DESIGN [Catalogue]

Design London, 20 September 2017

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61. Line Vautrin

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20. Peter Collingwood

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102. Jim Partridge and Liz Walmsley

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120. Max Ingrand

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UK Guide for Prospective Buyers

Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty.

All prospective bidders should read these sections carefully.

They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction.

The complete Conditions of Sale and Authorship Warranty applicable to this auction (Version 5/16/16) are found online at phillips.com, along with detailed information on each lot.

Estimates The auction estimates indicated for each lot in this catalogue do not include Buyer’s Premium (applicable on each lot), or VAT or Artist’s Resale Right (where such charges apply). Details of these charges are given below.

All Lots are Subject to ‘Buyer’s Premium’ In addition to the hammer (final bid) price, a buyer’s premium is due from all successful buyers. The buyer’s premium is a commission based on the hammer price payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £100,000; 20% of the portion of the hammer price above £100,000 up to and including £1,800,000; and 12% of the portion of the hammer price above £1,800,000.

Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot.

Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. 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 all lots at our pre-sale exhibitions, and contact our staff with any questions.

Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck!

Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots: O ◊ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ◊.

When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated via a fxed fee, a percentage

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of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the purchase price. Where Phillips has guaranteed a minimum price on every lot in the catalogue, Phillips will not designate each lot with the symbol(s) for the guaranteed property but will state our fnancial interest at the front of the catalogue. ∆ 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 will not exceed the low pre-sale estimate. ♠ Property Subject to the Artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of the hammer price (in EUR) and payable as part of the purchase price as follows: Royalty Rate: From 0 to 50,000 (4%) From 50,000.01 to 200,000 (3%) From 200,000.01 to 350,000 (1%) From 350,000.01 to 500,000 (0.5%) Exceeding 500,000 (0.25%) The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank. †, §, ‡, or Ω Property Subject to VAT Where there is no VAT symbol, Phillips is able to use the Auctioneer’s Margin Scheme and VAT will not normally be charged on the hammer price. An amount equivalent to VAT at 20% on the buyer’s premium will be included in the buyer’s premium. Property with a † symbol will be sold under normal UK VAT rules, and VAT will normally be charged at 20% on both the hammer price and buyer’s premium. Property with a § symbol and sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU and will be treated as having no symbol (unless informed otherwise by a buyer). Property sold with a ‡ (5%) or Ω (20%) symbol has been imported from outside the EU to be sold at auction under temporary admission, and offered under the Auctioneer’s Margin Scheme at the respective % on the hammer price and an amount in lieu of VAT at 20% on the buyer’s premium. The foregoing is for summary purposes only.

Please see the online auction catalogue and Conditions of Sale at phillips.com/buy and specifically the section ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’ for a more detailed description of the VAT symbols used in this Buyer’s Guide, as well as any VAT refunds that you may be qualified to receive.

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New York.

London.

Geneva.

Hong Kong.

Auctions.

Fall 2017.

Phillips means Art, Design, Photographs, Editions, Jewellery, Watches and more.

Join us for our Fall 2017 auction season, which kicks of in September with our New Now Sale in New York.

Find out more about our upcoming auctions at phillips.com

New Now New York, 19 September 2017 Design London, 20 September 2017 Photographs New York, 3 October 2017 20th Century & Contemporary Art Evening & Day London, 5 & 6 October 2017 Editions New York, 17 October 2017 Photographs London, 2 November 2017 Watches Geneva, 11–12 November 2017 20th Century & Contemporary Art Evening & Day New York, 7 & 9 November 2017 Latin America New York, 16 November 2017 20th Century & Contemporary Art Evening & Day Hong Kong, 26 November 2017 Jewellery Hong Kong, 27 November 2017 Watches Hong Kong, 28 November 2017 New Now London, 7 December 2017 Design Masters & Design New York, 12 – 13 December 2017 Editions London, 25 January 2018

phillips.com

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Executives.

Ed Dolman

Cheyenne Westphal

Chief Executive Ofcer +1 212 940 1241 edolman@phillips.com

Chairman +44 20 7318 4044 cwestphal@phillips.com

Š Brigitte Lacombe

Worldwide Head.

London.

Alexander Payne

Domenico Raimondo

Marcus McDonald

Deputy Chairman, Europe and Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com

Senior International Specialist draimondo@phillips.com +44 20 7318 4016

International Specialist mmcdonald@phillips.com +44 20 7318 4095

Madalena Horta e Costa Head of Sale mhortaecosta@phillips.com +44 20 7318 4019

Sofa Sayn-Wittgenstein Marta De Roia

Nicola Krohman

Specialist Senior Cataloguer ssayn-wittgenstein@phillips.com mderoia@phillips.com +44 20 7318 4023 +44 20 7318 4096

Administrator nkrohman@phillips.com +44 20 7901 7926

New York.

Meaghan Roddy

Cordelia Lembo

Kimberly Sørensen

Senior Specialist mroddy@phillips.com +1 212 940 1266

Specialist, Head of Sale clembo@phillips.com +1 212 940 1265

Associate Specialist ksoresen@phillips.com +1 212 940 1259

Deputy Chairmen.

Svetlana Marich

Jean-Paul Engelen

Robert Manley

Peter Sumner

Miety Heiden

Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com

Deputy Chairman,

Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1390 jpengelen@phillips.com

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1358 rmanley@phillips.com

Deputy Chairman, Europe +44 20 7318 4063 psumner@phillips.com

Deputy Chairman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com

Vanessa Hallett

Vivian Pfeifer

Jonathan Crockett

Deputy Chairman, Americas and Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com

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

Deputy Chairman, Asia and Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com

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Design London, 20 September 2017, 2pm

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auctions 20 September 2017 at 2pm Viewing 14 – 20 September 2017 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050317 or Design.

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

Design Department Worldwide Head Alexander Payne apayne@phillips.com Head of Sale Madalena Horta e Costa mhortaecosta@phillips.com Senior International Specialist Domenico Raimondo draimondo@phillips.com International Specialist Marcus McDonald mmcdonald@phillips.com Specialist Sofa Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Senior Cataloguer Marta De Roia mderoia@phillips.com Administrator Nicola Krohman nkrohman@phillips.com

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Rie. Coper.

Collingwood.

Dame Lucie Rie studied under Michael Powolny at the Kunstgewerbeschule in Vienna before immigrating to London in 1938. Once settled in her new Albion Mews workshop, Rie, assisted by Hans Coper, started producing buttons for the fashion industry and later austere, sparsely decorated tableware that caught the attention of modernist interior decorators. Footed bowls and fared vases, for which she is best-known today, came afer her attempts to conform her work to those of her contemporary British ceramists. Her much more advanced modernist style, however, eventually prevailed.

She worked with porcelain and stoneware, applying the glaze directly to the unfred body and fring only once. She limited decoration to incised lines (lots 1, 4), subtle spirals (lot 10) and golden manganese rims (lots 7, 22, 23), allowing the beauty of her thin-walled vessels to shine through and “the most interesting surface results to come from within the body” (Emmanuel Cooper, Lucie Rie, exh. cat., Tate St Ives, 2009, n.p.).

Upon emigrating from Germany in 1939, Hans Coper, a young Jewish engineer, began working in the London studio of Lucie Rie. It was here that Coper learned his craf; initially assisting Rie with making ceramic buttons and tableware, Coper soon began producing his own work. By 1951 Coper had received considerable recognition for his pots at the ‘Festival of Britain’.

Favouring compound shapes, Coper created work that whilst seemingly simple in appearance is of complex construction. He skilfully combined his thrown forms, joining multiple elements to create a singular entity. He eschewed glazes and preferred the textured surfaces achieved through the application of white and black slips, evoking the abraded texture of excavated vessels. Coper’s interest in ancient objects placed him among other modernists of his time; Coper admired Constantin Brâncuși and Alberto Giacometti whilst his textured markings have been compared to sculptors such as William Turnbull.

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In the last phase of his career, tracing the decline in his physical health, Coper reduced the scale of his work; creating small ‘Cycladic’ pots, which stood on pedestals or drums, recalling the clay fgures of Bronze Age Greece.

Following in his father’s footsteps, Peter Collingwood graduated from St Mary’s Hospital Medical School in 1946. Despite the completion of his medical studies, Collingwood became interested in hand-weaving. His frst encounter with the loom triggered an innate curiosity for mechanical machines, a fascination that he had since childhood. Upon his return to England afer completing National Service, Collingwood was determined to abandon his medical career and he began employment at the workshop of hand-loom weaver Ethel Mairet. It was here that Collingwood started exploring the creative possibilities of the loom, mastering the traditional techniques of weaving and understanding its limits.

Constantly challenging the capabilities of his work, Collingwood focused his eforts on implementing its mechanical performance and spearheading progress by testing new structures of weaving.

An example of Collingwood’s innovative approach is the unique ‘3D Macrogauze’ commissioned by Kiryu Performing Arts Centre in 1996, composed of nine panels produced with ‘Alphatex’ steel yarn (see lot 8). Collingwood stated, “…afer acting as an artist to design the drawing, you become a technician to make it as perfect as possible” (Peter Collingwood, master weaver, exh. cat., Minories Art Gallery, Colchester, 1998, p. 25). From the works of ‘Anglefell’ (lots 9, 19), ‘Trianglefell’, which won the Bavarian Gold Medal in 1963 and the two-dimensional (lots 5, 13, 20) and three-dimensional ‘Macrogauze’ designs (lots 2, 15), Collingwood always produced innovative weaving techniques and designs. Collingwood’s frst major retrospective was the seminal exhibition Collingwood | Coper at the Victoria & Albert Museum in 1969. The ‘Macrogauzes’ were shown in perfect harmony with the works of Hans Coper.

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1. Lucie Rie

1902-1995

Conical bowl, circa 1972 Porcelain, golden manganese glaze with sgrafto on the exterior, the interior unglazed with inlaid radiating design.

8.4 cm (3 1/4 in.) high, 19.3 cm (7 5/8 in.) diameter Impressed with artist’s seal.

Estimate £40,000-60,000 $51,500-77,300 €43,800-65,700 ♠

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Provenance Acquired directly from the artist, circa 1972 Thence by descent to the present owner Literature John Houston, ed., Lucie Rie: a survey of her life and work, exh. cat., Crafs Council and The Victoria and Albert Museum, London, 1981, p. 88, no. 206 for a similar example Tony Birks, Lucie Rie, Yeovil, 1994, p. 104 for a similar example

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Property from the Estate of Peter Collingwood

2. Peter Collingwood

1922-2008

Set of four ‘3-Dimensional Macrogauze’, circa 1980 Linen, steel rods.

Each: 166 x 95.2 x 34 cm (65 3/8 x 37 1/2 x 13 3/8 in.)

Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 ♠

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Property from a Private Collection, Germany

3. Hans Coper

1920-1981

Pot with four indents and cylindrical foot, circa 1975 Stoneware, layered white porcelain slips and engobes over a body with textured designs, the interior cylindrical stem-holder with manganese glaze.

25 cm (9 7/8 in.) high Impressed with artist’s seal.

Estimate £30,000-40,000 $38,600-51,500 €32,900-43,800 ♠ Literature Tony Birks, Hans Coper, Yeovil, 2013, pp. 176-77 for similar examples

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4. Lucie Rie

1902-1995

Flaring footed bowl, circa 1980 Porcelain, golden manganese glaze with concentric bands of inlay and sgrafto.

11.7 cm (4 5/8 in.) high, 25.1 cm (9 7/8 in.) diameter Impressed with artist’s seal.

Estimate £40,000-60,000 $51,500-77,300 €43,800-65,700 ♠ Provenance Betty Lee and Aaron Stern, New York Phillips, New York, ‘The Betty Lee and Aaron Stern Collection’, 17 December 2013, lot 12 Acquired from the above by the present owner Literature Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, pp. 43, 114, no. 83 for a similar example Tony Birks, Lucie Rie, Yeovil, 1994, p. 213

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Property from the Estate of Peter Collingwood

5. Peter Collingwood

1922-2008

‘2-Dimensional Macrogauze’, model no. M143, circa 1990 Linen, steel rods.

117.4 x 42 cm (46 1/4 x 16 1/2 in.)

Metal label incised with Peter Collingwood and embossed with M1 43 NO. 79.

Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 ♠

Property from a Private Collection, Tokyo

6. Hans Coper

1920-1981

‘Thistle’ form, circa 1975 Stoneware, layered white porcelain slips and engobes over a body with textured and incised linear designs, the interior with manganese glaze.

32 cm (12 5/8 in.) high Impressed with artist’s seal.

Estimate £40,000-60,000 $51,500-77,300 €43,800-65,700 ‡ ♠ Provenance Robert Welch, Chipping Campden The Berkeley Collection, London, 1975 Mr Narita, Tokyo, 2007 Acquired from the above by the present owner, 2008 Exhibited ‘Hans Coper’, Robert Welch Studio Shop, Chipping Camden, 1975 ‘Hans Coper’, Sainsbury Centre for Visual Arts, Norwich, 1984, no. 114 ‘Lucie Rie & Hans Coper-Potters in Parallel’, Barbican Art Gallery, London, February–May 1997 Literature Peter Collingwood|Hans Coper: Rugs and wall-hangings by Peter Collingwood, Pots by Hans Coper, exh. cat., Victoria and Albert Museum, London, 1969, p. 17 for a similar example Margot Coatts, ed., Lucie Rie & Hans Coper-Potters in Parallel, exh. cat., Barbican Art Gallery, London, 1997, illustrated p. 97, no. 12.6 Cyril Frankel, Modern Pots: Hans Coper, Lucie Rie & their Contemporaries: The Lisa Sainsbury Collection, London, 2000, p. 41 for a similar example Tony Birks, Hans Coper, Yeovil, 2013, pp. 161, 202 for similar examples

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Property from a Private Collection, London

7. Lucie Rie

1902-1995

Straight-sided bowl, circa 1978 Porcelain, golden manganese glaze, two terracotta bands crossed with vertical sgrafto lines, terracotta well and a turquoise ring.

11 cm (4 3/8 in.) high, 15.1 cm (5 7/8 in.) diameter Impressed with artist’s seal.

Estimate £40,000-60,000 $51,500-77,300 €43,800-65,700 ♠

Exhibited ‘Lucie Rie: a survey of her life and work’, Sainsbury Centre for Visual Arts, Norwich, November 1981; then travelled to Victoria & Albert Museum, London, Spring 1982 Literature John Houston, ed., Lucie Rie: a survey of her life and work, exh. cat., Crafs Council and Victoria and Albert Museum, London, 1981, illustrated p. 88, no. 207

Provenance Lucie Rie, UK Dr Max and Mrs Yvonne Mayer, London

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Property from the Estate of Peter Collingwood

8. Peter Collingwood

1922-2008

Unique prototype ‘3-Dimensional Macrogauze’, model no. M.STEEL/2, designed for the Kiryu Performing Arts Centre, circa 1996 Alphatex colourfast steel yarn, steel rods.

176 x 31.7 x 23 cm (69 1/4 x 12 1/2 x 9 in.)

Metal label incised with Peter Collingwood and embossed with M. STEEL / 2.

Estimate £6,000-9,000 $7,700-11,600 €6,600-9,900 ♠ Exhibited ‘Peter Collingwood, Master Weaver’, Minories Art Gallery, Colchester, 17 January-14 March, 1998 Literature Peter Collingwood, Master Weaver, exh. cat., Minories Art Gallery, Colchester, 1998, p. 26, fg. 19 for the Kiryu project, p. 44, cat. no. 3.43 for the present lot ‘Peter Collingwood Special Edition’, The Journal for Weavers, Spinners and Dyers, Summer 2009, p. 24 for the Kiryu project

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Property from the Estate of Peter Collingwood

9. Peter Collingwood

1922-2008

Unique ‘Anglefell’ wall hanging, circa 1964 Linen, wooden rods.

189.2 x 95 cm (74 1/2 x 37 3/8 in.)

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 ♠ Literature Peter Collingwood, Master Weaver, exh. cat., Minories Art Gallery, Colchester, 1998, p. 19 for a discussion of the importance of the early Anglefells and Trianglefells, fg. 15 for a comparable example which won Collingwood the Bavarian State Gold Medal

Examples of ‘Anglefell’ wall hangings can be found in the permanent collection of the Victoria & Albert Museum, London, and the Shipley Art Gallery, Gateshead.

Property from a Private Collection, Germany

10. Lucie Rie

1902-1995

Conical bowl, 1972 Mixed clays producing an integral colour spiral.

9 cm (3 1/2 in.) high, 24 cm (9 1/2 in.) diameter Impressed with artist’s seal.

Estimate £12,000-16,000 $15,500-20,600 €13,100-17,500 ♠ Exhibited ‘Lucie Rie-Hans Coper Keramik’, Museum für Kunst und Gewerbe, Hamburg, 30 August–4 October 1972; then travelled to Museum für Kunsthandwerk, Frankfurt, February–March 1973 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. 80, no. 145 for a similar example Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, pl. 11, p. 111, no. 70 for a similar example Tony Birks, Lucie Rie, Yeovil, 1994, p. 178

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Property from a Private Collection, Germany

11. Lucie Rie

1902-1995

Pot, circa 1965 Porcelain, fowing manganese glaze with bands of sgrafto circles around the shoulder.

11 cm (4 3/8 in.) high, 13.5 cm (5 3/8 in.) diameter Impressed with artist’s seal.

Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 ♠ Provenance Primavera Gallery, Walton Street, London Private collection, the Netherlands, 1968

12. Hans Coper

1920-1981

Vessel, 1964-1965 Stoneware, layered white porcelain slips and engobes over a body with textured and incised linear designs, the interior with manganese glaze.

19.2 cm (7 1/2 in.) high Impressed with artist’s seal.

Estimate £12,000-16,000 $15,500-20,600 €13,100-17,500 ♠ Literature Tony Birks, Hans Coper, Yeovil, 2013, pp. 122-23 for similar examples

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. 81, nos. 153-54 for similar examples

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Property from the Estate of Peter Collingwood

13. Peter Collingwood

1922-2008

Unique ‘2-Dimensional Macrogauze’, 1999 Wool, steel rods.

71.7 x 77.2 cm (28 1/4 x 30 3/8 in.)

Estimate £3,000-4,000 $3,900-5,200 €3,300-4,400 ♠ Literature ‘Peter Collingwood Special Edition’, The Journal for Weavers, Spinners and Dyers, Summer 2009, for an article relating to the project and an image of the postage stamp, illustrated p. 30

The present lot was executed to be featured as a detail on a postage stamp issued by Royal Mail in 1999, part of the ‘Millenium Collection’ to celebrate British artists.

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14. Lucie Rie

1902-1995

Oval bowl with futed sides, circa 1980 Stoneware with futed sides, white pitted glaze.

15 x 23.5 x 20.3 cm (5 7/8 x 9 1/4 x 7 7/8 in.)

Impressed with artist’s seal.

Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 ♠ Provenance Peter Dingley Gallery, Stratford-upon-Avon 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. 57 for a similar example Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, pls. 16-17, pp. 111-12, nos. 72-73 for similar examples Tony Birks, Lucie Rie, Yeovil, 1994, p. 173 for a similar example

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Property from the Estate of Peter Collingwood

15. Peter Collingwood

1922-2008

Unique ‘3-Dimensional Macrogauze’, model no. M3D/7, 1990 Linen, steel rods.

170.5 x 98.6 x 23 cm (67 1/8 x 38 7/8 x 9 in.)

Metal label incised with Peter Collingwood and embossed with M3D/7.

Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 ♠ Literature ‘Peter Collingwood Special Edition’, The Journal for Weavers, Spinners and Dyers, Summer 2009, illustrated p. 24

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16. Hans Coper

1920-1981

Pot on cylindrical foot, circa 1974 Stoneware, layered white porcelain slips and engobes over a body with textured designs, the interior with manganese glaze.

16 cm (6 1/4 in.) high, 9.7 cm (3 7/8 in.) diameter Impressed with artist’s seal.

Estimate £16,000-24,000 $20,600-30,900 €17,500-26,300 ♠ Provenance Gifed by the artist to his brother Walter Coper, Argentina Bonhams, London, ‘Contemporary Ceramics’, 21 March 1991, lot 196 Acquired from the above by the present owner Literature Peter Collingwood|Hans Coper: Rugs and wall-hangings

by Peter Collingwood, Pots by Hans Coper, exh. cat., Victoria and Albert Museum, London, 1969, fgs. 16, 21 for similar examples Tony Birks, Hans Coper, Yeovil, 2013, pp. 72, 133, 192 for similar examples

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Property from a Private Collection, Germany

17. Lucie Rie

1902-1995

Vase with faring lip, circa 1974 Stoneware, mixed clays creating an integral red, brown and white spiral.

16.9 cm (6 5/8 in.) high Impressed with artist’s seal.

Estimate £6,000-9,000 $7,700-11,600 €6,600-9,900 ♠ 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. 79, no. 139, p. 84, no. 177 for similar examples Tony Birks, Lucie Rie, Yeovil, 1994, p. 56, 179 for similar examples

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18. Lucie Rie

1902-1995

Vase, circa 1974 Mixed clays creating an integral spiral beneath the glaze.

19.5 cm (7 5/8 in.) high Impressed with artist’s seal.

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,100 ♠ Provenance Casson Gallery, London Private collection, the Netherlands 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. 87, no. 198 for a similar example Tony Birks, Lucie Rie, Yeovil, 1994, p. 64 for a similar example

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Property from the Estate of Peter Collingwood

19. Peter Collingwood

1922-2008

Unique ‘Anglefell’ wall hanging, circa 1964 Linen, wooden rods.

185.7 x 90.5 cm (73 1/8 x 35 5/8 in.)

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 ♠ Literature Peter Collingwood, Master Weaver, exh. cat., Minories Art Gallery, Colchester, 1998, p. 19 for a discussion on the importance of the early Anglefells and Trianglefells, fg.

15 for a comparable which won Collingwood the Bavarian State Gold Medal

Examples of ‘Anglefell’ wall hangings can be found in the permanent collection of the Victoria & Albert Museum, London, and the Shipley Art Gallery, Gateshead.

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Property from the Estate of Peter Collingwood

20. Peter Collingwood

1922-2008

Unique ‘2-Dimensional Macrogauze’, circa 1970 Linen, steel and wood rods.

199.4 x 33.1 cm (78 1/2 x 13 in.)

Estimate £6,000-9,000 $7,700-11,600 €6,600-9,900 ♠

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Property from a Private Collection, Germany

21. Lucie Rie

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1902-1995

Property from a Private Collection, Germany

22. Lucie Rie

1902-1995

Flower vase, circa 1976 Grey and green pitted glaze over a stoneware body incised with diagonal design.

27.8 cm (10 7/8 in.) high Impressed with artist’s seal.

Oval bowl, circa 1974 Stoneware, mixed matte glazes with golden manganese rim.

11.5 cm (4 1/2 in.) high Impressed with artist’s seal.

Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 ♠

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 ♠

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. 77, no. 125 for a similar glaze, p. 81, no. 155 for a similar shape Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, pl. 58, p. 106, no. 49 for a similar glaze

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. 80, no. 143 for a similar example Tony Birks, Lucie Rie, Yeovil, 1994, p. 62 for a similar example

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23. Lucie Rie

1902-1995

Footed bowl, circa 1980 Porcelain, deep green glaze with golden lip.

11.5 cm (4 1/2 in.) high, 20.1 cm (7 7/8 in.) diameter Impressed with artist’s seal.

Estimate £40,000-50,000 $51,500-64,400 €43,800-54,800 ♠

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. 86, no. 190 for a similar example Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, p. 116, no. 91 for similar examples

Provenance Peter Dingley Gallery, Stratford-upon-Avon

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24. Charlotte Perriand

1903-1999

‘Tokyo’ bench, circa 1956 Oak, fabric.

60 x 225.8 x 76.7 cm (23 5/8 x 88 7/8 x 30 1/4 in.) including cushions Editioned by Steph Simon, Paris, France.

Fabric produced by Simone Prouvé, France.

Estimate £18,000-24,000 $23,200-30,900 €19,700-26,300 Provenance Galerie Jousse Seguin, Paris Acquired from the above by the present owners Literature Elisabeth Védrenne, ed., Charlotte Perriand, exh. cat., Centre Georges Pompidou, Paris, 2005, n.p.

Jacques Barsac, Charlotte Perriand: Un Art D’Habiter, 1903–1959, Paris, 2005, p. 430 Jacques Barsac, Charlotte Perriand: Complete Works Volume 2, 1940-1955, Paris, 2015, pp. 442, 470 for the four and fve legged version of the model

‘I just fnished reading The Book of Tea. With that, I set out to fnd all the books I can on Japan: the land, the ground, the underground, the sea, the fauna, the fora, the people, the manners…’

Charlotte Perriand

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In June 1940, Charlotte Perriand embarked on a ship to Japan, leaving Paris just a few days before the Germans entered the city. Perriand had received an ofcial invitation to cover the role of the ofcial adviser to the Imperial Ministry of Commerce from her friend and collaborator Junzo Sakakura, whom she had met a decade earlier whilst working at Le Corbusier’s studio.

To this unforeseen opportunity she reacted with enthusiasm: “Saka, I never thought to have the chance to see you so soon and above all in your country. You can surely imagine the turmoil your radiogram has stirred in my head and in my heart… in 1940, it is unexpected. I was surprised, thrilled, sad, and ultimately delighted; you know that to leave is to choose” (Jacques Barsac, Charlotte Perriand: Complete Works Volume 2, 1940-1955, Paris, 2015, pp.). Japan, its customs and traditions became an essential source of inspiration for the architect, whose work was largely afected by the techniques acquired during her years in the foreign country. Perriand frst designed the ‘Tokyo’ bench in 1953 for her husband Jacques Martin’s house in Tokyo. Contrary to western style, the present lot features a low seat in line with Japanese custom.

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25. Jean Prouvé

1901-1984

‘Semi-metal’ chair, model no. 305, designed 1950, produced 1950-1969 Painted steel, painted tubular steel, oak-veneered plywood, rubber.

81 x 42 x 48 cm (31 7/8 x 16 1/2 x 18 7/8 in.)

Manufactured by Les Ateliers Jean Prouvé, Nancy and editioned by Steph Simon, Paris, France.

Estimate £12,000-18,000 $15,500-23,200 €13,100-19,700

Literature Two Master Metalworkers: Jean Prouvé, Serge Mouille, exh. cat., Anthony DeLorenzo, New York, Alan and Christine Counord, Paris, 1985, pp. 44-45 Peter Sulzer, Jean Prouvé: Œuvre complète/Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 208-11, 268 for images and technical drawings Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 88, 90-93, 99 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 24-25, 74-75

Provenance Hemisphere Gallery, London Acquired from the above by the present owner

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26. Jean Prouvé

1901-1984

‘Antony’ chair, model no. 356, designed 1954 Beech-veneered plywood, painted steel, painted tubular steel, aluminium.

84.3 x 50.3 x 69 cm (33 1/4 x 19 3/4 x 27 1/8 in.)

Manufactured by Les Ateliers Jean Prouvé, Nancy and editioned by Steph Simon, Paris, France.

Estimate £12,000-18,000 $15,500-23,200 €13,100-19,700 Ω

Literature Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 149, 163 Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 272 Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Volume 1, Paris, 2007, pp. 69, 74, 119, 127, 136, 146, 174, 177, 181, 189 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, pp. 271, 278-81, 511

Provenance Phillips de Pury & Company, , New York, ‘20-21st Century Design Art’, 24 May 2005, lot 175 Acquired from the above by the present owner

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27. Alexandre Noll

1890-1970

Bowl, 1950s Sycamore.

9 cm (3 1/2 in.) high, 32.5 cm (12 3/4 in.) diameter Underside incised with ANoll.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Provenance Wright, Chicago, ‘Modernist 20th Century’, 7 December 2003, lot 256 Acquired from the above by the present owner

28. Alexandre Noll

1890-1970

Spoon, circa 1950 Ebony.

34 cm (13 3/8 in.) long Underside incised with ANoll.

Estimate £3,000-4,000 $3,900-5,200 €3,300-4,400 Provenance Liz O’Brien, New York Acquired from the above by the present owner

29. Roger Capron

1922-2006

Two bird fgures, circa 1956 Glazed and painted earthenware.

Largest: 17 x 23 x 14.5 cm (6 3/4 x 9 x 5 3/4 in.)

Each underside signed with CAPRON/FRANCE/ SFA and CAPRON/VALLAURIS/BL respectively and impressed with artist’s seal.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ♠ Literature Pierre Staudenmeyer, Roger Capron Céramiste, Paris, 2003, p. 66 for the smaller fgure

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30. Charlotte Perriand

1903-1999

Set of fve armchairs, model no. 21, from ‘L’Equipement de la Maison’ series, designed 1935, produced circa 1946-1968 Oak, straw.

Each: 78.5 x 56 x 65.5 cm (30 7/8 x 22 x 25 3/4 in.)

Manufactured by L’Equipement de la Maison, Grenoble or Bureau de Coordination du Bâtiment, Paris, France.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Literature Boris Lacroix, ‘Mobiliers et ensembles de vacances’, Art et Décoration, no. 9, 1948, pp. 4-5 Marie Laure Jousset, Charlotte Perriand, exh. cat., Centre Georges Pompidou, Paris, 2005, p. 109 Jacques Barsac, Charlotte Perriand Complete Works, Volume 2, 1940-1955, Paris, 2015, pp.

155, 157-58, pp. 166, 171 for a L’Equipement de la Maison prospectus, pp. 188, 201, 223, 250, p. 311 for a B.C.B. prospectus

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31. Le Corbusier and Pierre Jeanneret 1887-1965 and 1896-1967 Rare ‘Court’s President’ armchair, designed for the High Court, Chandigarh, 1955-1956 Teak, hide.

136.5 x 82 x 80 cm (53 3/4 x 32 1/4 x 31 1/2 in.)

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400

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Provenance High Court, Chandigarh, India Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-ArtArchitecture, Paris, 2010, pp. 177, 567 Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret: Chandigarh, India, Paris, 2014, pp. 140-41, 282

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32. Jean Prouvé

1901-1984

‘Semi-metal’ chair, model no. 306, circa 1952 Painted steel, painted tubular steel, vinyl covered oak-veneered plywood, rubber, aluminium.

70.6 x 42.3 x 48 cm (27 3/4 x 16 5/8 x 18 7/8 in.)

Manufactured by Les Ateliers Jean Prouvé, Nancy, France.

Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 Provenance Private collection, collaborator of Jean Prouvé, France Literature Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, p. 46 A Passion for Jean Prouvé: From Furniture to Architecture: The Laurence and Patrick Seguin Collection, exh. cat., Pinacoteca Giovanni e Marella Agnelli and Galerie Patrick Seguin, Paris, 2013, p. 67 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 96-97, 99

33. Charlotte Perriand

1903-1999

Table, from a ‘chambre d’étudiant’, Maison du Brésil, Cité Internationale Universitaire de Paris, 1956-1959 Painted steel, plastic laminate-covered plywood, molded plastic.

70.2 x 86 x 86 cm (27 5/8 x 33 7/8 x 33 7/8 in.)

Each drawer molded with MODELE CHARLOTTE PERRIAND/BREVETE S.G.D.G./© CHARLOTTE PERRIAND/ADAGP 2002/TIRAGE LIMITE BRESIL 02.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Provenance Maison du Brésil, Cité Internationale Universitaire de Paris, 1956-1959 Literature Françoise Choay, ‘vous montre le Pavillon du Brésil que Le Corbusier vient d’achever à la Cité Universitaire de Paris’, L’Œil, September 1959, p. 58 Willy Boesiger, ed., Le Corbusier et Son Atelier rue de Sevres 35: Œuvre Complete, Volume 7 • 1957-65, New York, 1990, p. 198 Elisabeth Védrenne, ‘Le Corbu à La Cité U.’, L’Œil, Paris, November 1998, p. 72

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34. Charlotte Perriand

1903-1999

Set of seventy-two wall lights, model no. CP1, circa 1975 Painted steel, acrylic.

Each: 12.6 x 16.5 x 7.7 cm (4 7/8 x 6 1/2 x 3 in.)

Editioned by Galerie Steph Simon, Paris, France. Each wall fxture embossed with Modele C P 1/© Charlotte Perriand/ Fabrique en France/SS/Editions Steph Simon.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Ω Provenance For forty-eight lights from the set: Sotheby’s, New York, ‘20th Century Design’, 27 March 2009, lot 86 Acquired from the above by the present owner Literature Charlotte Perriand: Un Art de Vivre, exh. cat., Musée des Arts Décoratifs, Paris, 1985, p. 52, fg. 37 Jacques Barsac, Charlotte Perriand: Complete Works Volume 3, 1956-1968, Paris, 2017, p. 107

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35. Jean Prouvé

1901-1984

Pair of two-seater lecture hall armchairs, designed for the Faculté de Lettres, Université de Besançon, 1952-1956 Painted steel, oak, vinyl.

Each: 84.5 x 114.5 x 53 cm (33 1/4 x 45 1/8 x 20 7/8 in.)

Manufactured by Les Ateliers Jean Prouvé, Nancy and editioned by Steph Simon, Paris, France.

Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 Provenance Faculté de Lettres, Université de Besançon, Besançon, France Literature Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 62-63 for images and a Steph Simon prospectus Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 252 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 240-41, 247

36. Jean Prouvé

1901-1984

Lecture hall armchair, designed for the Faculté de Lettres, Université de Besançon, 1952-1956 Painted steel, oak, vinyl.

88.5 x 64 x 52.1 cm (34 7/8 x 25 1/4 x 20 1/2 in.)

Manufactured by Les Ateliers Jean Prouvé, Nancy and editioned by Steph Simon, Paris, France.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Provenance Faculté de Lettres, Université de Besançon, Besançon, France Literature Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, p. 62 for an image and a Steph Simon prospectus Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 252 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 240-41, 247

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37. Jean Prouvé

1901-1984

‘Tout bois’ chair, circa 1941 Oak, oak-veneered plywood.

80.7 x 41 x 47 cm (31 3/4 x 16 1/8 x 18 1/2 in.)

Manufactured by Les Etablissements Vauconsant, Saint-Nicolas-de-Port, France, for Les Ateliers Jean Prouvé, Nancy, France.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800

Literature Jean Prouvé Constructeur, exh. cat., Centre Georges Pompidou, Paris, 1991, p. 128, fg. 31 Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 2: 1934-1944, Basel, 2000, pp. 33, 294-95 for images and a technical drawing Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 66-69, 98, 397

Provenance Mr Minichshofer, Austria

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38. Alexandre Noll

1890-1970

Pair of ‘vide-poches’, 1950s Ebony, mother-of-pearl.

Each: 13.3 x 10.3 cm (5 1/4 x 4 in.)

Each underside incised with ANoll.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Provenance Florian Baudenon, Paris Acquired from the above by the present owner Literature Olivier Jean-Elie and Pierre Passebon, Alexandre Noll, Paris, 2009, p. 24

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39. Jean Prouvé

1901-1984

S.C.A.L. bed, model no. 450, circa 1951 Painted steel, fabric.

57.8 x 80 x 190 cm (22 3/4 x 31 1/2 x 74 3/4 in.)

Manufactured by Les Ateliers Jean Prouvé, Nancy, for Galerie Steph Simon, Paris, France.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Galerie Jousse Seguin, Paris Mr Berg, Sweden Acquired from the above by the present owner Literature Galerie Jousse Seguin and Galerie Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 144-45 Peter Sulzer, Jean Prouvé: Œuvre Complète/Complete Works, Volume 3: 1944-1954, Basel, 2005, p. 167 Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 352-53, 355, 359

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40. Jean Prouvé

1901-1984

‘Semi-metal’ chair, model no. 305, designed 1950, produced 1950-1969 Painted steel, painted tubular steel, oak-veneered plywood, rubber.

82 x 41.8 x 47 cm (32 1/4 x 16 1/2 x 18 1/2 in.)

Manufactured by Les Ateliers Jean Prouvé, Nancy and editioned by Steph Simon, Paris, France.

Steph Simon Prospectus, circa 1960. ©ADAGP, Paris and DACS, London 2017.

Estimate £14,000-18,000 $18,000-23,200 €15,300-19,700 Provenance Galerie Patrick Seguin, Paris Literature Two Master Metalworkers: Jean Prouvé, Serge Mouille, exh. cat., Anthony DeLorenzo, New York, Alan and Christine Counord, Paris, 1985, pp. 44-45 Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 208-11, 268 for images and technical drawings Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, pp. 88-93, 99, 397, 407-410 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 60-61, 67, 74-75

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41. Jean Prouvé Bourse Maritime, Paris. ©ADAGP, Paris and DACS, London 2017

1901-1984

‘Cité’ table, circa 1953 Painted bent sheet steel, painted tubular steel, oak.

72.3 x 89.5 x 62.8 cm (28 1/2 x 35 1/4 x 24 3/4 in.)

Manufactured by Les Ateliers Jean Prouvé, Nancy, France.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Provenance Bourse Maritime, Paris Literature Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 1: 1917-1933, Basel, 2000, pp. 204, 206 for a technical drawing and an image of a similar example Peter Sulzer, Jean Prouvé: Œuvre complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 232, 233 for technical drawings and an image of similar examples Galerie Patrick Seguin, Jean Prouvé, Volume 1, Paris, 2017, p. 214 for a similar example

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42. Pierre Jeanneret

1896-1967

Ten armchairs, 1955-1956 Teak, cane.

Largest: 81 x 49 x 53 cm (31 7/8 x 19 1/4 x 20 7/8 in.)

Varied dimensions Estimate £75,000-85,000 $96,600-109,000 €82,200-93,100 Provenance Chandigarh, India Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-Art-Architecture, Paris, 2010, pp. 191, 343, 364-65, 562 Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret: Chandigarh, India, Paris, 2014, pp. 153-54, 164, 166, 168-73, 236, 246, 253, 256, 283

City Museum, sector 10, Chandigarh. © ADAGP, Paris and DACS, London 2014 / P: Manuel Buogot.

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43. Pierre Jeanneret

1896-1967

Writing chair, model no. PJ-SI-26-E, designed for the science department and administrative ofces, Punjab University, Chandigarh, circa 1960 Teak, cane.

80.2 x 59.5 x 61.5 cm (31 5/8 x 23 3/8 x 24 1/4 in.)

Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 Provenance Punjab University, Chandigarh, India Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-ArtArchitecture, Paris, 2010, p. 562 Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret: Chandigarh, India, Paris, 2014, pp. 192-95, 284

44. Pierre Jeanneret

1896-1967

Demountable bed, model no. PJ-L-05-A, designed for the Members Legislative Assembly fats, Punjab University student halls and other residencies, 1955-1956 Teak, steel, fabric.

70 x 94.3 x 203.5 cm (27 1/2 x 37 1/8 x 80 1/8 in.)

Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 Provenance Chandigarh, India Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-ArtArchitecture, Paris, 2010, pp. 320, 590

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45. Pierre Jeanneret

1896-1967

‘Reading table’, model no. PJ-TA-09-B, and ‘Cane seat wood back’ chair, model no. PJ-SI-51-A, designed for the High Court, Punjab University Library and Central State Library, Chandigarh, 1959-1962 Teak, teak-veneered wood, leather.

Table: 72 x 114.3 x 76.2 cm (28 3/8 x 45 x 30 in.)

Chair: 77.5 x 46.5 x 49.5 cm (30 1/2 x 18 1/4 x 19 1/2 in.)

Estimate £25,000-35,000 $32,200-45,100 €27,400-38,300 Provenance Chandigarh, India Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-ArtArchitecture, Paris, 2010, p. 574 for the table, pp. 111-12, 368, 372, 374, 569, 586 for the chair Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret: Chandigarh, India, Paris, 2014, pp. 182-87, 219, 221, 283 for the chair

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46. Francis Jourdain

1876-1958

’Tripod’ standard lamp, circa 1920 Oak, cellulose shade.

97.8 cm (38 1/2 in.) high, 40.4 cm (15 7/8 in.) diameter Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600

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47. Pierre Jeanneret

1896-1967

Pair of ‘Committee’ armchairs, model no. PJ-SI-30-A, designed for the High Court, the Assembly and Punjab University administrative buildings, Chandigarh, 1959-1960 Teak, hide.

Each: 89.5 x 56.8 x 65 cm (35 1/4 x 22 3/8 x 25 5/8 in.)

Estimate £30,000-40,000 $38,600-51,500 €32,900-43,800 Provenance Chandigarh, India

Preparatory drawing for the ‘Committee’ armchair, circa 1959. ©ADAGP, Paris and DACS, London 2017

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Literature Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-ArtArchitecture, Paris, 2010, pp. 232-33, 563 Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret: Chandigarh, India, Paris, 2014, p. 283

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48. Jean Royère

1902-1981

Pair of rare chaises longues, 1937 Painted steel, fabric, goat fur.

Each: 25.5 x 52 x 127 cm (10 x 20 1/2 x 50 in.)

Estimate £60,000-80,000 $77,300-103,000 €65,700-87,600 Ω Provenance Pavillon de la Céramique, Exposition Internationale, Paris, 1937 Private collection Phillips de Pury & Company, New York, ‘Design’, 15 December 2010, lot 23 Acquired from the above by the present owner Exhibited ‘Pavillon de la Céramique’, Exposition Internationale, Paris, 25 May-25 November 1937 Literature Renée Moutard-Uldry, ‘Les ensembles mobiliers au pavillon des artistes décorateurs’, Art et Décoration, no. 9, 1937, p. 280 ‘Les artistes décorateurs à l’Exposition Internationale de Paris’, Le décor d’aujourd’hui, no. 24, August-September, 1937, p. 28 Jean Royère: Décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, pp. 32, 156, 158 Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 283

The present model was frst exhibited at the Pavillon de la Société des Artistes Décorateurs, Exposition Internationale in Paris, 1937.

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49. Boris Jean Lacroix

1902-1984

Pair of wall lights, circa 1958 Painted steel, acrylic, nickel-plated brass, painted brass.

Each: 26.5 x 41 x 33.5 cm (10 3/8 x 16 1/8 x 13 1/4 in.)

Manufactured by Luminalite, France.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800

50. Jean Royère

1902-1981

Set of three ‘Yo-Yo’ stools, circa 1955 Painted tubular steel, vinyl, leather-bound tubular steel.

Each: 77.5 cm (30 1/2 in.) high Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 Ω Provenance Michelle Andrews, New York Cristina Grajales, New York Private collection Wright, Chicago, ‘Important Design’, 6 June 2013, lot 188 Acquired from the above by the present owner Literature Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 2, Paris, 2012, p. 56

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51. Jean Royère

1902-1981

Sofa and pair of armchairs, circa 1949 Oak, fabric.

Sofa: 70 x 186 x 94 cm (27 1/2 x 73 1/4 x 37 in.)

Each armchair: 60 x 81.5 x 85 cm (23 5/8 x 32 1/8 x 33 1/2 in.)

Estimate £80,000-120,000 $103,000-155,000 €87,600-131,000 Provenance Mrs Chalon, Vincennes Romain Lefebvre, Paris Private collection, Paris

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Literature René Chavance, ‘Jean Royère ou bon sens et fantaisie’, Mobilier et Décoration, July-September 1949, pp. 14-16 René Chavance, ‘Aménagements ofciels et installations privées par Jean Royère’, Mobilier et Décoration, 1951, p. 27 Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, pp. 94, 98 for drawings and images Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 142 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 1, Paris, 2012, pp. 78, 148, 282, 284

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52. Ado Chale

b. 1928

Unique illuminated cofee table, circa 1970 Brass, agate.

35.7 x 129.5 x 60 cm (14 x 50 7/8 x 23 5/8 in.)

Produced by Ado Chale, Belgium. Side incised with Chale.

Estimate ÂŁ25,000-35,000 $32,200-45,100 â‚Ź27,400-38,300 Provenance Private collection, France

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

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53. Jean Royère

1902-1981

Pair of stools, circa 1947 Oak, sheepskin.

Each: 39 x 62 x 33 cm (15 3/8 x 24 3/8 x 12 7/8 in.)

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Private collection, Lyon Acquired from the above by the present owner Literature Axel de Heeckeren, Jean Royère (1902-1981), créateur et décorateur, exh. cat., Maison Jansen, Paris, 1985, pl. 17 Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 84 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 2, Paris, 2012, pp. 57, 324-25, 327 for drawings and an image

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54. Jean Royère

1902-1981

Cofee table, circa 1955 Mahogany, cane, glass.

40.2 x 90 x 44.5 cm (15 7/8 x 35 3/8 x 17 1/2 in.)

Estimate £40,000-60,000 $51,500-77,300 €43,800-65,700 Provenance Mrs Castoriano, Lima Galerie Jacques Lacoste and Galerie Patrick Seguin, Paris

Preparatory drawing for the present lot design. © Galerie Jacques Lacoste and Galerie Patrick Seguin, Paris.

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55. André Groult

1884-1966

‘Gondole’ armchair, 1920s Mahogany, mother-of-pearl inlay, fabric.

89.4 x 89 x 80 cm (35 1/4 x 35 x 31 1/2 in.)

Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 Provenance Manoukian collection, Paris Galerie Anne-Sophie Duval, Paris Acquired from the above by the present owner, circa 1992 Literature Félix Marcilhac, André Groult, Décorateur Ensemblier du XXe Siècle, Paris, 1997, p. 48, fg. 2, p. 87, fg. 5 for similar examples

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56. Jean-Michel Frank

1895-1941

Light difuser, 1930-1935 Plaster.

42 cm (16 1/2 in.) diameter, variable drop Produced by Chanaux & Company, Paris, France.

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

Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 Provenance Collection of artist’s family Thence by descent

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57. Jean-Michel Frank

1895-1941

Desk, circa 1935 Wrought iron, leather-bound oak, brass.

75 x 130.5 x 71.8 cm (29 1/2 x 51 3/8 x 28 1/4 in.)

Produced by Comte, Buenos Aires, Argentina.

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

Estimate £25,000-35,000 $32,200-45,100 €27,400-38,300 Provenance Private collection, Argentina Acquired from the above by the present owner Literature Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, p. 197 Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: l’étrange luxe du rien, Paris, 2006, p. 23

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58. François-Xavier Lalanne

1927-2008

La carpe d’or, 1987 Gilt resin.

29 x 57 x 12 cm (11 3/8 x 22 1/2 x 4 3/4 in.)

Produced by Artcurial, Paris, France. Number 39 from the edition of 250. Underside embossed with ARTCURIAL/ LALANNE/fxl and incised 39 / 250.

Estimate £18,000-24,000 $23,200-30,900 €19,700-26,300 ‡ ♠ Provenance Private collection, Paris, circa 2000 Acquired from the above by the present owner Literature Daniel Abadie, Lalanne(s), Paris, 2008, p. 329

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Line Vautrin Talosel Mirrors

In the mid - twentieth century, Line Vautrin created extraordinary decorative objects - including jewellery, buttons, small containers, umbrella handles, and mirrors - using innovative materials and techniques. Vautrin was born in Paris to a family of artisans and her father owned a metal foundry.

An independent spirit drove Vautrin to work for herself; she began making and selling jewellery at her father’s shop at an uncharacteristically young age. At the 1937 Paris International Exposition, Vautrin exhibited her jewellery made of gilt bronze, an unconventional choice of medium at the time. Her work was enthusiastically received, and the exposure from the exposition earned her a following. The subsequent war years were, unexpectedly, extremely fruitful for Vautrin. The shortage of precious materials provided an impetus for her to break further from tradition and embrace materials that were available, such as cloth, feathers, and wood. Vautrin’s mission was to inspire Parisian women to revive the quintessential French exuberance for beauty and style despite the wartime gloom (Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel Maréchal, Paris, 2004, pp. 28-31). Afer the war, critical acclaim further encouraged Vautrin’s experimentation with materials and techniques. Around 1953 she began focusing on a new medium that she would eventually coin talosel: a synthetic resin sculpted and encrusted with small mirror fragments. Vautrin devoted over thirty years to perfecting the talosel technique. Within Vautrin’s prolifc career, the talosel mirrors are a highlight.

Vautrin’s work defes characterisation, yet a unifying element throughout her œuvre is an interest in historical styles. Vautrin mined the past for inspiration: she looked to an array of periods ranging from antiquity through the eighteenth century and spent time in archaeological museums studying the work of ancient goldsmiths (Patrick Mauriès, ‘Obituary: Line Vautrin’, Independent, 20 April 1997). During the war, she designed sculptural buttons inspired by antiquity. These miniature works of art helped establish her reputation and were so celebrated that in the mid-1940s a journalist called her ‘the queen of buttons’ (Mauriès, Line Vautrin, p. 30). Vautrin’s mirrors from the 1950s and 1960s continued to pay homage to previous eras. A single piece frequently evokes many historical styles, combined and reinterpreted into a novel design. The scintillating ornamentation and hand-wrought appearance of the talosel mirrors are reminiscent of Byzantine mosaics and metal works.

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The use of mirror fragments in the frames recalls Venetian mirrors from the seventeenth century where a large central mirror pane was bordered with decorative mirror pieces; although convex mirrors had become generally fashionable in home decor in the 1950s, the form of Vautrin’s mirrors ofen resemble convex mirrors from the Renaissance. In particular, the tab-shaped outline and circular decorations on the Mazarin mirror in lot 61 bear a striking resemblance to the mirror in Jan van Eyck’s renowned Arnolfni Portrait from 1434.

In addition to stylistic features that draw on the past, there are symbolic elements in the talosel mirrors that relate specifcally to France’s history. France was a world leader in luxury and fashion since the late seventeenth century, when Louis XIV brought the fnest artisans-including Venetian glassmakersto Paris to work in his royal manufactories. The king’s fxation with mirrors was certainly due to their extremely high value, yet mirrors were also associated with light because of their refective properties; gaining a monopoly on the production of mirrors and flling his Palace of Versailles with them carried symbolic meaning for the French monarch, who had named himself the Sun King. In 1958, Vautrin said that she had “always been fascinated with suns” (Ibid, p. 33). Considering Vautrin’s devotion to revitalising the French spirit during the war and thereafer, her sun-shaped mirrors might also be interpreted as a patriotic nod to the golden age of French creative dominance.

While Vautrin’s talosel mirrors have roots in history, they were entirely of their time. During World War II, there were vast developments in plastics, and afer the war, the new technology was appropriated by the design world. By then, Vautrin was experimenting with mirror fragments and synthetic resin (Ibid). Although today synthetic resins are commonplace, they were at the time associated with scientifc advancement, and Vautrin’s use of such an unconventional material in fne handcrafed objects was progressive and modern. The talosel process was meticulous and labour intensive; Vautrin’s vision and ingenuity turned humble materials into spectacular works of art. Tastemakers of the day afrmed the exceptional nature of Vautrin’s work. Ingrid Bergman, Brigitte Bardot, and Yul Brynner purchased her mirrors (Mauriès, Obituary) and Jean Royère used her designs in his interiors (Mauriès, Line Vautrin, p. 34). While synthetic resin and glass are no rarer today than they were sixty years ago, the value of Line Vautrin’s talosel mirrors continues to rise.

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59. Line Vautrin

1913-1997

‘Gabrielle’ mirror, circa 1958 Talosel resin, coloured mirrored glass, mirrored glass.

34 x 21 cm (13 3/8 x 8 1/4 in.)

Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 Provenance Jean-David Botella, Paris Acquired from the above by the present owner Literature Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel-Maréchal, Paris, 2004, pp. 14, 78-79

60. Line Vautrin

1913-1997

‘Gerbera’ mirror, circa 1955 Talosel resin, coloured mirrored glass, convex mirrored glass.

18.3 cm (7 1/4 in.) diameter Reverse incised with LINE VAUTRIN. Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Literature Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel-Maréchal, Paris, 2004, p. 40 for a period image, pp. 84-85

61. Line Vautrin

1913-1997

‘Mazarin’ mirror, circa 1960 Talosel resin, coloured mirrored glass, convex mirrored glass.

42 cm (16 1/2 in.) diameter Reverse incised with LINE/VAUTRIN/X. Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 Provenance Jean-David Botella, Paris Acquired from the above by the present owner Literature Maison Jardin, no. 41, December 1956-January 1957, front cover for a similar example Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel-Maréchal, Paris, 2004, pp. 40, 56-57 for similar examples

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62. Line Vautrin

1913-1997

‘Trèfe’ mirror, circa 1960 Talosel resin, coloured mirrored glass, convex mirrored glass.

29.5 cm (11 5/8 in.) diameter Reverse incised with LINE VAUTRIN. Estimate £12,000-18,000 $15,500-23,200 €13,100-19,700 Provenance Jean-David Botella, Paris Acquired from the above by the present owner Literature Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel-Maréchal, Paris, 2004, pp. 48-49

63. Line Vautrin

1913-1997

‘Montre’ mirror, circa 1960 Talosel resin, coloured mirrored glass, convex mirrored glass, leather.

30 x 24.5 cm (11 3/4 x 9 5/8 in.)

Reverse incised with LINE VAUTRIN. Estimate £8,000-12,000 $10,300-15,500 €8,800-13,100 Provenance Jean-David Botella, Paris Acquired from the above by the present owner Literature Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel-Maréchal, Paris, 2004, pp. 40, 86-87

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64. Line Vautrin

1913-1997

‘Chardon’ mirror, 1950s Talosel resin, coloured mirrored glass, convex mirrored glass.

22 cm (8 5/8 in.) diameter Reverse incised with LINE VAUTRIN. Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Literature Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel-Maréchal, Paris, 2004, pp. 26, 35, 40, 100-101

65. Line Vautrin

1913-1997

‘Soleil à Pointes’ mirror, model no. 2, 1950s Talosel resin, coloured mirrored glass, convex mirrored glass.

30 cm (11 3/4 in.) diameter Reverse incised with LINE VAUTRIN and impressed with ROI. Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 Provenance Jean-David Botella, Paris Acquired from the above by the present owner

66. Line Vautrin

Literature ‘Jallot Décorateur’, Décor d’aujourd’hui, 1956, n.p.

Maison Jardin, no. 41, December 1956-January 1957, front cover for a similar example Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel-Maréchal, Paris, 2004, pp. 12, 14-15, 21, 26, 40, 70-71, 76-77, 88-89, 114-15 1913-1997

‘Soleil à Pointes’ mirror, model no. 3, 1950s Talosel resin, coloured mirrored glass, convex mirrored glass.

58 cm (22 7/8 in.)

Reverse incised with LINE VAUTRIN X. Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 Provenance Jean-David Botella, Paris Acquired from the above by the present owner Literature ‘Jallot Décorateur’, Décor d’aujourd’hui, 1956, n.p.

Maison Jardin, no. 41, December 1956-January 1957, front cover for a similar example Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel-Maréchal, Paris, 2004, pp. 12, 14-15, 21, 26, 40, 70-71, 76-77, 88-89, 114-15

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67. Pierre Chareau

1883-1950

Pair of stools, model no. SN1, circa 1920 Burr amboyna, mahogany.

Each: 35 x 49.5 x 29.5 cm (13 3/4 x 19 1/2 x 11 5/8 in.)

Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 Provenance Galerie Anne-Sophie Duval, Paris Acquired from the above by the present owner, 1990 Literature Gabriel Henriot, ‘Pierre Chareau’, Mobilier et Décoration, December 1927, p. 222 Francis Jourdain, L’Art International d’Aujourd’hui, Intérieurs, Paris, 1929, pl. 45 René Herbst, Un inventeur… l’architecte Pierre Chareau, Paris, 1954, pp. 33, 74, 78 Marc Vellay and Kenneth Frampton, Pierre Chareau: Architect and Crafsman 1883-1950, Paris, 1984, pp. 84, 209, 329 Brian Brace Taylor, Pierre Chareau: Designer and Architect, Berlin, 1998, pp. 80, 95, 135 Esther da Costa Meyer, ed., Pierre Chareau: Modern Architecture and Design, New York, 2016, pp. 32, 45, 55, 65, 70-71, 100, 124-125 for images and a drawing

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Proceeds from the sale of this lot will beneft the Association St. Bernard of the Villa Noailles, Hyères, France

68. François-Xavier Lalanne

1927-2008

Set of four ‘Oiseau d’Argent’ candlesticks, circa 1990 Stainless steel.

Each: 17.2 x 19.5 x 7 cm (6 3/4 x 7 5/8 x 2 3/4 in.)

Produced by Artcurial, Paris, France.

Each impressed with FXL LALANNE/ARTCURIAL. Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700

69. Jean-Michel Frank

1895-1941

Armchair, circa 1935 Mahogany, fabric.

65 x 74 x 72 cm (25 5/8 x 29 1/8 x 28 3/8 in.)

Produced by Comte, Buenos Aires, Argentina.

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

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Private collection, Buenos Aires Acquired from the above by the present owner, 2002 Literature Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, pp. 72, 108 Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: l’étrange luxe du rien, Paris, 2006, p. 57

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70. Jean-Michel Frank

1895-1941

Rare two-seater settee, circa 1936 Wrought iron, leather.

90 x 105 x 65.3 cm (35 3/8 x 41 3/8 x 25 3/4 in.)

Produced by Comte, Buenos Aires, Argentina.

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

Estimate £100,000-150,000 $129,000-193,000 €110,000-164,000 Provenance Private collection, Buenos Aires Acquired from the above by the present owner Literature Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, p. 221 Pierre-Emmanuel Martin-Vivier, ‘Jean-Michel Frank: l’étrange luxe du rien’, L’Œil, June 2003, p. 77 for three-seater example Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: l’étrange luxe du rien, Paris, 2006, p. 125 Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: un décorateur dans le Paris des années 30, Paris, 2009, p. 91

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Proceeds from the sale of this lot will beneft the Association St. Bernard of the Villa Noailles, Hyères, France

71. Jean-Michel Frank

1895-1941

Pair of table lamps, circa 1940 Leather-bound wood, tubular brass, fabric shade.

Each: 54.2 cm (21 3/8 in.) high, 30.4 cm (11 7/8 in.) diameter Produced by Comte, Buenos Aires, Argentina.

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

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Private collection, Argentina Acquired from the above by the present owner, 2004

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Literature ‘Sous un toit de Paris’, Vogue, Paris, April 1937, p. 94 for the model ‘Jean-Michel Frank’, Vogue, UK, no. 5, March 1937, p. 92 for the model Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, p. 244 for the model Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: The Strange and Subtle Luxury of the Parisian HauteMonde in the Art Deco Period, New York, 2006, pp. 152, 154, 261 for the model

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72. Jean-Michel Frank

1895-1941

‘Pagoda’ side table, circa 1927 Sanded oak, sanded oak-veneered plywood.

44.7 x 37.7 x 38 cm (17 5/8 x 14 7/8 x 14 7/8 in.)

Produced by Chanaux & Company, Paris, France.

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

Estimate £30,000-40,000 $38,600-51,500 €32,900-43,800 Provenance Art Works, Paris Acquired from the above by the present owner

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Literature ‘Un Beau Salone de Musique’, Vogue, Paris, December 1933, p. 66 ‘Sur la colline de Fabron’, Vogue, Paris, June 1937, p. 77 Roger Lannes, ‘Exégèse poétique de Jean-Michel Frank’, Art et Décoration, Paris, January 1939, pp. 6-7 Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, pp. 108, 141, 161, 205, 211 Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: l’étrange luxe du rien, Paris, 2006, pp. 159, 278

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73. Diego Giacometti

1902-1985

Pair of ‘Têtes de Lionnes’ armchairs, second version, conceived 1979, executed 1979-1985 Patinated bronze, wrought iron, hide.

Each: 82.5 x 61.2 x 67.2 cm (32 1/2 x 24 1/8 x 26 1/2 in.)

Estimate £250,000-350,000 $322,000-451,000 €274,000-383,000 Provenance P.P., Neuilly Sur Seine, acquired directly from the artist, 1979-1985 Thence by descent Private collection, France Acquired from the above by the present owner Literature Michel Butor, Diego Giacometti, Paris, 1985, pp. 116, 131, 139 Françoise Francisci, Diego Giacometti: Catalogue de l’œuvre, Volume I, Paris, 1986, n. p.

Daniel Marchesseau, Diego Giacometti, Paris, 1986, pp. 83, 177, 192 Diego Giacometti: Möbel und Objekte aus Bronze, exh. cat., Museum Bellerive, Zürich, 1987, p. 16, no. 3 François Baudot, Diego Giacometti, Paris, 1998, p. 75 Christian Boutonnet and Rafael Ortiz, Diego Giacometti, exh. cat., Galerie l’Arc en Seine, Paris, 2003, pp. 10, 54

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Following a 1927 journey to Egypt, Diego Giacometti returned to Paris with a strengthened artistic identity inspired by the great ancient cultures of Egypt, Greece and Rome. The same year Diego and his brother Alberto lef their Rue Froidevaux studio and settled at Rue Hyppolyte-Maindron, where they remained for many decades. These years were marked by fnancial difculties for the brothers. In order to sustain their humble lifestyle, Alberto created jewellery for the Parisian creative director and designer Elsa Schiapparelli.

It was their friendship with Jean-Michel Frank, whom Alberto had met through Man Ray, which eventually eased the brothers’ economic situation. Sharing artistic interest in minimalism, Alberto went onto create numerous decorative furnishings for Frank, ranging from lighting to candlesticks, which the interior decorator used to furnish his interiors and sold at his Parisian boutique. This seminal collaboration between the brothers and Frank continued up until the beginning of the Second World War. Diego played a key role supporting Alberto with an indispensable ‘extra pair of hands’ needed to produce interior elements intended for larger production. Within the studio walls, Diego’s responsibilities ranged from producing structural supports for Alberto’s sculptures to applying patina to his brother’s bronzes, a difcult procedure for which Diego was an expert.

Alberto, who held a frm belief in Diego’s own abilities as an artist, encouraged him to accept his own commissions. Diego soon began designing furnishings for the brothers’ dealers Aimé and Marguerite Maeght in Paris, and Pierre Matisse in New York. Despite having been “constantly connected to the intellectual development of Alberto’s work” for most of his life (Christian Boutonnet and Rafael Ortiz, Diego Giacometti, exh. cat., Galerie l’Arc en Seine, Paris, 2003, p. 13), Diego embraced the opportunity to freely explore his own long-term aspiration to create furniture. In 1960 Diego moved to his own studio where he began to shape his own world, populated by enchantment.

Always a great admirer of the natural world, Diego’s appreciation for animals can be traced back to his youth spent in his Swiss hometown amongst nature and its creatures.

The present lot, a pair of ‘Têtes de Lionnes’ armchairs, is one of Diego’s most iconic designs. He conceived the armchairs for Henrietta Vronsky-Asch, a friend of Alberto’s, in 1970, four years afer his beloved brother’s untimely death. The two lion busts featured on each of the armchairs pay homage to the client, whose astrological sign was Leo. Following the frst version of the armchair, which presented four evenly moulded feet, the second version was refned with front feet shaped as lion’s paws, as illustrated in the present lot.

In 1948, Diego notably placed a bird atop of a chandelier Alberto was creating for Luis Border, marking the frst time Diego intervened in one of his brother’s commissions.

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Proceeds from the sale of this lot will beneft the Association St. Bernard of the Villa Noailles, Hyères, France

74. Paul Rodocanachi for Jean-Michel Frank 1891-1958 and 1845-1941 ‘Rodo’ folding stool, circa 1936 Oak, leather, brass nailheads.

46 x 67.3 x 39.3 cm (18 1/8 x 26 1/2 x 15 1/2 in.)

Produced by Comte, Buenos Aires, Argentina.

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

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Private collection, Buenos Aires Acquired from the above by the present owner, 2009 Literature ‘Une conception moderne du grand appartement’, L’Illustration, no. 4638, 23 January 1932, p. 111 ‘Le chalet d’un skieur’, Vogue, Paris, April 1934, pp. 96-97 Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, p. 215 Pierre-Emmanuel Matrin-Vivier, Jean-Michel Frank: l’étrange luxe du rien, Paris, 2006, pp. 179, 199, 248, 250, 291, 340

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75. Jean-Michel Frank

1895-1941

Side table, circa 1930 Oak, oak-veneered wood.

52.5 x 60 x 40 cm (20 5/8 x 23 5/8 x 15 3/4 in.)

Produced by Chanaux & Company, Paris, France.

Underside impressed with CHANAUX & Co J.M. FRANK 10285. Together with a certifcate of authenticity from the Comité Jean-Michel Frank.

Estimate £18,000-22,000 $23,200-28,300 €19,700-24,100 Provenance Count of Jarnac, acquired directly from the designer Thence by descent Sotheby’s, Paris, ‘Design’, 24 May 2016, lot 39 Acquired from the above by the present owner Literature Stephen Calloway, ‘Perfectly Frank’, House & Garden, March 1990, p. 185 Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, pp. 70-71, 131, 209 Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: l’étrange luxe du rien, Paris, 2006, pp. 94-95, 146, 198, 250, 339

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76. Robert Mallet-Stevens

1886-1945

Stacking chair, designed 1928 Painted tubular steel, painted steel painted plywood, rubber.

83 x 41 x 50 cm (32 5/8 x 16 1/8 x 19 5/8 in.)

Manufactured by Tubor or Causse, France. Underside with Museum of Modern Art exhibition paper label.

Estimate £3,000-4,000 $3,900-5,200 €3,300-4,400 Provenance Michael and Gabrielle Boyd, San Francisco Phillips de Pury & Luxembourg, New York, ‘20-21st Century Design Art’, 22 May 2002, lot 25 Acquired from the above by the present owner

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Exhibited ‘Sitting on the Edge: Modernist Design from the Collection of Michael and Gabrielle Boyd’, San Francisco Museum of Modern Art, 20 November 1998-23 February 1999 Literature Arlette Barré-Despond, Union des Artistes Modernes, Paris, 1986, p. 465 Yvonne Brunhammer, Le Mobilier Français 1930-1960, Paris, 1997, p. 44 Paola Antonelli, et al., Sitting on the Edge: Modernist Design from the Collection of Michael and Gabrielle Boyd, exh. cat., San Francisco Museum of Modern Art, 1998, illustrated pl. 25 Robert Mallet-Stevens: L’œuvre complète, exh. cat., Centre Pompidou, Paris, 2005, p. 64

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77. Pierre Chareau

1883-1950

Pair of bar stools, model no. MT 344, circa 1927 Mahogany, painted tubular steel, painted wood.

Each: 70.5 x 44.5 x 31.5 cm (27 3/4 x 17 1/2 x 12 3/8 in.)

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,100 Provenance Sotheby’s, Monaco, ‘Arts Décoratifs du XXe Siècle’, 17 October 1993, lot 166 Acquired from the above by the present owner

Literature Editions Albert Morancé, Encyclopédie des metiers d’art, Volume 1, Paris, 1929, pls. 63-66 René Herbst, Un inventeur… l’architecte Pierre Chareau, Paris, 1954, pp. 51, 64-65, 66, 93 Marc Vellay and Kenneth Frampton, Pierre Chareau: Architect and Crafsman 1883-1950, Paris, 1984, pp.

68-69, 172, 291 Pierre Chareau, architecte, un art intérieur, exh. cat., Centre Georges Pompidou, Paris, 1993, pp. 21, 192 Brian Brace Taylor, Pierre Chareau: Designer and Architect, Berlin, 1998, pp. 88, 92

The present model stool was designed for Le Grand Hôtel de Tours, Paris. The interior was presented at the 1927 Salon d’Automne shortly before the Hotel opened to the public.

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78. Charles Rennie Mackintosh

1868-1928

Armchair with low back, designed for the Billiards and Smoking Rooms, Argyle Street Tea Rooms, 1898-1899 Stained chestnut, stained oak.

84 x 62.3 x 47.5 cm (33 1/8 x 24 1/2 x 18 3/4 in.)

Estimate £50,000-70,000 $64,400-90,100 €54,800-76,700 Ω Provenance Billiards and Smoking Rooms, Argyle Street Tea Rooms, Glasgow Thomas Howarth, Canada Acquired by the present owner, Christie’s, London, 1980s Literature J. Taylor, ‘Modern Decorative Art at Glasgow, some notes on Miss Cranston’s Argyle Street Tea House’, The Studio, an illustrated magazine of fne and applied art, volume 39, London, October 1906, pp. 32-34 Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement, London, 1977, pl. 49b Roger Billclife, Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, New York, 1986, p. 58

Charles Rennie Mackintosh Interior view of the Billiards Room, Argyle Street Tea Rooms, Glasgow, circa 1906.

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The Scottish architect Charles Rennie Mackintosh designed the present lot for his frst major independent commission, the Argyle Street Tea Rooms. Mackintosh relied on a relatively small number of patrons throughout his career. Among these patrons the Scottish proprietor Catherine (Kate) Cranston became an important and constant supporter of the architect’s work. Between 1896 and 1917 Cranston commissioned Mackintosh to design a series of tea rooms in Glasgow, which ofered the city’s residents refuge from their urban surroundings. Afer commissioning Mackintosh to design stencilled wall decoration and light fttings for her frst tea rooms at Buchanan Street (1896), Cranston then asked Mackintosh to design the furnishings for the Argyle Street Tea Rooms (1898-1899). The commission aforded Mackintosh a new freedom to experiment, whilst leading to further projects, including the Ingram Street Tea Rooms (1900) and the Willow Tea Rooms (1903), each of which granted the architect greater creativity and autonomy. Creating distinctive furniture designs featuring organic shapes and accentuated lines, Mackintosh fully integrated his furniture within its setting, using form to manipulate space to both aesthetic and functional ends.

Mackintosh’s armchair for the Argyle Street Tea Rooms was designed for the men’s Billiards and Smoking Rooms, which occupied the building’s top two foors above the tea and luncheon rooms. At the turn of the century, tea rooms were comprised of distinct spaces where men and women socialised together and separately. Accordingly, the furniture Mackintosh designed for the Argyle Street Tea Rooms functioned to defne both social and physical space. Intended for male patronage, the furniture in the Billiards and Smoking Rooms featured strong and rectangular forms with bold outlines that carefully divided the pre-existing long, narrow rooms. The broad, curved arms and solid side panels comprising the form of the armchair were repeated throughout the rooms, creating a balanced composition of expressive lines and simple, organic shapes.

Period photographs depict several of the armchairs set against and visually reinforcing the partitions that separated the Billiards Room from the adjoining Smoking Room. In contrast, within the Smoking Room Mackintosh sparingly positioned the armchairs with stools around diferent tables allowing for varied conversation among patrons.

Executed in dark-stained wood using traditional construction, Mackintosh’s furniture for the Argyle Street Tea Rooms combines elements of English Arts & Crafs and Scottish vernacular design. Further to imposing spatial structure within the larger interiors, the relationship between mass and space is also evident in Mackintosh’s individual furniture designs.

The resulting furniture, as illustrated in the present lot, is ofen sculptural in efect. Anticipating the twentieth-century Modernist spirit of functionality, Mackintosh’s furniture for the Argyle Street Tea Rooms was intended for part of a complete interior to express the function of the room. However, as refected in the subtle detailing of each piece, the resulting furniture stands both individually and harmoniously together.

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79. Sir Edwin Lutyens

1869-1944

Rare ‘Cardinal’s Hat’ ceiling light, 1935-1942 Glass, brass, tubular brass, painted aluminium, painted steel, passementerie.

57.4 cm (22 5/8 in.) drop, 33 cm (12 7/8 in.) diameter Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Ω Provenance Elisabeth Lutyens, UK Thence by descent to the present owner Literature Lutyens, the work of the Englilsh architect Sir Edwin Lutyens, exh. cat., Hayward Gallery, London, 1981, p. 146, fg. 179-5 for a similar example Elizabeth Wilhide, Sir Edwin Lutyens, Designing in the English Tradition, London, 2000, p. 84 for similar examples

Phillips wishes to thank Mrs Candia Lutyens for her assistance with the cataloguing of the present lot.

Sir Edward Lutyens was known to appreciate the visual pun, on which the present lot obtained its title, the ‘Cardinal’s Hat’, pertaining to the glass halo that represented the wide brim of the Jesuit’s favoured hat. The present lot is a variant of the ‘Cardinal’s Hat’, which was originally designed for Campion Hall, the Jesuit College of Oxford University built in 1935-1942.

This is the only known public commission to have the ‘Cardinal’s Hat’ installed. Otherwise the design was privately used by Lutyens in the homes of his children. The present lot is unusual when compared to the Campion Hall design as it has a bell-shaped cage rather than a hemisphere. A consistent element retained within the design of the ‘Cardinal’s Hat’ is the passementerie which may appear above or below, or ofen both. The present lot comes from Lutyens’ third daughter, renowned English composer Elisabeth Lutyens and then by descent to her youngest son.

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80. Sir Edwin Lutyens

1869-1944

Set of four modular quadrant tables, 1901-1905 Stained oak.

Each: 75.5 x 65 x 65 cm (29 3/4 x 25 5/8 x 25 5/8 in.)

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Literature ‘Country Homes: Marshcourt, Hampshire’, Country Life, no. 504, 1 September 1906, p. 312 for a similar example A.S.G. Butler, The Domestic Architecture of Sir Edwin Lutyens, London, 1950, pl. 35 for a similar example

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Phillips wishes to thank Candia Lutyens for her assistance with the cataloguing of the present lot.

The present model bears all the hallmarks of Sir Edward Lutyens’ furniture design: the legs, typically Tuscan columns sitting atop a curved stretcher rail with turned bun feet, are instantly recognisable as his design. Lutyens showed a marked interest in modular and fexible pieces that could be moved around and ftted together. The quadrant form of this table is an early example of this enthusiasm. The present lot is comparable to the table designed for the Walnut Dining Room of Marshcourt, built in 1901-1904, which is considered to be one of Lutyens’ most revolutionary houses, both in its style and materials.

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81. Archibald Knox

1864-1933

‘Tudric’ mantle clock, model no. 0253, 1902-1905 Pewter, patinated copper, painted steel.

30 x 15.7 x 12 cm (11 3/4 x 6 1/8 x 4 3/4 in.)

Produced by Lenzkirch Uhrenfabrik, Lenzkirch, Germany and retailed by Liberty & Co., UK. Interior impressed with manufacturer’s stamp LENZKIRCH/A/G/U/1 Million, 6/510600, underside impressed with TUDRIC/0253, pendulum impressed with 13 and incised Cowney, key impressed with 2.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900

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Provenance Liberty & Co., London Estate of Mrs Doris Emily’s Cowney’s, The Warren, Hunstanton, UK Mrs G. Curry, Ringstead, UK, 1974 Thence by descent to the present owner Literature Liberty & Co., Yule-Tide catalogue, p. 37 Stephen A. Martin, Archibald Knox, London, 2001, pp. 65, 235

Phillips wishes to thank Dr. Stephen A. Martin for his assistance with the cataloguing of the present lot.

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82. Barbro Nilsson

1899-1983

‘Salerno grå Kristianstad’ rug, designed 1948 Handwoven wool on a linen warp.

193.7 x 296.4 cm (76 1/4 x 116 3/4 in.)

Produced by Märta Måås-Fjetterström AB, Båstad, Sweden. Woven by Birgit Nilsson and Elly Ivarsson.

Woven with manufacturer’s mark AB MMF and artist’s initials BN. Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900

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Literature ‘Mattor och mattskisser’, Form, no. 1, 1948, p. 138 Märta Måås-Fjetterström: Märta fyger igen!

90 år med Märta Måås-Fjetterström, exh. cat., Liljevalchs Konsthall, Stockholm, 2009, p. 151

Phillips wishes to thank Angelica Persson and Martin Chard from Märta MååsFjetterström AB for their assistance with the cataloguing of the present lot.

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Property from a Private Collection, Denmark

83. Axel Einar Hjorth

1888-1959

Library table, 1929 Stained birch, stained birch-veneered wood, brass.

74.8 x 162.5 x 77 cm (29 1/2 x 63 7/8 x 30 3/8 in.)

Produced by AB Nordiska Kompaniet, Stockholm, Sweden. Underside with manufacturer’s metal label moulded with AB NORDISKA KOMPANIET and impressed with inventory number R33949 - C 21705.

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,100 Provenance Ola Ohlson, Sweden, 1929 Literature Christian Björk, Thomas Ekström and Eric Ericson, Axel Einar Hjorth: Möbelarkitekt, Stockholm, 2009, p. 63 for a similar example

84. Kaare Klint

1888-1954

‘Nørrevold’ armchair, model no. 5999, designed 1939, executed 1957 Cuban mahogany, Niger leather, brass nailheads.

99 x 65 x 60 cm (38 7/8 x 25 5/8 x 23 5/8 in.)

Executed by cabinetmakers Rud. Rasmussen A/S, Copenhagen, Denmark. Underside with manufacturer’s paper label RUD. RASMUSSENS/SNEDKERIER/45 NØRREBROGADE/KØBENHAVN, handwritten inventory number 23758 and architect’s monogrammed paper label.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Literature Gorm Harkær, Kaare Klint, Volume 1, Copenhagen, 2010, p. 135 Gorm Harkær, Kaare Klint, Volume 2, Copenhagen, 2010, p. 27

Phillips wishes to thank Mette J. Dederding from Rud. Rasmussen for her assistance with the cataloguing of the present lot.

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85. Kaare Klint and Edvard Kindt-Larsen 1888-1954 and 1901-1982 Pair of ‘Mix’ easy armchairs, model no. 4396, designed 1930, executed 1932-1933 Cuban mahogany, Niger leather, brass nailheads.

Each: 78.5 x 65.5 x 82 cm (30 7/8 x 25 3/4 x 32 1/4 in.)

Executed by cabinetmakers Rud. Rasmussen A/S, Copenhagen, Denmark. Each underside with manufacturer’s paper label RUD. RASMUSSENS/SNEDKERIER/45 NØRREBROGADE/KØBENHAVN, handwritten inventory numbers 11...56 and 11437 and architect’s monogrammed paper label.

Estimate £80,000-120,000 $103,000-155,000 €87,600-131,000 Literature Nyt Tidsskrif For Kunstindustri, no. 5, May 1943, p. 74, fg. 6 Arne Karlsen, Danish Furniture Design in the 20th Century, Volume 1, Copenhagen, 2007, pp. 62-63 for drawings and an image Gorm Harkær, Kaare Klint, Volume 1, Copenhagen, 2010, p. 362 for drawings and an image Gorm Harkær, Kaare Klint, Volume 2, Copenhagen, 2010, p. 32

Phillips wishes to thank Mette J. Dederding from Rud. Rasmussen for her assistance with the cataloguing of the present lot.

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86. Arne Vodder

b. 1926-2009

Chaise longue, circa 1950 Beech, teak, tubular brass, leather.

94 x 152 x 75 cm (37 x 59 7/8 x 29 1/2 in.)

Manufactured by Bovirke, Copenhagen, Denmark.

Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 Provenance Private collection, Sweden, 1952 Thence by descent to the present owner Literature Møbler, no. 6, 1954, p. 46

87. Barbro Nilsson

1899-1983

‘Salerno’ rug, designed 1948, executed 1948-1972 Handwoven wool on a linen warp.

274 x 192 cm (107 7/8 x 75 5/8 in.) including tassels Produced by Märta Måås-Fjetterström AB, Båstad, Sweden.

Woven by Hjördis Andersson and Eila Heikkynen. Woven with manufacturer’s mark AB MMF and artist’s initials BN. Estimate £18,000-24,000 $23,200-30,900 €19,700-26,300 Literature ‘Mattor och mattskisser’, Form, no. 1, 1948, p. 138 Märta Måås-Fjetterström: Märta fyger igen! 90 år med Märta Måås-Fjetterström, exh. cat., Liljevalchs Konsthall, Stockholm, 2009, p. 151

Phillips wishes to thank Angelica Persson and Martin Chard from Märta Måås-Fjetterström AB for their assistance with the cataloguing of the present lot.

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88. Finn Juhl

1912-1989

Rare armchair, model no. FJ45, designed 1945 Cuban mahogany, fabric, leather piping.

84 x 69 x 74 cm (33 1/8 x 27 1/8 x 29 1/8 in.)

Executed by cabinetmaker Niels Vodder, Copenhagen, Denmark.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Private collection, Denmark Literature ‘La casa di Finn Juhl’, Domus, no. 253, December 1950, pp. 21-22 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, pp. 276-77 Esbjørn Hiort, Finn Juhl: Furniture-Architecture-Applied Art, Copenhagen, 1990, pp. 20, 25-26, 28, 34-35, 46, 54, 78, 101, 105 for images and a technical drawing Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, pp. 24, 42-45, 130 for images and technical drawings Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, pp. 4, 31, 41, 46-47, 79, 150, 152-53, 158-59, 160, 185, 206 for images and a technical drawing

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89. Josef Frank

1885-1967

Large extendable dining table, designed circa 1940, produced 1950s Mahogany-veneered wood, mahogany, birch inlay.

72.3 x 390.6 x 110.2 cm (281/2 x 1533/4 x 433/8 in.) fully extended Produced by Svenskt Tenn, Stockholm, Sweden.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Phillips, London, ‘Nordic’, 1 October 2015, lot 259 Acquired from the above by the present owner Literature Christopher Long, Josef Frank: Life and Work, Chicago, 2002, p. 146, fg. 137 Christoph Thun-Hohenstein, Hermann Czech and Sebartian Hackenschmidt, Josef Frank Against Design, exh. cat., MAK, Vienna, 2015, pp. 135, 140

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‘… a comfortable and rather old-fashioned piece for the nonchalant dandy who wants to be able to fing his feet over the arm rest.’

Steen Eiler Rasmussen sitting on an example of the present lot design, Politiken, 30 September 1949.

Børge Glahn, Arkitekten, 1949

90. Steen Eiler Rasmussen

1898-1990

Rare and important armchair, designed 1936 Stained beech, Niger leather.

102 x 75 x 82.5 cm (40 1/8 x 29 1/2 x 32 1/2 in.)

Executed by cabinetmaker A.J. Iversen, Copenhagen, Denmark.

Estimate £25,000-35,000 $32,200-45,100 €27,400-38,300 Literature ‘Møbelsnedkerne lægger ny kurs’, Politiken, 30 September 1949, p. 10 ‘Ad en lille Mands Dogbog’, Berlingske Tindende, 1 October 1949, for a cartoon Dansk Kunsthåndværk, no. 11, 1949, p. 181 Svend Erik Møller and Viggo Sten Møller, Dansk Møbelkunst, Københavns snedkerlaugs møbeludstilling 1927-1951, Copenhagen, 1951, p. 99 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 105

Steen Eiler Rasmussen Technical drawings. © Danish Art Library.

First designed in 1936 for the Ringsted City Hall, the present model armchair was later exhibited during the autumn of 1949 in occasion of the renowned ‘Cabinetmakers’ Guild’ exhibition, 30 September-16 October, stand 20. The architect’s intention was to present an armchair that could allow informal sitting: ‘The back is high on one side to provide support for the shoulders and then drops steeply to satisfy the need for a place to rest one’s elbow - an inclination we all have afer sitting for a while. For the same reason one armrest is only half the height of the other. A high armrest is uncomfortable if one wishes to sit one’s leg over the side of the chair.’ (Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 104). The exhibition brought great popularity to the design, which was well received by the public and subsequently praised in several contemporary newspapers. While admired for its novel shape and function, only a small number of chairs were executed. The original two chairs from the Ringsted City Hall can still be found in situ as they have been since 1936, intentionally mirroring each other and providing comfort to newly married couples.

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91. Mogens Koch

1898-1992

Two-seater sofa, model no. MK52, and armchair, model no. MK51, designed 1936, executed afer 1951 Cuban mahogany, leather, leather-covered steel nailheads.

Sofa: 75 x 129 x 66 cm (29 1/2 x 50 3/4 x 25 7/8 in.)

Armchair: 74.5 x 70.5 x 63.5 cm (29 3/8 x 27 3/4 x 25 in.)

Executed by cabinetmaker Ivan Schlechter, Frederiksberg, Denmark. Each underside branded with manufacturer’s mark and DENMARK. Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 Literature Torben Schmidt, ‘OM’, Mobilia, April 1968, no. 153, n.p.

Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 1: 1927-1936, Copenhagen, 1987, pp. 252-53 for the sofa Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, p. 27

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92. Ole Wanscher

1903-1985

Pair of side tables, 1950s Teak.

Each: 60 x 59 x 39.3 cm (23 5/8 x 23 1/4 x 15 1/2 in.)

Executed by cabinetmaker A.J. Iversen, Copenhagen, Denmark.

Underside of one with manufacturer’s paper label Snedkermester/A.J.Iversen/Kobenhavn.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600

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93. Finn Juhl

1912-1989

Pair of ‘Chiefain’ armchairs, model no. FJ 49 A, designed 1949, executed 1950s Teak, leather.

Each: 93 x 100 x 90 cm (36 5/8 x 39 3/8 x 35 3/8 in.)

Executed by cabinetmaker Niels Vodder, Copenhagen, Denmark.

Estimate £150,000-200,000 $193,000-258,000 €164,000-219,000 Provenance CEO’s ofce, Apothekernes Laboratorium (later Xellia Pharmaceutics), Oslo, 1950s Literature Svend Erik Møller and Viggo Sten Møller, Dansk Møbelkunst, Københavns snedkerlaugs møbeludstilling 1927-1951, Copenhagen, 1951, p. 82 Esbjørn Hiort, Modern Danish Furniture, New York, 1956, pp. 54-55 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 124-25, 233, fg. 2, p. 311 for a technical drawing and images Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, pp. 23, 40-41 Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 187 Noritsugu Oda, Danish Chairs, San Francisco, 1996, pp. 92-93 for a technical drawing and images Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, pp. 106, 187-89

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Primarily known as the ‘Chiefain’, Juhl personally preferred to refer to the present design as the ‘Big Chair’. The ‘Chiefain’, when frst exhibited at the Cabinetmakers’ Guild in 1949, was well received and described in the Danish daily broadsheet newspaper Politiken as being “so full of life that it seems to be almost quivering with vitality. It is expensive and as delicate as a thoroughbred must be.” The ‘Chiefain’ armchair’s handcrafed stiles support the shield-formed backrest whilst elegantly revealing the space between the seat and legs. Although the collaboration between Juhl and cabinetmaker Niels Vodder began in 1937, it was not until the breakthrough period of 1944-1949 at the Cabinetmakers’ Guild in which Juhl began to incorporate his burgeoning organic approach towards furniture design. The synergy of these two artistic characters resulted in masterpieces of twentieth-century design. In discussing Niels Vodder, the Danish architectural journalist Henrik Sten Møller noted: “The reason why Niels Vodder became Finn Juhl’s cabinetmaker was that nobody else wanted to produce his furniture. They thought the furniture too strange and furthermore ofen technically complicated.”

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94. Flemming Lassen

1902-1984

Pair of armchairs, designed 1940 Ash, sheepskin.

Each: 75 x 74 x 76 cm (29 1/2 x 29 1/8 x 29 7/8 in.)

Executed by cabinetmaker Jacob Kjær, Denmark.

Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 Provenance Private collection, Denmark Literature Hans Chr. Hansen, ‘Snedkerlaugets 14. Møbeludstilling’, Nyt Tidsskrif For Kunstindustri, no. 1, January 1940, p. 171 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 116, fg. 2

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 20 September–6 October 1940, stand 14.

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∑

95. Finn Juhl

1912-1989

Extendable cofee table, model no. 612, from the ‘Interline’ series, 1960s Brazilian rosewood, Brazilian rosewood-veneered wood, plastic-laminated wood.

53 x 130 x 59 cm (20 7/8 x 51 1/8 x 23 1/4 in.) fully extended Executed by France & Søn, Denmark. Underside with manufacturer’s metal label with manufacturer’s mark and inventory number France/6819451, and impressed with manufacturer’s mark, MADE IN DANEMARK. Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Literature ‘Interline and Governor-great news in group furniture’, France & Søn, selling brochure, 1960s

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96. Arne Jacobsen

1902-1971

High-backed ‘Oxford’ chair, designed for the dining hall, St. Catherine’s College, Oxford, circa 1965 Oak, oak-veneered plywood.

126 x 49 x 58 cm (49 5/8 x 19 1/4 x 22 7/8 in.)

Manufactured by Fritz Hansen, Denmark.

Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 Ω

Literature Frederik Sieck, Contemporary Danish Furniture Design, Copenhagen, 1990, p. 125 Carsten Thau and Kjeld Vindum, Arne Jacobsen, Copenhagen, 2001, pp. 146, 182, 523 Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, p. 134

Provenance St. Catherine’s College, Oxford, circa 1965 Private collection, UK Phillips de Pury & Company, ‘20-21st Century Design Art’, 8 December 2005, lot 180 Acquired from the above by the present owner

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97. Hans J. Wegner

1914-2007

Pair of ‘Ox’ lounge armchairs, model no. AP-46, designed 1960 Chromium-plated steel, chromium-plated tubular steel, fabric, leather piping.

Each armchair: 87.5 x 92.5 x 95 cm (341/2 x 363/8 x 373/8 in.)

Stool: 34 x 75 x 49 cm (13 3/8 x 29 1/2 x 19 1/4 in.)

Manufactured by AP Stolen and Erik Jørgensen, Copenhagen, Denmark.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Ω Literature Ulf Hård af Segerstad, Modern Scandinavian Furniture, Copenhagen, 1963, p. 89 Johan Møller Nielson, Sitting Pretty: wegner en dansk møbelkunstner, Copenhagen, 1965, pp. 11, 71-72 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 79-82, 210-11

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

98. Herbert von Thaden

1898-1969

Adjustable easy chair, circa 1947 Birch-veneered plywood, steel, aluminium.

106.7 x 50.5 x 79.5 cm (42 x 19 7/8 x 31 1/4 in.)

Manufactured by Thaden Jordan Furniture Company, USA. Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Ω Provenance Phillips de Pury & Company, London, ‘Design’, 25 September 2008, lot 91 Acquired from the above by the present owner Literature Marie-Laure Jousset and Katarina V. Posch, Portrait d’une collection: Alexander von Vegesack, exh. cat., Centre Georges Pompidou, Paris, 1993, p. 52 Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, p. 117 Scoprire il Design: adventures with objects, La collezione Alexander von Vegesack, exh. cat., Pinacoteca Giovanni e Maria Agnelli, Turin, 2008, pp. 171, 219

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99. Finn Juhl

1912-1989

Sofa, designed 1951 American walnut, wool.

99.5 x 194 x 79 cm (39 1/8 x 76 3/8 x 31 1/8 in.)

Manufactured by Baker Furniture, Inc., Grand Rapids, USA. Estimate £35,000-45,000 $45,100-57,900 €38,300-49,300 Provenance Private collection, New York Acquired from the above by the present owner Literature Dansk Kunsthandværk, no. 11, November 1951, p. 188 Eva Hamilton, ‘Modern design iG Gammal miljö’, Svensk DAM, no. 11, 18 March 1964, p. 41 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, p. 199 Esbjørn Hort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990, pp. 13, 46 Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, pp. 60-61 Per H. Hansen, Finn Juhl and His House, Ostfldern, 2014, p. 56

Hollis M. Baker, owner of Baker Furniture, Inc., in Grand Rapids, Michigan, selected Finn Juhl to design a series of furniture, which included the present sofa model.

The May 1952 issue of arts & architecture addressed the contemporary furniture market in a special feature titled ‘New Furniture’, focusing on the ‘Good Design Exhibition’ in Chicago, where “the exhibitors, many of whom had never produced anything but traditional furniture, were now showing the work of top-fight modern designers”.

Juhl was an obvious choice by Baker to represent the company as a modern designer considering the international recognition he had received for his designs exhibited at the Cabinetmakers’ Guild in Denmark. In her essay ‘Working for Finn Juhl’ Marianne Riis-Carstensen, an interior designer and close colleague of Finn Juhl, discussed the collaboration with Baker Furniture and stated: “as a result of that relationship, “Danish Design” made its entry in to the United States and became very popular” (Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, p. 117). Juhl went on to design the Trusteeship Council Chamber at the United Nations Headquarters, New York, awarded by the fellow of The Royal Danish Academy of Fine Arts. Another American advocate of Juhl’s work was Edgar Kaufmann, Jr., director of the Industrial Design Department of the Museum of Modern Art, New York. Kaufmann, Jr. worked with Juhl extensively as a patron and lifelong friend. In his essay, ‘Product and Process’, he refected upon the masterpieces of modern design created by Juhl: “His forms are masterful, now as when they were new. They are capable of a plenitude of embodiments still unexplored. Juhl is no performer, he is a creator. We need more of him” (Ibid, Finn Juhl Memorial Exhibition, p. 13). The prototype of the present model sofa, executed by the doyen of Danish cabinetmakers Niels Vodder, was frst exhibited at the ‘Copenhagen Cabinetmakers’ Guild’ in 1951. Finn Juhl’s adherence to sculptural form, great appreciation of the tradition of Danish cabinetmaking, and construction techniques were all retained and applied by the innovative manufacturing of Baker Furniture.

Finn Juhl, technical drawing. © Pernille Klemp, Designmuseum Danmark

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100. Hans J. Wegner

1914-2007

Early adjustable lounge chair, model no. JH524, circa 1959 Oak, chromium-plated metal, painted steel, halyard, fabric, sheep fur.

91 x 63 x 170 cm (35 7/8 x 24 3/4 x 66 7/8 in.)

Executed by master cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside branded with manufacturer’s mark and impressed with COPENHAGEN/DENMARK. Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Architect Tarquini Mårtenson, Denmark

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Literature Johan Møller Nielson, Wegner en Dansk Møbelkunstner, Copenhagen, 1965, pp. 98, 107 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 4: 1957-1966, Copenhagen, 1987, p. 46 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, p. 192

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

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

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101. Hans J. Wegner

1914-2007

‘Valet’ chair, model no. JH540, designed 1953, produced 1953-1980s Teak, brass, leather.

94.5 x 52 x 50 cm (37 1/4 x 20 1/2 x 19 5/8 in.)

Executed by Cabinetmaker Johannes Hansen, Copenhagen, Denmark. Underside branded with manufacturer’s mark and JOHANNES HANSEN/COPENHAGEN/DENMARK. Estimate £8,000-10,000 $10,300-12,900 €8,800-11,000 Provenance Private collection, Denmark

Literature Johan Møller Nielson, Sitting Pretty: Wegner en Dansk Møbelkunstner, Copenhagen, 1965, pp. 56-58, 98 Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 3: 1947-1956, Copenhagen, 1987, pp. 246-47 Noritsugu Oda, Danish Chairs, San Francisco, 1996, pp. 116-17 Christian Holmsted Olesen, Wegner: just one good chair, exh. cat., Design Museum Denmark, Copenhagen, 2014, pp. 6, 65-66, 128

The present model was exhibited at the ‘Copenhagen Cabinetmakers’ Guild’, Kunstindustrimuseet, Copenhagen, 25 September–11 October 1953, stand 2.

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

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102. Jim Partridge and Liz Walmsley b. 1953 and b. 1952 Unique pair of block seats, 2015 Scorched and polished oak.

Each: 47 x 74 x 51 cm (18 1/2 x 29 1/8 x 20 1/8 in.)

Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 Exhibited ‘Fine Lines Exhibition’, The Scottish Gallery, 6 August-5 September 2015 ‘Sam Hall | Stella Benjamin | Jim Partridge’, Lynne Strover Gallery, 17-31 October 2015 ‘Make’, Ruthin Craf Centre, 18 February -23 April 2017 ‘Royal Bank of Canada Garden’, RHS Chelsea Flower Show, London, 23-27 May 2017

103. Alev Ebüzziya Siesbye

b. 1938

Bowl, 1985 Stoneware, dark blue glaze with a masked design.

16.5 cm (6 1/2 in.) high, 31.5 cm (12 3/8 in.) diameter Underside incised with alev/’85.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 ♠ Provenance Galerie Nord, Randers, Denmark Private collection, Denmark, 1985 Exhibited ‘Alev Siesbye Keramik’, Galerie Nord, Randers Denmark, 3-31 August 1985 Literature Garth Clark, Alev Ebüzziya Siesbye, Turkey, 1999, p. 62, for a similar example

Phillips wishes to thank Alev Ebüzziya Siesbye for her assistance with the cataloguing of the present lot.

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104. Ron Arad

b. 1951

‘Horns’ chair, 1985-1989 Aluminium, stainless steel.

108.2 x 50 x 48.5 cm (42 5/8 x 19 5/8 x 19 1/8 in.)

Produced by One Of Ltd., London, UK. Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500

Literature Deyan Sudjic, Ron Arad: Restless Furniture, London, 1989, pp. 19, 82, 92 Alexander von Vegesack, ed., Ron Arad, exh. cat., Vitra Design Museum, Weil am Rhein, 1990, pp. 44-45 Ron Arad: no discipline, exh. cat., Centre George Pompidou, Paris, 2008, p. 57, fg. 15

Phillips wishes to thank Caroline Thorman for her assistance with the cataloguing of the present lot.

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105. Martin Szekely

b. 1956

‘D.W.P.’ desk and prototype storage unit, 2006-2007 Ebony-veneered aluminium, aluminium.

Desk: 76 x 225 x 120 cm (29 7/8 x 88 5/8 x 47 1/4 in.)

Storage unit: 58 x 90 x 56 cm (22 7/8 x 35 3/8 x 22 in.)

Produced by Galerie kreo, Paris, France.

Desk: number 1 from the edition of 8 plus 2 artist’s proofs plus 2 prototypes. Storage unit: prototype from the edition of 8 plus 2 artist’s proofs plus 2 prototypes.

Underside of desk handwritten in marker with Martin Szekely/1 / 8 2006.

Estimate £15,000-25,000 $19,300-32,200 €16,400-27,400 Provenance Private collection, London, 2007

Phillips wishes to thank Aurélie Julien for her assistance with the cataloguing of the present lot.

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Property from the Collection of Janice Blackburn, London

106. Fernando Campana and Humberto Campana b. 1961 and b. 1953 ‘Sushi III’ chair, 2005 Painted iron, carpet, rubber, EVA, fabric.

93 x 50 x 70 cm (36 5/8 x 19 5/8 x 27 1/2 in.)

Manufactured by Estudio Campana, Brazil. Number 2 from the edition of 35. EVA embroidered with F.H.CAMPANA/FOR JANICE/BLACKBURN/WITH FRIENSHIP/N.2/2005. Together with a certifcate of authenticity from Estudio Campana.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 Literature Fernando and Humberto Campana, Campanas, São Paulo, 2003, pp. 374-75 Darren Alfred, et al., Campana Brothers: Complete Works (So Far), New York, 2010, pp. 167, 266

107. Marcel Wanders

b. 1963

‘Crochet’ chair, 2006 Crocheted fbre, epoxy resin.

56 x 120 x 125 cm (22 x 47 1/4 x 49 1/4 in.)

Number 18 from the edition of 20. Underside with locket impressed with 18 / 20.

Estimate £15,000-20,000 $19,300-25,800 €16,400-21,900 Ω Provenance Mitterrand and Cramer Fine Art, Geneva Acquired from the above by the present owner, 2008 Literature ‘Tutto Wanders’, Flair, March 2007, front cover ‘The Doily Show: This Just In: Space-Age Seating.

No Joke’, The New York Times Style Magazine, April 2007, New York, p. 54

Phillips wishes to thank Ana Paula Moreno, General Manager of Estudio Campana, for her assistance with the cataloguing of the present lot.

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108. Edmund de Waal

b. 1964

Cylinder and lidded jar, circa 2004 Porcelain, celadon glaze.

Tallest: 36.7 cm (14 1/2 in.) high Each impressed with inventory marks under glaze.

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,100 Ω ♠ Literature A. S. Byatt, et al., Edmund de Waal, New York, 2014, pp. 31, 59

109. Edmund de Waal

b. 1964

Set of three pots, circa 2004 Porcelain, celadon glaze.

Largest: 6.6 cm (2 5/8 in.) high, 12.3 cm (4 7/8 in.) diameter Each impressed with inventory marks under glaze.

Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 Ω ♠

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110. Edmund de Waal

b. 1964

Two lidded jars, circa 2005 Porcelain, celadon glaze.

Largest: 74.7 cm (29 3/8 in.) high Each impressed with inventory marks under glaze.

Estimate £12,000-18,000 $15,500-23,200 €13,100-19,700 Ω ♠ Literature Edmund de Waal: a line around a shadow, exh. cat., Blackwell House, Bowness-on-Windermere, 2005, cat. 4, cat. 17 for similar examples A. S. Byatt, et al., Edmund de Waal, New York, 2014, pp. 37, 61 for similar examples

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111. Shin Azumi and Tomoko Azumi b. 1965 and b. 1966 Folding ‘Table=Chest’, circa 1995 Beech, beech-veneered wood.

67.5 x 39.3 x 40 cm (26 5/8 x 15 1/2 x 15 3/4 in.)

Produced by Frank E. Bailey, UK. From the frst edition of 18.

Estimate £1,200-1,800 $1,500-2,300 €1,300-2,000 Provenance Estate of Cyril Frankel, UK Bonhams, London, ‘Decorative Arts Today’, selling exhibition, 4-11 September 1996, lot 6A Acquired from the above by the present owner Literature Flexible Furniture, exh. cat., Crafs Council Gallery, London, 1997, pp. 18-20

Examples from the frst edition of the present lot design can be found in the permanent collection of the Victoria and Albert Museum, the Crafs Council and the Gefrye Museum, London.

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112. Gerrit Thomas Rietveld

1888-1964

‘Red-blue’ armchair, designed 1919, executed circa 1970 Painted beech, painted beech-veneered plywood.

86.5 x 66 x 80.5 cm (34 x 25 7/8 x 31 3/4 in.)

Produced by Gerard van de Groenekan, De Bilt, the Netherlands. Underside branded twice with manufacturer’s mark H.G.M./G.A.v.d GROENEKAN/DE BILT NEDERLAND. Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Provenance Conrad Fischer Galerie, Düsseldorf, acquired directly from Gerard van de Groenekan Dr. Frank Schwarz, 1971 Acquired from the above by the present owner Literature Ida van Zijl, Gerrit Rietveld, London, 2010, pp. 35, 65, 190, 203 for earlier examples

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113. Ettore Sottsass, Jr.

1917-2007

Two vases, model no. 629, from the ‘Onde’ series, circa 1969 Glazed earthenware.

Each: 29.2 x 9.8 x 10.3 cm (11 1/2 x 3 7/8 x 4 in.)

Manufactured by Società Ceramica Toscana, Castelnuovo di Garfagnana for Galleria Il Sestante, Milan, Italy. Each underside signed with SOTTSASS/IL SESTANTE/629/ITALY. Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 Literature Fernanda Pivano, ‘Ettore Sottsass, Ceramiche dal 1955 al 1970’, Domus, no. 749, May 1993, p. 72 Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 166, fg. 749

Ettore Sottsass, Jr. was fascinated by the cultural signifcance of ceramics, their ancient history and daily domestic use. His wild and imaginative designs, free from the concern of technical realities, found a balancing counterpart in the pragmatic approach of Aldo Londi, the artistic director of the Bitossi ceramics factory. Together, Sottsass, Jr. and Londi sought to create more than just passive ornaments but ceramics that would allow one to develop a more engaged relationship between the object and the artifcial environment it is placed in. The group of ceramics demonstrated here presents a myriad of textures, shapes, sizes, colours and expresses infnite modelling possibilities.

For his Tantra and Yantra ceramics series (see lot 117), Sottsass, Jr. drew inspiration from mystical diagrams of the Indian philosophy. The sharp-edged and compacted designs of the Ceramiche a Colaggio (see lot 115 and 116) contrast the fowing sequence of ripples in the Onde series (see lot 113). Ettore Sottsass, Jr. extended the limits of expression for future generations of architects and designers whilst creating some of the fnest ceramics of the twentieth century.

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114. Ettore Sottsass, Jr.

1917-2007

Rare large vase, model no. 635, circa 1965 Glazed earthenware.

48.3 cm (19 in.) high, 28.5 cm (11 1/4 in.) diameter Manufactured by Società Ceramica Toscana, Castelnuovo di Garfagnana for Galleria Il Sestante, Milan. Underside signed SOTTSASS/IL SESTANTE/635 ITALY. Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800

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115. Ettore Sottsass, Jr.

1917-2007

Set of three vases, model nos. 444, 585 and 587, from the ‘Ceramiche a colaggio’ series, 1962-1963 Glazed earthenware.

Largest: 22.3 x 22.1 x 22.7 cm (8 3/4 x 8 3/4 x 8 7/8 in.)

Manufactured by Società Ceramica Toscana, Castelnuovo di Garfagnana for Galleria Il Sestante, Milan, Italy. Each underside signed with SOTTSASS/IL SESTANTE/ITALY and 587, 444, 585 respectively.

Literature ‘Ceramiche a colaggio, per la serie’, Domus, no. 422, January 1965, p. 54 for a similar example Fernanda Pivano, ‘Ettore Sottsass, Ceramiche dal 1955 al 1970’, Domus, no. 749, May 1993, p. 70 for similar examples Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 99, fgs. 377, 380, p. 100, fgs. 385-86 for similar examples

Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700

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116. Ettore Sottsass, Jr.

1917-2007

Two ‘Fischietto’ vases, model nos. 592 and 594, from the ‘Ceramiche a colaggio’ series, circa 1962 Glazed earthenware.

Tallest: 31.6 cm (121/2 in.) high, 11.2 cm (43/8 in.) diameter Manufactured by Società Ceramica Toscana, Castelnuovo di Garfagnana for Galleria Il Sestante, Milan, Italy. Underside of tallest signed with IL SESTANTE/SOTTSASS, the other with SOTTSASS/IL SESTANTE/594 ITALY.

Literature ‘Ceramiche a colaggio, per la serie’, Domus, no. 422, January 1965, pp. 53-54 Fernanda Pivano, ‘Ettore Sottsass, Ceramiche dal 1955 al 1970’, Domus, no. 749, May 1993, p. 70 Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 103, fgs. 402, 404

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600

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117. Ettore Sottsass, Jr.

1917-2007

Vase, model no. Y20, from the ‘Yantra di Terracotta’ series, circa 1969 Glazed terracotta.

40 x 34.8 x 19 cm (15 3/4 x 13 3/4 x 7 1/2 in.)

Distributed by Design Centre, Milan, Italy. Underside signed with SOTTSASS/Y / 20.

Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300

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Literature Fernanda Pivano, ‘Ettore Sottsass, Ceramiche dal 1955 al 1970’, Domus, no. 749, May 1993, p. 73 Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, p. 139 Bruno Bischoferger, ed., Ettore Sottsass Ceramics, London, 1995, pp. 108, 113 for an image and a drawing Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 170, fg. 767 Par Milco Carboni, Ettore Sottsass Jr. ’60-’70, exh. cat., FRAC Centre, Orléans, 2006, p. 156

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118. Ettore Sottsass, Jr.

1917-2007

Sweets dish, model no. 194, circa 1972 Glazed terracotta.

6.8 x 17.2 x 15.4 cm (2 5/8 x 6 3/4 x 6 1/8 in.)

Manufactured by Bitossi, Montelupo Fiorentino for Galleria Il Sestante, Milan, Italy. Underside signed with SOTTSASS/IL SESTANTE and faded model number 194.

Literature Fernanda Pivano, ‘Ettore Sottsass, Ceramiche dal 1955 al 1970’, Domus, no. 749, May 1993, p. 68 Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996, p. 87, fg. 327

Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700

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119. Alessandro Mendini

b. 1931

‘Poltrona di Proust’ armchair, 1985-1988 Painted fabric, painted wood.

108 x 102 x 90 cm (42 1/2 x 40 1/8 x 35 3/8 in.)

Hand-painted by Francesco Migliaccio.

Estimate £20,000-30,000 $25,800-38,600 €21,900-32,900 Provenance Christie’s, Monaco, ‘Arts Décoratifs du XXème Siècle’, 25 June 1989, lot 42 Acquired from the above by the present owner Literature Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, pp. 63, 65, 116 Glenn Adamson and Jane Pavitt, eds., Postmodernism: Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 41

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120. Max Ingrand

1908-1969

Rare ceiling light, model no. 2243, circa 1958 Nickel-plated brass, coloured glass, glass.

30 cm (11 3/4 in.) drop, 115 cm (45 1/4 in.) diameter Manufactured by Fontana Arte, Milan, Italy.

Estimate ÂŁ25,000-35,000 $32,200-45,100 â‚Ź27,400-38,300 Literature 5 Fontana Arte, sales catalogue, Milan, 1960s, p. 41 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 323

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121. Gio Ponti

1891-1979

Console, circa 1940 Painted wood, brass, glass.

75.6 x 89.9 x 37.5 cm (29 3/4 x 35 3/8 x 14 3/4 in.)

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

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800

Literature Franco Grigioni, Arredamento, Milan, 1956, fg. 510 Irene de Guttry and Maria Paola Maino, Il mobile déco italiano, Bari, 1988, p. 222, fg. 40 Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 85 Laura Falconi, ed., Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 113

Provenance Private collection, Pavia

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122. Max Ingrand

1908-1969

Standard lamp, model no. 1569, circa 1955 Tubular brass, brass, nickel-plated brass, painted brass, painted wood, clear glass.

191.2 cm (75 1/4 in.) high Manufactured by Fontana Arte, Milan, Italy.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Private collection, Milan

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Literature Fontana Arte: Illuminazione, sales catalogue, Milan, p. 74 ‘Stand di Fontana Arte alla 39a fera di Milano’, Vitrum, no. 125, May-June 1961, pp. 28, 31-32 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, pp. 154, 193 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 397

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123. Venini Mirror, model no. 20, circa 1940 Treccia clear glass, mirrored glass, brass.

130 x 70 cm (51 1/8 x 27 1/2 in.)

Produced by Venini & C., Murano, Italy. Brass hanger impressed twice with VENINI/MURANO. Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800

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Provenance Private collection, Turin Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 242, pl. 44 Franco Deboni, Venini Glass: Its history, artists and techniques, Volume 1, Turin, 2007, pl. 44

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124. Gio Ponti

1891-1979

Centre table, circa 1940 Walnut, walnut-veneered wood.

80 x 163 x 83 cm (31 1/2 x 64 1/8 x 32 5/8 in.)

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

Provenance Private collection, Bari Literature Domus, March 1940, pp. 82-83 for technical drawings of furniture with similar motif

Estimate ÂŁ8,000-12,000 $10,300-15,500 â‚Ź8,800-13,100

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125. Gio Ponti

1891-1979

Unique sofa, designed for Casa Ferruccio Asta, Milan, circa 1941 Stained walnut, fabric.

83 x 237 x 87 cm (32 5/8 x 93 1/4 x 34 1/4 in.)

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

Estimate ÂŁ18,000-24,000 $23,200-30,900 â‚Ź19,700-26,300 Provenance Ferruccio Asta, Milan, circa 1941 Luciana Asta, Venice Thence by descent Acquired from the above by the present owner

Ferruccio Asta was an antiques dealer based in Venice who also owned a gallery and residence in Milan beginning in 1941. The furnishings for his Venetian gallery and home were designed

by Carlo Scarpa, while the furnishings for his Milan residence, including the present sofa, were designed by Gio Ponti. In 1942, Asta hosted an exhibition of furniture designed by Ponti which incorporated enamels by Paolo de Poli (Stile, May 1942, p. 20).

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126. Max Ingrand

1908-1969

Pair of wall lights, model no. 2225, circa 1965 Partially frosted glass, brass.

Each: 40 x 20.5 x 8 cm (15 3/4 x 8 1/8 x 3 1/8 in.)

Manufactured by Fontana Arte, Milan, Italy.

Estimate ÂŁ4,000-6,000 $5,200-7,700 â‚Ź4,400-6,600 Literature 5 Fontana Arte, sales catalogue, 1960s, p. 59 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 342

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127. Carlo Scarpa

1906-1978

Ceiling light, model no. 5417, 1931-1935 Filigrana glass, tubular brass, brass.

68 cm (26 3/4 in.) drop, 32 cm (12 5/8 in.) diameter Produced by Venini & C., Murano, Italy.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400

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Provenance Private collection, Turin Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 256, pl. 138 Franco Deboni, Venini Glass: Its history, artists and techniques, Volume 1, Turin, 2007, pl. 138

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128. Gio Ponti

1891-1979

Pair of early benches, circa 1930 Painted wood, halyard.

Each: 91.7 x 150.5 x 47.7 cm (36 1/8 x 59 1/4 x 18 3/4 in.)

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

Estimate ÂŁ10,000-15,000 $12,900-19,300 â‚Ź11,000-16,400 Provenance Private collection, Trento Literature Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 96 for a similar example

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129. Napoleone Martinuzzi

1892-1977

Unique monumental chandelier, 1960s Hand-blown clear glass, painted steel, aluminium.

300 cm (118 1/8 in.) drop, 180 cm (70 7/8 in.) diameter Produced by Cenedese, Murano, Italy.

Estimate £100,000-150,000 $129,000-193,000 €110,000-164,000 Provenance Cenedese Showroom, San Gregorio, Venice, 1960s Private collection, Venice Acquired from the above by the present owner

The present lot was executed by Cenedese workshops, when the glass artist Napoleone Martinuzzi began collaborating with the frm towards the end of his career. Produced in its entirety with hand-blown glass, this unique and large chandelier is reminiscent of Martinuzzi’s signature style, embodying elements from the iconic cactus series the artist designed for Venini & C. more than thirty years earlier. This important work, one of Martinuzzi’s last works, was designed for the Cenedese showroom where the chandelier was installed until later acquired by a private Venetian collector.

Phillips wishes to thank Franco Deboni for his assistance with the cataloguing of the present lot.

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‘The items designed by Napoleone Martinuzzi – robustly classical in form, cunningly decorated, interesting in terms of materials, worked with consummate skill…’

Carlo Alberto Felice

Cenedese Archive image no. 2606. © All rights reserved.

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130. Tomaso Buzzi

1900-1981

Rare ceiling light, model no. 5266, 1931-1935 Lattimo glass with applied gold leaf, tubular brass, brass.

45 cm (17 3/4 in.) drop, 46 cm (18 1/8 in.) diameter Produced by Venini & C., Murano, Italy.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Private collection, Turin Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 257, pl. 144 Franco Deboni, Venini Glass: Its history, artists and techniques, Volume 1, Turin, 2007, pl. 146

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131. Guglielmo Ulrich

1904-1977

Set of twelve dining chairs, circa 1940 Painted wood, fabric.

Each: 92.5 x 43.3 x 51 cm (36 3/8 x 17 x 20 1/8 in.)

Estimate £8,000-12,000 $10,300-15,500 €8,800-13,100 Provenance Private collection, Fino Mornasco, Como Literature Melchiorre Bega, ‘Le Sedie di Ulrich’, Domus, no. 180, December 1942, p. 522 Luca Scacchetti, Guglielmo Ulrich, 1904-1977, Milan, 2009, p. 189

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132. Paolo Bufa

1903-1970

Rare dining table, circa 1949 Teak, teak-veneered wood, birch marquetry.

77.2 x 191 x 111 cm (30 3/8 x 75 1/4 x 43 3/4 in.)

Possibly manufactured by Serafno Arrighi, Cantú, Italy. Together with a certifcate of authenticity from the Paolo Bufa Archive.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 Provenance Private collection, Cantú

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The quest for cultural identity afer the First World War split the artistic community into two camps, those supportive of tradition and those in favour of modern furniture production and use of contemporary material. It was Paolo Bufa’s ability to combine traditional elements with modern design and forms, applying ‘ancient solutions to modern problems’, which enabled him to establish himself as a reference point in this debate.

Paolo Bufa, drawing.

Archivio Paolo Bufa, Courtesy Eredi Marelli s.a.s. Cantù - Italy.

Bufa acquired his architectural experience whilst working for acclaimed architects and designers including Gio Ponti and Emilio Lancia. Afer 1928, Bufa started his independent practise and turned his attention to cabinetmaking workshops in Brianza, an area renowned for traditional manufacture of the highest standard.

Bufa’s position as an established architect allowed him to work with the most skilled artisans, including Fratelli Lietti, Marelli e Colico as well as Cassina di Meda. Guiding these cabinetmakers and acquainting them with the fast paced modernity allowed Bufa to produce furniture of the highest manufacturing quality whilst simultaneously introducing a modern language.

This important and rare dining table perfectly demonstrates Bufa’s approach in furniture production: geometric inlays representing a more traditional aesthetic are counterbalanced with the voluminous contemporary base, executed with the greatest attention to detail.

His innate sense of traditional elegance is evident in the delicate lines of both the armchairs and the side table. As with every Bufa design, the forms at frst glance seem highly recognisable, under closer inspection, however, Bufa’s modern interpretation become evident.

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Paolo Bufa, drawing.

Archivio Paolo Bufa, Courtesy Eredi Marelli s.a.s. Cantù - Italy.

133. Paolo Bufa

1903-1970

Pair of armchairs, 1950s Walnut, birch, fabric.

Each: 81.7 x 72.7 x 90 cm (32 1/8 x 28 5/8 x 35 3/8 in.)

Together with a certifcate of authenticity from the Paolo Bufa Archive.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 Literature Roberto Aloi, L’ Arredamento Moderno, quarta serie, Milan, 1949, fg. 366 for a similar example

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134. Paolo Bufa

1903-1970

Games table, circa 1940 East Indian rosewood, East Indian rosewood-veneered wood.

72 x 89.5 x 89.5 cm (28 3/8 x 35 1/4 x 35 1/4 in.)

Together with a certifcate of authenticity from the Paolo Bufa Archive.

Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 Provenance Private collection, Milan

Paolo Bufa, drawing.

Archivio Paolo Bufa, Courtesy Eredi Marelli s.a.s. Cantù - Italy.

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135. Venini Table mirror, model no. 74, circa 1939 Filigrana sommersa clear and coloured glass, brass, beech.

55 x 51 x 30.5 cm (21 5/8 x 20 1/8 x 12 in.)

Produced by Venini & C., Murano, Italy. Brass hanger impressed with VENINI/MURANO and MADE IN/ITALY. Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Literature Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 242, pl. 44D Franco Deboni, Venini Glass: Its history, artists and techniques, Volume 1, Turin, 2007, pl. 44D

136. Gio Ponti

1891-1979

Rare side table, designed for the ‘Abitazione Dimostrativa’ stand, VI Triennale, Milan, 1936, circa 1936 Walnut, walnut-veneered wood, brass.

45.3 cm (17 7/8 in.) high, 41.6 cm (16 3/8 in.) diameter Produced by Paolo Sala, Italy. Together with a certifcate of authenticity from the Gio Ponti Archives.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Provenance Private collection, Milan Literature ‘Alla VI Triennale’, Domus, no. 103, July 1936, pp. 15, 19 Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, pp. 82-83 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, Milan, 2009, p. 102, fg. 234

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137. Ernesto Puppo

1904-1987

Rare vase, circa 1936 Engraved hand-blown glass.

12.2 cm (4 3/4 in.) high, 10.5 cm (4 1/8 in.) diameter Produced by S.A.L.I.R. (Studio Ars Labor Industrie Riunite), Murano, Italy.

Estimate ÂŁ1,000-1,500 $1,300-1,900 â‚Ź1,100-1,600 Literature Rosa Barovier Menasti, Il Vetro Italiano a Milano 19061968, Milano, 1998, p. 188, fg. 81 for a similar example Marino Barovier, Venetian Art Glass, An American Collection, 1840-1970, 2007, n.p. for a similar example

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138. Fontana Arte Table lamp, model no. 1960, 1950s Painted aluminium, painted tubular aluminium, tubular brass, brass, glass.

33.5 x 28 x 21.5 cm (13 1/4 x 11 x 8 1/2 in.)

Manufactured by Fontana Arte, Milan, Italy.

Estimate ÂŁ2,000-3,000 $2,600-3,900 â‚Ź2,200-3,300 Literature Fontana Arte, sales catalogue, Milan, 1950s, n.p.

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139. Gio Ponti

1891-1979

Desk, circa 1936 Oak, oak-veneered wood, painted wood, rubber, tubular steel, brass, glass.

80.8 x 200.3 x 79.9 cm (31 3/4 x 78 7/8 x 31 1/2 in.)

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

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800

Literature ‘Un palazzo del lavoro’, Domus, no. 135, March 1939, pp. 36, 37 for similar examples Ugo La Pietra, ed., Gio Ponti: L’ arte si innamora dell’ industria, New York, 2009, p. 81, fg. 186, p. 85, fg. 191 for similar examples Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2010, p. 118 for similar examples

Provenance Private collection, Padua

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140. Gino Sarfatti

1912-1985

Pair of adjustable wall lights, model no. 211, circa 1955 Painted aluminium, painted brass, acrylic.

Each: 3 x 21 x 5.5 cm (1 1/8 x 8 1/4 x 2 1/8 in.)

Manufactured by Arteluce, Milan, Italy. Each shade interior with manufacturer’s decal AL/ MILANO/ARTELUCE. Estimate £1,800-2,400 $2,300-3,100 €2,000-2,600 Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 297, 409 Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 146

141. Gio Ponti

1891-1979

Wall-mounted shelf, designed for the public administration ofces, Forlí, Italy, 1940s Laminated plywood, stained beech.

60 x 166 x 28 cm (23 5/8 x 65 3/8 x 11 in.)

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

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Provenance Public administration ofces, Forlí

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142. Gio Ponti

1891-1979

Desk, designed for the public administration ofces, Forlí, Italy, 1940s Laminated plywood, stained beech-veneered wood, stained beech, brass.

81 x 149.8 x 90 cm (31 7/8 x 58 7/8 x 35 3/8 in.)

Side with inventory metal label impressed with AMMINISTRAZIONE PROVINCIALE/FORLÍ/ NUMERO D’INVENTARIO/C.FO 75. Together with a certifcate of authenticity from the Gio Ponti Archives.

Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 Provenance Public administration ofces, Forlí

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143. Max Ingrand

1908-1969

Set of seven wall lights, model no. 2140, and two, model no. 2139, 1955-1960 Opaque, chiselled and carved clear glass, chromium-plated brass, painted brass, painted copper.

Largest: 9.8 x 50 x 13.5 cm (3 7/8 x 19 5/8 x 5 3/8 in.)

Smallest: 12 x 10 x 15 cm (4 3/4 x 3 7/8 x 5 7/8 in.)

Manufactured by Fontana Arte, Milan, Italy.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 Literature Fontana Arte, archive image no. 3699 for model no. 2140 Pierre-Emmanuel Martin-Vivier, Max Ingrand: Du verre à la lumière, Paris, 2009, p. 205 for model no. 2139

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144. Studio BBPR - Gian Luigi Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers est. 1932 Modular bookcase, circa 1960 Walnut, walnut-veneered wood, leather-bound wood, brass.

297.8 x 457 x 45.3 cm (117 1/4 x 179 7/8 x 17 7/8 in.) as shown Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Provenance Private collection, Milan Literature ‘Un arredamento a Milano’, Domus, no. 355, June 1959, pp. 22 for a similar example

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145. Giuseppe Ostuni Rare adjustable standard lamp, circa 1950 Tubular brass, brass, marble, cellulose shade, fabric.

205.5 cm (80 7/8 in.) high fully extended Manufactured by O-Luce, Milan, Italy.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600

146. Osvaldo Borsani

1911-1985

Cofee table, model no. T61/b, designed 1957 Painted steel, walnut, oak.

41.3 x 120 x 59.7 cm (16 1/4 x 47 1/4 x 23 1/2 in.)

Manufactured by Tecno, Varedo, Italy.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Provenance Private collection, Ravenna Literature ’Il nuovo negozio Tecno a Milano’, Domus, no. 358, September 1959, p. 44 Giampiero Bosoni, Tecno, A Discreetly Technical Elegance, Milan, 2011, p. 98

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147. Studio BBPR - Gian Luigi Banf, Ludovico Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers est. 1932 Rare ceiling light, model no. 2045, with one 3055/25 and fve 3055/12 shades, circa 1962 Painted aluminium, opaque glass.

14 cm (5 1/2 in.) drop, 55 cm (21 5/8 in.) diameter Manufactured by Arteluce, Milan, Italy. Interior with partial manufacturer’s decal with AL/MILANO/ARTELUCE. Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 Literature Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 191 for a similar example Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights II, Paris, 2014, pp. 206-207 for similar examples

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148. Gio Ponti

1891-1979

Rare desk, circa 1950 Birch, maple-veneered wood, glass, brass.

78.8 x 101.1 x 56.8 cm (31 x 39 3/4 x 22 3/8 in.)

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

Estimate ÂŁ18,000-24,000 $23,200-30,900 â‚Ź19,700-26,300 Provenance Private collection, Trieste Literature Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 8 Marco Romanelli, Gio Ponti: A World, exh. cat., Design Museum, London, 2002, p. 67

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149. Gaetano Scolari Adjustable wall light, circa 1959 Painted aluminium, painted steel, tubular brass, brass, lead counterweight, cord.

97 cm (38 1/4 in.) deep, variable drop Manufactured by Stilnovo, Milan, Italy. Shade interior with manufacturer’s decal MILANO/STILNOVO/ITALY. Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Literature Domus, no. 353, April 1959, n.p. for a Stilnovo advertisement Ulrich Fiedler, On/Of, Cologne, 2007, cat. no. 30

150. Osvaldo Borsani

1911-1985

Wall-mounted modular bookcase, model no. E60, designed 1946 Anodised aluminium, walnut-veneered plywood, walnut.

230 x 83 x 35 cm (90 1/2 x 32 5/8 x 13 3/4 in.)

Manufactured by Tecno, Varedo, Italy.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Literature Tecno, mobili razionali e fniture per arredamento, sales catalogue, 1953, n.p.

‘X Trinennale: costruzioni nel parco’, Domus, no. 303, February 1955, p. 4 Giuliana Gramigna and Fulvio Irace, eds., Osvaldo Borsani, Rome, 1992, pp. 227, 262-63 for an image and drawings

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151. Sergio Mazza

b.1931

Dining table, circa 1960 Kingwood, marble, brass.

78.5 cm (30 7/8 in.) high, 120 cm (47 1/4 in.) diameter Manufactured by Arfex, Giussano, Italy.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600

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Literature ‘A Torino’, Domus, no. 315, February 1956, pp. 22-23 for a similar example ‘Rassegna Domus, Particolari d’interni’, Domus, no. 350, January 1959, n.p. for a similar example Rivista dell’Arredamento, 1961, p. 13 for a technical drawing of a similar example

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152. Gino Sarfatti

1912-1985

Ceiling light, model no. 2065 GF, circa 1950 Acrylic, painted tubular brass, painted brass.

54 cm (21 1/4 in.) diameter, variable drop Manufactured by Arteluce, Milan, Italy.

Interior with partial manufacturer’s decal AL/MILANO/ARTELUCE. Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 188-90, 468 Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 68

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153. Gio Ponti

1891-1979

Pair of ‘Continuum’ armchairs, circa 1963 Bamboo, cane, fabric.

Each: 103 x 62.5 x 91.7 cm (40 1/2 x 24 5/8 x 36 1/8 in.)

Manufactured by Bonacina, Lurago d’Erba, Italy. Together with a certifcate of authenticity from the Gio Ponti Archives.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Literature Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 222 Marco Romanelli, ed., Gio Ponti: A World, exh. cat., Design Museum, London, 2002, p. 63 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2010, p. 191

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154. Max Ingrand

1908-1969

Pair of wall lights, model no. 2334, 1960s Brass, tubular brass, opaque glass, coloured glass.

Each: 21 x 18 x 20 cm (8 1/4 x 7 1/8 x 7 7/8 in.)

Manufactured by Fontana Arte, Milan, Italy.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Literature Domus, no. 430, September 1965; no. 433, December 1965, n.p. for a Fontana Arte advertisement

155. Fontana Arte Two lidded boxes, 1940s Brass, glass, anodised aluminium.

Largest: 13.5 cm (5 3/8 in.) high, 20 cm (7 7/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. Underside of largest box etched with FONTANA/ITALY. Estimate £1,800-2,400 $2,300-3,100 €2,000-2,600 Provenance Private collection, Milan Literature Domus, no. 312, November 1955, n.p. for a Fontana Arte advertisement of a similar example Sergio Montefusco, Fontana Arte: repertorio 1933-1943 dalle immagini dell’epoca, Genoa, 2012, pp. 76-77, 80 for similar examples

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156. Gio Ponti

1891-1979

Occasional table, 1945-1950 Walnut, glass.

80.3 cm (31 5/8 in.) high, 105 cm (41 3/8 in.) diameter Together with a certifcate of authenticity from the Gio Ponti Archives.

Estimate ÂŁ12,000-18,000 $15,500-23,200 â‚Ź13,100-19,700 Provenance Grimaldi collection, Naples

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157. Gio Ponti

1891-1979

Rare bookcase with integrated drinks cabinet, circa 1945 Walnut, walnut-veneered wood, painted wood, glass, brass.

Open: 179.2 x 202 x 61 cm (70 1/2 x 79 1/2 x 24 in.)

Executed by Ariberto Colombo, Cantú, Italy. Together with a certifcate of authenticity from the Gio Ponti Archives.

Estimate £25,000-30,000 $32,200-38,600 €27,400-32,900 Literature Irene de Guttry and Maria Paola Maino, Il mobile italiano degli anni ‘40 et ‘50, Bari, 1992, p. 18, fg. 2

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‘The right of an architectural work to last and fnally, its right to be, lies only in its beauty and not in its function.’

Gio Ponti

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158. Marco Zanuso

1916-2001

Desk, circa 1960 Elm, glass, tubular brass, brass.

70.5 x 101 x 81.5 cm (27 3/4 x 39 3/4 x 32 1/8 in.)

Estimate ÂŁ4,000-6,000 $5,200-7,700 â‚Ź4,400-6,600 Literature Roberto Aloi, Esempi Di Arredamento Moderno, Di Tutto Il Mondo: tavoli tavolini carrelli, Milan, 1950, fg. 113 for a similar example magazine table

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159. Gino Sarfatti

1912-1985

Rare table lamp, model no. 560, circa 1954 Acrylic, painted aluminium, painted tubular brass, painted brass.

21.4 cm (8 3/8 in.) high, 12.7 cm (5 in.) diameter Manufactured by Arteluce, Milan, Italy. Interior with manufacturer’s decal AL/MILANO/ARTELUCE. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 235, 431

160. Max Ingrand

1908-1969

Ceiling light, model no. 1881, circa 1960 Opaque glass, opaque coloured glass, tubular brass, brass.

94.5 cm (37 1/4 in.) drop, 90 cm (35 3/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy.

Estimate £10,000-15,000 $12,900-19,300 €11,000-16,400 Literature Fontana Arte: Illuminazione, sales catalogue, Milan, p. 17

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161. Max Ingrand

1908-1969

Set of four wall lights, model no. 1943, circa 1960s Frosted glass, brass, painted aluminium.

Each: 45 x 20 x 14.5 cm (17 3/4 x 7 7/8 x 5 3/4 in.)

Manufactured by Fontana Arte, Milan, Italy.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 Fontana Arte: Illuminazione, sales catalogue, Milan, p. 38 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 214 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 335

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162. Gio Ponti and Giulio Minoletti 1891-1979 and Unknown Pair of armchairs, from the First-Class carriages of the ‘Settebello’ ETR 300 train, circa 1952 Painted tubular steel, fabric.

Each: 102 x 71 x 76.5 cm (40 1/8 x 27 7/8 x 30 1/8 in.)

Manufactured by Breda, Pistoia, Italy. Each with acrylic label numbered 21 and 41 respectively. Together with a certifcate of authenticity from the Gio Ponti Archives.

Estimate £12,000-18,000 $15,500-23,200 €13,100-19,700

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Provenance First-Class carriages, ‘Settebello’ ETR 300 train, Italy Literature ‘Poltrone, Tavoli e Pareti’, Domus, no. 229, August 1948, p. 43 for a similar example ‘Il cristallo negli esterni, negli interni e nei trasporti’, Domus, May 1953, no. 282, p. 59 for an article and variants on the ‘Settebello’ ETR 300 train

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163. Max Ingrand

1908-1969

Set of four wall lights, model no. 2093, 1957 Partially frosted glass, tubular brass, brass.

Each: 21 x 11.5 x 14.5 cm (8 1/4 x 4 1/2 x 5 3/4 in.)

Manufactured by Fontana Arte, Milan, Italy.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Fontana Arte: Illuminazione, sales catalogue, Milan, p. 62 Edoardo Paolo, ‘Specchi nell’arredamento’, Vitrum, no. 151, September-October, 1965, p. 45 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 203

164. Gio Ponti and Paolo de Poli 1891-1979 and 1905-1996 Vase and dish, 1950-1955 Enamelled copper.

Vase: 29.7 cm (11 3/4 in.) high, 14 cm (5 1/2 in.) diameter Dish: 3.7 cm (1 1/2 in.) high, 22.5 cm (8 7/8 in.) diameter Underside of dish impressed with P. DE POLI. Together with a certifcate of authenticity from the Gio Ponti Archives.

Estimate £3,000-4,000 $3,900-5,200 €3,300-4,400 Provenance Private collection, Milan Literature Roberto Aloi, L’Arredamento Moderno, Modern Furnishing, Milan, 1964, p. 55 for similar examples Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 310 for similar examples

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165. Fontana Arte Pair of cofee tables, model no. 2354, circa 1960 Glass, walnut-veneered wood, brass.

Each: 38 x 110 x 47.1 cm (14 7/8 x 43 1/4 x 18 1/2 in.)

Manufactured by Fontana Arte, Milan, Italy.

Estimate ÂŁ8,000-12,000 $10,300-15,500 â‚Ź8,800-13,100 Provenance Private collection, Milan Literature Fontana Arte, sales catalogue, no. 7, 1964

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166. Fontana Arte Mirror, circa 1960 Partially opaque coloured glass, mirrored glass, brass.

60 x 60 cm (23 5/8 x 23 5/8 in.)

Manufactured by Luigi Fontana & C., Milan, Italy.

Reverse with manufacturer’s partial paper label LUIGI FONTANA & C. S.P.A./MILANO - ITALY/ PROTEZIONE TERMPOPLASTICA. Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Literature Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fg. 433 for a larger example

167. Max Ingrand

1908-1969

Pair of wall lights, model no. 1944, circa 1958 Partially frosted and chiselled glass, tubular brass, brass, painted metal.

Each: 19.5 x 19.7 x 8 cm (7 5/8 x 7 3/4 x 3 1/8 in.)

Manufactured by Fontana Arte, Milan, Italy.

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Literature Fontana Arte: Illuminazione, sales catalogue, Milan, p. 62 Pierre-Emmanuel Martin-Vivier, Max Ingrand, Du verre à la lumière, Paris, 2009, p. 202

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168. Gio Ponti

1891-1979

Pair of wall-mounted illuminated bedside units, circa 1960 Walnut, walnut-veneered wood, painted aluminium, brass.

Each: 74.5 x 61.5 x 42.5 cm (29 3/8 x 24 1/4 x 16 3/4 in.)

Manufactured by Dassi and Stilnovo, Milan, Italy. Each light fxture impressed with stilnovo/ITALY. Together with a certifcate of authenticity from the Gio Ponti Archives.

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Provenance Private collection, Milan Literature ‘Spedizione per Stoccolma N. 5’, Domus, no. 282, May 1953, p. 36 for a similar example Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 166 for a similar example Ugo La Pietra, ed., Gio Ponti: L’ arte si innamora dell’ industria, New York, 2009, p. 184, fg. 378, p. 189, fgs. 392-394 for similar examples

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169. Gianfranco Frattini

1926-2004

Sofa, model no. 872, circa 1958 Painted steel, fabric, oak.

75 x 191 x 79.5 cm (29 1/2 x 75 1/4 x 31 1/4 in.)

Manufactured by Cassina, Meda, Italy.

Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 Literature ‘Per una persona sola’, Domus, no. 379, June 1961, pp. 42-44; ‘Domus, per chi deve sciegliere mobili di serie’, no. 399, February 1963, p. d/106; ‘Un nuovo negozio a Bari’, no. 371, October 1969, p. 49 Pier Carlo Santini, Gli anni del design Italiano, Ritratto di Cesare Cassina, Milan, 1981, p. 107, p. 109, fg. 56 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 118

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170. Gino Sarfatti

1912-1985

Ceiling light, model no. 2095/9, circa 1958 Painted aluminium, chromium-plated metal, glass.

217 cm (85 3/8 in.) drop Manufactured by Arteluce, Milan, Italy.

Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 Ω

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Literature Gerhard Krohn and Klaus Halmburger, Lampen und Leuchten, ein internationaler formenquerschnitt, Munich, 1962, p. 174, no. 670 Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, pp. 298, 473 Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 167

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171. Gino Sarfatti

1912-1985

Set of four ceiling lights, model no. 3005-50/PX, circa 1953 Painted aluminium, acrylic.

Each: 11 cm (4 3/8 in.) drop, 49.8 cm (19 5/8 in.) diameter Manufactured by Arteluce, Milan, Italy. Reverse with manufacturer’s decal AL/MILANO/ARTELUCE. Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600 Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, p. 481 Clémence Krzentowski and Didier Krzentowski, eds., The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 132

172. Gino Sarfatti

1912-1985

Illuminated mirror, model no. 51/a, circa 1971 Painted aluminium, mirrored glass, acrylic.

65 cm (25 5/8 in.) diameter Manufactured by Arteluce, Milan, Italy.

Estimate £3,000-4,000 $3,900-5,200 €3,300-4,400 Literature Marco Romanelli and Sandra Severi, Gino Sarfatti: selected works 1938-1973, Milan, 2012, p. 391

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173. Claudio Olivieri ‘Lady’s desk’, circa 1952 Stained beech, stained beech-veneered wood, maple, maple-veneered wood, glass.

79.3 x 123 x 91 cm (31 1/4 x 48 3/8 x 35 7/8 in.)

Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 Literature Roberto Aloi, L’Arredamento Moderno, quinta serie, Milan, 1952, fg. 500

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174. Venini Two table lamps, circa 1950 Clear and lattimo murrine glass, chromium-plated metal.

Tallest: 37 cm (14 5/8 in.) high, 22.5 cm (8 7/8 in.) diameter Produced by Venini & C., Murano, Italy.

Estimate ÂŁ2,000-3,000 $2,600-3,900 â‚Ź2,200-3,300 Literature Franco Deboni, Venini Glass, Its history, artists and techniques, Volume 1, Turin, 2007, p. 252, fg. 801.6

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175. Gio Ponti

1891-1979

Bed, from the ‘Apta’ series, circa 1970 Painted tubular steel, rubber, chromium-plated metal, fabric.

50 x 191.5 x 86.5 cm (19 5/8 x 75 3/8 x 34 in.)

Manufactured by Walter Ponti, Italy. Together with a certifcate of authenticity from the Gio Ponti Archives.

Literature Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 243 Marco Romanelli, ed., Gio Ponti: A World, exh. cat., Design Museum, London, 2002, p. 104 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, Milan, 2009, p. 380, fg. 787

Estimate £4,000-6,000 $5,200-7,700 €4,400-6,600

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Sale Information

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auctions 20 September 2017 at 2pm Viewing 14 – 20 September 2017 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050317 or Design.

Absentee and Telephone Bids tel +44 20 7318 4045 fax 44 20 7318 4035 bidslondon@phillips.com Front cover Lot 15. Peter Collingwood, Unique ‘3-Dimensional Macrogauze’ (detail) Lot 4. Lucie Rie, Flaring footed bowl Lot 6. Hans Coper, ‘Thistle’ form (detail) Back cover Lot 73. Diego Giacometti, Pair of ‘Têtes de Lionnes’ armchairs (detail)

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Design Department Worldwide Head Alexander Payne apayne@phillips.com Head of Sale Madalena Horta e Costa mhortaecosta@phillips.com Senior International Specialist Domenico Raimondo draimondo@phillips.com International Specialist Marcus McDonald mmcdonald@phillips.com Specialist Sofa Sayn-Wittgenstein ssayn-wittgenstein@phillips.com Senior Cataloguer Marta De Roia mderoia@phillips.com Administrator Nicola Krohman nkrohman@phillips.com

Senior Property Manager Oliver Gottschalk +44 20 7318 4033 Property Manager Robert Peterson +1 212 940 1286 International Ceramics Consultant Ben Williams +44 7769 94 7177 Auctioneers Henry Highley Adam Clay Hugues Joffre Susanna Brockman Catalogues London +44 20 7901 7927 New York +1 212 940 1240 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 Buyer Accounts Carolyn Whitehead +44 20 7318 4020

Senior Specialist Meaghan Roddy +1 212 940 1266

Seller Accounts Surbjit Kaur +44 20 7318 4072

Specialist, Head of Sale Cordelia Lembo +1 212 940 1265

Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010

Associate Specialist Kimberly Sørensen +1 212 940 1259

Shipping Kyle Buchanan +44 20 7318 4081 Lewis Thomas +44 20 77901 7920

Administrator Emily FitzGerald +1 212 940 1268

Photography Byron Slater Marta Zagozdzon

International Business Manager Adam Clay +44 20 7318 4048

Creative Services Ify Anyanwu, Creative Services Manager Moira Gil, Graphic Designer

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30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by fax to +44 20 7318 4035 or email it 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 as an individual or on behalf of a company.

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20th Century.

Contemporary.

Now. 20th Century & Contemporary Art Evening and Day Sales London, 5 & 6 October 2017 Evening Sale 6 October 2017 Day Sale 5 October 2017

Walter Leblanc Twisted Strings cotton string and white latex on canvas, triptych each 130 x 130 cm (51 1/8 x 51 1/8 in.) overall 130 x 450 cm (51 1/8 x 177 1/8 in.)

Executed in 1976 - 1977.

Viewing 29 September – 6 October 2017 30 Berkeley Square, London, W1J 6EX Enquiries contemporaryartlondon@phillips.com +44 20 7318 4050

phillips.com

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Index Arad, R. 104 Azumi, S. 111 Azumi, T. 111 Banf, G. L. 144, 147 Belgiojoso, L. 144, 147 Borsani, O. 146, 150 Bufa, P. 132, 133, 134 Buzzi, T. 130 Campana, F. 106 Campana, H. 106 Capron, R. 29 Chale, A. 52 Chareau, P. 67, 77 Collingwood, P. 2, 5, 8, 9, 13, 15, 19, 20 Coper, H. 3, 6, 12, 16 de Poli, P. 164 de Waal, E. 108, 109, 110 Fontana Arte 138, 155, 165, 166 Frank, J. 89 Frank, J.-M. 56, 57, 69, 70, 71, 72, 74, 75 Frattini, G. 169 Giacometti, D. 73 Groult, A. 55 Hjorth, A. E. 83 Ingrand, M. 120, 122, 126, 143, 154, 160, 161, 163, 167 Jacobsen, A. 96 Jeanneret, P. 31, 42, 43, 44, 45, 47 Jourdain, F. 46 Juhl, F. 88, 93, 95, 99 Kindt-Larsen, E. 85 Klint, K. 84, 85 Knox, A. 81 Koch, M. 91 Lacroix, B. J. 49 Lalanne, F.-X. 58, 68 Lassen, F. 94 Le Corbusier 31 Lutyens, E. 79, 80

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Mackintosh, C. R. 78 Mallet-Stevens, R. 76 Martinuzzi, N. 129 Mazza, S. 151 Mendini, A. 119 Minoletti, G. 162 Nilsson, B. 82, 87 Noll, A. 27, 28, 38 Olivieri, C. 173 Ostuni, G. 145 Partridge, J. 102 Peressutti, E. 144, 147 Perriand, C. 24, 30, 33, 34 Ponti, G. 121, 124, 125, 128, 136, 139, 141, 142, 148, 153, 156, 157, 162, 164, 168, 175 ProuvÊ, J. 25, 26, 32, 35, 36, 37, 39, 40, 41 Puppo, E. 137 Rasmussen, S. E. 90 Rie, L. 1, 4, 7, 10, 11, 14, 17, 18, 21, 22, 23 Rietveld, G. T. 112 Rodocanachi, P. 74 Rogers, E. N. 144, 147 Royère, J. 48, 50, 51, 53, 54 Sarfatti, G. 140, 152, 159, 170, 171, 172 Scarpa, C. 127 Scolari, G. 149 Siesbye, A. E. 103 Sottsass, Jr., E. 113, 114, 115, 116, 117, 118 Studio BBPR 144, 147 Szekely, M. 105 Ulrich, G. 131 Vautrin, L. 59, 60, 61, 62, 63, 64, 65, 66 Venini 123, 135, 174 Vodder, A. 86 von Thaden, H. 98 Walmsley, L. Wanders, M. Wanscher, O. Wegner, H. J.

102 107 92 97, 100, 101

Zanuso, M. 158

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51. Jean Royère

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3.

248.Hans Yayoi Coper Kusama

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