIS POULSEN & CO. A/S · COPENHAGEN and louis poulsen & co. a/s/TYPE/16562/made in denmark. Estimate £3,000-5,000 $3,900-6,400 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Niels-Jørgen Kaiser, Verner Panton, Basel, 1986, n.p. Alexander von Vegesack and Mathias Remmele, eds., Verner Panton: The Collected Works, Weil am Rhein, 2000, pp. 109-11, 130, 137, 192, 215, 288

98. Fontana Arte Rare table lamp, model no. 2463

Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

1960s Acid-etched glass, nickel-plated brass, aluminium. 41.4 cm (161/ 4 in.) high, 34 cm (133/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy.

Provenance Private collection, Milan Literature Quaderni Fontana Arte, sales catalogue, 1967, n.p.

99. Finn Juhl

1912-1989

Sofa, model no. BO46 designed 1946 Fabric, teak. 81.5 x 132 x 77.1 cm (32 1/8 x 51 7/8 x 30 3/8 in.) Manufactured by Carl Brørup for Bovirke, Copenhagen, Denmark. Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300 plus Buyers Premium and VAT*

Provenance Private collection, Denmark Acquired from the above by the present owner Literature Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, p. 131 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, p. 89 Anne-Louise Sommer, Watercolors by Finn Juhl, Berlin, 2016, p. 53

Donated by Luqman Arnold. Proceeds from this sale will be used to beneft the Design Museum’s collection, London

Estimate £2,500-3,500 $3,200-4,500 €3,000-4,200 plus Buyers Premium and VAT*

∑

100. Finn Juhl

1912-1989

Drop-leaf cofee table circa 1947 Brazilian rosewood-veneered wood, beech. 60 x 118 x 76 cm (23 5/8 x 46 1/2 x 29 7/8 in.) fully extended Manufactured by Bovirke, Copenhagen, Denmark.

Provenance Phillips, London, ‘Design’, 30 April 2009, lot 59 Acquired from the above by the present owner Literature Christian Bundegaard, Finn Juhl: Life, Work, World, London, 2019, p. 199

101. Paavo Tynell

1890-1973

Table lamp, model no. 5061

Estimate ÂŁ5,000-7,000 $6,400-9,000 â&#x201A;Ź6,000-8,300 plus Buyers Premium and VAT*

1950s Brass, painted brass. 38.5 cm (15 1/8 in.) high, 36 cm (14 1/8 in.) diameter Manufactured by Taito Oy or Idman, Helsinki, Finland.

Literature Finland House Lighting: harmony in lighting for harmony in living, original designs by Paavo Tynell, sales catalogue, New York, 1950s, p. 27 Idman, sales catalogue, no. 135, 1953, p. 43; no. 136, 1954, p. 49; no. 138, p. 66

102. Antti Nurmesniemi

1927-2003

Set of six ‘Sauna’ stools, designed for the Palace Hotel, Helsinki designed 1952, produced 1980s Laminated-birch plywood, teak, birch. Each: 43.7 x 38 x 36.5 cm (17 1/4 x 14 7/8 x 14 3/8 in.) Manufactured by G. Söderström, Finland. Underside of each impressed ANTTI NURMESNIEMI.

Estimate £3,000-5,000 $3,900-6,400 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Nurmesniemi family, Helsinki, 1980s Acquired from the above by the present owner

Literature Ornamo 1950-54, Helsinki, 1955, p. 106 Erik Zahle, ed., A Treasury of Scandinavian Design: The standard authority on Scandinavian-designed furniture, textiles, glass, ceramics, and metal, New York, 1961, p. 84 Kaj Kalin, Antti Nurmesniemi, Ajatuksia ja suunnitelmia, Helsinki, 1992, p. 43 Marianne Aav and Nina Stritzler-Levine, eds., Finnish Modern Design: Utopian Ideals and Everyday Realities: 1930-1997, exh. cat., The Bard Graduate Center for Studies in the Decorative Arts, New Haven, 1998, p. 310

Donated by the artist. Proceeds from this sale will be used to support the opening of the new Crafs Council Gallery, London in 2020

Estimate £3,000-4,000 $3,900-5,200 €3,600-4,800 † plus Buyers Premium and VAT*

103. Alison Britton

b. 1948

‘Overlap’ 2005 Earthenware, painted with slips and underglaze pigments, clear matt glaze. 39.5 x 50 x 32 cm (15 1/2 x 19 5/8 x 12 5/8 in.) Underside incised Alison Britton / 2005.

Exhibited ‘Alison Britton: New Work and the Ed Wolf Collection of Alison Britton Pots’, Barrett Marsden Gallery, London, 16 June-30 July 2005 ‘END’, The Danish Museum of Art & Design, Copenhagen, 6 September-28 October 2007; Bomuldsfabriken Kunsthall, Arendal, 17 November-31 December 2007

Donated by Luqman Arnold. Proceeds from this sale will be used to beneft the Design Museum’s collection, London

Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200 plus Buyers Premium and VAT*

104. Preben Fabricius and Jørgen

Kastholm

1931-1984 and 1931-2007

Provenance Phillips, London, ‘Design’, 30 April 2009, lot 54 Acquired from the above by the present owner

‘Scimitar’ lounge chair, model no. IS-63 designed 1962 Leather, stainless steel. 67 x 82 x 62 cm (26 3/8 x 32 1/4 x 24 3/8 in.) Manufactured by Ivan Schlechter, Copenhagen, Denmark. Underside impressed with manufacturer’s logo and STAINLESS/STEEL/DANMARK.

Literature Ivan Schlechter, ‘Designs by Fabricius and Kastholm’, Mobilia, no. 106, May 1964, throughout Les Assises du Siège Contemporain, exh. cat., Musée des Arts Décoratifs, Paris, 1968, p. 58 Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 196 Anne Bony, Furniture & Interiors of the 1960s, Paris, 2004, p. 142

105. Paavo Tynell

1890-1973

Pair of wall lights, designed for the Jylhämä hydroelectric power plant, Vaala circa 1951 Steel, glass. Each: 22.3 x 26.5 x 13 cm (8 3/4 x 10 3/8 x 5 1/8 in.) Manufactured by Taito Oy, Helsinki, Finland. Interior of each impressed O/Y TAITO A/B.

Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

Provenance Jylhämä hydroelectric power plant, Vaala

106. André Dubreuil

b. 1951

Two ‘Paris’ chairs circa 1988 Bent, welded and torch-decorated sheet steel. Each: 93 x 58 x 53.5 cm (36 5/8 x 22 7/8 x 21 1/8 in.) Produced by A. D. Decorative Arts Ltd., France. From the edition of 24. Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

Provenance Gifed by the artist to the present owner, circa 1990 Literature Claire Downey, Neo Furniture, London, 1992, p. 57 Jean-Louis Gaillemin, André Dubreuil poète du fer, Paris, 2006, fg. 38 Gareth Williams, The Furniture Machine: Furniture since 1990, London, 2006, p. 24 Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 114

107. André Dubreuil

b. 1951

‘Paris’ table circa 1988 Bent, welded, and torch-decorated sheet steel. 74.6 x 80 x 60 cm (29 3/8 x 31 1/2 x 23 5/8 in.) Produced by A. D. Decorative Arts Ltd., France. From the edition of 12. Estimate £3,000-5,000 $3,900-6,400 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Gifed by the artist to the present owner, circa 1990 Literature Jean-Louis Gaillemin, André Dubreuil poète du fer, Paris, 2006, fgs. 40, 42

108. Ettore Sottsass, Jr.

1917-2007

Plate circa 1958 Enamelled copper. 20.1 cm (7 7/8 in.) diameter Manufactured by Bucci, Pesaro for Galleria Il Sestante, Milan, Italy. Underside impressed IL SESTANTE.

Estimate £3,000-5,000 $3,900-6,400 €3,600-6,000 plus Buyers Premium and VAT*

Literature ‘Smalti su rame’, Domus, no. 382, September 1961, n.p. for a similar example Fulvio Ferrari, Sottsass: 1000 Ceramics, Turin, 2017, p. 40 for a similar example

Provenance Private collection, Florence

109. Ettore Sottsass, Jr.

1917-2007

‘Califo’ divan circa 1962 Painted wood, fabric. 63 x 200.4 x 85 cm (24 3/4 x 78 7/8 x 33 1/2 in.) Manufactured by Poltronova, Agliana, Italy. Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

Provenance Private collection, Savona Literature ‘Ettore Sottsass jr.: una stanza da letto’, Domus, no. 426, May 1965, p. 55 ‘In a living-room’, Domus, no. 446, January 1967, pp. 23-27 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 203 Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, p. 79

∆

110. Gio Ponti

1891-1979

Rare table lamp 1930 Glazed earthenware, paper shade. Base: 29 cm (11 3/8 in.) high Manufactured by Richard Ginori, Rome, Italy. Underside signed under glaze Ginori/1210-3215/MADE IN ITALY/ Gio Ponti and with paper label printed RICHARD GINORI/ROMA handwritten 15.11.30/£120. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

111. Gio Ponti

1891-1979

‘Distex’ armchair, model no. 807 circa 1954 Fabric, walnut, brass-plated steel nailheads. 81 x 81.5 x 104.5 cm (31 7/8 x 32 1/8 x 41 1/8 in.) Manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £12,000-18,000 $15,500-23,200 €14,300-21,500 plus Buyers Premium and VAT*

Provenance Private collection, Naples Literature Domus, no. 293, April 1954, front cover Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2004, p. 172

112. Stilnovo Adjustable wall light, model no. 2061 circa 1959 Painted aluminium, brass, painted brass, painted steel, rubber. Variable drop, 28.5 x 146.6 cm (11 1/4 x 57 3/4 in.) fully extended Manufactured by Stilnovo, Milan, Italy. Interior of shade with manufacturer’s label printed MILANO/STILNOVO/ITALY.

Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Domus, no. 353, April 1959, n.p. Stilnovo: apparecchi per l’illuminazione, sales catalogue, 1960s, p. 49

113. Ico Parisi

1916-1996

Rare dining table circa 1954 Walnut-veneered wood, walnut, painted steel. 78.2 x 301 x 90.1 cm (30 3/4 x 118 1/2 x 35 1/2 in.) Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Varese Literature ‘Una villa sul lago’, Domus, no. 325, December 1956, p. 25 ‘A Practical Version of Split Level’, Ideal Home, vol. 76, no. 2, August 1957, p. 35 Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, p. 289 Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

114. Giorgio Ferro

b. 1931

Vase, from the ‘Anse Volanti’ series 1950s Iridescent coloured glass. 28 x 25 x 9.4 cm (11 x 9 7/8 x 3 3/4 in.) Produced by A.V.E.M, Murano, Italy.

Literature Franco Deboni, Murano ‘900, Milan, 1996, pp. 23, 88 for other examples from the series Marino Barovier, ed., Venetian glass: The Nancy Olnick and Giorgio Spanu Collection, New York, 2000, p. 138 for another example from the series

Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200 plus Buyers Premium and VAT*

115. Carlo Scarpa

1906-1978

Mirror, model no. 30 circa 1937 Corroso glass, mirrored glass, brass. 58 x 50 x 7.3 cm (22 7/8 x 19 5/8 x 2 7/8 in.) Produced by Venini & C., Murano, Italy. Each back plate impressed VENINI/ MURANO and each corner bracket impressed 17, 18, 19 and 20, respectively.

Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 242 Franco Deboni, Venini Glass: Its history, artists and techniques, Volume 1, Turin, 2007, pl. 43 Marino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, p. 33

116. Gio Ponti

1891-1979

Sideboard circa 1965 Ash-veneered wood, ash, plasticlaminated wood, painted steel, brass. 96 x 265 x 57 cm (37 3/4 x 104 3/8 x 22 1/2 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300 plus Buyers Premium and VAT*

Provenance Casa P., Milan

Unpacking Ponti’ s Casa P. 1965 By Brian Kish

This hitherto unknown Gio Ponti commission for Casa P., Milan, comprising lots 116-121, further enriches and expands the canon of this most complex twentieth century Italian architect. Because we can ascertain a 1965 dating from documents, we can conclude that it was likely his very last project for a private domestic interior. By 1964, Ponti was fnishing the second of the Hotel Parco dei Principi commissions while coordinating an extensive array of large scale architectural projects: government buildings in Pakistan and Iraq, commercial buildings in Hong Kong and Holland, sacred spaces in Milan and Taranto, and cultural art complexes in Denver, Paris, and Linz. Thus, at that time Ponti was less occupied with apartment spaces than he had been in the preceding four decades. In this 1965 ensemble he returns to earlier schemes, such as the 1936 room at the Milan Triennale. It was there, back in 1936, that he created his ‘demonstration’ room, with meandering wall texts elaborating his thoughts on the new Italian domestic realm, together with ingenious spatial solutions for built-ins or free standing furniture. This was to be his template and a forerunner to the concept of furniture systems, later to be referred to as contract furniture (Lisa Licitra Ponti, Gio Ponti: The Complete Works, London, 1990, p. 83). By the time of this mature work of the mid 1960s he had begun to reduce his designs to pure colour and form, articulated by expressive tectonic devices. Using black and white laminates Ponti developed what would become his idiosyncratic positivo e negativo tropes. He leaves behind the hermetic and historical concerns characteristic of his production in the 30s and 40s to invent a world of objects imbued with weightless and elegant movement, as seen in the black and white twin set of opened/closed mobile shelf units on delicate brass castors. Elaborate asymmetries can be read in the three wall mounted bookcases, with one unit displaying an extruded singular shelf that engages the lone white horizontal stripe on the front box case of the secondary shelving system, which in turn plays against the smaller shelf unit consisting of only a solitary black box with hovering glass shelves stacked above.

Ponti revisits his 1938 Vanzetti apartment interior, readapting some of its features to the cantilevered sideboard idea. At that time it was divided into four equal parts, but here it is segmented into four parts of varying widths, separated by vertical wooden framing devices that provide an impressive technical solution to obtain an efect akin to levitation. Its two elongated brass handles allow it to be opened from the top, which entertains the client with an unexpected mode of access. Lightness and grace abound in multiple details: the top of the cofee table has an inset strip of black and white laminate set into a feld of grey, all supported by hexagonal shaped wooden legs that terminate in brass sabots. In the freestanding sideboard, square handles are smartly recessed into the sliding panels of black or white laminates. These square geometries are in turn bisected by rectangles of alternating black with wood or white with wood, providing results that are both pictorial and wholly abstract. All of these constituent parts add up to playful combinations within these boxes, some are static, some in movement, with their various enclosures alternately sliding back and forth or opening with top lids. The formal unifying principle of recurring interactions between colours and shapes is literally or visually set in motion through asymmetrical relationships, adding up to a scheme, which may recall the ironical researches of Bruno Munari. At the age of 74, Ponti was still an unmatched creator of custom pieces; he acknowledged the need to work with the best ebanisti for they were the embodiment of excellence and could do justice to his inventions. Some of the ideas from the Casa P. commission were later expanded in Ponti’s Apta series of 1970, as well as, in production furniture for Arfex, Sormani, and Tecno. But here, in his last custom design, Ponti achieved clarity coupled with agile poetics to powerful efect.

117. Gio Ponti

1891-1979

Set of three wall-mounted shelves and drawer unit circa 1965 Plastic-laminated wood, ash, glass, patinated brass. Each shelf: 1.8 x 41.6 x 28.4 cm (0 3/4 x 16 3/8 x 11 1/8 in.) Drawer unit: 14 x 41.7 x 32.2 cm (5 1/2 x 16 3/8 x 12 5/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200

118. Gio Ponti

1891-1979

Cofee table circa 1965 Plastic-laminated wood, ash, brass. 47 x 70.1 x 70.1 cm (18 1/2 x 27 5/8 x 27 5/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £1,500-2,500 $1,900-3,200 €1,800-3,000 plus Buyers Premium and VAT*

Provenance Casa P., Milan

plus Buyers Premium and VAT*

Provenance Casa P., Milan

119. Gio Ponti

1891-1979

Pair of shelving units circa 1965 Ash-veneered wood, ash, plastic-laminated wood, brass. Each: 63.4 x 141.7 x 27.2 cm (24 7/8 x 55 3/4 x 10 3/4 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate ÂŁ6,000-8,000 $7,700-10,300 â&#x201A;Ź7,200-9,500 plus Buyers Premium and VAT*

Provenance Casa P., Milan

120. Gio Ponti

1891-1979

121. Gio Ponti

1891-1979

Two-part wall unit

Illuminated wall-mounted cabinet

circa 1965 Ash-veneered wood, ash, plastic-veneered wood, painted steel, brass. 282.6 x 150.9 x 33.7 cm (111 1/4 x 59 3/8 x 13 1/4 in.) 282.6 x 95.8 x 34.2 cm (111 1/4 x 37 3/4 x 13 1/2 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

circa 1965 Ash-veneered wood, ash, plasticlaminated wood, brass, glass. 61 x 290.3 x 42.5 cm (24 x 114 1/4 x 16 3/4 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300

plus Buyers Premium and VAT*

Provenance Casa P., Milan

Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300

Provenance Casa P., Milan

122. Gio Ponti

1891-1979

Two rare ‘Padelle’ ceiling lights circa 1933 Nickel-plated brass, acid-etched glass. Largest: 99 cm (38 7/8 in.) drop, 65.2 cm (25 5/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature ‘L’Arte Moderna nel vetro e nella illuminazione’, Domus, no. 69, September 1933, p. 502 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 70 Sergio Montefusco, Fontana Arte: repertorio 1933-1943 dalle immagini dell’epoca, Genoa, 2012, p. 136

123. Gastone Rinaldi

1920-2006

‘Saturno’ settee designed 1957, produced 1980s Fabric, painted steel, brass. 59 x 121.8 x 72 cm (23 1/4 x 47 7/8 x 28 3/8 in.) Manufactured by Thema, Limena, Italy. Underside with manufacturer’s paper label printed THEMA/MADE IN ITALY.

Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200 plus Buyers Premium and VAT*

Provenance Private collection, Monaco Literature Giuseppe and Jacopo Drago, Gastone Rinaldi designer alla Rima, Brescia, 2015, pp. 156, 189

124. Piero Fornasetti

1913-1988

‘Corona di fori’ occasional table 1950s Lithographic transfer-printed steel, painted steel. 72 cm (28 3/8 in.) high, 100.2 cm (39 1/2 in.) diameter

Estimate £3,000-5,000 $3,900-6,400 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Private collection, Turin

125. Carlo de Carli

1910-1999

Rare sofa 1950s Fabric, walnut. 85.5 x 184 x 88 cm (33 5/8 x 72 1/2 x 34 5/8 in.) Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300 plus Buyers Premium and VAT*

Literature Franco Grigioni, Arredamento, Mobili, Ambienti, Milan, 1956, fg. 373 for a similar example Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 2010, p. 152 for a similar example

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126. Paolo Bufa and Giovanni

Gariboldi

1903-1970, 1908-1971

Rare secretaire mid-late 1940s East Indian rosewood-veneered wood with birch, poplar, mahogany, walnut, burr walnut, maple and curly maple inlays, pearwood, brass. 119 x 109.6 x 44.7 cm (467/8 x 431/8 x 175/8 in.)

Possibly executed by Serafno Arrighi, Cantù, Italy. Inlays executed by Luigi Anzani, Mariano Comense, Italy. Proper lef corner signed Anzani. L. Together with a certifcate of expertise from the Paolo Bufa Archive.

Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan

127. Max Ingrand

1908-1969

Standard lamp, model no. 2020 circa 1961 Partially acid-etched glass, brass, painted brass. 170 cm (66 7/8 in.) high Manufactured by Fontana Arte, Milan, Italy. Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Mantua 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

128. Fausto Melotti

1901-1986

Two ‘Cavallino’ statuettes circa 1955 Glazed earthenware. Taller: 24.6 x 6 x 14.5 cm (9 5/8 x 2 3/8 x 5 3/4 in.) Together with a certifcate of expertise from the Fausto Melotti Foundation and registered as archive number BE 033 and BE 034, respectively.

Estimate £15,000-20,000 $19,300-25,800 €17,900-23,800 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Private collection, Milan

129. Gio Ponti

1891-1979

Rare set of three side tables circa 1955 Coloured mirrored glass, stained walnut. Together: 39.2 x 78.7 x 46.7 cm (15 3/8 x 30 7/8 x 18 3/8 in.) Manufactured by Fontana Arte, Milan, Italy. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £12,000-18,000 $15,500-23,200 €14,300-21,500 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Rassegna Domus’, Domus, no. 313, December 1955, n.p.

130. Tomaso Buzzi

1900-1981

Ceiling light, model no. 5413 1931-1935 Lattimo aurato glass with gold leaf inclusions, brass. 33.6 cm (13 1/4 in.) drop, 32.2 cm (12 5/8 in.) diameter Produced by Venini & C., Murano, Italy. Brass fxture impressed VENINI/MURANO.

Provenance Private collection, Milan Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 257 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 146

Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200 plus Buyers Premium and VAT*

131. Gio Ponti

1891-1979

Daybed, designed for the ‘Domus Alba’ apartment, Milan circa 1935 Fruitwood-veneered wood, fruitwood, fabric. 78.5 x 224 x 99.5 cm (30 7/8 x 88 1/4 x 39 1/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300 plus Buyers Premium and VAT*

Provenance ‘Domus Alba’ apartment, Via Goldoni, Milan

132. Pietro Chiesa

1892-1948

Rare illuminated drinks cabinet, model no. 1094 circa 1936 Mirrored glass, burr walnut-veneered wood, painted wood, glass, brass. 97.6 x 99.3 x 41.2 cm (38 3/8 x 39 1/8 x 16 1/4 in.) Manufactured by Fontana Arte, Milan, Italy. Inside of each door incised with manufacturer’s mark FX.

Provenance Spada family, Buenos Aires Literature Roberto Aloi, L’Arredamento Moderno, Terza serie, Milan, 1948, fg. 342 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 186

Estimate £30,000-50,000 $38,700-64,500 €35,800-59,600 plus Buyers Premium and VAT*

EXTEND PLINTH

A period image illustrating the present model, circa 1948.

Designed by Pietro Chiesa during the 1930s, the present illuminated drinks cabinet embraces a modernist visual language emphasising a ‘purity of line’ and an organic, curvilinear hand-crafed form. Chiesa experimented with the aesthetic and technical possibilities of mirrored sheet glass, requiring sophisticated processing techniques to produce the curved form, which he elegantly combined in the present example with the more traditional burr walnut-veneered wood, providing the cabinet’s structure. The juxtaposition and surface efects created by the mirrored glass doors and burr walnut frame, which are mounted on a black-painted base, unite decoration and form. The present work retains only a subtle reference to classical ornamentation, illustrated by the scalloped detail inside the cabinet. In addition to the curved glass doors, the top of the cabinet is hinged, together opening to reveal a theatre-like interior. This unexpected architectural feature, combined with the use of burr walnut-veneer, is reminiscent of the work of Chiesa’s close friend and collaborator, the architect Gio Ponti. In March 1949, Ponti dedicated an extensive article in Domus to the work of Chiesa, following the Milanese designer’s death the previous year. Describing a series of ‘Mobili Essenziali’, which comprised mirrored glass table and cabinet designs, Ponti wrote that, ‘In these works Pietro Chiesa has achieved … that ‘essentiality’ in which the lines are ‘pulled’ to their most absolute expression and do not require any additions or modifcations’ (Gio Ponti, ‘L’opera di Pietro Chiesa’, Domus, no. 234, March 1949, pp. 34, 38). The present cabinet illustrates a duality in Chiesa’s work, uniting semi-industrial production and artisan crafsmanship, creating a work that is essential in its form whilst nevertheless retaining a certain playfulness.

133. Fontana Arte Ceiling light 1950s Acid-etched glass, glass, brass, painted aluminium, painted steel. 130.3 x 41 x 19.5 cm (51 1/4 x 16 1/8 x 7 5/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan

134. Gio Ponti

1891-1979

Bookcase, from the ‘Domus Nova’ series late 1920s Oak veneered-wood, oak, walnut. 142 x 150 x 33.1 cm (55 7/8 x 59 x 13 in.) Side with aluminium label impressed CONS. DI STATO/1437 and two paper labels printed 748 and CONSIGLIO DI STATO/ № 3817. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Rovigo Literature Domus Nova, sales catalogue, 1927, p. 17 for a similar example Domus, no. 15, March 1929, p. 22 for a similar example

134. 135. Fausto Melotti

1901-1986

Two vases circa 1950 Glazed earthenware. Taller: Tallest:35.2 35.2cm cm(13 (137/87/8in.) in.)high high Underside of each signed with artist’s 7 dot cipher. Together with a certifcate of expertise from the Fausto Melotti Foundation and registered as archive number VA 536 and VA 537, respectively.

Estimate Provenance £25,000-35,000 Private collection, $32,200-45,100 Milan €29,800-41,700 ♠ Exhibited plus Buyers Premium and VAT, ARR applies* Provenance Literature Private collection, Milan

Estimate £25,000-35,000 $32,500-45,500 €30,000-42,000 plus Buyers Premium and VAT*

136. Carlo Bugatti

1855-1940

Large mirror with drawer circa 1902 Partially painted vellum-covered wood, repoussé brass, mirrored glass, birch. 106 x 144 x 16 cm (41 3/4 x 56 3/4 x 6 1/4 in.) Drawer signed Bugatti. Estimate £25,000-35,000 $32,200-45,100 €29,800-41,700 plus Buyers Premium and VAT*

Provenance Private collection, France Private collection, Milan Literature Philippe Dejean, Carlo-RembrandtEttore-Jean Bugatti, New York, 1982, pp. 70, 92 for similar examples Marie-Madeleine Massé, Carlo Bugatti au Musée d’Orsay: Catalogue sommaire illustré du fonds d’archives et des collections, Paris, 2001, p. 66 for a similar example

137. Tomaso Buzzi

1900-1981

Ceiling light, model no. 5264 1931-1935 Lattimo aurato glass, brass, painted steel. 102.3 x 33.5 x 27 cm (40 1/4 x 13 1/4 x 10 5/8 in.) Produced by Venini & C., Murano, Italy. Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Venice Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 257 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 143

138. Gio Ponti

1891-1979

Chest of drawers circa 1935 Walnut-veneered wood, burr walnut-veneered wood, Macassar ebony-veneered wood. 59 x 151.5 x 47 cm (23 1/4 x 59 5/8 x 18 1/2 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate ÂŁ10,000-15,000 $12,900-19,300 â&#x201A;Ź11,900-17,900 plus Buyers Premium and VAT*

139. Carlo Bugatti

1855-1940

Wall-mounted console circa 1900 Vellum-covered wood, painted vellumcovered wood, walnut, ebonised wood, ebonised-veneered wood, repoussé brass, brass and pewter inlays. 71 x 38.4 x 29 cm (27 7/8 x 15 1/8 x 11 3/8 in.) Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200 plus Buyers Premium and VAT*

Provenance Private collection, Milan

140. Alessandro Mendini

1931-2019

‘Poltrona di Proust’ armchair 2003 Patinated bronze. 104 x 103 x 87.5 cm (40 7/8 x 40 1/2 x 34 1/2 in.) Number 3 from the edition of 6 plus 2 artist’s proofs and 1 prototype. Reverse incised A. Mendini/3 / 6 2003.

Estimate £18,000-24,000 $23,200-31,000 €21,500-28,600 plus Buyers Premium and VAT*

Phillips wishes to thank Beatrice Felis from the Atelier Mendini for her assistance cataloguing the present lot.

141. Vittoriano Viganò

1919-1996

Wall light, model no. 190 circa 1951 Painted aluminium, brass. 46 x 79 x 49 cm (18 1/8 x 31 1/8 x 19 1/4 in.) Manufactured by Arteluce, Milan, Italy. Estimate £6,000-8,000 $7,700-10,300 €7,200-9,500

Provenance Private collection, Milan Literature ‘L’art de la lumière’, Mobilier et Décoration, no. 2, March 1955, p. 20 Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1 938-1973, Milan, 2012, p. 405

plus Buyers Premium and VAT*

142. Paolo Bufa

1903-1970

Rare low table circa 1940 Verde Alpi marble, brass, steel. 49.5 x 121.6 x 58.8 cm (19 1/2 x 47 7/8 x 23 1/8 in.) Possibly executed by Mario Quarti, Milan, Italy. Together with a certifcate of expertise from the Paolo Bufa Archive.

Estimate £7,000-9,000 $9,000-11,600 €8,300-10,700 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Roberto Aloi, L’Arredamento Moderno, Terza serie, Milan, 1945, fgs. 303, 627 for the dining table version of the model

Property from an Important American Collection

143. Ron Arad

b. 1951

‘No Solution No Problem’ 2006 Silicone, steel. 65.5 x 59 x 115.5 cm (25 3/4 x 23 1/4 x 45 1/2 in.) Produced by The Gallery Mourmans, Maastricht, the Netherlands. From the edition of 6 plus 2 artist’s proofs. Estimate £20,000-30,000 $25,800-38,700 €23,800-35,800 ‡

Provenance Barry Friedman Ltd., New York Acquired from the above by the present owner, 2006 Literature Ron Arad: The Dogs Barked, exh. cat., de Pury & Luxembourg, Zurich, 2006, n.p. Marie-Laure Jousset, Sir Christopher Frayling and Jonathan Safran Foer, et al., Ron Arad No Discipline, exh. cat., Centre national d’art et de culture Georges Pompidou, Paris, 2008, p. 125 Phillips wishes to thank Caroline Thorman from Ron Arad Associates for her assistance cataloguing the present lot.

plus Buyers Premium and VAT*

In an interview with Interiors magazine, Ron Arad said, ‘I’m solving problems that don’t exist’. Throughout his career, Arad has proven this statement true by producing works that explore novel materials and forms in unprecedented ways and that, by extension, explore new ways of living. His designs are often solutions to the problems that we do not even know exist. The present lot interrogates this concern. The chair appears light and airy, as it is made from silicone with only an internal spiralshaped steel beam supporting the structure, though it still maintains a sculptural presence. Incised on the steel skeleton is a quote originally uttered by French conceptual artist Marcel Duchamp: ‘Il n’y a pas de solution parce qu’il n’y a pas de problème’. The English translation (‘There is no solution because there is no problem’) echoes on the reverse. As an artist often working within the Dadaist tradition, Arad responds to this paradox through the present lot—both literally, with his allusion to Duchamp, and tacitly, by stretching the material possibilities of furniture making.

Beginning in 2003, Arad created a range of futuristic rocking chairs, collectively known as the Voids, that all assume the same general form but vary in their patterns, textures, materials, proportions and colours. The present lot is an example of one of Arad’s Oh-Void chairs, the frst subgroup within this larger category. Typical of Arad’s playful style, the Oh-Void title is a play on words. The chairs look like two ovoids joined together like an infnity symbol, and their form relies on voids in space or colour. Arad’s initial Oh-Void chairs were made with carbon fber, but he later created limited edition chairs in steel, enameled aluminium, acrylic, Corian and, as seen in the present lot, silicone. The chair exists almost as a ghost of a chair; it is foating in space as a ‘void’. The chair’s existence seems nearly impossible, yet Arad has found a solution. Or has he? Perhaps that’s the point: the chair may be a solution to a problem that does not exist, but is it a solution if the problem did not exist in the frst place? Duchamp might say so. But Duchamp also said, ‘I have forced myself to contradict myself in order to avoid conforming to my own taste’, so maybe it is just a matter of perspective.

144. Angelo Mangiarotti

1921-2012

Large dish circa 1959 Patinated and burnished bronze. 35.5 cm (13 7/8 in.) diameter Manufactured by Bernini, Italy.

Literature ‘Bronzi’, Domus, no. 360, November 1959, p. 48 for similar examples ‘Vasi in bronzo’, Domus, no. 376, March 1961, pp. 47-48 for similar examples Enrico D. Bona, Angelo Mangiarotti: Il Processo Del Costruire, Milan, 1980, p. 113 for similar examples

Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 plus Buyers Premium and VAT*

145. Carlo Bugatti

1855-1940

Pair of side chairs circa 1900 Walnut, ebonised wood, repoussé brass, walnut-veneered wood, ebonised-veneered wood, brass, pewter, copper and ivory inlays. Each: 114 x 39 x 53.6 cm (44 7/8 x 15 3/8 x 21 1/8 in.) Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Puglia Literature Philippe Dejean, Carlo-RembrandtEttore-Jean Bugatti, New York, 1982, p. 53 for a similar example Bugatti, exh. cat., Cleveland Museum of Art, 1999, pp. 13, 15 for a similar example Marie-Madeleine Massé, Carlo Bugatti au Musée d’Orsay: Catalogue sommaire illustré du fonds d’archives et des collections, Paris, 2001, pp. 48, 71, 96 for a similar example

146. Carlo Mollino

1905-1973

Set of two bunk beds, from Casa del Sole, Cervinia circa 1953 Oak, plastic-laminated oak, brass. As shown: 184.5 x 208 x 150.6 cm (725/8 x 817/8 x 591/4 in.) Executed by Ettore Canali, Brescia, Italy. Estimate £22,000-28,000 $28,400-36,100 €26,200-33,400

Provenance Casa del Sole, Cervinia Literature Fulvio Ferrari, Carlo Mollino Cronaca, Turin, 1985, p. 138 Giovanni Brino, Carlo Mollino: Architettura Come Autobiografa, Milan, 1985, p. 115 Rossella Colombari, Carlo Mollino Catalogo Del Mobili – Furniture Catalogue, Milan, 2005, p. 54

Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino, New York, 2006, pp. 207, 230 Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, p. 107 Napoleone Ferrari, Mollino. Casa del Sole, Turin, 2007, pp. 77, 86-89, 91

plus Buyers Premium and VAT*

147. Gino Sarfatti

1912-1985

Ceiling light, model no. 2120 circa 1961 Coloured glass, bronze-plated brass. 127.5 cm (501/4 in.) drop, 40 cm (153/4 in.) diameter Manufactured by Arteluce, Milan, Italy. Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, p. 476

148. Carlo Bugatti

1855-1940

Side table circa 1898 Walnut, ebonised walnut, repoussé brass, copper, brass and pewter inlays. 69.2 x 49.6 x 49.6 cm (27 1/4 x 19 1/2 x 19 1/2 in.) Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200 plus Buyers Premium and VAT*

Provenance Private collection, France Literature Philippe Dejean, Carlo-Rembrandt-EttoreJean Bugatti, New York, 1982, p. 88 Marie-Madeleine Massé, Carlo Bugatti au Musée d’Orsay: Catalogue sommaire illustré du fonds d’archives et des collections, Paris, 2001, pp. 85, 95

149. Gio Ponti

1891-1979

Set of six vases circa 1933 Patinated copper. Largest: 32.2 cm (12 5/8 in.) high, 32.9 cm (12 7/8 in.) diameter Manufactured by Nino Ferrari, Brescia, Italy. Underside of four impressed with facsimile signature Nino Ferrari and one additionally stamped with a lion mark. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £15,000-20,000 $19,300-25,800 €17,900-23,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Carattere di alcuni nuovi peltri’, Domus, no. 69, September 1933, p. 499 for a similar example

150. Ico Parisi

1916-1996

Pair of rare armchairs circa 1949 Oak, straw. Each: 91 x 69.6 x 71 cm (35 7/8 x 27 3/8 x 27 7/8 in.) Estimate £7,000-9,000 $9,000-11,600 €8,300-10,700

Provenance Private collection, Milan Literature Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, p. 229 Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

plus Buyers Premium and VAT*

151. Fontana Arte Pair of ceiling lights, variant of model no. 1930 circa 1955 Acid-etched glass, brass. Each: 72.5 x 43 x 15 cm (28 1/2 x 16 7/8 x 5 7/8 in.) Manufactured by Fontana Arte, Milan, Italy. Estimate ÂŁ8,000-12,000 $10,300-15,500 â&#x201A;Ź9,500-14,300 plus Buyers Premium and VAT*

Provenance Private collection, Turin Literature Quaderni Fontana Arte 1, sales catalogue, 1960s, p. 29 for the model no. 1930

152. Franco Buzzi Standard lamp, model no. B-30 1950s Painted aluminium, brass. 184.2 cm (72 1/2 in.) high Manufactured by O-Luce, Milan, Italy. Estimate £3,000-5,000 $3,900-6,400 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Private collection, Varese Literature O-Luce, sales catalogue, n.p.

153. Walter Baggio and

Maria de Vivo Garden bench circa 1959 Plastic-laminated wood, painted steel. 78.7 x 201.8 x 55 cm (30 7/8 x 79 1/2 x 21 5/8 in.) Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature ‘Elementi per il terrazzo’, Rivista dell’arredamento, no. 51, March 1959, n.p.

154. Gio Ponti

1891-1979

Set of twelve dining chairs, model no. 602 circa 1954 Walnut, fabric, brass nailheads. Each: 86.5 x 45 x 56 cm (34 x 17 3/4 x 22 in.) Manufactured by Cassina, Meda, Italy. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £15,000-20,000 $19,300-25,800 €17,900-23,800

Provenance Spada family, Buenos Aires Literature Domus, no. 259, June 1951, n.p. ‘Studio legale a Milano’, Domus, no. 286, September 1953, pp. 32-33 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 204 Laura Falconi, ed., Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 167

plus Buyers Premium and VAT*

155. Gio Ponti

1891-1979

Desk, designed for the public administration ofces, Forlì, Italy circa 1950 Painted wood, beech-veneered wood, beech, painted brass, brass. 80.6 x 149.7 x 89.7 cm (31 3/4 x 58 7/8 x 35 3/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £6,000-8,000 $7,700-10,300 €7,200-9,500 plus Buyers Premium and VAT*

Provenance Public administration ofces, Forlì Literature Franco Grigioni, Arredamento, Mobili Ambienti, Milan, 1956, n.p. for a similar example

156. Vittorio Gregotti

b. 1927

Table lamp circa 1973 Oxidised brass, fabric. 54.5 cm (21 1/2 in.) high Manufactured by Candle, Milan, Italy. Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300

Provenance Private collection, Milan Literature ‘Lampade’, Domus, no. 518, January 1973, p. 26 for the foor lamp version of the model Paola Palma and Carlo Vannicola, Italian light 1960-1980. Cento lampade della collezione Cortopassi, Florence, 2004, p. 119 for the foor lamp version of the model

plus Buyers Premium and VAT*

157. Gio Ponti

1891-1979

‘Diamond’ fatware service 1954-1958 Precious metal, stainless steel. Largest utensil: 20.7 cm (8 1/8 in.) long 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 20 dinner forks, 20 salad forks, 20 dinner knives, 20 butter knives, 12 soup spoons, 20 teaspoons, 1 additional butter knife, 1 sugar spoon, 4 serving utensils (118). Estimate £8,000-12,000 $10,300-15,500 €9,500-14,300 plus Buyers Premium and VAT*

Literature Jewel Stern, Modernism in American Silver: 20th Century Design, exh. cat., Dallas Museum of Art, New Haven, 2005, p. 245 Sophie Bouilhet-Dumas, Dominique Forest and Salvatore Licitra, eds., Gio Ponti: archi-designer, exh. cat., Musée des Arts Décoratifs, Paris, 2018, p. 136

158. Gio Ponti

1891-1979

Dining table, designed for the ‘Conte Grande’ ocean liner circa 1949 Beech-veneered wood, beech, linoleum, brass. 78.4 x 245.5 x 68.2 cm (30 7/8 x 96 5/8 x 26 7/8 in.) Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate £18,000-24,000 $23,200-31,000 €21,500-28,600 plus Buyers Premium and VAT*

Provenance Private collection, Monaco

159. Gino Sarfatti

1912-1985

Standard lamp, model no. 1034 1945-1951 Painted aluminium, brass, marble. 232 cm (91 3/8 in.) high Manufactured by Arteluce, Milan, Italy. Estimate £10,000-15,000 $12,900-19,300 €11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Roberto Aloi, L’Arredamento Moderno, Quarta serie, Milan, 1949, fg. 200 Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 18, 446

160. Gabriella Crespi

1922-2017

Group of fve picture frames, four cigarette cases, two ashtrays, one lidded box and one lighter 1970-1973 Brass, nickel-plated brass, acrylic, glass, travertine. Largest picture frame: 28 x 29.8 x 10.5 cm (11 x 11 3/4 x 4 1/8 in.) Largest case: 21.2 x 21.6 x 1.6 cm (8 3/8 x 8 1/2 x 0 5/8 in.)

Produced by Gabriella Crespi, Milan, Italy. Each incised with facsimile signature Gabriella Crespi. Two picture frames further impressed BREV. One case impressed SM and another AG/11 DICEMBRE 1972.

Provenance Private collection, Milan The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 100385044/527/678.

Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 plus Buyers Premium and VAT*

161. Gabriella Crespi

1922-2017

‘Gothic’ mirror with drawer circa 1977 Brass, mirrored glass. 85.8 x 69.8 x 16.7 cm (33 3/4 x 27 1/2 x 6 5/8 in.) Produced by Gabriella Crespi, Milan, Italy. Proper right corner impressed with facsimile signature Gabriella Crespi/BREV. 1.

Estimate £3,000-5,000 $3,900-6,400 €3,600-6,000 plus Buyers Premium and VAT*

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200258087.

162. Achille Castiglioni and

Pier Giacomo Castiglioni

Estimate £7,000-9,000 $9,000-11,600 €8,300-10,700

1918-2002 and 1913-1968

plus Buyers Premium and VAT*

Pair of rare wall lights

Provenance Hotel, Liguria

1960s Acid-etched glass, painted iron, brass. Each: 124.5 cm (49 in.) high

Phillips wishes to thank the Fondazione Achille Castiglioni for their assistance cataloguing the present lot.

163. Gio Ponti

1891-1979

Storage unit circa 1950 Oak, painted wood. 79 x 160 x 94.6 cm (31 1/8 x 62 7/8 x 37 1/4 in.) Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

Provenance Private collection, Brescia Literature Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923-1978, London, 1990, p. 155 for a similar example Daria Guarnati, ed., Aria D’Italia: espressione di Gio Ponti, Milan, 2011, p. 122 for a similar example

164. Franco Albini and

Franca Helg

Provenance Private collection, Pavia

1905-1977, 1920-1989

Pair of ‘Primavera’ armchairs circa 1967 Rattan, Indian cane, fabric. Each: 105 x 101 x 75.5 cm (41 3/8 x 39 3/4 x 29 3/4 in.) Manufactured by Vittorio Bonacina & C., Como, Italy.

Literature Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari, 1992, p. 105 Giuliana Gramigna and Paola Biondi, Il Design in Italia, Dell’Arredamento Domestico, Turin, 1999, p. 21

Estimate £6,000-8,000 $7,700-10,300 €7,200-9,500 plus Buyers Premium and VAT*

165. Venini Large mirror, model no. 20 circa 1940 A treccia glass, mirrored glass, brass. 128.4 x 68.5 x 4 cm (50 1/2 x 26 7/8 x 1 5/8 in.) Produced by Venini & C., Murano, Italy. Each back plate impressed VENINI/MURANO. Estimate £6,000-8,000 $7,700-10,300 €7,200-9,500 plus Buyers Premium and VAT*

Provenance Private collection, Italy Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 242 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Catalogue 1921-2007, vol. 1, Turin, 2007, The Blue Catalogue (appendix), pl. 44

166. Pietro Chiesa

1892-1948

Picture frame, lidded box and cigarette box late 1930s Mahogany, walnut, cherry, glass. Picture frame: 15.3 x 23.5 x 4.3 cm (6 x 9 1/4 x 1 3/4 in.) Manufactured by Fontana Arte, Milan, Italy. Picture frame and cigarette box incised with manufacturer’s mark FX.

Estimate £4,000-6,000 $5,200-7,700 €4,800-7,200 plus Buyers Premium and VAT*

Provenance Private collection, Milan Literature Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 1 for the cigarette box

167. Ico Parisi

1916-1996

Demountable cofee table, model no. 357 circa 1954 Mahogany, glass, brass. 49 x 68.6 x 46 cm (19 1/4 x 27 x 18 1/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,600-6,000 plus Buyers Premium and VAT*

Provenance Private collection, Forlì Literature Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, p. 502 Phillips wishes to thank Roberta Lietti of the Archivio del Design di Ico Parisi for her assistance cataloguing the present lot.

168. Fontana Arte Adjustable table mirror, model no. 2247 1960s Mirrored glass, brass. 46 x 35.9 x 6.3 cm (18 1/8 x 14 1/8 x 2 1/2 in.) Manufactured by Fontana Arte, Milan, Italy.

Estimate £3,000-5,000 $3,900-6,400 €3,600-6,000 plus Buyers Premium and VAT*

Literature Quaderni Fontana Arte 6, sales catalogue, 1960s, p. 175

169. Angelo Lelii

1911-1979

Rare adjustable standard lamp circa 1951 Painted aluminium, brass, leather. As shown: 137 x 99.5 x 30.7 cm (53 7/8 x 39 1/8 x 12 1/8 in.) Manufactured by Arredoluce, Monza, Italy. Estimate ÂŁ5,000-7,000 $6,400-9,000 â&#x201A;Ź6,000-8,300 plus Buyers Premium and VAT*

Provenance Private collection, Udine Literature Anty Pansera et. al., Arredoluce: Catalogo ragionato 1943-1987, Milan, 2018, pp. 136, 286 The present lot has been registered in the Arredoluce Archives, Italy as number 8224380.

170. Gio Ponti

1891-1979

Rare folding cabinet 1940s Walnut-veneered wood, walnut, glass, brass. 174.6 x 75 x 46.6 cm (68 3/4 x 29 1/2 x 18 3/8 in.) Manufactured by Fontana Arte, Milan, Italy. Corner of front panel acid-etched FONTANA/MILANO. Together with a certifcate of expertise from the Gio Ponti Archives. Estimate £15,000-20,000 $19,300-25,800 €17,900-23,800 plus Buyers Premium and VAT*

Provenance Private collection, Milan

171. Gino Sarfatti

1912-1985

Ceiling light, model no. 3055/50 circa 1962 Painted aluminium, acid-etched prismatic glass. 18 x 50 x 50 cm (7 1/8 x 19 5/8 x 19 5/8 in.) Manufactured by Arteluce, Milan, Italy.

Provenance Private collection, Como Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, p. 488

Estimate £2,500-3,500 $3,200-4,500 €3,000-4,200 plus Buyers Premium and VAT*

172. Guglielmo Ulrich

1904-1977

Unique cofee table, commissioned for a private residence, Milan circa 1940 Shagreen, walnut. 45.5 cm (17 7/8 in.) high, 110 cm (43 1/4 in.) diameter Estimate ÂŁ10,000-15,000 $12,900-19,300 â&#x201A;Ź11,900-17,900 plus Buyers Premium and VAT*

Provenance Private collection, Milan

173. Osvaldo Borsani

1911-1985

Pair of side tables circa 1949 Reverse-painted glass, brass. Each: 55.4 cm (21 3/4 in.) high, 54.6 cm (21 1/2 in.) diameter Manufactured by Arredamenti Borsani Varedo, Italy.

Estimate £5,000-7,000 $6,400-9,000 €6,000-8,300 plus Buyers Premium and VAT*

Provenance Private collection, Milan

Literature Giampiero Bosoni, Osvaldo Borsani: architect, designer, entrepreneur, Milan, 2018, pp. 305, 330, 353, 593 Norman Foster, Tommaso Fantoni and Giampiero Bosoni, Osvaldo Borsani, exh. cat., Triennale, Milan, 2018, pp. 67, 125

174. Gio Ponti

1891-1979

Pair of rare armchairs, model no. 489 1950s Walnut, cane, fabric. Each: 93.2 x 69.2 x 82 cm (36 3/4 x 27 1/4 x 32 1/4 in.) Manufactured by Cassina, Meda, Italy. Each frame incised IIII and VIII, respectively. Together with a certifcate of expertise from the Gio Ponti Archives.

Estimate ÂŁ15,000-20,000 $19,300-25,800 â&#x201A;Ź17,900-23,800 plus Buyers Premium and VAT*

Provenance Private collection, Turin

175. Lumenform Set of three rare ‘Vanesia’ wall lights circa 1970 Acrylic, stainless steel, painted aluminium. 72.4 x 71.5 x 22.2 cm (28 1/2 x 28 1/8 x 8 3/4 in.) Manufactured by Lumenform, Venice, Italy. Estimate £6,000-8,000 $7,700-10,300 €7,200-9,500

Provenance Private collection, Milan Literature Lumières: Je pense à vous, exh. cat., Centre national d’art et de culture Georges Pompidou, Paris, 1985, n.p. Fulvio Ferrari and Napoleone Ferrari, Luce Lampade 1968-1973: il nuovo design italiano, Turin, 2002, front cover, fg. 117

plus Buyers Premium and VAT*

UK Auction Buyer’s Guide The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you. The Conditions of Sale and Authorship Warranty published on our website at https://phillips.com also govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship between Phillips, the seller and the buyer and describe the terms upon which items are bought at auction. A) Before The Auction Catalogues & Catalogue Entries Our catalogues provide information on the lots for sale at the auction and are available on our website at www.phillips. com and in hard copy. Lot details can also be viewed on the Phillips App. If you would like to purchase a hard copy catalogue for a Phillips auction, please visit our website or contact us at catalogues@phillips.com. Catalogue entries may include the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive. In some cases we may not disclose the identity of previous owners where we are not authorised to do so. Please note that all dimensions of the property set out in the catalogue entry are approximate. Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips.com. Our specialists are available to give advice and condition reports at viewings or by appointment. Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Pre-sale estimates do not include the buyer’s premium or VAT. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction. Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction. Condition Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections.

Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding.

∑ Endangered Species Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import.

Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Calculating the Total Purchase Price If you are the successful bidder on a Lot, the total purchase price you pay is made up of the following elements:

Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the thirdparty guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the thirdparty guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor. ∆ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. No Reserve •Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

Ж Property Subject to US Import Tarifs

Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale.

Hammer Price

Buyer’s Premium

VAT on Buyer’s Premium and/or Hammer Price (If applicable)

Artist’s Resale Royalty (ARR) (If applicable)

The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer. Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: • 25% on the portion of the hammer price up to and including £300,000; and • 20% on the portion of the hammer price above £300,000 up to and including £3,000,000 and • 13.5% on the portion of the hammer price above £3,000,000. Where VAT is payable on the Buyer’s premium the VAT inclusive Buyer’s Premium rates are 30%, 24% and 16.2% respectively. VAT Most items we sell are sold under UK Auctioneer’s Margin Scheme rules. This means that VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. UK Auctioneer’s Margin Scheme lots have no VAT symbol. Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are resold for a hammer price of EUR 1,000 or more. Lots subject to ARR are marked with the symbol ♠. The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price: Portion of the Hammer Price (in EUROS) From 0 to 50,000 From 50,000.01 to 200,000

Royalty Rate 4% 3%

From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

1% 0.5% 0.25%

The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank. Example To illustrate how the purchase price is calculated, please see the below example: UK Auctioneer’s Margin Scheme lot Hammer Price: £350,000 Buyer’s Premium including VAT @20% £102,000: 25% of first £300,000 of the hammer price = £75,000 + 20% on the balance of £50,000 = £10,000 Total BP = £85,000 VAT @ 20% on the total BP of £85,000 = £17,000

By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at https://phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders.

B) At The Auction Bidding Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. For individuals, acceptable forms of government issued photo identification include a passport or photo driving licence. For companies, acceptable forms of government issued identification include a certificate of incorporation or similar as well as proof of owners and directors. Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement. In Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk. By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000

by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at the auctioneer’s discretion The auctioneer may vary the increments during the course of the auction at his or her own discretion. Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive And Responsive Bidding; The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. No Reserve Lots If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum. Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes. Collection Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection. To collect paid for lots buyers (or their authorised representatives) must provide proof of identity. Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect. Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment.

Important Notices After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection. Storage Charges Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to you in the buyer information pack you will receive after the auction. Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven (7) days following the auction. Transport and Shipping We will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. As a free service for buyers, Phillips will wrap purchased lots which are for hand carry only. We do not provide packing, handling or shipping services directly. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase

these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species. Privacy Our Privacy Policy is available at https://phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips’ premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third-party websites and applications.

Identification of Business or Trade Buyers As of January 2010, Her Majesty’s Revenue & Customs (“HMRC”) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside the UK. • Where the buyer is a non-EU business, Phillips requires evidence of the business status by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists. • Where the buyer is an EU VAT registered business, Phillips requires the business’s VAT registration number. These details can be scanned and emailed to us, or alternatively they can be faxed or mailed. If these requirements are not met, we will be unable to cancel/ refund any applicable VAT. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician. Upholstered furniture Lots of upholstered furniture manufactured in 1950 or after may not comply with the levels of fire resistance for domestic upholstered furniture under the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended ) (the “Regulations”). These items are sold as decorative works of art and should not be used in your home as domestic furniture, unless they are reupholstered, restuffed or recovered (as appropriate) with materials complying with the Regulations. Please speak to a specialist before the sale for information on whether the lots have been recently upholstered.

VAT & Tax Guide VAT Depending on the status of the lot, and your status as a buyer, VAT may be charged on the hammer price, the buyer’s premium or both. UK Auctioneer’s Margin Scheme Most items we sell are second-hand goods, so we sell them under UK Auctioneer’s Margin Scheme rules. Lots falling into this category have no VAT symbol and are treated as follows: No symbol

UK Auctioneer’s Margin Scheme sale

20% VAT charged on the buyer’s premium. (The invoiced buyer’s premium will include the VAT).

Special VAT Treatment If the Lot has one of the below symbols, the VAT treatment will be as follows: VAT Symbol

Basis

Treatment

Standard UK VAT rules

20% VAT charged on both the hammer price and buyerÕs premium

Imported lot under Temporary Admission (Low rate)

5% import VAT on the hammer price and 20% VAT on the buyerÕs premium

Imported lot under Temporary Admission (High rate)

20% import VAT on the hammer price and 20% VAT on the buyerÕs premium

Lots sold outside the Auctioneer’s Margin Scheme If the buyer is a relevant business person in the EU (nonUK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium. Exports from the European Union The following types of VAT may be cancelled or refunded by Phillips on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol). • The VAT on the hammer price for property sold under normal VAT rules (i.e., with a † symbol). The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of the payment date if strict conditions are met: • The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a Ω symbol) under the Auctioneer’s Margin Scheme. In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or

before the time of invoicing, the buyer instructs Phillips to export the property from the EU. This will require acceptance of an export quotation provided by Phillips. If such instruction is received after payment, a refund of the VAT amount will be made. Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of the following conditions are met: • For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips is provided with appropriate original documentary proof of export from the EU within three months of the date of sale. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department to facilitate this process. • For lots sold under temporary admission, Phillips is provided with the original correct paperwork duly completed and stamped by HMRC which shows the property has been exported from the EU via the UK within 30 days of the payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HMRC insist that the correct customs procedures are followed and Phillips will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 (plus any applicable VAT) will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips. Phillips is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of the payment date. We can only process VAT refunds where the VAT to be refunded is £50 or more per shipment. There will be a processing fee of £20 (plus any applicable VAT). Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips being unable to refund the VAT charged on deposit. VAT Refunds from HM Revenue & Customs Where VAT charged cannot be cancelled or refunded by Phillips, it may be possible to seek repayment from HMRC . Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission. If you are located in an EU member state other than the UK you will need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority. As a result,

your form may include VAT incurred in a number of member states. Time limits for claiming VAT refunds • If you are located in an EU member state other than the UK: Any claim must be made on a calendar year basis and submitted no later than 30 September in the following calendar year (e.g., for VAT incurred in the year 1 January to 31 December 2019 you should make a claim to your local tax authority no later than 30 September 2020). Once you have submitted the electronic form to your local tax authority it is their responsibility to ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest on the unpaid amounts. • If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC. Claim forms are available from the HMRC website. https://www.gov.uk. You should submit claims for VAT to HMRC no later than six months from the end of the 12-month period ending 30 June (e.g., claims for the period 1 July 2019 to 30 June 2020 should be made no later than 31 December 2020). Please note that refunds of VAT will only be made where VAT has been incurred for a business purpose. Any VAT incurred on articles bought for personal use will not be refunded. Sales and Use Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of lots following purchase. Buyers should consult their own tax advisors.

Conditions of Sale The Conditions of Sale and Authorship Warranty set out below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the UK Auction Buyer’s Guide, the Important Notices, VAT & Tax Guide and the Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller; (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to

bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. Proof of identity in the form of government issued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. For individuals, acceptable forms of government issued photo identification include a passport or photo driving licence. For companies, acceptable forms of government issued identification include a certificate of incorporation as well as proof of owners and directors.

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

(c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable

value added tax (VAT) and any applicable resale royalty (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 13.5% of the portion of the hammer price above £3,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol ♠ next to the lot number and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice. (d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling as follows: (i) Payments may be made by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. (e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole

discretion shall require, including completing any antimoney laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, we will transfer all lots to our offsite fine art storage facilities. Details will be included in the buyer information packs sent to buyers after the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer

or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all salerelated expenses and any applicable taxes thereon. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the

Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf by Phillips.

11 Export, Import and Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old.

Please contact the department organising the auction for further details.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certify the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 12. US Import Tarifs Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany. Phillips will mark with a symbol Ж lots which may be subject to additional US import tarifs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips does not accept liability for errors including failing to mark lots accurately or for the absence of any marking.

13 Privacy (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our privacy policy from time to time as published at www.phillips.com or available by emailing dataprotection@phillips.com. (b) Our privacy policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be filmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, filmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or filmed or appear in such recordings, please speak to a member of Phillips staff. Your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy available at www.phillips.com. 14 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 14, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot.

Authorship Warranty (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 15 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 16 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.

(b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 17 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the

conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by email to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying to bid as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one):

In-person Absentee Bidding Telephone Bidding

Paddle Number

As a private individual On behalf of a company

• If you cannot attend the sale, we can execute bids confdentially on your behalf.

Sale Title

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable)

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specifed, if less than 50% of the low estimate.

Address

City

State/Country

• Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Post Code Phone

Mobile

Fax

• If we receive identical bids, the frst bid received will take precedence.

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confrmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

Phone number to call at the time of sale (for Phone Bidding only) 2.

Please complete the following section for telephone and absentee bids only Lot number

Brief description

In Consecutive Order

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 13.5% of the portion of the hammer price above £3,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

VAT number (if applicable)

• Company Purchases: If you are buying under a business entity, we require a copy of government-issued identifcation (such as the certifcate of incorporation) as well as proof of owners and directors to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale available online at phillips.com,. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

Title

• Private Purchases: Proof of identity in the form of government-issued identification and proof of address will be required.

Maximum pound sterling price* Absentee Bids Only

• Please submit your bids to the Bid Department by email to bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confrmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045. • Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by cash (up to £5,000 per calendar year), credit card (up to £30,000) using Visa, American Express, Mastercard or Union Pay (for in person transactions only), UK debit cards, wire transfer, banker’s draf or personal cheque with identifcation, drawn on UK banks. • Lots cannot be collected until payment has cleared and all charges have been paid. • You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and VAT

Signature

Date

By ticking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

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Design New York / 2 June Enquiries designnewyork@phillips.com Wendell Castle Pair of chairs, 1967

Public Viewing 28 May â&#x20AC;&#x201C; 2 June 450 Park Avenue New York

Sale Information

Design

Design Department

Auction & Viewing Location 30 Berkeley Square London, W1J 6EX

Head of Department Europe, Senior International Specialist Domenico Raimondo draimondo@phillips.com

Auction 26 March at 2pm Lots 1–175

Head of Sale, Associate Specialist

Viewing 21–26 March Monday–Saturday 10am–6pm Sunday 12pm–6pm

Senior Specialist

Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050120 or Design

Madalena Horta e Costa mhortaecosta@phillips.com

Sofa Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Senior Administrator Antonia King antonia.king@phillips.com Senior Cataloguer

Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@philips.com

Nicola Krohman nkrohman@phillips.com Cataloguer Caroline Pedote cpedote@phillips.com International Business Manager Adam Clay Senior Property Manager Oliver Gottschalk ogottschalk@phillips.com Photographers Alex Braun Kent Pell

Cover (front and back) Lot 58. Claude Lalanne Unique low table, 1998 (detail)

Catalogues New York +1 212 940 1240 London +44 20 7901 4024 catalogues@phillips.com £22/€25/$35 at the gallery Client Accounting Richard Addington Head of Client Accounting +44 20 7901 7914 Jason King Client Accounting, Director +44 20 7318 4086 Seller Accounts Surbjit Kaur +44 20 7318 4072 Client Services 30 Berkeley Square London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Kyle Buchanan +44 20 7318 4081 Rita Matos +44 20 7901 7906 LucÍa Núñez +44 20 7901 7906 Creative Services Grace Neighbour, Graphic Designer Steve Rubbin, Senior Artworker

Index

Albini, F. 164

Gariboldi, G. 126

Panton, V. 97

Andersen, K. 92

Giacometti, A. 60

Parisi, I. 13, 16, 27,

Arad, R. 143

Gottardi, M. 12

113, 150, 167

Arbus, A. 57

Gregotti, V. 156

Pergay, M. 49, 50

Baggio, W. 153

Halier, C. 92

Ponti, G. 1, 4, 6, 9, 10, 14, 17,

Borsani, O. 173

Helg, F. 164

29, 30, 33, 94, 110, 111, 116,

Britton, A. 103

Hjorth, A. E. 86

117, 118, 119, 120, 121, 122,

Bufa, P. 126, 142

Hofmann, J. 56

129, 131, 134, 138, 149, 154,

Perriand, C. 77

155, 157, 158, 163, 170, 174

Bugatti, C. 136, 139, 145, 148

Prouvé, J. 65

Buzzi, F. 152

Ingrand, M.

Buzzi, T. 130, 137

7, 11, 62, 72, 82, 127

Castiglioni, A. 162

Jacobsen, A. 89

Rinaldi, G. 123

Castiglioni, P. G. 162

Jouve, G. 64

Royère, J. 44

Chale, A. 61, 83

Juhl, F. 71, 93, 95, 99, 100

Rie, L. 36, 37, 38, 39, 40, 41

Salto, A. 78

Cheuret, A. 55 Chiesa, P. 15, 19, 132, 166

Kastholm, J. 104

Sarfatti, G. 2, 8, 24, 43, 68,

Coper, H. 42

Kjærholm, P. 90

147, 159, 171

Crespi, G. 160, 161

Klint, K. 74

Scarpa, C. 18, 20, 26, 115

Kuramata, S. 22

Seguso 32 Sottsass, Jr., E. 108, 109

de Carli, C. 125 de Vivo, M. 153

Lalanne, C. 58

Stilnovo 76, 112

de Waal, E. 23

Lalanne, F.-X. 84

Studio BBPR 24

Després, J. 70

Lassen, F. 69, 79, 80

Studio Job 47, 48

Dominioni, L. C. 28

Lelii, A. 169

Suenson, P. 96

Dubreuil, A. 106, 107

Lumenform 175 Takahama, K. 84

Dunand, J. 53, 54, 59 Mangiarotti, A. 144 Eiermann, E. 66, 67

Tynell, P. 75, 85, 101, 105

Melotti, F. 128, 135 Mendini, A. 140

Ulrich, G. 172

Fabricius, P. 104

Merendi, M. 25

van de Velde, H. 63

Ferrabini, G. 21

Mollino, C. 5, 146

Vender, M. 25 Venini 31, 165

Ferro, G. 114 Fontana Arte 3, 98, 133, 151, 168

Newson, M. 51

Venini, P. 18, 35

Fornasetti, P. 124

Nilsson, B. 73

Viganò, V. 141

Frank, J. 91

Noll, A. 52

Frank, J.-M. 45, 46

Nurmesniemi, A. 102

Wabbes, J. 34 Wegner, H. J. 81, 87, 88

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