DESIGN [catalogue] by PHILLIPS

DESIGN LONDON 31 OCTOBER 2023

Auction & Viewing Location 30 Berkeley Square London, W1J 6EX Auction Tuesday, 31 October at 2pm Viewing 25 October – 31 October Monday–Saturday, 10am–6pm Sunday, 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050423 or Design

Design Department Head of Department, Europe, Senior International Specialist Domenico Raimondo draimondo@phillips.com Head of Design, France Senior International Specialist Elie Massaoutis emassaoutis@phillips.com Head of Department, London Senior Specialist Sofia Sayn-Wittgenstein ssayn-wittgenstein@phillips.com

Absentee and Telephone Bids

Specialist

tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@philips.com

Madalena Horta e Costa mhortaecosta@phillips.com

Head of Sale Antonia King antonia.king@phillips.com Senior Cataloguer Margherita Manca mmanca@phillips.com Assistant to Head of Design, Europe and Research Coordinator Carlotta Pintucci cpintucci@phillips.com Administrator Sophia Garbagnati sgarbagnati@phillips.com

OUR TEAM DESIGN

LONDON

DOMENICO RAIMONDO

SOFIA SAYNWITTGENSTEIN

MADALENA HORTA E COSTA

Head of Department, Europe & Senior International Specialist +44 20 7318 4016 draimondo@phillips.com

Head of Department, London & Senior Specialist +44 20 7318 4023 ssayn-wittgenstein@phillips.com

Specialist +44 20 7318 4019 mhortaecosta@phillips.com

ANTONIA KING

MARGHERITA MANCA

CARLOTTA PINTUCCI

SOPHIA GARBAGNATI

ELIE MASSAOUTIS

Head of Sale +44 20 7901 7944 antonia.king@phillips.com

Senior Cataloguer +44 20 7901 7926 mmanca@phillips.com

Assistant to Head of Design, Europe, Research Coordinator +44 20 7318 4096 cpintucci@phillips.com

Administrator +44 20 7318 4048 sgarbagnati@phillips.com

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

CORDELIA LEMBO

BETH VILINSKY

KIMBERLY SØRENSEN

BENJAMIN GREEN

CECILIA MOURE

Head of Department, New York +1 212 940 1265 clembo@phillips.com

Senior International Specialist, Americas +1 347 302 5255 bvilinsky@phillips.com

Specialist +1 212 940 1259 ksorensen@phillips.com

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PARIS

NEW YORK

SENIOR EXECUTIVES

EDWARD DOLMAN Executive Chairman +1 212 940 1241 edolman@phillips.com © Brigitte Lacombe

CHEYENNE WESTPHAL Global Chairwoman +44 20 7318 4044 cwestphal@phillips.com

STEPHEN BROOKS Chief Executive Officer +44 0 20 7318 4046 sbrooks@phillips.com

EXECUTIVES

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

JEAN-PAUL ENGELEN

HUGUES JOFFRE

JAMIE NIVEN

DEREK COLLINS

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

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DEPUTY CHAIRMEN & CHAIRWOMEN

SVETLANA MARICH

ROBERT MANLEY

PETER SUMNER

MIETY HEIDEN

VANESSA HALLETT

VIVIAN PFEIFFER

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

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

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art +44 20 7318 4063 psumner@phillips.com

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

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

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

MARIANNE HOET

JEREMIAH EVARTS

CARY LEIBOWITZ

KELLY TROESTER

SCOTT NUSSBAUM

KEVIE YANG

Deputy Chairwoman, Europe, Senior Specialist, 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com

Deputy Chairman, Americas, Senior International Specialist, 20th Century & Contemporary Art +1 917 304 4329 jevarts@phillips.com

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Deputy Chairman, Americas, Senior International Specialist, 20th Century & Contemporary Art +1 212 940 1354 snussbaum@phillips.com

Deputy Chairwoman, Americas, Senior International Specialist, 20th Century & Contemporary Art +1 212 940 1254 kyang@phillips.com

THOMAS PERAZZI

PAUL BOUTROS

ALEXANDRE GHOTBI

JAMES MARKS

Deputy Chairman, Watches, Head of Watches, Asia +852 2318 2030 thomasperazzi@ phillips.com

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Deputy Chairman, Watches, International Head of Perpetual +44 7760 848 881 jmarks@phillips.com

BUSINESS DEVELOPMENT

AMERICAS VIVIAN PFEIFFER Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeiffer@phillips.com

CLIENT ADVISORY

AMERICAS

EUROPE

PHILAE KNIGHT

GIULIA CAMPANER MENDES

LAURENT TAEVERNIER

Client Advisor +44 20 7318 4058 gcampaner@phillips.com

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

JENNIFER JONES

LAURA WENGER

DIANA WILLKIE

Director of Trusts, Estates & Valuations +1 212 940 1272 jjones@phillips.com

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ASIA

MIDDLE EAST & SOUTH ASIA

IORI ENDO

YASSAMAN ALI

Client Advisory Director +44 20 7318 4039 iendo@phillips.com

TRUSTS, ESTATES & VALUATIONS

AMERICAS

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

Client Advisory Director +44 20 7318 4056 yali@phillips.com

INTERNATIONAL SPECIALISTS & REGIONAL DIRECTORS

AMERICAS CÂNDIDA SODRÉ

LAUREN PETERSON

BLAKE KOH

VIVIAN PFEIFFER

JOYCE GOSS

Regional Director, Consultant, Brazil +55 21 999 817 442 csodre@phillips.com

Regional Director, Chicago-Midwest +1 310 922 2841 lauren.peterson@phillips.com

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

Regional Director, Texas +1 214 801 1788 jgoss@phillips.com

LAURENCE CALMELS

CLARA RIVOLLET International Specialist, 20th Century & Contemporary Art, France +33 6 42 09 97 39 crivollet@phillips.com

LAURENCE BARRET-CAVY

ELIE MASSAOUTIS

Regional Director, France +33 1 53 71 77 87 lcalmels@phillips.com

DR. ALICE TRIER

TOBIAS SIRTL

Specialist, 20th Century & Contemporary Art, Germany +49 173 25 111 69 atrier@phillips.com

Specialist, 20th Century & Contemporary Art, Germany +49 151 4192 6447 tsirtl@phillips.com

KALISTA FENINA

KIRSTEN MACDONALD

EUROPE NATHALIE ZAQUIN-BOULAKIA Regional Director, France, Senior International Specialist, 20th Century & Contemporary Art +44 7342 884 127 nzaquin-boulakia@phillips.com

DR. NATHALIE MONBARON Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com

JEANNETTE VAN CAMPENHOUT Senior International Consultant, Latin American Art +34 646 01 07 68 jvancampenhout@phillips.com

Specialist, 20th Century & Contemporary Art, Moscow +7 905 741 15 15 kfenina@phillips.com

Specialist, 20th Century & Contemporary Art, France +33 153 71 77 89 lbarret-cavy@phillips.com

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

THIBAULT STOCKMANN International Specialist, 20th Century & Contemporary Art, France +33 601 888 749 tstockmann@phillips.com

CAROLINA LANFRANCHI

MARGHERITA SOLAINI

MAURA MARVÃO

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy +39 338 924 1720 clanfranchi@phillips.com

Associate Specialist, 20th Century & Contemporary Art, Italy +39 340 369 5226 msolaini@phillips.com

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain +351 917 564 427 mmarvao@phillips.com

Regional Director, Scandinavia +45 2010 2111 kmacdonald@phillips.com

ASIA KYOKO HATTORI

YEONAH LIM

QING SHEN

ALICIA ZHANG

CINDY YEN

MEILING LEE

Regional Director, Japan +81 90 2245 6678 khattori@phillips.com

Associate Regional Representative, Korea +82 2 797 8001 ylim@phillips.com

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Senior International Specialist, Taiwan +886 908 876 669 mlee@phillips.com

JOYCE LIN

CHRISTINE FERNANDO

SANDY MA

VIVI YIP

RIKA DILA

VY TRAN

International Specialist, South East Asia +852 2318 2025 sma@phillips.com

Senior Consultant, Indonesia +62 8111 220 824 viviyip@phillips.com

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Associate Representative, Taiwan +886 919 036 730 joycelin@phillips.com

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

1. GIO PONTI 1891-1979 Pair of armchairs from the ‘Augustus’ ocean liner circa 1950 Stained walnut, fabric. Each: 72.3 x 73 x 73.2 cm (28 1/2 x 28 3/4 x 28 7/8 in.) Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £15,000–20,000 $22,100–29,500 €20,900–27,800 plus Buyers Premium and VAT, ARR applies*

PROVENANCE De Parma Gallery, London Acquired from the above by the present owner, circa 2012 LITERATURE ‘Opere d’arte sull’Augustus’, Domus, no. 272, July 1952, pp. 25-26, 30 Paolo Piccione, Gio Ponti: Le Navi: Il Progetto degli Interni Navali 1948-1953, Milan, 2007, p. 33

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 27%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

MAX INGRAND’S PROTOTYPE CEILING LIGHT A Daring Emblem of Fontana Arte’s Avant-Garde Innovation

Fontana Arte has long been celebrated for its pioneering spirit and unwavering commitment to pushing the boundaries of conventional design. An exemplary embodiment of the company’s experimental ethos is the present Prototype ceiling light, model no. RA 2631, created in the late 1950s under Max Ingrand, the firm’s visionary Creative Director. At the time, Ingrand was notably inspired and driven by his collaborative relationship with one of Italian design’s great masters, Gio Ponti, who he held in high regard and often turned to for suggestions. Acquired directly from Fontana Arte in 1961, this ceiling light is a testament to the glassmaker’s daring approach to lighting design. It stands as a striking departure from traditional lighting fixtures of its era, epitomising the essence of Fontana Arte’s modern design philosophy. At the heart of this forward-looking work lies an irregularly shaped shade, composed of three imposing individual thick glass panes and one large partially-acid etched multi-faceted glass shade which hovers below them. The deliberate unevenness of these elements challenges the norms of symmetry and reveals a unique and captivating aesthetic.

The varying textures of glass, as well as the space created between the component parts, elevate the ceiling light from mere illumination to an emblem of innovation. The structural framework of the prototype ceiling light is also a testament to the unconventional design principles championed by Fontana Arte. Crafted from painted brass, the frame is a harmonious and seamless complement to the dynamism of the glass shade. A comparable and contemporary example to the present work is published in Franco Deboni’s monograph Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand (2012) and shows the same pioneering language at play. The sophistication of Ingrand’s creativity is evident in both pieces’ appealing asymmetry. They invite viewers to appreciate the quality of their craftsmanship, particularly evident in the glasswork’s characteristic bevelled edges which showcases the skill and attention to detail that went into their creation. This extraordinary piece never entered mass production, underscoring its avant-garde nature, perhaps coming to life too early for the clientele of its time. Its rarity today adds to its allure, making it an undeniable piece of design history that embodies a specific and defining moment in the chronology of Fontana Arte production.

Max Ingrand, Prototype ceiling light, circa 1955. Photo: Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, p. 65

2. MAX INGRAND 1908-1969 Prototype ceiling light, model no. RA 2631 circa 1959 Glass, partially acid-acid etched glass, painted brass. 32.2 x 121.2 x 120 cm (12 5/8 x 47 3/4 x 47 1/4 in.) Manufactured by Fontana Arte, Milan, Italy. Together with a copy of the original invoice. ESTIMATE £25,000–35,000 $30,700–43,000 €29,000–40,500 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan, acquired direcly from the manufacturer, 1961 Acquired from the above by the present owner

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

A VIVID EXCURSION INTO PICTOGRAPHIC TECTONICS By Brian Kish, Curator and Specialist in 20th Century Italian Architecture and Design, Consultant to the Gio Ponti Archives since 2006

This hitherto unknown 1952 Ponti design reveals the scope of his experiments in metalwork that provided an opportunity to create dynamic forms with a fundamentally different material from the “natural” solid woods and veneers for which he is widely known. In a world where almost every table, chair, and cabinet has a wood structure and surface, this untypical switch to metal construction prompted him to explore a more concise visual vocabulary. Instead of simply highlighting the load-bearing qualities of metals he began using them to demonstrate his own idiosyncratic idea of pictographic tectonics. This first came about in a 1952 design for the waiting room of his architectural office: a coffee table with a granite top supported by a criss-crossing diagonal bracing. Inside his vast atelier, there were often casual groupings of prototypes for chairs, stools, and side tables, all structured with complex variations of metal supports. Even the long rectangular drafting tables had expressive black metal framework holding the white formica tops. In designing the present octagonal dining table, Ponti reached a new stage in the development of metal supports: no criss-crossing of rods this time but by a simple diagonal bracing that connects each

of the four legs. The scheme has a nearly hieratic, yet jaunty up and down momentum that is evident on all four sides. A custom Fontana Arte treatment gives the tabletop glass a delicate, almost eerie presence. The watery surface was achieved by pouring molten lead crystal into a special mould. This process invented by Pietro Chiesa was unique to the firm at that time and used extensively in their 1930s-’40s structural glass furniture. With its softly glazed look, the crystal surface of this table is made more dramatic with a hand-chiselled perimeter edge. The transparent octagonal shape is held in place by four brass clips that are elongated, folded, and cantilevered from the four table legs. This exquisite twist of Mannerist design exemplifies Ponti’s subtle attention to detail, highly complex but seemingly effortless. As always, his line tends to generate optical motion but still achieves a solid, definite form. Meanwhile, enigmatic games are waiting to be deciphered with hints, such as numerical divisions landing on the number 8. They are also manifest, albeit concealed, in the octagonal top where eight Isosceles triangles appear subliminally in the double divisions on each of the four sides.

Gio Ponti, coffee table with steel and granite top with chiselled edge, executed by Giordano Chiesa, 1952. Photo: © Gio Ponti Archives

This likely prototype octagonal table with a blackened steel frame, was designed by Ponti in the interim period when Fontana Arte found itself without a creative director. Between Pietro Chiesa’s death in 1948 and 1954 when Max Ingrand took over the directorship, Ponti was asked by the company to help lead it during the post war recovery period. As his architecture practice prospered with numerous commissions, he could not afford to serve again as art director as he had done in 1933. He did however recommend one of his students to Fontana Arte. Besides, he also took advantage of the firm’s superlative standards to produce some of his custom commissions, such as the glass-top pedestal table with blue enamelled metal base for the Villa Arreaza, which again involved a folded metal clip technique to join top and base. In the early 1950’s Ponti was clearly at the top of his game. It was his most prolific period in the realm of architecture and design. Over the entire decade, he would coordinate a steady stream of private and public architectural commissions side by side, while managing the development of numerous prototypes for interior furniture, lighting, and other design elements, which sometimes led to large scale production batches. This experimental table was born during this intensely productive phase soon after he started working with Rima, coming up with dramatic and complex chair designs while also developing a prototype car design for an Alfa Romeo body, Linea Diamante. Along his entire journey of endless invention, he never fully abandoned any particular form. He kept reviving them according to his theory of architecture as an art embodied in a living crystal, forever striving towards the essential. The crystal, most dear to him, is best exemplified in his own words: ‘Pure architecture is a crystal. When it is pure, it is as pure as a crystal - magic, closed, exclusive, autonomous, uncontaminated, uncorrupted, absolute, definitive like a crystal.’

Drawing from 1946, showing studies for two tables in brass and painted iron. Image: © Gio Ponti Archives

3. GIO PONTI 1891-1979 Rare occasional table circa 1950 Glass, painted brass, brass, partially chiselled glass. 75.8 x 131 x 121 cm (29 7/8 x 51 5/8 x 47 5/8 in.) Manufactured by Fontana Arte, Milan, Italy. Brass impressed with manufacturer’s mark F/X/MILANO. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £15,000–20,000 $18,400–24,600 €17,400–23,200 plus Buyers Premium and VAT, ARR applies*

LITERATURE Edilizia Moderna, no. 48, June 1952, p. 84 for a similar example

4. GIO PONTI 1891-1979

5. GIO PONTI 1891-1979

Low seat

‘Arlecchini’

circa 1953 Elm, fabric, brass. 39 x 94.5 x 80 cm (15 3/8 x 37 1/4 x 31 1/2 in.) Manufactured by Altamira, Italy. Underside with metal label printed MADE EXPRESSLY FOR/ALTAMIRA/IN ITALY. Together with a certificate of expertise from the Gio Ponti Archives.

circa 1955 Oil on panel, in two parts, in artist’s frame. 43 x 35.4 x 8 cm (16 7/8 x 13 7/8 x 3 1/8 in.) framed Each panel signed PONTI lower right. Together with a certificate of expertise from the Gio Ponti Archives.

ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Wright, Chicago, ‘Italian Design’, 11 June 2021, lot 301 Acquired from the above by the present owner LITERATURE Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 161

ESTIMATE £8,000–12,000 $9,800–14,800 €9,300–13,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan, gifted directly by the artist Thence by descent The present lot was gifted directly by Gio Ponti to a Milanese gentleman and colleague of his during his time as editor of the art and design publication Domus.

6. MAX INGRAND 1908-1969 Large mirror 1960s Mirrored glass, chiselled glass, ebonised wood, brass. 109.6 x 84.6 x 12.3 cm (43 1/8 x 33 1/4 x 4 7/8 in.) Manufactured by Fontana Arte, Milan, Italy. ESTIMATE £35,000–55,000 $43,000–67,600 €40,500–63,700 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Edoardo Paoli, ‘Specchiere e specchi: appesi, nel mobile e tecnici’, Quaderni Vitrum, no. 8, Milan, 1960s, p. 117 ‘Stand di Fontana-Arte alla 39a Fiera di Milano’, Vitrum, no. 147, January-February 1965, pp. 28-29

The Fontana Arte stand at the 39a Fiera di Milano, featuring the present model mirror, 1965. Image: ‘Stand di Fontana-Arte alla 39a Fiera di Milano’, Vitrum, no. 147, January-February 1965, p. 28 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 27%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

7. RENZO ZAVANELLA 1900-1988 Occasional table circa 1950 Stained walnut, stained walnut-veneered wood, brass. 64.6 cm (25 3/8 in.) high, 80.2 cm (31 5/8 in.) diameter ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE ‘Plastica o mobili’, Domus, no. 249, January 1950, pp. 67-78 Roberto Aloi, Esempi di Arredamento Moderno di Tutto il Mondo: Sale da Pranzo, Milan, 1953, pl. 105-106

8. JEAN-MICHEL FRANK 1895-1941 Armchair circa 1929 Limed oak, fabric. 75 x 62.5 x 66 cm (29 1/2 x 24 5/8 x 25 7/8 in.) Together with a certificate of authenticity from the Comité Jean-Michel Frank. ESTIMATE £30,000–50,000 $36,900–61,500 €34,800–57,900 Ω plus Buyers Premium and VAT, ARR applies*

LITERATURE Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, p. 127 Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank: L’Étrange Luxe du Rien, Paris, 2006, p. 201

Property of a Distinguished Lebanese Family

9. JEAN ROYÈRE 1902-1981 Large ‘Tour Eiffel’ console designed circa 1947, produced circa 1955 Marble, painted iron, brass. 92.1 x 129.9 x 42.6 cm (36 1/4 x 51 1/8 x 16 3/4 in.) ESTIMATE £70,000–100,000 $86,100–123,000 €81,100–116,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Galerie L’Atelier, Beirut Mr Ali Bazzi, Beirut, acquired from the above, circa 1955 Thence by descent to the present owner LITERATURE Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 1, Paris, 2012, pp. 44, 143, 144 for a smaller version of the model Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 2, Paris, 2012, pp. 64, 206-209 for a smaller version of the model

In the late 1940s, Jean Royère opened an office with the Lebanese architect Nadim Majdalani on avenue des Français in Beirut after the two had met in Paris. Their collaboration, which continued through the 1960s, comprised many residential and commercial projects throughout Lebanon, which at that time was experiencing a great deal of growth. Royère established a thriving international practice in Lebanon and his commissions were featured in French publications during the period. The present collection of Jean Royère lots (from lot 9 to lot 13) was acquired at the Galerie L’Atelier opened in 1955 by Majdalani to permanently showcase Royère’s works. Mr Ali Bazzi, a former Lebanese diplomat whose illustrious career includes posts as the Lebanese ambassador to Kuwait and Jordan, moved into a new house shortly after his wedding between 1954 and 1956, for which he acquired these five striking pieces. The designs include some of Royère’s quintessential motifs such as the ‘Tour Eiffel’ lattice on the console and reveal the decorator’s predilection for sinuous curves, as seen in the clover-shaped tabletop of the coffee table. The overall perforations and balls on the feet of the chairs and armchairs, as well as the rings at the feet of both tables, are also another recurrent feature in Royère designs making this group a wonderfully emblematic selection of Royère’s creative output.

The present console in the original home it was acquired for, Beirut. Photo: Private family archive *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 27%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

Property of a Distinguished Lebanese Family

10. JEAN ROYÈRE 1902-1981 Coffee table circa 1955 Painted iron, plastic-laminated wood. 33.6 x 85.2 x 73.8 cm (13 1/4 x 33 1/2 x 29 in.) ESTIMATE £120,000–180,000 $148,000–221,000 €139,000–209,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Galerie L’Atelier, Beirut Mr Ali Bazzi, Beirut, acquired from the above, circa 1955 Thence by descent to the present owner

The present model coffee table is documented in the Jean Royère archives at the Musée des Arts Décoratifs, Paris, under drawing number no. 6347, designed for the Hotel Philadelphia.

Property of a Distinguished Lebanese Family

11. JEAN ROYÈRE 1902-1981 Pair of armchairs circa 1955 Painted steel, brass. Taller: 79.5 x 63 x 69 cm (31 1/4 x 24 3/4 x 27 1/8 in.) ESTIMATE £50,000–70,000 $61,500–86,100 €57,900–81,100 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Galerie L’Atelier, Beirut Mr Ali Bazzi, Beirut, acquired from the above, circa 1955 Thence by descent to the present owner LITERATURE Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 255 Galerie Jacques Lacoste and Galerie Patrick Seguin, Jean Royère, Volume 1, Paris, 2012, p. 108

The present armchairs with biomorphic lines were designed by Jean Paul Gauberti who worked for Jean Royère. The models were presented at the ‘Génie de Paris’ exhibition organised by the Art & Industrie periodical in 1952 as part of the ‘Chambre de Jeunes Gens’ stand.

Property of a Distinguished Lebanese Family

12. JEAN ROYÈRE 1902-1981 Occasional table circa 1955 Painted iron, plastic-laminated wood. 57.6 cm (22 5/8 in.) high, 49.8 cm (19 5/8 in.) diameter ESTIMATE £60,000–80,000 $73,800–98,400 €69,500–92,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

A variant of the present model occasional table is documented in the Jean Royère archives at the Musée des Arts Décoratifs, Paris, under drawing number 7.822.

Property of a Distinguished Lebanese Family

13. JEAN ROYÈRE 1902-1981 Pair of chairs circa 1955 Painted steel, brass. Each: 85 x 51.5 x 56.1 cm (33 1/2 x 20 1/4 x 22 1/8 in.) ESTIMATE £30,000–50,000 $36,900–61,500 €34,800–57,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

The present model chairs with biomorphic lines were designed by Jean Paul Gauberti who worked for Jean Royère. The models were presented at the ‘Génie de Paris’ exhibition organised by the Art & Industrie periodical in 1952 as part of the ‘Chambre de Jeunes Gens’ stand.

14. CARLO SCARPA 1906-1978 Rare bowl, model no. 3710, from the ‘Laccati Neri e Rossi’ series circa 1938 Black and red laccato incalmo glass. 7 cm (2 3/4 in.) high, 22 cm (8 5/8 in.) diameter Produced by Venini & C., Murano, Italy. Underside acid-etched venini/murano/ITALIA. ESTIMATE £18,000–24,000 $22,100–29,500 €20,900–27,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Marino Barovier, Carlo Scarpa: Venini 1932-1947, Milan, 2012, p. 286

The ‘Laccati Neri e Rossi’ series featured objects blown in intensely coloured glass, resembling a Chinese lacquer-like texture. To achieve the bright red colour, Scarpa used a material made of miniscule lamp-worked glass spheres incorporated into the glass mass. Due to the complexity of this technique, very few pieces were produced.

15. IVAN DA SILVA BRUHNS 1881-1980

Σ 16. JEAN ROYÈRE 1902-1981

Carpet

Rare low table

circa 1929 Hand-knotted wool. 220.7 x 129.6 x 2 cm (86 7/8 x 51 x 0 3/4 in.) Manufactured by Manufacture de Savigny, Savigny-sur-Orge, France. Woven with da Silva Bruhns and manufacturer’s mark.

circa 1955 Indian rosewood-veneered wood. 53.3 x 130.2 x 60 cm (20 7/8 x 51 1/4 x 23 5/8 in.)

ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 Ω

plus Buyers Premium and VAT, ARR applies*

LITERATURE Art et Industrie, October 1929, p. 35 for a similar example

ESTIMATE £15,000–20,000 $18,400–24,600 €17,400–23,200 ♠ PROVENANCE Mr Fayad, Beirut Galerie Jacques Lacoste & Galerie Patrick Seguin, acquired from the above Phillips, London, ‘Important Design’, 26 April 2018, lot 48 Acquired from the above by the present owner LITERATURE Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 52-53 for a similar example

17. FRANÇOIS-XAVIER LALANNE 1927-2008

‘Carpe d’or’ designed 1987 Gilt resin. 29 x 56 x 12 cm (11 3/8 x 22 x 4 3/4 in.) Editioned by Artcurial, Paris, France. Number 223 from the edition of 250. Underside impressed ARTCURIAL/LALANNE/fxL and inscribed 223/250. ESTIMATE £25,000–35,000 $30,700–43,000 €29,000–40,500 ♠ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Artcurial, Paris, ‘More’, 22 March 2016, lot 149 Acquired from the above by the present owner LITERATURE Adrian Dannatt, François-Xavier & Claude Lalanne: in the Domain of Dreams, New York, 2018, p. 152

18. PIETRO CHIESA 1892-1948 Table circa 1934 Glass, brass, brass-covered steel. 74.5 x 210.4 x 85.5 cm (29 3/8 x 82 7/8 x 33 5/8 in.) Manufactured by Fontana Arte, Milan, Italy. ESTIMATE £18,000–24,000 $22,100–29,500 €20,900–27,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Luigi Scarabello and Lilia Silvi, Italy Thence by descent Acquired from the above by the present owner LITERATURE Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fig. 137

The present lot formerly belonged to Luigi Scarabello, an Italian footballer who was a member of the Italian national team that won the gold medal in football at the 1936 Summer Olympics. His wife, Lilia Silvi, was a glamourous film actress who appeared in several films from the 1930s to the 1950s alongside other popular film stars of the era such as Amedeo Nazzari and Renato Rascel.

19. JEAN ROYÈRE 1902-1981 Pair of ‘Herbier’ beds with integrated headboard and bedside tables circa 1956 Birch, birch-veneered wood, oak-veneered wood, glass, dried leaves and flowers. 75 x 237.5 x 203.5 cm (29 1/2 x 93 1/2 x 80 1/8 in.) ESTIMATE £8,000–12,000 $9,800–14,800 €9,300–13,900 ♠ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Mr Goepp, France, commissioned directly from the designer Artcurial, Paris, ‘Art Deco/Design’, 31 May 2021, lot 74 Acquired from the above by the present owner

The present beds are documented in the Jean Royère archives at the Musée des Arts Décoratifs, Paris, under drawing number 6.197.

20. CARLO SCARPA 1906-1978 Pair of wall lights, model no. 442 circa 1936 Corroso glass, brass. Each: 25.2 x 33 x 21.5 cm (9 7/8 x 12 7/8 x 8 1/2 in.) Produced by Venini & C., Murano, Italy. ESTIMATE £7,000–9,000 $8,600–11,100 €8,100–10,400 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 260 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, p. 58 Marino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, p. 60

THE METAMORPHOSES OF ACTAEON By Jean Louis Gaillemin, Art Historian, Lecturer and Art Magazine Editor

‘While most decorators contented themselves with ephemeral installations, Janine Janet conceived true sculptures that demanded immense effort. I particularly remember these whimsical characters, “The Perfumer”, “The Couturier”, and “The Milliner”, each made with accessories corresponding to their respective professions. There were also astonishing seashell figures, women made of straw and reed, and strange busts bristling with nails, among many other creations.’ A great admirer of her work for Balenciaga’s shop windows in the 1950s, Hubert de Givenchy saw beyond the apparent whimsy of the window dresser and recognised the immense talent of the artist. Janet initially created displays with nymphs covered in wheat straw, coral salamanders and coloured glass, Nereids, Tritons and Mermaids in seashells, both in shop windows and in miniature on banquet tables, for Prince Ali Khan or Baron Alain de Rothschild. She also made herself known by painting these figures on furniture and screens. Beneath this frivolity was a solid craft she had learned at the Toulouse School of Fine Arts and later at the School of Decorative Arts in Paris during the thirties, where she studied under Cassandre. Besides drawing, painting, engraving, and ceramics, she learned sculpture from Robert Wléryck, a master of figurative sculpture who introduced her to ‘direct carving’, chisel and mallet in hand, to work with stone or wood. The glamour of fashion concealed daring anatomies. The encounter with Jean Cocteau would crystallise her love for sculpture. He called her ‘the maker of idols.’ In 1960, for his film The Testament of Orpheus shot at the Villa Santo Sospir and in the quarries of Les Baux de Provence, she collaborated with the poet to create an imposing Minerva, two mysterious horse-headed men (the inversion of the Centaur), a disconcerting three-mouthed diviner’s head, and a Sphinx’s head with a profile inspired by Jean Marais’s features. Cocteau repeatedly told her, ‘We must banish the pretty and find the beautiful.’

A few years later, in 1964, sculpture flourished unrestricted with two reclining stags and the present ‘Tête d’Acteon’ created for Balenciaga. The trio of works left the shop windows and were presented at the 80th Salon of Women Painters and Sculptors at the Museum of Modern Art in Paris. The reclining Stag was a great success, Cristobal Balenciaga placed his in his countryside estate and later gifted them to Hubert de Givenchy, who adorned the topiaries of his Chateau du Jonchet. François and Jacqueline Somer also succumbed to its charm for the Musée de la Chasse et de la Nature they had just established, as did Jean Marais, who placed it in his Vallauris home beneath a portrait of Jean Cocteau. As for Actaeon, he perhaps best embodies the taste for metamorphosis that characterised Janine’s early creations, like the satyr in birch bark or the dryad transforming into a tree. The legend transcribed by Ovid makes young Prince Actaeon the very example of the intrepid and virile hunter. After a thrilling day of hunting with his companions, he stumbles upon Diana, the divine huntress, bathing naked surrounded by her attendants. Quick as an arrow, the voyeur’s gaze meets the goddess, who cannot endure this affront and transforms him into a stag by splashing water from her upon him. ‘Suddenly, a branching antler rises from the prince’s head; his neck lengthens; his ears become pointed; his hands become hooves; his arms, slender legs’. Janine Janet skilfully played with the ambiguity of this critical moment: the still ravenous gaze is now filled with horror, the voluptuous mouth tightens, the cry of admiration becomes a groan, the neck swells and stretches. One cannot help but think again of Jean Marais, whose broad face and immense eyes had inspired the sphinx of the ‘maker of idols’.

Janine Janet’s window display designs for the Balenciaga shop, Paris, 1940s.

21. JANINE JANET 1913 - 2000 Unique ‘Tête d’Actéon’ 1964 Patinated bronze. 65.5 x 27 x 33 cm (25 3/4 x 10 5/8 x 12 7/8 in.) Executed by Fonderie E. Godard, Bagneux, France. Signed JANINE JANET and impressed with foundry mark E. GODARD/CIRE PERDUE. ESTIMATE £60,000–80,000 $73,800–98,400 €69,500–92,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Cristóbal Balenciaga, Paris, commissioned directly from the artist Acquired in Paris by the present owner, 1990 EXHIBITED ‘Janine Janet: Métamorphoses’, Musée de la Chasse et de la Nature, Paris, 30 April-21 September 2003 LITERATURE Claude d’Anthenaise, Janine Janet: Métamorphoses, exh. cat., Musée de la Chasse et de la Nature, Paris, 2003, illustrated back cover

The original plaster mould of the present work is held in the permanent collection of the Musée de la Chasse et de la Nature, Paris.

22. STILNOVO Table lamp circa 1950 Ebonized wood, brass, paper shade. 114.5 cm (45 1/8 in.) high Manufactured by Stilnovo, Milan, Italy. One bulb holder with manufacturer’s label printed MILANO/STILNOVO/ITALY. ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan

23. GILBERT POILLERAT 1902-1988 Pair of andirons circa 1935 Iron, brass. Each: 43 x 40 x 36 cm (16 7/8 x 15 3/4 x 14 1/8 in.) ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Turin LITERATURE François Baudot, Gilbert Poillerat: Maître Ferronnier, Paris, 1998, p. 228 for a similar example

24. GIO PONTI 1891-1979 Coffee table 1930s Burr walnut-veneered wood, walnut-veneered wood, glass. 43.3 cm (17 in.) high, 72.3 cm (28 1/2 in.) diameter Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 151 for a similar example

25. TOMASO BUZZI 1900-1981 Vase, model no. 3426 circa 1932 Laguna glass and coloured glass with gold leaf inclusions. 19.7 cm (7 3/4 in.) high, 16 cm (6 1/4 in.) diameter Produced by Venini & C., Murano, Italy. Underside acid-etched venini/murano/MADE IN/ITALY. ESTIMATE £7,000–9,000 $8,600–11,100 €8,100–10,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Veneto LITERATURE Marino Barovier and Carla Sonego, eds., Tomaso Buzzi alla Venini, Milan, 2014, pp. 165, 230-31

26. VENINI

27. GIO PONTI 1891-1979

Eight door handles

Unique ‘Labirinto’ embroidered textile

circa 1968 Cristallo glass, coloured glass canna. Each: 2.8 x 13.4 x 10 cm (1 1/8 x 5 1/4 x 3 7/8 in.) Produced by Venini & C., Murano, Italy.

1928 Dyed silk, golden thread. 296 x 300 x 0.1 cm (116 1/2 x 118 1/8 x 0 in.) Executed by Pia di Valmarna embroiderer from the Cernobbio embroidery school, Italy.

ESTIMATE £2,500–3,500 $3,100–4,300 €2,900–4,100 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan

ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Christie’s, Paris, ‘Design’, 19 May 2015, lot 67 Acquired from the above by the present owner EXHIBITED ‘Tutto Ponti: Gio Ponti Archi-Designer’, Musée des Arts Décoratifs, Paris 19 October 2018-5 May 2019 LITERATURE Sophie Bouilhet-Dumas, Dominique Forest and Salvatore Licitra, eds., Gio Ponti: archi-designer, exh. cat., Milan, 2018, illustrated p. 53

28. CARLO SCARPA 1906-1978 Pair of rare ceiling lights, model no. 5258 circa 1931 Reticello glass, brass. Each: 94.5 cm (37 1/4 in.) drop, 33.9 cm (13 3/8 in.) diameter Produced by Venini & C., Murano, Italy.

PROVENANCE Private collection, Milan LITERATURE Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 256 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 142

ESTIMATE £8,000–12,000 $9,800–14,800 €9,300–13,900 ‡ plus Buyers Premium and VAT, ARR applies*

29. GIO PONTI 1891-1979 Sideboard circa 1938 Walnut, walnut-veneered wood, brass. 101.8 x 247.8 x 50.1 cm (40 1/8 x 97 1/2 x 19 3/4 in.) Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £15,000–20,000 $18,400–24,600 €17,400–23,200 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE ‘Una casa in condominio costruita da Gio Ponti’, Domus, no. 126, June 1938, p. 15 for a similar example

30. CARLO SCARPA 1906-1978 Large vase, model no. 4323 circa 1934 Mezza filigrana glass. 34.8 cm (13 3/4 in.) high, 23.3 cm (9 1/8 in.) diameter Produced by Venini & C., Murano, Italy.

PROVENANCE Private collection, Veneto LITERATURE Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Red Catalogue, Turin, 2007, n.p. Marino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, p. 152 for a similar example

ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 ‡ plus Buyers Premium and VAT, ARR applies*

31. GIO PONTI 1891-1979 Dining table circa 1938 Walnut, walnut-veneered wood. 77.5 cm (30 1/2 in.) high, 130 cm (51 1/8 in.) diameter Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £8,000–12,000 $9,800–14,800 €9,300–13,900 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE ‘Una casa in condominio costruita da Gio Ponti’, Domus, no. 126, June 1938, p. 14

32. FONTANA ARTE Set of four ceiling lights, model no. 2319 circa 1964 Glass, brass, painted aluminium. Each: 10.8 cm (4 1/4 in.) high, 15.6 cm (6 1/8 in.) diameter Manufactured by Fontana Arte, Milan, Italy. ESTIMATE £3,500–5,500 $4,300–6,800 €4,100–6,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Novara LITERATURE Quaderni Fontana Arte, no. 6, Milan, 1964, p. 70

33. JEAN PROUVÉ 1901-1984 ‘Semi-metal’ chair, model no. 306 circa 1950 Painted steel, vinyl-covered plywood, rubber, aluminium. 80.1 x 42.4 x 48.7 cm (31 1/2 x 16 3/4 x 19 1/8 in.) Produced by Les Ateliers Jean Prouvé, France. One leg inscribed C.N.S.S 4912. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 plus Buyers Premium and VAT, ARR applies*

PROVENANCE Caisse Nationale de Securité Sociale Christie’s, London, 12 November 1997, lot 37 Acquired from the above by the present owner LITERATURE Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Volume 1, Paris, 2007, pp. 235, 266-69

34. MAISON DESNY Adjustable floor lamp circa 1930 Nickel-plated brass, glass. 212.8 x 45.5 x 45.5 cm (83 3/4 x 17 7/8 x 17 7/8 in.), fully extended Manufactured by Maison Desny, Paris, France. Base impressed DESNY PARIS/MADE IN FRANCE. ESTIMATE £30,000–50,000 $36,900–61,500 €34,800–57,900 Ω plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, France LITERATURE Art et Décoration, March 1931, n.p. Guillaume Janneau and Gabriel Henriot, Le Luminaire: Art Deco Lampen 1925-1937, Paris, 1992, p. 167

35. JEAN PROUVÉ 1901-1984 Panel with portholes, from the École Maternelle de Bouqueval circa 1949 Aluminium, painted aluminium, stained pine, glass. 294.5 x 90.8 x 7.5 cm (115 7/8 x 35 3/4 x 2 7/8 in.) Manufactured by Les Ateliers Jean Prouvé, France. ESTIMATE £40,000–60,000 $49,200–73,800 €46,300–69,500 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE École Maternelle de Bouqueval, France, circa 1995 Galerie Patrick Seguin, Paris, 2007 Acquired from the above by the present owner LITERATURE Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, pp. 542-53

36. CHARLOTTE PERRIAND 1903-1999 Set of four wall lights, model no. CP1 circa 1968 Painted steel, acrylic. Each: 12.5 x 18.5 x 7 cm (4 7/8 x 7 1/4 x 2 3/4 in.) Manufactured by La Société Centrale d’Eclairage, France. Interior of each with manufacturer’s label printed SCE/Made in France Classe I. ESTIMATE £1,200–1,800 $1,500–2,200 €1,400–2,100 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE Charlotte Perriand: Un Art de Vivre, exh. cat., Musée des Arts Décoratifs, Paris, 1985, p. 52 Jacques Barsac, Charlotte Perriand: Complete Works, Volume 3, 1956-1968, Paris, 2017, pp. 106-07

37. MICHEL BOYER 1935-2011 Table, from the ‘Osaka’ series circa 1976 Ebonised wood, maple. 70 x 260 x 81 cm (27 1/2 x 102 3/8 x 31 7/8 in.) Produced by TFM. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 plus Buyers Premium and VAT, ARR applies*

LITERATURE Anne Bony, Meubles et Décors des Années 70, Paris, 2005, p. 27

38. TITO AGNOLI 1931-2012 Adjustable wall light, model no. 177A circa 1959 Teak, painted aluminium, brass, brass-plated steel. 88 x 33.3 x 137 cm (34 5/8 x 13 1/8 x 53 7/8 in.) 88 x 33.3 x 157.6 cm (34 5/8 x 13 1/8 x 62 in.) fully extended Manufactured by O-Luce, Milan, Italy. ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Thomas Braeuniger, O-Luce di Giuseppe Ostuni, Volume 1, Luxembourg, 2021, p. 185

39. CHARLOTTE PERRIAND 1903-1999 ‘Tokyo’ bench circa 1956 Ash. 26.5 x 226 x 74.5 cm (10 3/8 x 88 7/8 x 29 3/8 in.) Editioned by Galerie Steph Simon, Paris, France. ESTIMATE £20,000–30,000 $24,600–36,900 €23,200–34,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Phillips de Pury & Luxembourg, New York, 24 May 2005, lot 162 Galerie Downtown, Paris Sotheby’s, New York, ‘Important 20th Century Design’, 18 December 2008, lot 184 Acquired from the above by the present owner LITERATURE Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, p. 145 Jacques Barsac, Charlotte Perriand: Un Art d’Habiter, 1903-1959, Paris, 2005, pp. 403, 405, 430 Jacques Barsac, Charlotte Perriand: Complete Works Volume 2, 1940-1955, Paris, 2015, pp. 442, 468-70

40. JEAN PROUVÉ AND CHARLOTTE PERRIAND 1901-1984 and 1903-1999

‘Compas’ cafétéria table, designed for the Cité Universitaire d’Antony

PROVENANCE Christie’s, London, ‘Important Design’, 14 June 2000, lot 34 Acquired from the above by the present owner LITERATURE Jacques Barsac, Charlotte Perriand: Complete Works, Volume 2, 1940-1955, Paris, 2017, p. 428

circa 1955 Plastic-laminated wood, painted steel. 72.5 x 110.9 x 69.1 cm (28 1/2 x 43 5/8 x 27 1/4 in.) Produced by Les Ateliers Jean Prouvé, France. ESTIMATE £8,000–12,000 $9,800–14,800 €9,300–13,900 plus Buyers Premium and VAT, ARR applies*

41. CHARLOTTE PERRIAND 1903-1999

42. CHARLOTTE PERRIAND 1903-1999

High ‘Berger’ stool

circa 1960 Painted cedar. 29.6 cm (11 5/8 in.) high, 33 cm (12 7/8 in.)

circa 1960 African mahogany. 46 cm (18 1/8 in.) high, 32.5 cm (12 3/4 in.) diameter

ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Wright, Chicago, ‘Modern + Contemporary Design’, 23 March 2007, lot 341 Acquired from the above by the present owner LITERATURE Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, p. 192 for similar examples Élisabeth Védrenne, Charlotte Perriand, Paris, 2005, p. 52 for a similar example François Laffanour et al., Living with Charlotte Perriand, Paris, 2019, throughout for similar examples

ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, p. 192 for similar examples Élisabeth Védrenne, Charlotte Perriand, Paris, 2005, p. 52 for a similar example François Laffanour et al., Living with Charlotte Perriand, Paris, 2019, throughout for similar examples

43. JEAN PROUVÉ 1901-1984

PROVENANCE Christie’s, London, ‘Modern Design’, 13 April 1996, lot 38 Acquired from the above by the present owner

Pair of ‘Semi-metal’ chairs, model no. 305

LITERATURE Peter Sulzer, Jean Prouvé: Œuvre Complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 208-12, 232, 268 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2017, pp. 235-34, 266-69

designed 1950, produced 1950-1969 Painted steel, beech plywood, aluminium, rubber. Each: 80.4 x 41.6 x 48.9 cm (31 5/8 x 16 3/8 x 19 1/4 in.) Produced by Les Ateliers Jean Prouvé, France. ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 plus Buyers Premium and VAT, ARR applies*

44. STILNOVO Ceiling light circa 1959 Brass, painted steel, fabric cord. 116.2 cm (45 3/4 in.) drop, 97.5 cm (38 3/8 in.) diameter Manufactured by Stilnovo, Milan, Italy. Ceiling rose with manufacturer’s label printed MILANO/STILNOVO/ITALY. ESTIMATE £7,000–9,000 $8,600–11,100 €8,100–10,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Trento LITERATURE Roberto Aloi, Mercati e Negozi, Milan, 1959, p. 271

45. CHARLOTTE PERRIAND 1903-1999 Pair of armchairs, model no. 21 designed 1939, produced circa 1946-1968 Oak, rush. Each: 78 x 55 x 64.5 cm (30 3/4 x 21 5/8 x 25 3/8 in.) ESTIMATE £7,000–9,000 $8,600–11,100 €8,100–10,400 ‡

PROVENANCE Private collection, Paris Galerie Downtown, Paris Acquired from the above by the present owner LITERATURE Boris Lacroix, ‘Mobiliers et ensembles de vacances’, Art et Décoration, no. 9, 1948, pp. 4, 5 Jacques Barsac, Charlotte Perriand: Un Art d’habiter 1903-1959, Paris, 2005, throughout

plus Buyers Premium and VAT, ARR applies*

46. ALVAR AALTO 1898-1976 Floor lamp, model no. A811 designed 1965 Leather-covered steel, painted aluminium, brass. 159 cm (62 5/8 in.) high Produced by Valaistustyö Ky, Finland. Brass impressed Valaistustyö Ky A811. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 plus Buyers Premium and VAT, ARR applies*

José Zanine Caldas (1919-2001) was a self-taught architect and designer born in Belmonte, on the southern coast of Bahia in Brazil. Nestled between the Atlantic Ocean and the Jequitinhonha River, early 20th century Belmonte was an enclave steeped in the tradition of agricultural and fishing merchants, abundant in natural resources and of rich vernacular culture. From a young age, Zanine was spellbound by local artisans who crafted canoes, furniture and homes using their hands and rudimentary tools. He absorbed their skills through observation, entranced by the concept of creating something significant from seemingly nothing. Zanine’s innate dexterity and resourcefulness became evident in his early life. At just thirteen years old, he began building nativity scenes for local families, fashioning them from discarded materials. This notion of rescuing, repurposing and breathing new life into waste from his natural surroundings, would come to shape his work nearly four decades later when he returned to his birth state of Bahia in 1968. It was there, in Nova Viçosa, that he found himself profoundly disturbed by the widespread deforestation of the Atlantic Forest. In an act of protest, he created the ‘Móveis Denúncia’ (protest furniture), carved and chiselled from salvaged wood. The present Rare free-form coffee table is a testament to Zanine’s distinctive design approach. Crafted from Pequi wood, it features a thick, intricately crafted tabletop resting atop a stout, waist carved base. Both sections of the table possess a striking raw beauty resulting from Zanine’s thoughtful carving along the grain and not against it, revealing

the imperfect texture of the wood’s surfaces, naturally occurring patterns and knots. The idea at the heart of this technique was to let the wood continue to live on as it does, with minimal interference. Zanine’s reverence for local materials led him to showcase the breadth and beauty of Brazilian exotic woods through his designs like no one else could. He once said, “My consciousness is a product of my own joy, which is connected to the love and beauty that create in me the pleasure of making.” His life was fuelled by an innate urge to create. He was the very embodiment of the Homo-faber and a champion of Brazilian traditional craftsmanship. Zanine preserved the values of craftsmanship, embracing time-honoured techniques which are most celebrated in his Joatinga housing project in Rio de Janeiro and in his ‘Móveis Denúncia’ pieces. He was driven by the pursuit of perfection and those who surrounded him often speak of his meticulous attention to detail and obsession with proportion. This rare work was once the property of Vera Brant. Her close friendship with Zanine resulted in her displaying many of his designs in her home which was once considered one of the most important residences of Brasilia. Notably, Brant played a significant role in the formation of the city, having collaborated with Darcy Ribeiro, the Minister of Education at the time, to establish the UNB – University of Brasilia, during the 1960s. Her influence extended to a prominent circle within Brazilian politics and culture, and her residence was a frequent gathering place for individuals such as Tom Jobim, Jorge Amado, Juscelino Kubitschek, Oscar Niemeyer and Zanine Caldas, amongst others.

47. JOSÉ ZANINE CALDAS 1919-2001 Rare free-form coffee table circa 1970 Brazilian pequi. 47.6 x 122.5 x 109 cm (18 3/4 x 48 1/4 x 42 7/8 in.) Produced by the Zanine Caldas workshop, Nova Viçosa, Bahia, Brazil. Together with a certificate of authenticity from the Instituto José Zanine Caldas. ESTIMATE £30,000–50,000 $36,900–61,500 €34,800–57,900 Ω plus Buyers Premium and VAT, ARR applies*

PROVENANCE Vera Brant, Brasilia, gifted directly by the designer Aquired from the above by the present owner LITERATURE Alberto Vicente and Marcelo Vasconcellos, eds., Brazilian Modern Design, São Paulo, 2017, illustrated p. 171

José Zanine Caldas with scale models of the ‘Móveis Denúncia’ series at Nova Viçosa, 1977. Photo: © Florence Gruère

48. GEORGES JOUVE 1910-1964 Table lamp circa 1960 Glazed stoneware, brass, fabric shade. 29.3 cm (11 1/2 in.) high, including shade Underside incised with artist’s cipher and JOUVE. ESTIMATE £2,000–3,000 $2,500–3,700 €2,300–3,500 plus Buyers Premium and VAT, ARR applies*

PROVENANCE Sir Walter Worboys, London Thence by descent to the present owner LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 201

49. AUGUSTO BOZZI Adjustable ‘Tirolo’ bench circa 1954 Elm, fabric, brass. 83 x 180 x 66 cm (32 5/8 x 70 7/8 x 25 7/8 in.) Produced by Fratelli Saporiti, Varese, Italy. ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Rome LITERATURE ‘Domus per chi deve scegliere mobili di serie’, Domus, no. 400, March 1963, p. d/111 for a similar example

The present bench is composed of a movable seat with a backrest and two further seats which can be arranged in different configurations, the reverse of which can also serve as tables.

50. JEAN DUNAND 1877-1942

51. JOSEF HOFFMANN 1870-1956

Footed cup

Mirror

circa 1912 Patinated and partially silvered metal. 15.3 cm (6 in.) high, 23 cm (9 in.) diameter Underside incised JEAN DUNAND.

circa 1942 Gilt wood, mirrored glass. 46 x 42 x 6.1 cm (18 1/8 x 16 1/2 x 2 3/8 in.) Executed by Max Welz for the Entwurfs und Versuchswerkstätte für das Kunsthandwerk, Vienna, Austria.

ESTIMATE £2,000–3,000 $2,500–3,700 €2,300–3,500 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Paris Thence by descent to the present owner LITERATURE Félix Marcilhac, Jean Dunand: His Life and Works, New York, 1991, p. 270 for a similar example Amélie and Félix Marcilhac, Jean Dunand, Paris, 2020, p. 324

ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

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

52. VENINI Table lamp circa 1938 Lattimo glass, brass, fabric shade. 69.2 cm (27 1/4 in.) high, including shade Produced by Venini & C., Murano, Italy. ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Veneto LITERATURE Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, Turin, 2007, pl. 178

53. GABRIELLA CRESPI 1922-2017 Pair of ‘Quick-Change’ adjustable sofas, from the ‘Plurimi’ series circa 1972 Brass-anodised aluminium, fabric. Each: 73.5 x 217.2 x 122.5 cm (28 7/8 x 85 1/2 x 48 1/4 in.) Each: 38.8 x 213 x 142 cm (15 1/4 x 83 7/8 x 55 7/8 in.) open Each frame and hinge impressed with facsimile signature Gabriella Crespi BREV. Together with a certificate of authenticity from the Archivio Gabriella Crespi. ESTIMATE £12,000–18,000 $14,800–22,100 €13,900–20,900 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Madrid Phillips, London, ‘Design’, 1 October 2015, lot 80 Acquired from the above by the present owner LITERATURE Patrick Favardin and Guy Bloch-Champfort, Les décorateurs des années 60-70, Paris, 2007, p. 148 Gabriella Crespi, Il Segno e lo Spirito: Mobili, Plurimi, Sculture e Gioielli, exh. cat., Palazzo Reale, Milan, 2011, pp. 23, 40

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive number 200170015/1/3.

54. CARLO BUGATTI 1855-1940 Pair of knife rests circa 1907 Precious metal. Each: 3 x 10 x 3.5 cm (1 1/8 x 3 7/8 x 1 3/8 in.) ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE Philippe Dejean, Carlo-Rembrandt-Ettore-Jean Bugatti, Paris, 1981, p. 102 Marie-Madeleine Massé, Carlo Bugatti au Musée d’Orsay, Paris, 2001, p. 79

55. GABRIELLA CRESPI 1922-2017 Two chests of drawers, model no. 2033, from the ‘Unicum’ series 1975 Burr maple-veneered wood, Malacca rattan, brass. Each: 75.5 x 120 x 55.6 cm (29 3/4 x 47 1/4 x 21 7/8 in.) Base of one with affixed designer’s brass logo impressed with facsimile signature Gabriella Crespi and BREV and side of other with affixed designer’s brass logo impressed with facsimile signature Gabriella Crespi and ®. Together with two certificates of authenticity from the Archivio Gabriella Crespi. ESTIMATE £20,000–30,000 $24,600–36,900 €23,200–34,800 ‡ plus Buyers Premium and VAT, ARR applies*

The present lot has been authenticated by the Archivio Gabriella Crespi and is recorded under archive numbers 200391033/3 and 200509033/3.

56. NICOLA L. 1932-2018 Rare ‘Bouche’ floor lamp circa 1968 Coloured acrylic, painted steel. 142.3 x 71.2 x 29.9 cm (56 x 28 x 11 3/4 in.) ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 Ω plus Buyers Premium and VAT, ARR applies*

LITERATURE P. Favardin & A. Chiglien, Nicola L., Paris, 2003, front cover, p. 6 for similar examples

Δ 57. SHIRO KURAMATA 1934-1991 ‘Glass Chair’ 1976 Glass, Photobond 100 adhesive. 89.6 x 89.9 x 60 cm (35 1/4 x 35 3/8 x 23 5/8 in.) Produced by the Mihoya Glass Co. Ltd., Japan. Number 31 from the edition of 40. Together with a certificate of authenticity from Mieko Kuramata. ESTIMATE £18,000–24,000 $22,100–29,500 €20,900–27,800 plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private Collection, Europe Barry Friedman, New York

LITERATURE ‘Il Vetro Incollato’, Domus, no. 572, July 1977, p. 40 Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, n.p. Yasuko Seki, ed., Shiro Kuramata and Ettore Sottsass, exh. cat., 21_21 Design Sight, Tokyo, 2001, p. 40 Deyan Sudjic, Shiro Kuramata: Essays & Writings, London, 2013, front cover, pp. 75, 86, 93-94, 210 Deyan Sudjic, Shiro Kuramata: Catalogue of Works, London, 2013, p. 297

Examples of the ‘Glass’ chair are in the permanent collection of the Corning Museum of Glass, New York; the High Museum of Art, Atlanta; the Museum of Fine Arts, Houston; the National Museum of Modern Art, Kyoto; the Toyama City Museum of Modern Art and the New York Museum of Modern Art.

58. CHRISTOPHER DRESSER 1834–1904 Garden armchair, model no. 240809

LITERATURE Michael Whiteway, Christopher Dresser: A Design Revolution, exh. cat., Victoria and Albert Museum, London, 2004, p. 112 for a similar example

circa 1870 Cast iron, stained wood. 88.4 x 75 x 61.7 cm (34 3/4 x 29 1/2 x 24 1/4 in.) Produced by The Coalbrookdale Company, Shropshire, UK. Seat impressed COALBROOKDALE and backrest impressed No. 240809. ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ plus Buyers Premium and VAT, ARR applies*

59. GIO PONTI 1891-1979 Vase circa 1930 Glazed ceramic. 20.5 x 21.6 x 13.5 cm (8 1/8 x 8 1/2 x 5 3/8 in.) Manufactured by Richard-Ginori, Milan, Italy. Underside with manufacturer’s mark RICHARD-GINORI/S.CRISTOFORO/MILANO/ MADE IN ITALY. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £1,000–1,200 $1,200–1,500 €1,200–1,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Rome LITERATURE Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 61

60. FERNANDO CAMPANA AND HUMBERTO CAMPANA 1961-2022, b. 1953

PROVENANCE David Gill Gallery, London Simon de Pury, London, acquired from the above Acquired from the above by the present owner, 2013

‘Anhanguera’ sofa, from the ‘Brazilian Baroque’ series

LITERATURE Arcimboldo Face to Face, exh. cat., Centre Pompidou-Metz, Metz, 2021, p. 175

circa 2011 Mongolian fur, gilt bronze, bamboo. 93 x 235 x 120.5 cm (36 5/8 x 92 1/2 x 47 1/2 in.) Produced by Galleria O. Project, Rome, Italy. Number 2 from the edition of 3 plus 1 artists’ proof. Back incised Campana/ 2 / 3. ESTIMATE £12,000–18,000 $14,800–22,100 €13,900–20,900 ‡

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

plus Buyers Premium and VAT, ARR applies*

61. ÉMILE-JACQUES RUHLMANN 1879-1933

Illuminated vase circa 1926 Porcelain, gilt bronze. 52 cm (20 1/2 in.) high, 39.1 cm (15 3/8 in.) diameter Executed by the Manufacture Nationale de Sèvres, France. Interior impressed with SÈVRES/MANUFACTURE/ NATIONALE/FRANCE. ESTIMATE £20,000–30,000 $24,600–36,900 €23,200–34,800 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE Florence Camard, Ruhlmann, Master of Art Deco, New York, 1984, p. 300 for a similar example Emmanuel Bréon and Rosalind Pepall, eds., Ruhlmann: Un Genie de l’Art Déco, exh. cat., Musée des Années 30, Paris, 2001, p. 226 Florence Camard, Ruhlmann, Master of Art Deco, New York, 2009, p. 215

62. VIRGIL ABLOH 1980-2021 ‘Alaska’ chair 2019 Polished bronze. 73.5 x 51.4 x 65.6 cm (28 7/8 x 20 1/4 x 25 7/8 in.) Produced by Virgil Abloh, France for Carpenters Workshop Gallery. Number 5 from the edition of 8 plus 4 artist’s proofs and 1 prototype. Underside of seat with metal label impressed “VIRGIL” 2019 FRANCE/CARPENTERSWORKSHOPSGALLERY/ED.5 8+4AP+1P and underside of foot base impressed ED.5. ESTIMATE £20,000–30,000 $24,600–36,900 €23,200–34,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Carpenters Workshop Gallery Acquired from the above by the present owner, 2019 LITERATURE Michael Darling, Virgil Abloh: “figures of speech”, Munich, 2019, n.p.

63. LONNEKE GORDIJN, STUDIO DRIFT 2006 ‘Fragile Future 3.5’ 2010 Phosphor bronze, LED lights, acrylic, dandelion seeds. 238 x 52 x 33.2 cm (93 3/4 x 20 1/2 x 13 1/8 in.) Number 3 from the edition of 8 plus 4 artist’s proofs. Front impressed FF3.5 3/8. ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Carpenters Workshop Gallery, London Acquired from the above by the present owner, 2010 LITERATURE Helen Chislett, ‘At Home Again, Naturally’, The Financial Times: How To Spend It, London, 7 November 2009, pp. 66-67 for the series

‘Every year once the dandelions finish flowering, and the seed heads open, we pick the fluffy seeds. Then we glue these onto LEDs. The seed head which holds the individual seeds is the same size as the LED: so they fit perfectly. They become interchangeable. The LED dandelions will light up in a 3D circuit board which in fact has no board and is only a circuit. This allows to connect one element to the next similar element, allowing us to build entire installations like this. In a sort of perpetual overgrowth. A discovery we made with Fragile Future was that those natural seeds connect so perfectly to electronics that they suddenly didn’t seem from totally different worlds anymore. While I used to view technology as nature’s enemy this completely dissolved that notion and found a balance between them. And that is what Fragile Future is all about.’ LONNEKE GORDIJN, STUDIO DRIFT

64. ADO CHALE b. 1928 Group of four bowls and one ball designed 1967, produced circa 2018 Cast bronze. Largest bowl: 15 x 36.5 x 34.5 cm (5 7/8 x 14 3/8 x 13 5/8 in.) Smallest bowl: 5 x 15 x 13 cm (1 7/8 x 5 7/8 x 5 1/8 in.) Ball: 24.5 cm (9 5/8 in.) high, 25 cm (9 7/8 in.) diameter Interior of each bowl incised Ado chale. ESTIMATE £2,000–3,000 $2,500–3,700 €2,300–3,500 ♠ plus Buyers Premium and VAT, ARR applies*

PROVENANCE 88 Gallery, London Acquired from the above by the present owner, 2018 LITERATURE Ado Chale, Ado Chale, exh. cat., Musée d’Ixelles, Ixelles, 1986, n.p. for comparable balls

Phillips wishes to thank the Ado Chale studio for their assistance in cataloguing the present lot.

65. RICK OWENS b. 1961 Custom ‘Plug’ table, from the ‘Unique’ edition 2015 Stained pine, patinated bronze. 78.1 x 250 x 51 cm (30 3/4 x 98 3/8 x 20 1/8 in.) Produced by Rick Owens, France. Underside with painted wood insert impressed with artist’s facsimile signature Rick Owens and UNIQUE. ESTIMATE £30,000–50,000 $36,900–61,500 €34,800–57,900 plus Buyers Premium and VAT, ARR applies*

PROVENANCE Carpenter’s Workshop Gallery, London Acquired from the above by the present owner, 2017

Phillips wishes to thank Rick Owens Studio for their assistance in cataloguing the present lot.

66. ALEV EBÜZZIYA SIESBYE b. 1938 Large bowl 1987 Stoneware, turquoise glaze, unglazed red line. 13 cm (5 1/8 in.) high, 25 cm (9 7/8 in.) diameter Underside incised alev/’87. ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

LITERATURE John Pagliaro, ed., Shards: Garth Clark on Ceramic Art, New York, 2003, pp. 178, 183 for similar examples Wayne Higby et al., Materiality: The Miller Ceramic Art Collection, Stuttgart, 2019, p. 219 for a similar example

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

67. NANNA AND JØRGEN DITZEL

LITERATURE Grete Jalk, ed., Dansk Møbelkunst Gennem 40 Aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 275

1923-2005, 1921-1961

Rare sofa circa 1945 Fabric, beech. 90.8 x 169 x 80 cm (35 3/4 x 66 1/2 x 31 1/2 in.) Executed by master cabinetmaker Louis G. Thiersen, Copenhagen, Denmark. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Denmark Thence by descent Private collection, Denmark, acquired from the above

The present model sofa was exhibited at the Copenhagen Cabinetmakers’ Guild, Kunstindustrimuseet, 28 September–14 October 1945, stand 7. A preparatory drawing of the stand held in the Nanna Ditzel Design Archive reveals that the stand, which was intended to showcase suitable furniture for young couples’ housing, was initially meant to feature an ottoman but the present model sofa was ultimately included instead. There are no other known examples of this sofa, which is most likely a unique piece. Phillips wishes to thank Dennie and Lulu Ditzel from Nanna Ditzel Design for their assistance in cataloguing the present lot.

Σ 68. EDVARD KINDT-LARSEN AND TOVE KINDT-LARSEN 1901-1982, 1906-1994 Low swivel stool circa 1957 Teak, Brazilian rosewood, leather, brass. 63.6 cm (25 in.) high Executed by master cabinetmaker Thorald Madsen, Copenhagen, Denmark. Underside with manufacturer’s brass label impressed THORALD MADSENS/Snedkieri/København. ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 plus Buyers Premium and VAT, ARR applies*

PROVENANCE Dansk Møbelkunst Gallery, Copenhagen Acquired from the above by the present owner, 2015 LITERATURE Grete Jalk, ed., Dansk Møbelkunst Gennem 40 Aar, Volume 4: 1957-1966, Copenhagen, 1987, p. 25 Klaus Petersen and Per H. Hansen, Den Store Danske Møbelguide, Copenhagen, 2006, pp. 43, 184

69. ALEV EBÜZZIYA SIESBYE b. 1938 Bowl 1987 Stoneware, cobalt blue glaze, unglazed band. 9.8 cm (3 7/8 in.) high, 17.7 cm (6 7/8 in.) diameter Underside incised alev/’87. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

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

70. VENINI Frame, model no. 8 circa 1936 Coloured a treccia glass, brass. 32.6 x 27.4 x 21.8 cm (12 7/8 x 10 3/4 x 8 5/8 in.) Produced by Venini & C., Murano, Italy. Brass stand impressed VENINI/MURANO. ESTIMATE £1,000–1,200 $1,200–1,500 €1,200–1,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Naples LITERATURE Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 241 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 48

Σ 71. BØRGE MOGENSEN 1914-1972 Sideboard, model no. BM57 Executed circa 1957 Brazilian rosewood-veneered wood, Brazilian rosewood, sanded oak, oak, brass. 92 x 137.6 x 50.1 cm (36 1/4 x 54 1/8 x 19 3/4 in.) Executed by master cabinetmaker P. Lauritsen & Son, Denmark. ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 • plus Buyers Premium and VAT, ARR applies*

PROVENANCE Dansk Møbelkunst Gallery, Copenhagen Acquired from the above by the present owner, 2010 LITERATURE Mobilia, no. 34, May 1958, n.p. Michael Müller, Børge Mogensen, Möbel mit Format, Berlin, 2015, p. 120

72. ICO PARISI 1916-1996 ‘Paraggi’ hanging mirror circa 1958 Teak, mirrored glass, leather. 188.7 x 73.5 x 3.3 cm (74 1/4 x 28 7/8 x 1 1/4 in.) Manufactured by MIM, Rome, Italy. Reverse with manufacturer’s paper label printed mIm/ROMA. ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Rome LITERATURE ‘Una nuova produzione italiana di serie’, Domus, no. 351, February 1959, p. 45 Roberto Aloi, Esempi di Arredamento Moderno di Tutto Il Mondo, Settima Serie, Milan, 1964, p. 117 Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, p. 561

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

73. FRITZ HANSEN Vanity table and stool, model no. S 218 circa 1930 Stained birch, chrome-plated steel, leather, mirrored glass. Vanity table: 71 x 113.5 x 48 cm (27 7/8 x 44 5/8 x 18 7/8 in.) Stool: 43 x 34 x 36 cm (16 7/8 x 13 3/8 x 14 1/8 in.) Manufactured by Fritz Hansen, Allerød, Denmark. ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE Fritz Hansen, 3411 - FH-Staalmøbler, sales catalogue, Copenhagen, 1930, n.p.

74. PAOLO BUFFA 1903-1970 Chair circa 1950 Limed chestnut, rush. 91.7 x 46 x 56 cm (36 1/8 x 18 1/8 x 22 in.) Manufactured by Serafino Arrighi, Cantù, Italy Together with a certificate of expertise from the Paolo Buffa Archive. ESTIMATE £1,000–1,500 $1,200–1,800 €1,200–1,700 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Serafino Arrighi, Cantù Thence by descent Acquired from the above by the present owner LITERATURE Michele Marelli, Aurelio Porro, Alfio Terraneo, Paolo Buffa a Cantù, Cantù, 2022, p. 27 for a similar example

75. JACQUES ADNET 1900-1984 Adjustable table lamp, model no. 7706 circa 1930 Nickel-plated brass, glass, paper shade. 20.1 cm (7 7/8 in.) high, 25.5 cm (10 in.) diameter Glass produced by Baccarat, Paris, France. ESTIMATE £2,000–3,000 $2,500–3,700 €2,300–3,500 plus Buyers Premium and VAT, ARR applies*

LITERATURE Alain-René Hardy and Gaëlle Millet, Jacques Adnet, Paris, 2009, p. 240

76. ARMAND-ALBERT RATEAU 1882-1938 Stool circa 1925 Oak, leather, metal nailheads. 48.6 cm (19 1/8 in.) high, 39.4 cm (15 1/2 in.) diameter Underside impressed A.A. Rateau - 2065. ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE Franck Olivier-Vial and François Rateau, Armand Albert Rateau: Un Baroque chez les Modernes, Paris, 1992, p. 158

77. ALBERT CHEURET 1884-1966 Pair of ‘Cigogne’ illuminated mirrors circa 1925 Silvered bronze, mirrored glass, alabaster. Each: 55 x 90.7 x 19 cm (21 5/8 x 35 3/4 x 7 1/2 in.) Base of each incised Albert Cheuret. ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 plus Buyers Premium and VAT, ARR applies*

The particularity of the present pair of mirrors is the sought-after detail of the respective storks facing each other, rather than in the same direction.

The present model mirror on display in a Albert Cheuret stand.

78. GIO PONTI 1891-1979 Nine-armed chandelier, model no. 5557 circa 1947 Coloured glass, glass, brass, aluminium. 91.2 cm (35 7/8 in.) drop, 66.7 cm (26 1/4 in.) diameter Produced by Venini & C., Murano, Italy. Top of arm-holder impressed with 5557 and assembly numbers 1 to 9. ESTIMATE £8,000–12,000 $9,800–14,800 €9,300–13,900 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Belgium, circa 1953 Thence by descent Acquired from the above by the present owner, 2022 LITERATURE Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 96 for a similar example

79. GIO PONTI 1891-1979 Rare dining table circa 1950 Burr walnut-veneered wood, walnut-veneered wood, walnut, glass, brass. 79.2 x 190 x 94.2 cm (31 1/8 x 74 3/4 x 37 1/8 in.) Manufactured by Dassi, Milan, Italy. Underside with manufacturer’s paper label printed dmm. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £30,000–50,000 $36,900–61,500 €34,800–57,900 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Switzerland

80. ICO PARISI 1916-1996 Pair of ‘Uovo’ armchairs, model no. 813 circa 1953 Fabric, painted iron. Each: 80.8 x 80.6 x 80 cm (31 3/4 x 31 3/4 x 31 1/2 in.) Manufactured by Cassina, Meda, Italy. ESTIMATE £15,000–20,000 $18,400–24,600 €17,400–23,200 ‡

PROVENANCE Private collection, Milan LITERATURE ‘Mobili italiani per l’America’, Domus, no. 292, March 1954, p. 66 Roberto Aloi, Mobili Tipo: Presentazione Dell’Arch. Agnoldomenico Pica, Milan, 1956, p. 219 Flaminio Gualdoni, ed., Ico Parisi & Architecture, exh. cat., Galleria Civica, Bologna, 1990, p. 208 Roberta Lietti, Ico Parisi Catalogue Raisonné, 1936-1960, Milan, 2017, pp. 516-17

plus Buyers Premium and VAT, ARR applies*

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

81. Σ ETTORE SOTTSASS, JR. 1917-2007 Cabinet circa 1962 East Indian rosewood-veneered wood, painted wood, bronze. 75.8 x 107.8 x 45.9 cm (29 7/8 x 42 1/2 x 18 1/8 in.) Manufactured by Poltronova, Agliana, Italy. ESTIMATE £18,000–24,000 $22,100–29,500 €20,900–27,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Tuscany LITERATURE Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 186 Irene de Guttry, Maria Paola Maino, Il Mobile Italiano degli Anni ‘40 e ‘50, Bari, 1992, p. 267

82. VENINI Custom pair of monumental ‘Poliedri’ ceiling lights, from the Teatro Giacosa, Aosta circa 1962 Coloured glass, pagliesco glass, cristallo glass, brass. Left: 370.6 x 60.7 x 59.8 cm (145 7/8 x 23 7/8 x 23 1/2 in.) Right: 368 x 61 x 60.2 cm (144 7/8 x 24 x 23 3/4 in.) Shades designed by Carlo Scarpa. Produced by Venini & C., Murano, Italy. ESTIMATE £30,000–50,000 $36,900–61,500 €34,800–57,900 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan EXHIBITED ‘Venini: Luce 1921-1985’, Le Stanze del Vetro, Venice, 18 September 2022–8 January 2023, for one light LITERATURE Marino Barovier and Carla Sonego, Venini Light 1921-1985, exh. cat., Le Stanze del Vetro, Venice, 2022, illustrated pp. 336-37, 504

One of the present monumental ‘Poliedri’ ceiling lights in the entrance of the Teatro Giacosa, Aosta. Photo: Courtesy LE STANZE DEL VETRO

83. ETTORE SOTTSASS, JR. 1917-2007 ‘Nefertiti’ writing desk circa 1967 Plastic-laminated wood, steel. 110.2 x 126.9 x 35.2 cm (43 3/8 x 49 7/8 x 13 7/8 in.) Manufactured by Poltronova, Agliana, Italy with laminate by Abet Laminati, Bra, Italy. ESTIMATE £40,000–60,000 $49,200–73,800 €46,300–69,500 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Florence LITERATURE Ettore Sottsass, ‘Sottsass a Stoccolma’, Domus, no. 474, May 1969, p. 54 Emilio Ambasz, Italy: The New Domestic Landscape: Achievements and Problems of Italian Design, exh. cat., Museum of Modern Art, New York, 1972, p. 50 Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 294 Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, p. 116 Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, p. 87 Par Milco Carboni, Ettore Sottsass Jr. ’60-’70, exh. cat., FRAC Centre, Orléans, 2006, pp. 114-15

The present model desk was made exclusively to order from the Poltronova catalogue until the mid-1970s, and only a few examples were ever executed. The original design was conceived by Sottsass with white and green vertical stripes laminate on the exterior, with a white interior, as seen in present lot. Colour variations included pink and white stripes, also with a white interior; green and white stripes applied only on the front and back elevation, with all other sides in white; or entirely white monochrome. The ‘Nefertiti’ model desk was included in the main exhibitions on Ettore Sottsass’ work of this period, notably the ‘Miljo for en ny Planet’ exhibition at the National Museum of Stockholm in 1969, and ‘Italy: The New Domestic Landscape’ at MoMA, New York in 1972, the latter acquiring the writing desk for their permanent collection in the same year.

84. JOSEF HOFFMANN 1870-1956 Octagonal flower basket, model no. M 609 designed 1906, produced 1906-1915 Painted zinc. 19.5 cm (7 5/8 in.) high, 10.5 cm (4 1/8 in.) diameter Executed by the Wiener Werkstätte, Vienna, Austria. Underside stamped WIENER/WERK/STÄTTE. ESTIMATE £1,500–2,500 $1,800–3,100 €1,700–2,900 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE Christian Witt-Dörring and Janis Staggs, Wiener Werkstätte 1903-1932: The Luxury of Beauty, exh. cat., Neue Galerie, New York, 2017, p. 154

The present model basket is listed in the Wiener Werkstätte Archive at MAK, Vienna, under reference WWF 221-23 and WWF 132-52-1. Phillips wishes to thank Dr. Christian Witt-Dörring for his assistance in cataloguing the present lot.

85. CARLO SCARPA 1906-1978 Pair of ceiling lights circa 1934 Iridescent corroso glass, coloured cordonato glass, coloured glass, brass. Each: 64.5 cm (25 3/8 in.) drop Produced by Venini & C., Murano, Italy. ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Acquired by the present owner in Turin EXHIBITED ‘Venini: Luce 1921-1985’, Le Stanze del Vetro, Venice, 18 September 2022–8 January 2023, for one light LITERATURE Marino Barovier and Carla Sonego, Venini: Luce 1921-1985, exh. cat., Le Stanze del Vetro, Venice, 2022, one light illustrated p. 496

When he designed this cabinet in 1927, Hoffmann was at the peak of his creative career and international success despite simultaneously being exposed to Adolf Loos’s intensified cultural-critical attacks. The years after the fall of the Austro-Hungarian monarchy were marked by contradictory conditions that were detrimental to the realisation of Hoffmann’s artistic ideas and projects. As artistic director of the Wiener Werkstätte, which was founded by him and from the outset was dependent on the patronage of the upper-middle classes for its luxury production, Hoffmann lost customers in the course of the economic decline of the young Austrian Republic, hyperinflation and mass unemployment. In 1925, however, as director of the Austrian participation in the International Exhibition of Decorative Arts in Paris, he was able to realise the Austrian pavilion and set up a brilliant presentation of works by the Wiener Werkstätte. He was awarded the Order of the Legion of Honour by the French President for this project. At the same time, Loos was working on a residence for Tristan Zara in Paris and, in light of Hoffmann’s pavilion and its programmatic focus on modern arts and crafts, he vehemently warned against its aberrations in relation to the needs of modern culture. Loos made his criticism widely known. On 20 April 1927, he gave a lecture in the large hall of the Viennese Music Society entitled “The Viennese Woe... A Settlement of Accounts!” Only three weeks later, on 14 May, Hoffmann opened the 1927 Vienna Art Show at the Austrian Museum of Art and Industry, for which he designed the present cabinet. The exhibition consciously alluded to the tradition of the Viennese renewal of the arts of 1897 (founding of the Secession) and the 1908 Vienna Art Show (following the withdrawal of the Klimt group from the Secession in 1907). It was intended to serve as a motivation for a new generation of artists based on the experience of what had been achieved, particularly in these difficult times. In his opening speech, Hoffmann specifically addressed the social and economic realities of the Austrian interwar period and remarked: “You will perhaps see the poverty of our time at every turn in the crude nature of this exhibition, but in other respects

you will not fail to notice that in this provisional presentation there is nevertheless a meaningful progress in the fact that continuous conscientious work teaches us to avoid any useless effort.” The cabinet is no longer part of a set or a Gesamtkunstwerk, thus unbound and adapted to the new living requirements of society. This unboundedness is heightened by the absence of any individual ornamentation. Nevertheless, it radiates individuality, which it owes purely to Hoffmann’s design genius. At first glance, it is not any particular effort made towards material choice or craftsmanship that makes the furniture stand out. It is the simple coloured varnish paint that defines the furniture as a clear volume. In typical Hoffmann manner, however, this volume allows for various interpretations. The question arises: is it the constructive three-dimensional reality of the furniture body that retains the visual upper hand or the way in which Hoffmann conceived the two dimensionality of the front. The latter is created by framing all structural design elements with triangular (in their crosssection) slats. In principle, this piece of furniture consists of a body and a stand. In the case of the stand, Hoffmann envisions a scenario—it involves laying the triangular slats, now in a double pack, only across its front—whereby the stand can no longer be read as an independent structural element. Ultimately, the furniture radiates symmetry. This symmetry, however, must first be worked out visually, as Hoffmann uses the disruptive element of the offset open and closed compartments. The result as a whole is that of an individualistic conception of harmony, consciously supported by a colour scheme that was new for the time. Hoffmann’s opening speech ends with exactly that: ‘You will now think and already suspect that it is not only we who are aware of the special power of colour. We have recognised that colour as such has a quicker and stronger effect than anything else and that it has replaced much of what we will never be able to afford again, especially in interior design. Therefore, I will conclude with the words a sublime spirit once said. What would the world and our lives be without the colour red?’ By Dr. Christian Witt-Dörring

Preparatory drawing for the present work by Josef Hoffmann, circa 1926. Photo: © MAK

86. JOSEF HOFFMANN 1870-1956

EXHIBITED ‘Josef Hoffmann 1870-1956 - Progress Through Beauty’, MAK, Vienna, 14 December 2021-19 June 2022

Unique sideboard

LITERATURE C. Geoffrey Holme and Shirley B. Wainwright, The Studio Year Book of Decorative Art 1928, London, 1928, p. 140 Josef Hoffmann 1870-1956-Progress Through Beauty, exh. cat., MAK, Vienna, 2021, illustrated p. 280

circa 1927 Painted wood. 99.5 x 120 x 42.2 cm (39 1/8 x 47 1/4 x 16 5/8 in.) Executed by Anton Pospischil, Vienna, Austria. ESTIMATE £50,000–70,000 $61,500–86,100 €57,900–81,100 Ω plus Buyers Premium and VAT, ARR applies*

The present sideboard is recorded in the Kunstblättersammlung der Bibliothek des MAK, Vienna, under drawing number KI 8819-7. Phillips wishes to thank Dr. Christian Witt-Dörring for his assistance in cataloguing the present lot.

87. JOSEF HOFFMANN 1870-1956 Flower basket, model no. M 698 1906 Silver, glass liner. 25.6 x 10 x 12.3 cm (10 1/8 x 3 7/8 x 4 7/8 in.) Executed by the Wiener Werkstätte, Vienna, Austria. Impressed with workshop’s seals WW and rosemark, silversmith’s mark JH and Diana head Austrian hallmark. ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE Peter Noever, ed., Josef Hoffmann Designs, exh. cat., Austrian Museum of Applied Arts, Vienna, 1992, p. 182 Gabriele Fahr-Becker, Wiener Werkstätte 1903-1932, Cologne, 2003, p. 154 Josef Hoffmann, Interiors 1902-1913, exh. cat., Neue Galerie, New York, 2006, p. 62

The present model lot is listed in the Wiener Werkstätte Archive at MAK, Vienna, under reference WWMB 8-S-698 and WWF 93-41-3. Phillips wishes to thank Dr. Christian Witt-Dörring for his assistance in cataloguing the present lot.

88. CARLO SCARPA 1906-1978

89. CARLO SCARPA 1906-1978

Vase, model no. 5680

Miniature vase

circa 1926 Cristallo glass with oxidised silver leaf inclusions. 17.2 cm (6 3/4 in.) high, 14.4 cm (5 5/8 in.) diameter Manufactured by M.V.M. Cappellin, Murano, Italy. Underside acid-etched MVM/Cappellin/Murano.

circa 1926 Glass, coloured glass. 9 cm (3 1/2 in.) high, 8 cm (3 1/8 in.) diameter Manufactured by M.V.M. Cappellin, Murano, Italy. Underside acid-etched MVM/Cappellin/Murano.

ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 ‡

ESTIMATE £1,000–2,000 $1,200–2,500 €1,200–2,300 ‡

plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan

LITERATURE ‘Murano: oggi fatto d’arte’, Domus, no. 12, December 1928, p. 59 for a similar example Marino Barovier and Carla Sonego, eds., The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa 1925-1931, exh. cat., Fondazione Giorgio Cini, Venice, 2018, pp. 72, 74, 94-95 for similar examples

90. STUDIO B.B.P.R. Ceiling light circa 1962 Painted aluminium, glass. 29.8 x 299.2 x 222.4 cm (11 3/4 x 117 3/4 x 87 1/2 in.) Manufactured by Arteluce, Milan, Italy. Interior of two shades with manufacturer’s paper label printed AL/MILANO/ARTELUCE. ESTIMATE £70,000–90,000 $86,100–111,000 €81,100–104,000 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Turin LITERATURE ‘Lampade enormi e lampade piccolissime’, Domus, no. 403, June 1963, p. 38 for another configuration Arteluce, sales catalogue, 1966, pp. 64-65 for other configurations

The present ceiling light comes from a villa in Piano Torinese furnished by the Italian architect and designer Franco Campo. The sprawling arrangement comprises various component parts and was available to order in various configurations. A lighting review in Domus no. 403 from June 1963 explains: ‘a special joint system allows to combine these elements in all sorts of ways, in symmetrical or asymmetrical aggregations. This can lead to the creation of enormous ceiling lights’. Custom configurations were also found in Milan’s Castello Sforzesco, a city landmark which was restored by Studio B.B.P.R between 1954 and 1963 and in the Hispano-Olivetti showroom in Barcelona.

DESIGNING HISTORY The Furniture of Gabriella Colucci and Franco Pierluisi (G.R.A.U.) for the Restoration of Villa of Cardinal Chigi in Ariccia, near Rome By Stefano Poli

The work of the Roman Architects and Urbanists Group (G.R.A.U.) can partly be understood within the context of a rejection of the excessive linguistic and methodological homogenisation in architecture associated with the so-called International Style. Especially in Italy, between the 1950s and 1960s, there was a critical attitude towards the recent international tradition of modern architecture. Buildings such as the Torre Velasca by Studio B.B.P.R (Milan, 1955-57), Ignazio Gardella’s Casa alle Zattere (Venice, 195862), the Neoliberty architecture of Roberto Gabetti and Aimaro Isola in Turin, as well as the crucial work of Bruno Zevi and the Association for Organic Architecture (APAO, founded in Rome in 1945), became vehicles for both a new focus on historical and urban aspects and the search for an alternative expression of modernity. In particular, the attempt to establish a synthesis between the city’s historical fabric and new architecture, considering history as the very substance of contemporary design, led to a debate that flared up in the pages of the English magazine The Architectural Review with a scathing article by Reyner Banham, to which Ernesto Nathan Rogers responded with a firm sense of irony in Casabella Continuità.

Villa of Cardinal Chigi in Ariccia, near Rome. Photo: © Patrizia Nicolosi

On one hand, this historical and critical context partly frames G.R.A.U.’s work. On the other hand, one must place the cultural context of the group within its unique Roman setting. The acronym declared the group’s identity, founded on the inseparability of architecture from urban planning and the Roman character of the association. The inextricability between these realms is evident in the restoration project of the 16th century Villa of Cardinal Chigi in Ariccia, near Rome (executed in 1967), from which the present furniture originates. The history of Western architecture, guided by perspective geometry and adorned with references to examples of ancient and Baroque Roman architecture, permeates the entire project, aligning modifications and reconstructions according to an ideal symmetrical plan. The oldest part of the building regains centrality compared to later additions, while the urban context determines the visual axes, recalling the landmarks of Palazzo Chigi and the dome of the Church of Santa Maria Assunta by Gian Lorenzo Bernini.

A detail of Villa of Cardinal Chigi’s entrance in Ariccia, near Rome. Photo: © Patrizia Nicolosi

Giovanni Borromini’s perspective corridor at Palazzo Spada, Rome. Photo: Borromini © Laudibi | Dreamstime.com

Architectural drawing of Villa of Cardinal Chigi in Ariccia, near Rome. © Alessandro Anselmi and Gruppo Romano Architetti Urbanisti, G.R.A.U. Isti Mirant Stella: Architetture 19641980, Rome, 1981, p. 110

Similarly, the furnishings are defined by the pervasive perspective design that the architects elaborate for each room. In the drawings, imaginary Cartesian lines form a grid within the interior spaces, resembling a deliberate homage to Renaissance perspective studies, accompanied by exuberant references to Michelangelo. In certain portions of the interior space, this abstract grid materialises, moving away from the two-dimensionality of the paper to give life to the shapes and proportions of the furniture, which appear as a threedimensional transposition of it. These furnishings clearly exhibit their “architectural” character, emphasising the inseparability of the furniture design from the spatial design that contains them, implicitly engaging with the emerging divide between industrial design and architecture. For Gabriella Colucci and Franco Pierluisi, such a distinction was evidently unacceptable, as it was foreign to the great Italian tradition of design and practically inconceivable.

91. G.R.A.U. Custom bookcase circa 1967 Painted beech-veneered plywood, painted pine, glazed ceramic. 287.5 x 305.3 x 45 cm (113 1/4 x 120 1/4 x 17 3/4 in.) ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 ‡

PROVENANCE Private collection, Villa of Cardinal Chigi, Ariccia, commissioned directly from the designers, 1967 Acquired from the above by the present owner LITERATURE Alessandro Anselmi and Gruppo Romano Architetti Urbanisti, G.R.A.U. Isti Mirant Stella: Architetture 1964-1980, Rome, 1981, p. 110 for a drawing Francesco Moschini, ‘Il restauro del casino Chigi sull’Appia Nuova’, Abitare, no. 271, January - February 1989, illustrated p. 123

plus Buyers Premium and VAT, ARR applies*

92. G.R.A.U. Custom table circa 1967 Walnut, painted steel, glass, pietra serena, mirrored glass, brass. 74.5 x 201.2 x 102.5 cm (29 3/8 x 79 1/4 x 40 3/8 in.) ESTIMATE £7,000–9,000 $8,600–11,100 €8,100–10,400 ‡ plus Buyers Premium and VAT, ARR applies*

93. G.R.A.U. Pair of custom floor lamps with cabinets circa 1967 Painted wood, glass, painted aluminium. Each: 210 x 50 x 50 cm (82 5/8 x 19 5/8 x 19 5/8 in.) ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ plus Buyers Premium and VAT, ARR applies*

94. G.R.A.U. Pair of custom console tables circa 1967 Birch-veneered wood, walnut, mirrored-glass, painted steel. Each: 76.9 x 101.4 x 32.5 cm (30 1/4 x 39 7/8 x 12 3/4 in.), including wheels ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

95. G.R.A.U. Pair of custom chests of drawers circa 1967 Jelutong, sapele mahogany, sapele mahogany-veneered wood, brass. Each: 84.4 x 109 x 52 cm (33 1/4 x 42 7/8 x 20 1/2 in.) ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 ‡ plus Buyers Premium and VAT, ARR applies*

96. G.R.A.U. Pair of custom beds circa 1967 Walnut, walnut-veneered wood. Each: 105.5 x 99.5 x 204 cm (41 1/2 x 39 1/8 x 80 3/8 in.) ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

The present architectural drawing of Villa of Cardinal Chigi in Ariccia, near Rome, has been acquired by the Centre Pompidou, Paris.

The present pair of custom beds illustrated in an architectural drawing of Villa of Cardinal Chigi in Ariccia, near Rome. Image: © G.R.A.U./ Les architectes du projet. Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat

97. G.R.A.U. Custom desk circa 1967 Jelutong-veneered wood, walnut, painted steel, brass. 74.4 x 101.5 x 77 cm (29 1/4 x 39 7/8 x 30 3/8 in.) ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

The present desk is one of two custom desks designed by Studio G.R.A.U. for the restoration of Villa of Cardinal Chigi in Ariccia, in 1967.

98. G.R.A.U. Pair of custom bookcases circa 1967 Painted wood. Each: 160.2 x 159.5 x 52 cm (63 1/8 x 62 3/4 x 20 1/2 in.) ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

99. ALESSANDRO MENDINI 1931-2019 Unique ‘Spaziale’ table 1978 Painted wood, linoleum. 85 x 164 x 164 cm (33 1/2 x 64 5/8 x 64 5/8 in.) Produced by Studio Alchimia, Milan, Italy. Together with a certificate of authenticity from the Atelier Mendini. ESTIMATE £50,000–70,000 $61,500–86,100 €57,900–81,100 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Galleria Cristiani, Turin Private collection, Alba, acquired from the above, circa 2000 Acquired from the above by the present owner EXHIBITED ‘Stanza del Secolo’, Palazzo Diamanti, Ferrara, 1978 ‘Stanza da Manuale’, Galleria d’Arte Moderna, Bologna, 1981 LITERATURE Rosamaria Rinaldi, Alessandro Mendini: Progetto lnfelice, Milan, 1983, illustrated p. 16 Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, illustrated p. 126 Fulvio Irace, Codice Mendini, Florence, 2016, illustrated p. 205

The avant-garde movement of Radical Design flourished in Italy from the mid-1960s to the early 1980s. It generated thoughtprovoking and groundbreaking creations intricately linked to a wider philosophical, artistic and architectural ideology. Inspired by the Pop Art movement, designers conceived a brand-new lexicon of expression by delving into innovative materials, shapes, and colours. Objects became vehicles to convey ideas and to push the boundaries of conventional design. The visionary architect and designer Alessandro Mendini emerged as one of the foremost proponents of Radical Design, and the present Unique ‘Spaziale’ table serves as a striking embodiment of Italian postmodernism. A drawing of the table and chair from the same series was illustrated on the cover of Casabella magazine in 1974, in a captivating, ethereal, and “floating” layout which positioned furniture design as an imaginative medium for artistic and spiritual expression. The use of reflective colours and the illusion of weightlessness gives the table an almost transcendental quality. Through their cosmic aesthetics, works of Radical Design established a profound connection between earthly design and the celestial realm. Mendini’s design philosophy transcended the mere functional territory, inciting contemplation about the inherent potential of objects to elevate the human spirit. This concept found articulation through his series of pieces in the mid-seventies, known as ‘Objects for Spiritual Use,’ where he presented the poetic and spiritual essence of furniture. In 1987, a selection of these objects, were exhibited in the ‘Stanza del Secolo’ at Palazzo Diamanti in Ferrara together with other works he designed during that period. These included, among others, the ‘Proust’ armchair and the ‘Kandissi’ sofa and mirror. By far the most outstanding piece was the ‘Spaziale’ table, whose unmistakably radical forms make it an undeniable icon of Radical Italian Design.

The present table on display at the ‘Stanza del Secolo’ exhibition at Palazzo Diamanti, Ferrara, 1978. Image: © Archivio Alessandro Mendini *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 27%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

100. ALESSANDRO MENDINI 1931-2019

Prototype mirror 1980 Mirrored glass, painted wood, painted wood with transfer-printed pattern. 71 x 46.4 x 3.5 cm (27 7/8 x 18 1/4 x 1 3/8 in.) Manufactured by E.A.D. Poltronova, Agliana, Italy. Together with a certificate of authenticity from the Atelier Mendini. ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Florence LITERATURE Rosamaria Rinaldi, Alessandro Mendini: Progetto Infelice, Milan, 1983, p. 142

101. PIERRE GUARICHE 1926-1995 Pair of ‘Courchevel’ lounge chairs circa 1959 Chrome-plated metal, fabric. Each: 71.3 x 59.2 x 73.5 cm (28 1/8 x 23 1/4 x 28 7/8 in.) Manufactured by Sièges Témoins, France. ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 plus Buyers Premium and VAT, ARR applies*

LITERATURE Delphine Jacob et al., Pierre Guariche: Luminaires, Mobilier, Architecture d’Intérieur, Paris, 2020, p. 148

102. GIO PONTI 1891-1979

In the final decade of his life, Ponti’s research was characterised by a prominent theme: the reinvention of the domestic environment. This ambitious undertaking aimed to craft a collection of objects that would seamlessly blend functionality and space efficiency. His furniture designs thus underwent a transformation, becoming ‘lightweight’ and effortlessly mobile, thanks to the incorporation of casters, hinges and their inherent lightness. This evolution was complemented by a fresh palette of colours, breathing life into the ‘Apta’ series manufactured by Walter Ponti of Mantua.

Desk with pair of integrated chairs, model no. A012, from the ‘Apta’ series circa 1970 Painted wood, steel, chrome-plated steel, vinyl, acrylic. 74.5 x 119.5 x 113 cm (29 3/8 x 47 x 44 1/2 in.) 74.5 x 163 x 163 cm (29 3/8 x 64 1/8 x 64 1/8 in.), fully extended Manufactured by Walter Ponti, San Biagio, Italy. Interior of one drawer with manufacturer’s label printed design per/WALTER PONTI/S. BIAGGIO-Mantova/ITALY. Together with a certificate of expertise from the Gio Ponti Archives.

One of the most striking examples of this innovation is the present desk with a pair of integrated chairs, model no. A012, which is effortlessly mobile on wheels. This desk shows a well-thoughtout design with drawers, acrylic shelves, and steel side pockets, demonstrating its ingenious and practical qualities which enable it to interact with and adapt to a variety of interior spaces.

ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Acquired directly from the manufacturer by the present owner

Similarly, the versatile pair of wardrobes, from the ‘Apta’ series (Lot 106), characterised by their striking and brightly coloured hinged doors on wheels are a testament to Ponti’s dedication to bringing to life objects with multiple purposes. The ‘Apta’ series creations are unified by the elegant simplicity of their design, reflecting Ponti’s unique and pioneering vision for the modern domestic environment.

LITERATURE ‘Maggior spazio godibile in minor superficie’, Domus, no. 490, September 1970, pp. 25-26 Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 249 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2004, p. 207 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, Milan, 2009, pp. 378-79

The present model desk published in Domus, no. 490, 1970. Image: Archivio Domus © Editoriale Domus S.p.A. *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 27%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

103. ALEV EBÜZZIYA SIESBYE b. 1938 Rare tall vessel 2003 Glazed stoneware, cobalt and unglazed lines. 27.3 cm (10 3/4 in.) high, 18.6 cm (7 3/8 in.) diameter Underside incised with ICT/Alev/’03. ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 ♠ plus Buyers Premium and VAT, ARR applies*

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

104. GIO PONTI 1891-1979 Pair of wardrobes, from the ‘Apta’ series circa 1970 Painted wood, steel, rubber casters. Each: 155.2 x 68.8 x 37.5 cm (61 1/8 x 27 1/8 x 14 3/4 in.) Manufactured by Walter Ponti, San Biagio, Italy. Interior of each with manufacturer’s label printed design per/WALTER PONTI/S. BIAGIO-Mantova/ITALY. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £7,000–9,000 $8,600–11,100 €8,100–10,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Acquired directly from the manufacturer by the present owner LITERATURE ‘Maggior spazio godibile in minor superficie’, Domus, no. 490, September 1970, p. 29 Ugo La Pietra, ed., Gio Ponti: L’Arte si innamora dell’Industria, Milan, 2009, p. 379

105. ROBERTO GABETTI AND AIMARO ISOLA 1925-2000, b. 1928 Rare ‘Trilogia’ sideboard circa 1970 Painted wood, painted veneered wood, chrome-plated steel. 77.5 x 180 x 58.7 cm (30 1/2 x 70 7/8 x 23 1/8 in.) Produced by ARBO, Turin, Italy. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 plus Buyers Premium and VAT, ARR applies*

PROVENANCE Sant’Agostino, Turin, ‘Design, Arti decorative del Novecento e una collezione di vetri di Murano’, 20 March 2013, lot 1412 Acquired from the above by the present owner LITERATURE Fulvio Ferrari, Gabetti e Isola Mobili: 1950-1970, Genoa, 1986, p. 72

106. RUTH FRANCKEN 1924-2006 ‘Homme’ chair 1971 Polyurethane foam, chrome-plated steel. 98 x 58 x 74 cm (38 5/8 x 22 7/8 x 29 1/8 in.) Produced by Xiane & Eric Germain, Paris. From the production of circa 20 examples. Underside of seat incised Ruth Francken. ESTIMATE £18,000–24,000 $22,100–29,500 €20,900–27,800 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Philippe Decelle, L’Utopie du tout Plastique 1960-1973, Brussels, 1994, p. 100 Jean-Louis Gaillemin et. al, eds., Design contre Design, exh. cat. Galeries Nationales du Grand Palais, Paris, 2007, p. 260

The 1960s in Italy were a period of vital rebirth and profound social changes. Ico Parisi was a conscious witness of this and became aware of his role in the ongoing radical lifestyle transformations. He designed new homes and holiday villas with a simple compositional scheme yet ennobled by the presence of strong artistic interventions. On the moraine hills around lake Como, he created a villa with eaves and sculptural gargoyles designed by his sculptor friend Francesco Somaini. Parisi also designed the villa’s interior, entirely in line with the new ideas of living which required simplicity, flexibility, and functionality. The predominant design element was undoubtedly the significant colour that strongly emerged on every compositional aspect. Amongst the bespoke furnishings were a table with bright pink legs and a glass top, a striking chair upholstered in a vibrant pink fabric, and a set of four green and black stools, all sold at Phillips in May 2022. The present lot comes from this same interior. The colours throughout the villa were glossy, uniform, intense, bold and sometimes even unsettling. They were chosen by the great interior designer that was Ico’s wife, Luisa Parisi, who knew how to purposefully complete her husband’s ideas with her ‘touch’ of perfection. By Roberta Lietti, Curator and Archivist at the Archivio del Design di Ico Parisi

The private villa designed by Ico Parisi near Como, Italy. Photo: © Courtesy Archivio del Design di Ico Parisi

107. ICO PARISI 1916-1996 Unique desk circa 1966 Painted veneered wood, chestnut-veneered wood, glass, steel. 74.5 x 335.6 x 59.9 cm (29 3/8 x 132 1/8 x 23 5/8 in.) Manufactured by Brugnoli Mobili, Cantù, Italy. Together with a certificate of authenticity from the Archivio del Design di Ico Parisi. ESTIMATE £12,000–18,000 $14,800–22,100 €13,900–20,900 ‡

PROVENANCE Private collection, Como, commissioned directly from the designer, 1960s LITERATURE Roberta Lietti, Ico Parisi: Catalogue Raisonné, 1936-1960, Milan, 2017, pp. 385, 431 for a similar example

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

plus Buyers Premium and VAT, ARR applies*

108. CARLO SCARPA 1906-1978 Ceiling light, model no. 5258 circa 1931 Pulegoso glass with murrine a stelle. 48.5 cm (19 1/8 in.) drop, 30 cm (11 3/4 in.) diameter Produced by Venini & C., Murano, Italy. ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 256, pl. 42 Franco Deboni, Venini Glass, Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 142 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Royalty payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 27%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

109. PIETRO CHIESA 1892-1948 Console table circa 1949 Birch-veneered wood, coloured mirrored glass, brass. 80 x 70 x 34.5 cm (31 1/2 x 27 1/2 x 13 5/8 in.) Manufactured by Fontana Arte, Milan, Italy. ESTIMATE £20,000–30,000 $24,600–36,900 €23,200–34,800 ‡ plus Buyers Premium and VAT, ARR applies*

LITERATURE ‘Il mobiletto di Pietro Chiesa’, Domus, no. 234, March 1949, p. 38

PROPERTY FROM A MILANESE ESTATE

110. GIO PONTI 1891-1979

PROVENANCE Giordano Chiesa, Milan Thence by descent to the present owner

‘Natura morta con mandolino’ 1950s Reverse-painted glass. 57.7 x 69.7 x 3 cm (22 3/4 x 27 1/2 x 1 1/8 in.) framed 48 x 60 x .9 cm (18 7/8 x 23 5/8 x 0 3/8 in.) unframed Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

PROPERTY FROM A MILANESE ESTATE

111. GIO PONTI 1891-1979 ‘Natura morta con tavolo da gioco’ 1950s Reverse-painted glass, in artist’s frame. 61.7 x 79.7 x 5.7 cm (24 1/4 x 31 3/8 x 2 1/4 in.) framed 51.1 x 70.2 x 0.7 cm (20 1/8 x 27 5/8 x 0 1/4 in.) unframed Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Giordano Chiesa, Milan Thence by descent to the present owner

112. GIO PONTI 1891-1979 Desk circa 1950 Walnut, walnut-veneered wood, reverse painted glass, brass. 75.7 x 159.8 x 84.8 cm (29 3/4 x 62 7/8 x 33 3/8 in.) Produced by Ariberto Colombo, Cantù, Italy. Underside with producer’s paper label printed ARIBERTO COLOMBO/MOBILIFICIO, partially faded. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £12,000–18,000 $14,800–22,100 €13,900–20,900 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Cagliari LITERATURE ‘Chiarezza, unità, visibilità totale negli uffici modernissimi’, Domus, no. 270, May 1952, pp. 21, 24-25 for a similar example Ugo La Pietra, Gio Ponti: L’Arte si innamora dell’Industria, New York, 2009, p. 194 for a similar example

113. STILNOVO Rare floor lamp circa 1950 Glass, stained birch, brass. 114.5 cm (45 1/8 in.) high Manufactured by Stilnovo, Milan, Italy. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 Ω plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Turin

114. MAX INGRAND 1908-1969 Rare ceiling light, model no. 2177 circa 1965 Nickel-plated brass, glass, coloured glass. 110.5 x 86 x 22.5 cm (43 1/2 x 33 7/8 x 8 7/8 in.) Manufactured by Fontana Arte, Milan, Italy. ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Modena LITERATURE Pierre-Emmanuel Martin-Vivier, Max Ingrand: Du Verre à la Lumière, Paris, 2009, p. 232 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, pl. 319

115. GIO PONTI 1891-1979 Prototype ‘Distex’ armchair, model no. 807 circa 1953 Fabric, stained beech. 80.6 x 70 x 107 cm (31 3/4 x 27 1/2 x 42 1/8 in.) Manufactured by Cassina, Meda, Italy. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Lisa Licitra Ponti, Gio Ponti: The Complete Work 1923-1978, London, 1990, p. 160 for a similar example Marco Romanelli, ed., Gio Ponti: A World, exh. cat., Design Museum, London, 2002, p. 58 for a similar example Gio Ponti, Oggetti di design 1925-1970, exh. cat., Galleria Babuino Novecento, Rome, 2007, pp. 38, 79 for a similar example Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’Industria, New York, 2009, p. 226 for similar examples Laura Falconi, ed., Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 172 for a similar example Salvatore Licitra et al., Gio Ponti, Cologne, 2021, p. 385 for a similar example

116. GIO PONTI 1891-1979

PROVENANCE Phillips, New York, ‘Design’, 6 June 2017, lot 4 Acquired from the above by the present owner

Rare coffee table

LITERATURE ‘A Teheran una villa’, Domus, no. 422, January 1965, p. 18 Laura Falconi, Gio Ponti: Interiors, Objects, Drawings 1920-1976, Milan, 2004, p. 192 Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 324

circa 1965 Coloured mirrored glass, brass. 42.2 x 125.8 x 126 cm (16 5/8 x 49 1/2 x 49 5/8 in.) Glass produced by Fontana Arte, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £15,000–20,000 $18,400–24,600 €17,400–23,200 plus Buyers Premium and VAT, ARR applies*

Gio Ponti designed the present model coffee table for Villa Namazee, Tehran (1957-1964), and went on to use the same design for several other projects.

117. GIO PONTI 1891-1979 Set of six chairs, model no. 687 circa 1955 Walnut, fabric. Each: 83.2 x 50.2 x 45 cm (32 3/4 x 19 3/4 x 17 3/4 in.) Manufactured by Cassina, Meda, Italy. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £8,000–10,000 $9,800–12,300 €9,300–11,600 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE ‘Accanto alla architettura’, Domus, no. 312, November 1955, p. 19 for a similar example Ugo La Pietra, ed., Gio Ponti: L’Arte si innamora dell’Industria, New York, 2009, p. 205

118. FRANCO BUZZI Adjustable floor lamp circa 1956 Brass, painted aluminium, marble. 212.5 cm (83 5/8 in.) high, fully extended Manufactured by O-Luce, Milan, Italy. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Turin LITERATURE Roberto Aloi, Esempi di Arredamento Moderno di Tutto il Mondo: Illuminazione D’Oggi, Milan, 1956, p. 211

119. GIO PONTI 1891-1979 Pair of sofas circa 1930 Fabric, chrome-plated steel. Longer: 95.5 x 214.5 x 65.5 cm (37 5/8 x 84 1/2 x 25 3/4 in.) Together with certificates of expertise from the Gio Ponti Archives. ESTIMATE £16,000–22,000 $19,700–27,100 €18,500–25,500 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan Acquired from the above by the present owner

120. MAX INGRAND 1908-1969 Pair of wall lights, model no. 1944 circa 1960 Partially chiselled and acid-etched glass, brass, painted brass. Each: 19.6 x 19.4 x 8.4 cm (7 3/4 x 7 5/8 x 3 1/4 in.) Manufactured by Fontana Arte, Milan, Italy. ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Pistoia LITERATURE Fontana Arte: Illuminazione, sales catalogue, Milan, 1960s, p. 62 Laura Falconi, Luci e Trasparenze: Fontana Arte, Rome, 2006, pp. 45, 83 Pierre-Emmanuel Martin-Vivier, Max Ingrand: Du Verre à la Lumière, Paris, 2009, p. 202

121. GIO PONTI 1891-1979 Set of twelve armchairs, from the Dulciora offices, Milan circa 1950 Walnut, brass, fabric. Each: 94 x 56.3 x 56.6 cm (37 x 22 1/8 x 22 1/4 in.) Manufactured by Cassina, Meda, Italy. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £22,000–28,000 $27,100–34,400 €25,500–32,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Dulciora office, Milan Phillips, London, ‘Modern Masters’, 26 April 2017, lot 232 Private collection, Switzerland, acquired from the above LITERATURE ‘Studio legale a Milano’, Domus, no. 286, September 1953, p. 34 Ugo La Pietra, ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 170-71, fig. 359 Laura Falconi, ed., Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 243

122. VENINI

123. GEORGE NAKASHIMA 1905-1990

Large mirror, model no. 20

Free-form coffee table

circa 1937 A treccia glass, mirrored glass, brass. 128.7 x 67.8 x 3.5 cm (50 5/8 x 26 3/4 x 1 3/8 in.) Produced by Venini & C., Murano, Italy. Both brackets on reverse impressed VENINI/MURANO.

1961 Walnut. 33.5 x 93 x 84 cm (13 1/4 x 36 5/8 x 33 1/8 in.) Executed by George Nakashima Woodworker, New Hope, Pennsylvania. Underside inscribed SCHULL. Together with a copy of the original order card.

ESTIMATE £10,000–12,000 $12,300–14,800 €11,600–13,900 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 242 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 44

ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Ann Arbor, Michigan, acquired directly from the designer, 1961 Hemisphere Gallery, London Acquired from the above by the present owner, circa 2003

124. FONTANA ARTE Centrepiece circa 1948 Glass, brass. 6.3 cm (2 1/2 in.) high, 27.2 cm (10 3/4 in.) diameter ESTIMATE £2,500–3,500 $3,100–4,300 €2,900–4,100 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Rome Thence by descent to the present owner LITERATURE Laura Falconi, Luci e Trasparenze: Fontana Arte Millenovecentotrenta-millenovecentocinquanta, exh. cat., Galleria Babuino Novecento, Rome, 2006, pp. 29, 84

125. GIO PONTI 1891-1979 Sideboard circa 1937 Chestnut, chestnut-veneered wood, brass. 106 x 201.1 x 46 cm (41 3/4 x 79 1/8 x 18 1/8 in.) Produced by Casa e Giardino, Milan, Italy. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £5,000–7,000 $6,100–8,600 €5,800–8,100 plus Buyers Premium and VAT, ARR applies*

PROVENANCE Artcurial, Paris, ‘Italian Design’, 28 September 2020, lot 5 Acquired from the above by the present owner LITERATURE Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2004, p. 114 for a similar example

126. PIETRO CHIESA 1892-1948 Two lidded boxes circa 1938 Teak, stained fruitwood, fruitwood, glass, brass, leather. Left: 5.8 x 22.8 x 9.8 cm (2 1/4 x 8 7/8 x 3 7/8 in.) Right: 8.2 x 15.7 x 10.2 cm (3 1/4 x 6 1/8 x 4 in.) Manufactured by Fontana Arte, Milan, Italy. Underside of each impressed with manufacturer’s mark FX and interior of one with manufacturer’s paper label embossed VETRI D’ARTE FONTANA/FONTANA/MILANO.

PROVENANCE Private collection, Milan LITERATURE ‘Il vetro nella casa’, Domus, no. 129, September 1938, p. 46 Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, pp. 74, 108 Sergio Montefusco, Fontana Arte: repertorio 1933-1943 dalle immagini dell’epoca, Genoa, 2012, p. 77

ESTIMATE £2,500–3,500 $3,100–4,300 €2,900–4,100 ‡ plus Buyers Premium and VAT, ARR applies*

127. GIO PONTI 1891-1979 ‘Dattilo’ desk, designed for the Vetrocoke offices, Milan circa 1939 Glass, cherry, cherry-veneered wood, brass, rubber-covered metal. 67.4 x 109.5 x 41.1 cm (26 1/2 x 43 1/8 x 16 1/8 in.) Each glass panel acid-etched VITREX. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £8,000–12,000 $9,800–14,800 €9,300–13,900 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE ‘Il cristallo negli uffici’, Domus, no. 135, March 1939, p. 47 for similar examples from the commission Laura Falconi, Gio Ponti: Interiors, Objects, Drawings, 1920-1976, Milan, 2010, p. 120 for similar examples from the commission

128. GIO PONTI 1891-1979 Two vases circa 1933 Left: copper. Right: pewter. Taller: 28 x 18 x 18 cm (11 x 7 1/8 x 7 1/8 in.) Smaller: 16 cm (6 1/4 in.) high, 23 cm (9 in.) diameter Produced by Nino Ferrari, Brescia, Italy. Underside of left vase impressed with artist’s facsimile signature Nino Ferrari. Underside of right vase impressed with artist’s facsimile signature Nino Ferrari and LAVORAZIONE A MANO/PELTRO/MADE ITALY. Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Turin LITERATURE Antonella Rossi Colavini, ‘Nino Ferrari: Artist-craftsman of the novecento’, Forme Moderne, no. 5/10, Rome, 2010, pp. 70, 72 for similar examples

129. GIO PONTI 1891-1979 Rare rocking armchair circa 1936 Cherry, cane, fabric. 89.9 x 62.9 x 75.5 cm (35 3/8 x 24 3/4 x 29 3/4 in.) Manufactured by Figli di Amedeo Cassina, Meda, Italy. Back with metal label impressed FIGLI di AMEDEO CASSINA/MEDA (MILANO). Together with a certificate of expertise from the Gio Ponti Archives. ESTIMATE £7,000–9,000 $8,600–11,100 €8,100–10,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Como

130. VENINI

131. PAOLO BUFFA 1903-1970

Mirror, model no. 66

Chest of drawers

circa 1939 Coloured a treccia glass, mirrored glass, brass. 64 x 52 x 4.6 cm (25 1/4 x 20 1/2 x 1 3/4 in.) Produced by Venini & C., Murano, Italy. Both brackets on reverse impressed VENINI/MURANO.

circa 1940 Walnut, walnut-veneered wood, brass. 90 x 180 x 55 cm (35 3/8 x 70 7/8 x 21 5/8 in.) Executed by Mosè Turri, Bovisio Masciago, Italy. Together with a certificate of expertise from the Paolo Buffa Archive.

ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 ‡

plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan

LITERATURE Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 242 Franco Deboni, Venini Glass: Its History, Artists and Techniques, Volume 1, The Blue Catalogue, Turin, 2007, pl. 44B

132. VENINI Ceiling light circa 1950 Zanfirico glass, brass. 78.8 cm (31 in.) drop Produced by Venini & C., Murano, Italy. ESTIMATE £6,000–8,000 $7,400–9,800 €7,000–9,300 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan

133. ICO PARISI 1916-1996 Pair of side tables circa 1958 Walnut. Each: 44.4 cm (17 1/2 in.) high, 61.1 cm (24 in.) diameter Executed by Brugnoli Mobili, Cantù, Italy. Together with a certificate of authenticity from the Archivio del Design di Ico Parisi. ESTIMATE £4,000–6,000 $4,900–7,400 €4,600–7,000 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Como

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

134. GIO PONTI 1891-1979 Two flower and candle holders (one prototype) circa 1956 Silver-plated brass. Left: 18.1 x 32 x 12 cm (7 1/8 x 12 5/8 x 4 3/4 in.) Right: 19.2 x 19.4 x 15 cm (7 1/2 x 7 5/8 x 5 7/8 in.) Executed by Lino Sabattini, Milan, Italy. Underside of prototype impressed -PORTAFIORI E CANDELIERE/PROT. LINO SABATTINI/ DESIGN GIO PONTI 1956 and underside of other impressed LINO SABATTINI ITALY DESIGN GIO PONTI-1956. Together with a certificate of expertise from the Gio Ponti Archives.

PROVENANCE Lino Sabattini, Como Acquired from the above by the present owner, circa 2010 LITERATURE Ugo La Pietra, ed., Gio Ponti: L’Arte si innamora dell’Industria, New York, 2009, p. 303-05

ESTIMATE £3,000–5,000 $3,700–6,100 €3,500–5,800 ‡ plus Buyers Premium and VAT, ARR applies*

135. CARLO DE CARLI 1910-1999 Rare desk circa 1953 Walnut, walnut-veneered wood. 77.6 x 160 x 76.4 cm (30 1/2 x 62 7/8 x 30 1/8 in.) ESTIMATE £10,000–15,000 $12,300–18,400 €11,600–17,400 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Roberto Aloi, Esempi di Arredamento Moderno di Tutto il Mondo: Sale da Pranzo, Milan, 1953, pl. 203-04 for a similar example Irene de Guttry and Maria Paola Maino, Il Mobile Italiano degli Anni ‘40 e ‘50, Bari, 1992, p. 157 for a similar example

136. CARLO SCARPA 1906-1978 Chandelier, model no. 5323 A6 circa 1941 Lattimo aurato glass with applied gold leaf, glass, brass. 114.5 cm (45 1/8 in.) drop, 80.2 cm (31 5/8 in.) diameter Produced by Venini & Co., Murano, Italy. ESTIMATE £15,000–20,000 $18,400–24,600 €17,400–23,200 ‡ plus Buyers Premium and VAT, ARR applies*

PROVENANCE Private collection, Milan LITERATURE Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 264, pl. 183

UK Auction Buyer’s Guide The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you. The Conditions of Sale and Authorship Warranty published on our website at https://phillips.com also govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship between Phillips, the seller and the buyer and describe the terms upon which items are bought at auction.

auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding.

A) Before The Auction

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

Catalogues & Catalogue Entries Our catalogues provide information on the lots for sale at the auction and are available on our website at www.phillips.com and in hard copy. Lot details can also be viewed on the Phillips App. If you would like to purchase a hard copy catalogue for a Phillips auction, please visit our website or contact us at catalogues@phillips.com. Catalogue entries may include the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive. In some cases we may not disclose the identity of previous owners where we are not authorised to do so. Please note that all dimensions of the property set out in the catalogue entry are approximate. Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips.com. Our specialists are available to give advice and condition reports at viewings or by appointment. Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Pre-sale estimates do not include the Buyer’s Premium or VAT. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction. Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry (including those accessed via QR Codes appearing in the catalogue) does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the

∑ Endangered Species

Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Ж Property Subject to US Import Tariffs

Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale. Calculating the Total Purchase Price If you are the successful bidder on a Lot, the total purchase price you pay is made up of the following elements: VAT on Buyer’s Artist’s Resale Hammer + Buyer’s + Premium and/or + Royalty (ARR) Price Premium Hamer Price (If applicable) (If applicable)

Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third-party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the third-party guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor. Disclosure of financial interest by third parties Phillips requires third party guarantors to disclose their financial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confirm whether or not they have a financial interest in the lot. ∆ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. • No Reserve

Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer. Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s Premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: 7% on the portion of the hammer price up 2 to and including £800,000; and • 21% on the portion of the hammer price above £800,000 up to and including £4,500,000 and • 14.5% on the portion of the hammer price above £4,500,000. •

Where VAT is payable on the Buyer’s Premium the VAT inclusive Buyer’s Premium rates are 32.4%, 25.2% and 17.4% respectively. VAT UK Auctioneer’s Margin Scheme lots have no VAT symbol. For these lots, VAT is charged at 20% on the Buyer’s Premium and will not be shown separately on the invoice. Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are re-sold for a hammer price of EUR 1,000 or more. Lots subject to ARR are marked with the symbol ♠. The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price: Portion of the Hammer Price (in EUROS) From 0 to 50,000 From 50,000.01 to 200,000 From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

Royalty Rate 4% 3% 1% 0.5% 0.25%

The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank.

Example To illustrate how the purchase price is calculated, please see the below example: UK Auctioneer’s Margin Scheme lot Hammer Price: £1,000,000 Buyer’s Premium including VAT is calculated as follows: 27% of first £800,000 of the hammer price = £216,000 + 21% on the balance of £200,000 = £42,000 Total BP = £258,000 VAT @ 20% on the total BP of £258,000 = £51,600 TOTAL Buyer’s Premium plus VAT = £309,600. B) At The Auction Bidding Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and recent proof of address. We may also require that you furnish us with a bank reference. By registering and participating in the auction, whether in person, by absentee bid, on the telephone or online, bidders represent, warrant and confirm that (i) unless otherwise expressly agreed in writing with Phillips prior to the auction, they are bidding on their own behalf and not on behalf of anyone else (ii) they will be paying the purchase price from their own funds (iii) that their participation in the auction and payment of the purchase price is lawful and shall not breach any applicable sanctions laws, and (iv) any bids placed by them , or on their behalf, are not the product of any collusive or other anticompetitive agreement and are not otherwise in breach of any applicable law, Government sanctions and other regulatory measures in force from time to time. Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement.

optimized to run on Google Chrome, Firefox and Microsoft Edge browsers. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the Buyer’s Premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. UK£50 to UK£1,000 by UK£50s UK£1,000 to UK£2,000 by UK£100s UK£2,000 to UK£3,000 by UK£200s UK£3,000 to UK£5,000 by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s at the auctioneer’s discretion above UK£200,000

In Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk.

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

By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the Buyer’s Premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

Online Bidding If you cannot attend the auction in person, you may bid online via our live bidding platform. The digital saleroom is available on our website at https://www.phillips.com/ and is

Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. By registering for the Auction, bidders accept the Conditions of Sale and Authorship Warranty.

Consecutive And Responsive Bidding; The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

No Reserve Lots If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum. Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made by credit card for invoices of £30,000 or less per auction. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes. Collection Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection. To collect paid for lots buyers (or their authorised representatives) must provide proof of identity. Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect. Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment. After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection. Storage Charges Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to you in the buyer information pack you will receive after the auction. Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven (7) days following the auction.

UK Tax Guide Transport and Shipping We will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. As a free service for buyers, Phillips will wrap purchased lots which are for hand carry only. We do not provide packing, handling or shipping services directly. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species. Privacy Our Privacy Policy is available at https://phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips’ premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third-party websites and applications.

Buyers should note that the export of items offered for sale in this Auction to certain countries (including Russia and Belarus) may be prohibited pursuant to Government sanctions and other regulatory measures in force from time to time. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot.

Important Notices Identification of Business or Trade Buyers As of January 2010, Her Majesty’s Revenue & Customs (“HMRC”) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding Buyer’s Premium for lots with symbols for businesses outside the UK. Where the buyer is a non-EU business, Phillips requires evidence of the business status by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists.

This Guide outlines the Value Added Tax (VAT) treatment of Lots sold in our London auctions. It covers the most common types of transactions, although other situations may arise. We offer this information solely as a courtesy. As every buyer’s situation is different, we cannot offer specific tax advice. You are advised to and are responsible for obtaining independent tax advice where necessary. The VAT rates and conditions are correct at the time of publication but can change. If the VAT rates and conditions change between the date of publication and the auction date, the rates and conditions in force at the time of auction will apply. Where Lots move from one tax status to another following purchase, the rates and conditions in force at the time of that movement will apply. Depending on the status of the lot, and your status as a buyer, VAT may be charged on the hammer price, the buyer’s premium or both.

Types of Lots and their VAT Treatment UK Auctioneer’s Margin Scheme Lots Second-hand goods qualifying for treatment under UK Auctioneer’s Margin Scheme rules have no VAT symbol and are treated as follows: VAT Symbol No symbol

Taxation basis UK Auctioneer’s Margin Scheme sale

VAT Treatment 20% in lieu of VAT on the buyer’s premium*. (The invoiced buyer’s premium will include the VAT).

•

Where the buyer is a UK or EU VAT registered business, Phillips requires the business’s VAT registration number. These details can be scanned and emailed to us. If we do not hold this and other information which may be required, including as stated in the UK Tax Guide below, we will be unable to cancel/refund any applicable VAT.

•

Upholstered furniture Lots of upholstered furniture manufactured in 1950 or after may not comply with the levels of fire resistance for domestic upholstered furniture under the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended ) (the “Regulations”). These items are sold as decorative works of art and should not be used in your home as domestic furniture, unless they are reupholstered, re-stuffed or recovered (as appropriate) with materials complying with the Regulations. Please speak to a specialist before the sale for information on whether the lots have been recently upholstered. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

*For items not normally subject to VAT (e.g. books), the rate of VAT will be 0% and no charge in lieu of VAT will be made. Lots with Special VAT Treatment If the Lot has one of the below symbols, the VAT treatment will be as follows: VAT Symbol †

Taxation basis Standard UK VAT rules

VAT Treatment 20% VAT charged on both the hammer price and buyer’s premium

‡

Lot under Temporary 5% import VAT on Admission (Low rate) the hammer price** and 20% in lieu of VAT on the buyer’s premium

Lot under Temporary 20% import VAT on Admission (High rate) the hammer price** and 20% in lieu of VAT on the buyer’s premium

** UK VAT registered buyers - Please give Phillips’ shipping department your VAT details so the import paperwork correctly identifies your business as the importer. The Import VAT shown on the invoice is insufficient evidence of import VAT paid.

Exporting Lots from the UK The following types of VAT may be cancelled or refunded by Phillips if the Lot is exported from the UK within the time limits specified below provided other strict conditions are met (see Conditions for Claiming VAT Refunds below). Since 1 January 2021, exports from the UK includes exports to businesses and individuals in the European Union. Time limits for exportation

Proof of export documentation required

3 months from the sale date

Original correct paperwork stamped by HMRC (UK tax authority) showing the Lot has been exported from the UK within 3 months of the sale date

20% VAT charged on the hammer price NB: No refund is possible for the 20% VAT charged on the buyer’s premium

3 months from the sale date

Original correct paperwork stamped by HMRC (UK tax authority) showing the Lot has been exported from the UK within 3 months of the sale date

5% import VAT on the hammer price and 20% in lieu of VAT on the buyer’s premium

30 days from payment

Original correct paperwork stamped by HMRC (UK tax authority) showing the Lot has been exported from the UK within 30 days of payment

VAT Symbol

Taxation basis

VAT which may be cancelled or refunded if Lot exported

No symbol

UK Auctioneer’s Margin Scheme

†

Standard UK VAT rules

‡

Lot under Temporary Admission (Low rate)

Lot under Temporary Admission (High rate)

20% import VAT on the hammer price and 20% in lieu of VAT on the buyer’s premium

Please liaise with Phillips’ Shipping Department to ensure the export is handled correctly 30 days from payment

Original correct paperwork stamped by HMRC (UK tax authority) showing the Lot has been exported from the UK within 30 days of payment Please liaise with Phillips’ Shipping Department to ensure the export is handled correctly

Cancelling UK VAT charges upon export Provided a buyer instructs a Phillips authorised carrier to export the Lot and accepts the export quotation provided by that authorised carrier, Phillips can issue a “Zero-rated” invoice (i.e. without the UK VAT). Export arrangement

Conditions for cancellation of UK VAT charges

Lot exported using a Phillips` authorised carrier

Buyer must at or before the time of invoicing: • instruct a Phillips’ authorised carrier to export the Lot; and • accept the export quotation provided by that authorised carrier

Note: Phillips will obtain the required proof of export paperwork directly from its authorised carrier

Refunding UK VAT charges following export If a buyer instructs a carrier who is not a Phillips authorised carrier, the buyer must pay for the Lot in full, including the UK VAT. Upon receiving satisfactory proof of export (i.e. copies of the required export documentation and declarations accepted by HMRC) Phillips can refund the buyer the UK VAT paid. Export arrangement Lots exported using a carrier who is not a Phillips authorised carrier Note: Carriers who are not Phillips authorised carriers must collect copies of original import papers for the Lot from Phillips’ Shipping Department.

Conditions for refund of UK VAT charges uyer must have paid the UK VAT in full B Lot must have been exported within the required timeframe (see Exporting from the UK above) • Phillips’ must have received satisfactory proof of export once all export documentation and declarations have been accepted by HMRC. • VAT to be refunded must be £50 or more per shipment • A processing fee of £20 (plus any applicable VAT) will apply. • •

Please Note: • We cannot refund the UK VAT paid if the export documents do not comply exactly with governmental regulations. • If the Lot is under Temporary Admission in the UK (i.e. with ‡ or Ω, symbol) and is imported to the UK after purchase (i.e. collected by the Buyer in the UK), before then being exported, we cannot refund the UK VAT. Local tax charges and duties in the Delivery Destination Buyers from outside the UK should note that upon importing Lots to their final destination outside the UK, local import VAT, import duties, sales taxes and/or use taxes may be payable. Please consult your local tax advisor. Lots under Temporary Admission being exported for repair, restoration or alteration If you purchase a Lot which is under Temporary Admission (indicated by a ‡ or a Ω symbol) and intend to export it from the UK for repair, restoration or alteration, please notify Phillips’ Shipping Department before collection. The Lot will need to be transferred from Temporary Admission to another appropriate customs procedure to allow the repair, restoration or alteration to be carried out. The third-party carrier you appoint to handle the transport will need to liaise with Phillips’ shipping department to ensure this customs movement is correctly declared. Failure to do this may result in the UK import VAT becoming payable immediately and Phillips being unable to refund the UK VAT charged. You are advised to obtain independent advice on this prior to bidding. Buyers wishing to hand-carry Lots If you collect the Lot from Phillips in the UK with a view to “hand-carrying” it back to its final destination, you must pay the UK VAT in full. Phillips cannot cancel or refund the UK tax in these circumstances. Please note that with the abolition of the Tax-free shopping scheme for visitors to the UK, it is no longer possible to obtain tax refunds at UK airports upon departure. Business buyers located outside the UK If you are a business located outside the UK and buy a Lot in a UK sale for a business purpose, you may be able to seek repayment of certain taxes from HMRC (the UK tax authority) directly (e.g. the UK Import VAT charged on the hammer price if the purchased Lot is under Temporary Admission in the UK). Claim forms (VAT65A) are available from the HMRC website. https://www.gov.uk. You should submit claims for refund of UK VAT to HMRC no later than six months from the end of the 12-month period ending 30 June (e.g., claims for the period 1 July 2020 to 30 June 2021 should be made no later than 31 December 2021)

UK Buyers Phillips cannot cancel or refund any UK VAT charged on sales made to UK buyers where the Lot is collected from Phillips in London or delivered to a UK address. For Lots sold under the UK Auctioneer’s Margin Scheme (which do not bear a symbol), UK buyers who have a UK VAT registration may request us to reinvoice the purchase of these Lots under standard UK VAT rules. In this way the UK VAT registered buyer can reclaim all UK VAT charged as part of their accounting for VAT. Please note that UK VAT registered businesses or organisations who request to be reinvoiced under standard UK VAT rules, will then not be able to sell the Lot under any UK Margin Scheme rules in the future.

UK Conditions of Sale Effective from 1 March 2023 The Conditions of Sale and Authorship Warranty set out below govern the relationship between bidders and buyers, on the one hand, and Phillips Auctioneers Limited (registered in England with company number 04228373)("Phillips") and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the UK Auction Buyer’s Guide, the Important Notices, UK Tax Guide and the Authorship Warranty carefully before bidding. 1  Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and Important Notices, and (c) supplements to this catalogue including information accessed via QR Codes appearing in this catalogue, and (d) other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2  Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3  Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports (including those accessed via QR Codes appearing in this catalogue) as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description.

catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports, including those accessed via QR Codes appearing in this catalogue, may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers.

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4  Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identification will be required, as will an original signature and recent proof of address. We may also require that you furnish us with a bank reference. (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the Buyer’s Premium and Value Added Tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form, a copy of which is printed in this

(e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges. (f) By registering and participating in the auction, whether in person, by absentee bid, on the telephone or online, bidders represent, warrant and confirm that (i) unless otherwise expressly agreed in writing with Phillips prior to the auction, they are bidding on their own behalf and not on behalf of anyone else (ii) they will be paying the purchase price from their own funds (iii) that their participation in the auction and payment of the purchase price is lawful and shall not breach any applicable sanctions laws, and (iv) any bids placed by them , or on their behalf, are not the product of any collusive or other anticompetitive agreement and are not otherwise in breach of any applicable law, Government sanctions and other regulatory measures in force from time to time. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

(h) * Premium Lots Lots with the symbol [*] are Premium Lots. To bid on Premium Lots prospective buyers must complete and satisfy Phillips’ Premium Lot pre-registration procedure no later than 24 hours before the start of the auction session in which the Lot is offered. Premium Lot paddles will be issued to bidders who complete and satisfy the Premium Lot preregistration procedure. The Auctioneer will only accept bids from Premium Lot paddles in respect of Premium Lots. Please contact the department organizing the auction for further details. (i) Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5  Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.

Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6  Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the Buyer’s Premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the ‘Purchase Price’). The Buyer’s Premium is 27% of the hammer price up to and including £800,000, 21% of the portion of the hammer price above £800,000 up to and including £4,500,000 and 14.5% of the portion of the hammer price above £4,500,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol ♠ after the estimate and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice. (d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling as follows: (i) Payments may be made by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment.

Alternatively, payment can be made by credit card for invoices of £30,000 or less. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). (e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7  Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including providing information and documentation we require to satisfy our customer due diligence and verification checks for Know Your Customer compliance purposes and completing any anti-money laundering or anti-terrorism financing and sanctions checks. As soon as a buyer has satisfied all of the above conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, we will transfer all lots to offsite fine art storage facilities. Details will be included in the buyer information packs sent to buyers after the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Property will be collected by the buyer at the point it is released in the sale location by Phillips to the buyer or to a third-party shipper acting for the buyer. The buyer is responsible for paying any import duties and local taxes payable to import the Property to its final destination. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8  Failure to Collect Purchases (a) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies For Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and Buyer’s Premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and Buyer’s Premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips will

notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon. 10  Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 14 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale. 11 Export, Import and Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the UK or to import it into another country. Items containing Endangered Species material Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering exporting purchased lots, should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis of the continent of origin and confirmation the object is more than 100 years old. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the item qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of

endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. Export, Import, Sales and/or Use Taxes Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf, including any applicable Sales and/or Use Taxes which may be due on importing the property to the United States. Export and Import Bans and Restrictions Buyers should note that the export of items offered for sale in this Auction to certain countries (including Russia and Belarus) may be prohibited pursuant to Government sanctions and other regulatory measures in force from time to time. Please contact the department organising the auction for further details. 12. US Imports Customs Tariffs Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany. Phillips will mark with a symbol lots which may be subject to additional US import tariffs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips does not accept liability for errors including failing to mark lots accurately or for the absence of any marking. 13 Personal Data (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@ phillips.com. (b) Our Privacy Policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of

your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be filmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, filmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or filmed or appear in such recordings, please speak to a member of Phillips staff. Your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy available at www.phillips.com. 14  Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 14, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 15  Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used

by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 16  General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 17  Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

Authorship Warranty Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below.

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

30 Berkeley Square London W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com

Please return this form by email to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying to bid as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one): Paddle Number

In-person Absentee Bidding Telephone Bidding

•

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

As a private individual On behalf of a company

•

Sale Title

Sale Number

Title

Surname

First Name

Sale Date •

Account Number

Company (if applicable)

•

VAT number (if applicable) Address •

City

State/Country •

Post Code Phone

Mobile

Fax

•

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

•

Preferred Bidding Language (for Phone Bidding only) Please complete the following section for telephone and absentee bids only Lot number

Brief description

In Consecutive Order

Maximum pound sterling price*

•

Absentee Bids Only

•

Private Purchases: Proof of identity in the form of government-issued identification and recent proof of address will be required. Company Purchases: If you are buying under a business entity, we require a copy of government-issued identification (such as the certificate of incorporation) as well as proof of owners (including ultimate beneficial owners) and directors to verify the status of the company. This should be accompanied by an official document confirming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale available online at phillips.com. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale. If you cannot attend the sale, we can execute bids confidentially on your behalf. Phillips charges the successful bidder a commission, or Buyer’s Premium, on the hammer price of each lot sold. The Buyer’s Premium is payable by the buyer as part of the total purchase price at the following rates: 27% of the hammer price up to and including £800,000, 21% of the portion of the hammer price above £800,000 up to and including £4,500,000 and 14.5% of the portion of the hammer price above £4,500,000. “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers. For absentee bids, indicate your maximum limit for each lot, excluding the Buyer’s Premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate. Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. If we receive identical bids, the first bid received will take precedence. Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. Please submit your bids to the Bid Department by email to: bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045. Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by wire transfer, credit card (up to £30,000 per auction) using Visa, American Express, Mastercard or Union Pay (for in person transactions only) and UK debit cards. Lots cannot be collected until payment has cleared and all charges have been paid. You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013. By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and VAT

Signature

Date

By submitting this form you confirm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in the catalogues and on our website.

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SALE INFORMATION

Design

Design Department

Auction & Viewing Location

Head of Department, Europe, Senior International Specialist

30 Berkeley Square London, W1J 6EX

Domenico Raimondo draimondo@phillips.com

Auction

Property Manager, Design Daniel Hunt dhunt@phillips.com Photographer Charlie Sheldon Alex Braun

Tuesday, 31 October at 2pm

Head of Design, France Senior International Specialist

Viewing

Elie Massaoutis emassaoutis@phillips.com

Clay Fisher

Head of Department, London Senior Specialist

Client Accounting Head of Client Accounting Richard Addington +44 20 7901 7914

25 October – 31 October Monday–Saturday, 10am–6pm Sunday, 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK050423 or Design. Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@philips.com

Sofia Sayn-Wittgenstein ssayn-wittgenstein@phillips.com

Videographer

Client Accounting, Director Specialist Madalena Horta e Costa mhortaecosta@phillips.com

Jason King +44 20 7318 4086 Seller Accounts

Head of Sale Antonia King antonia.king@phillips.com

Auction License

Surbjit Kaur +44 20 7318 4072 Rebecca Gathercole +44 20 7318 4025 Buyer Accounts

2013224

Senior Cataloguer

Heather Welham +44 20 7901 2982

Auctioneers

Margherita Manca mmanca@phillips.com

Shipping

Hugues Joffre – 2028495 Sarah Krueger – 1460468 Henry Highley – 2008889 Jonathan Crockett – 2056239 Rebecca Tooby-Desmond – 2058901 Aurel Bacs – 2047217 Blake Koh – 2066237 Susanna Brockman – 2058779 Rebekah Bowling – 2078967

Assistant to Head of Design, Europe and Research Coordinator Carlotta Pintucci cpintucci@phillips.com Administrator Sophia Garbagnati sgarbagnati@phillips.com

Andrew Kitt +44 20 7318 4047 Annaliese Clark +44 20 7318 4081 Richard Alderson +44 7919 507 631 Ortensia Molla +44 7884 561 595 Creative Services Chris Ward, Creative Services Manger Moira Gil, Senior Graphic Designer Grace Neighbour, Graphic Designer Steven Rubbins, Senior Artworker

INDEX

Aalto, A. Abloh, V. Adnet, J. Agnoli, T.

64 105 77 99, 100

Isola, A.

Janet, J. Jouve, G.

50 33, 35, 40, 43

Boyer, M. Bozzi, A. Buffa, P. Bugatti, C. Buzzi, F. Buzzi, T.

66, 69, 103 46 76 49 71 54

Kindt-Larsen, E. Kindt-Larsen, T. Kuramata, S.

9, 10, 11, 12, 13, 16, 19 1 67

Lalanne, F.-X

Campana, F. Campana, H. Chale, A. Cheuret, A. Chiesa, P. Crespi, G.

135 14, 20, 28, 30, 85, 88, 89, 108, 136 36, 39, 40, 41, 42, 45 58 68 61

Maison Desny Mendini, A. Mogensen, B.

51, 84, 86, 87 34 2, 6, 114, 120

Nakashima, G. Nicola L.

37 67

da Silva Bruhns, I. de Carli, C. Ditzel, J. Ditzel, N. Dresser, C. Dunand, J.

81, 83 60 32, 124 118 17 73

Ebüzziya Siesbye, A.

91, 92, 93, 94, 95, 96, 97,98

Fontana Arte Francken, R. Frank, J.-M

53, 55 123 48

G.R.A.U. Gabetti, R. Guariche, P.

23 3, 4, 5, 8, 24, 27, 29, 31, 59, 78, 79, 102, 104, 110, 111, 112, 115, 116, 117, 119, 121, 125, 127, 128, 129, 134 60

Hansen, F. Hoffmann, J. Ingrand, M.

72, 80, 107, 133 15 75

Owens, R. 56 Parisi, I. Perriand, C. Poillerat, G. Ponti, G. Prouvé, J.

74, 131 101 18, 109, 126 7 65

Rateau, A.-A Royère, J. Ruhlmann, E.-J

105 106 57

Scarpa, C. Sottsass, Jr., E. Stilnovo Studio B.B.P.R. Studio Drift

22, 44, 113 90 63 38 25

Venini

Zanine Caldas, J. 26, 52, 70, 82, 122, 130, 132 Zavanella, R. 62