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october

2009

LoNDoN

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Front Cover Pablo Reinoso, ‘Aluminium Bench’, 2008, Lot 61 (detail) Inside Front Cover Marc Newson, ‘Supercell’ pavilion, 2009, Lot 60 (detail) Title Facing Page Poul Henningsen, Rare piano lamp, 1930s, Lot 114

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de sign 15

oc tob er

2009

LoNDoN

Lots 1-13 5 Viewing Saturday 10 October 10am – 6pm Sunday 11 October 12pm – 6pm Monday 12 October – Wednesday 14 October 10am – 6pm Thursday 15 October 10am – 12pm

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1

RUPERT SPIRA b. 1960 Five cylinders, 2009 Stoneware, matt white titanium glaze over a band of embossed text. Each impressed with artist’s seal (5). Tallest: 44.1 cm. (17 3/8 in.) high

Estimate £1, 8 0 0 - 2 , 5 0 0 $ 3 , 0 0 0 - 4 ,10 0 € 2 ,10 0 - 2 , 9 0 0

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2

GORDON BALDWIN b. 1932 ‘Reach for Eye’, c. 1979 Earthenware, painted coloured slips. Extruded tubes mounted on a conical base with large flange section. 61.5 cm. (24 1/4 in.) high

Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 ,4 0 0 ♠

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3

CHUN LIAO b. 1969 ‘Installation of 31 Pots’, c. 2005 Porcelain, celadon glazes, mineral elements added to the body material. Each pot incised with artist’s signature (31). Tray: 27.9 cm. (11 in.) diameter

Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 ,4 0 0 ♠

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GORDON BALDWIN b. 1932 ‘Windswept Bottle’, c. 1982 Earthenware, painted coloured slips. Extruded tubes mounted on a conical base with large thrown and opened out flange sections. 63.8 cm. (25 1/8 in.) high

Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 ,4 0 0 - 4 , 6 0 0 ♠

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5

EDMUND DE WAAL b. 1964 ‘Aurea’, 2007 Porcelain, yellow and clear glazes, gold leaf, lacquered and lined wooden cabinets (30). 42.5 x 42.5 x 48.9 cm. (16 3/4 x 16 3/4 x 19 1/4 in.)

Estimate £18 , 0 0 0 - 2 2 , 0 0 0 $ 2 9 , 8 0 0 - 3 6 ,4 0 0 € 2 0 , 6 0 0 - 2 5 ,10 0 ExhibitEd ‘Edmund de Waal’, Kettle’s Yard, Cambridge, 26 May – 22 July 2007;

Middlesbrough Institute of Modern Art, Middlesbrough, 10 August – 11 November 2007

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6

SHIRO KURAMATA 1934-1991 ‘Just in Time’ clock, c. 1986 Melamine board, twigs, wool yarn, nylon string. Reverse with paper label ‘“Just in Time” 1986/designed by Shiro Kuramata’. 52 x 37 x 7.5 cm. (20 1/2 x 14 1/2 x 3 in.)

Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 - 6 , 9 0 0 Literature Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary

Art, Tokyo, 1996, p. 70, fig. 24 and p. 181

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ISAMU NOGUCHI 1904-1988 ‘Pierced Seat’ chair, 1982 Hot-dipped galvanised steel. Manufactured by Gemini G. E. L., USA. Number nine from the edition of 36. Underside of seat with metal label ‘ISAMU NOGUCHI/ pierced Seat 9/36/Published by Gemini G.E.L. ®/© Isamu Noguchi Foundation 1983 IN 82-2091’ and one support with applied weld mark ‘I.N. 82’. 78.5 cm. (31 in.) high

Estimate £12 , 0 0 0 -18 , 0 0 0 $19, 8 0 0 - 2 9 , 8 0 0 €13 ,70 0 - 2 0 , 6 0 0 Ω Literature Michael McClure, Isamu Noguchi at Gemini 1982-1983, Los Angeles,

1983, p. 38; Isamu Noguchi, The Isamu Noguchi Garden Museum, New York, 1987, p. 229; Isamu Noguchi Rosanjin Kitaoji, exh. cat., Sezon Museum of Art, Tokyo, 1996, p. 163, cat no. S20; Alexander von Vegesack, et al., eds., Isamu Noguchi, Sculptural Design, exh. cat., Vitra Design Museum, Weil am Rhein, 2001, pp. 287 and 297

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JIM PARTRIDGE b. 1953 ‘Vessel’, 2008 Limed burr oak. Stamped with ‘J B PARTRIDGE’. 25.1 cm. (9 7/8 in.) high

Estimate £1, 2 0 0 -1, 5 0 0 $ 2 , 0 0 0 - 2 , 5 0 0 €1,4 0 0 -1,70 0 † ExhibitEd ‘Vessels in Wood’, The Scottish Gallery, Edinburgh, 7 – 31 January 2009

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TOKUJIN YOSHIOKA b. 1967 ‘Honey Pop’ chair, 2006 Glassine paper. Produced by Tokujin Yoshioka Design, Japan. Number 131 from the edition of 300. Lower left signed in marker with ‘1/APR 2006 Tokujin. Y 131/300 A’. 82 cm. (32 1/4 in.) high

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 † LitEraturE ‘Yoshioka Tokujin Driade,’ Abitare, April 2002, pp. 192 and 194 and p.

193 for a drawing; ‘From Paper to Plastics,’ Domus, May 2002, p. 108; Paola Antonelli, Objects of Design, exh. cat., The Museum of Modern Art, New York, 2003, p. 280; Marcus Fair, Twenty-First Century Design, London, 2006, pp. 160-161; Gareth Williams, The Furniture Machine, Furniture Since 1990, London, 2006, p. 106

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MAGDALENE ODUNDO b. 1950 ‘Untitled (Cat. 28)’ vase, 1987 Burnished and carbonised terracotta. Incised with ‘Odundo/1987’. 36.8 cm. (14 1/2 in.) high

Estimate £ 2 0 , 0 0 0 - 3 0 , 0 0 0 $ 3 3 ,10 0 - 4 9 , 6 0 0 € 2 2 , 8 0 0 - 3 4 , 3 0 0 ♠ Provenance Private Collection, UK Literature Anthony Slayter-Ralph, Magdalene Odundo, Aldershot, 2004, illustrated p. 103

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Courtesy of Valerie Bennett, Achitectural Association

ProPerty sold to Benefit the ArChiteCturAl AssoCiAtion, london

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DANECIA SIBINGO, LYN HAYEK, YOOJIN KIM & TAEYOUNG LEE ‘Driftwood’, 2009 stained spruce Kerto® plywood. fabricated at hooke Park, West dorset, uK. designed for the intermediate unit 2 summer Pavilion project for the Architectural Association school of Architecture, london. 1150 cm. (452 3/4 in.) diameter

Estimate £10 , 0 0 0 -15 , 0 0 0 $16 , 5 0 0 - 24 , 8 0 0 €11,4 0 0 -17,10 0 ♠ ExhibitEd Architectural Association school of Architecture, Bedford square, london,

3-25 July 2009

‘driftwood’ was designed by concept author danecia sibingo, in her third year of study at the AA, and colleagues lyn hayek, yoojin Kim, and taeyoung lee. Charles Walker and Martin self, both architects and structural engineers, tutored the team. Kerto®, which adheres to a target of minimal material wastage, was produced by finnforest, finland, suppliers of ecological timbers. technical advice was provided by AruP and led by Ching luan lau, senior engineer. Additional sponsorship was furnished by hoK, global providers of planning, design and delivery solutions.

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‘Driftwood’ explores the potential of plywood, bent and thinly layered, as a medium for fluid architectural form. It was inspired both by the sandstone caverns of Petra, the ancient Jordanian cave city, as well as the eroded texture of beachcombed driftwood. The work exhibits ‘self-similarity.’ In other words, the whole structure is exactly or approximately analogous to one or more of its substructures: the texture of the cut plywood components at super scale and the wood grain texture of the plywood itself. ‘Driftwood’ exploits contemporary digital methods of design and fabrication: it was modelled (sculpted) by computer; discretised into developable surfaces; and cut into over 2000 unique pieces using computer numerical controlled (CNC) technology. Assembled over a curved, stressed skin frame, the components, like bent jigsaw pieces, form an expressive, fluid totality. By placing an uncovered but private space at its centre, ‘Driftwood’ establishes delight as the prime concern of pavilion architecture above commodity and accommodation. Charles Walker and Martin Self, Tutors, Unit 2

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HARRY BERTOIA 1915-1978 Important ‘Bush’ sculpture, 1974 Patinated bronze, patinated copper. 36.8 x 40.6 x 37.5 cm. (14 1/2 x 16 x 14 3/4 in.)

Estimate £ 4 0 , 0 0 0 - 5 0 , 0 0 0 $ 6 6 ,10 0 - 8 2 ,70 0 € 4 5 ,70 0 - 57,10 0 ‡ Provenance Private Collection, California Literature Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia,

Atglen, 2003, pp. 110-114 for similar examples

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ERNST GAMPERL b. 1965 ‘Object’, 2009 Bleached and lime washed turned oak. Incised with ‘25/09/250’. 63.8 cm. (25 1/8 in.) diameter

Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 ,4 0 0 ExhibitEd ‘U-Tsu-Wa, 21_21 Design Sight’, The Issey Miyake Foundation, Tokyo,

13 February – 10 May 2009

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ISAMU NOGUCHI 1904-1988 ‘Rudder’ dinette table, model no. IN-20, c. 1942 Birch, zinc-plated tubular steel. Manufactured by The Herman Miller Furniture Company, USA. 66 x 127 x 90.2 cm. (26 x 50 x 35 1/2 in.)

Estimate £18 , 0 0 0 - 2 2 , 0 0 0 $ 2 9, 8 0 0 - 3 6 ,4 0 0 € 2 0 , 6 0 0 - 2 5 ,10 0 Ω LitEraturE Alexander von Vegesack, et al., eds., Isamu Noguchi, Sculptural

Design, exh. cat., Vitra Design Museum, Weil am Rhein, 2001, pp. 121 and 275

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HUGO FRANÇA b. 1954 ‘Ashaki’ bench, 2006 Pequi wood. Together with a certificate of authenticity. 78.7 x 355.6 x 134.6 cm. (31 x 140 x 53 in.)

Estimate £12 , 0 0 0 -16 , 0 0 0 $19 , 8 0 0 - 2 6 ,4 0 0 €13 ,70 0 -18 , 3 0 0 Ω ♠ Literature American Craft, August 2008, p. 26 for a similar example

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JIM PARTRIDGE & LIZ WALMSLEY b. 1953, b. 1952 ‘Curved Bench’, 2002 Scorched and polished oak. 50 x 235 x 38 cm. (19 3/4 x 92 1/2 x 15 in.)

Estimate £ 5 , 5 0 0 - 6 , 5 0 0 $ 9 ,10 0 -10 ,70 0 € 6 , 3 0 0 -7,4 0 0 † ExhibitEd Manchester Art Gallery, 6 September – 12 October 2003; Bilston

Craft Gallery, Wolverhampton, 17 January – 28 February 2004; Harley Gallery, Nottinghamshire, 13 March – 3 May 2004; Tullie House, Carlisle, 15 May – 4 July 2004; The Hub, Sleaford, July – September 2004 LitEraturE Jim Partridge Logbook, The Scottish Gallery, 2003, illustrated on front

cover; Jerwood Applied Arts Prize, Furniture, The Crafts Council, 2004, illustrated

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MAGDALENE ODUNDO b. 1950 ‘Untitled (Cat. 127)’ vase, 2000 Polished and oxidised terracotta. Incised with ‘Odundo/2000’. 74.6 cm. (29 3/8 in.) high

Estimate £ 2 0 , 0 0 0 - 3 0 , 0 0 0 $ 3 3 ,10 0 - 4 9 , 6 0 0 € 2 2 , 8 0 0 - 3 4 , 3 0 0 ♠ ProvEnancE Private Collection, London ExhibitEd ‘Magdalene Odundo’, Blackwell House/Lakeland Arts Trust, Bowness-

on-Windermere, 2001 LitEraturE Magdalene Odundo, exh. cat., Blackwell House/Lakeland Arts Trust,

2001, illustrated p. 46, fig. 41; Anthony Slayter-Ralph, Magdalene Odundo, Aldershot, 2004, illustrated pp. 90 and 121

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VINCENT DUBOURG b. 1977 ‘Vent sur la Table’, 2008 Bronze. Produced by Atelier Vincent Dubourg, France. Number one from the edition of eight. Underside incised with artist’s signature and ‘1/8’. 97.5 x 152.5 x 52 cm. (38 5/8 x 60 x 20 1/12 in.)

Estimate £18 , 0 0 0 - 2 2 , 0 0 0 $ 2 9 , 8 0 0 - 3 6 ,4 0 0 € 2 0 , 6 0 0 - 2 5 ,10 0 ♠

Where to rest your cup or eye? Little matter, a cyclone leaves no time for idle worries. A climatic scene is at play, climactic too: under pressure seams split, fronts shift. In his recent work with sculpted bronze, steel, and wood, French designer Vincent Dubourg captures the decisive moment. In doing so he evokes a universal truth: things fall apart, new forms rise up. His constructions, in a fluxed state of dissipation and development, supersede mere functionality. Dubourg’s bronze ‘Vent sur la table’ (Wind on the table), 2008, comprises sculpted branches joined with intersecting rectangular panels which represent sections of fractured wall. In a violent play of expression, organic offshoots challenge brittle geometry. Above it all, the wind vents its rage: three fluted Empire legs (the fourth has blown away) float through the swirl like tornado debris. Denuded branches convey a wintery mood—apocalyptic is not too strong a word. Perversely, Dubourg embellishes his bronze panels with raised rosettes and scrolling foliate borders, a formalised wallpaper in counterpoint to the wild mess and lack of leaves. Dubourg’s studied combination of interior and exterior motifs—antique furniture, wallpaper; branches, wind—creates a surprising balance. Ruptured planes shift apart; they also join together, although the combination is one of fragments (Picasso would have been proud). Dubourg states, “When I first started with wood, it was like a game between two people, each trying to tame the other: a young branch, inflexible, and me, demanding. And this led us to find a harmony together, which is translated into a dance of curves.” Man vs. Nature, that old saw, blows in through the window. But what conflict has raged longer? Dubourg’s console, a distillation of that grand conceit, aspires to the unbowed wild—those branches will snap back— but relies on human ingenuity: it needs those Empire legs to stand.

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RUPERT SPIRA b. 1960 Large ‘Poem’ bowl, 2009 Stoneware, incised poem through black pigment over white glaze with copper red splashes at the rim. Impressed with artist’s seal. 54.9 cm. (21 5/8 in.) diameter

Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7,4 0 0 € 4 , 0 0 0 - 5 ,10 0

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GEORGE NAKASHIMA 1905-1990 ‘Slab’ settee, c. 1970 Walnut, hickory. Underside signed in pencil with ‘Skriloff’. 81.9 x 167 x 58.4 cm. (32 1/4 x 65 3/4 x 23 in.)

Estimate £10 , 0 0 0 -12 , 0 0 0 $16 , 5 0 0 -19 , 8 0 0 €11,4 0 0 -13 ,70 0 Ω Provenance Skriloff Family, USA Literature Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George

Nakashima, New York, 2003, pp. 147 and 223 for similar examples

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ERNST GAMPERL b. 1965 ‘Object’, 2008 Lime washed turned oak, fissures fixed with butterfly keys. Incised with ‘98/08/250’. 57.2 cm. (22 1/2 in.) high

Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 ,4 0 0

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PAUL EVANS 1931-1987 Unique fountain, 1970s Patinated steel. Together with reservoir (not pictured). 129.5 x 88.9 x 63.5 cm. (51 x 35 x 25 in.), without reservoir

Estimate £14 , 0 0 0 -16 , 0 0 0 $ 2 3 ,10 0 - 2 6 ,4 0 0 €16 , 0 0 0 -18 , 3 0 0 ‡

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TORD BOONTJE b. 1968 ‘Petit Jardin’ bench, 2006 Powder-coated laser-cut steel, zinc. Produced by Studio Tord Boontje, France. Number two from the edition of ten plus one prototype. Impressed with ‘Studio Tord Boontje 2006 no. 2’. From the Studio Tord Boontje collection. 131 x 220 x 120 cm. (51 1/2 x 86 5/8 x 47 1/4 in.)

Estimate £ 2 5 , 0 0 0 - 3 5 , 0 0 0 $ 41, 3 0 0 - 57, 9 0 0 € 2 8 , 6 0 0 - 4 0 , 0 0 0 ♠ † Literature Martina Margetts, Tord Boontje, New York, 2006, p. 10 for a cardboard

prototype and p. 265; Robert Kianten, Sophie Lovell and Birga Meyer, eds, Furnish: Furniture and International Design for the 21st Century, Berlin, 2007, p. 174; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 176

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JEAN PROUVÉ 1901-1984 Very rare swivelling office chair, special model, 1950 Painted bent sheet steel, painted tubular steel, vinyl, oak. Manufactured by Les Ateliers Jean Prouvé, France. 80 cm. (31 1/4 in.) high

Estimate £ 2 5 , 0 0 0 - 3 0 , 0 0 0 $ 41, 3 0 0 - 4 9 , 6 0 0 € 2 8 , 6 0 0 - 3 4 , 3 0 0 Ω Provenance Société Générale, Douai, France; Galerie Downtown, Paris Literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris,

1998, pp. 52-53, 171 and 177 for similar examples; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005, pp. 39 and 219; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, illustrated p. 299

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JEAN PROUVÉ 1901-1984 Low coffee table, model no. GB 21, c. 1947 Comblanchien limestone, oak, painted bent sheet steel. Manufactured by Les Ateliers Jean Prouvé, France. 34.6 cm. (13 5/8 in.) high, 90.2 cm. (35 1/2 in.) diameter

Estimate £18 , 0 0 0 - 24 , 0 0 0 $ 2 9 , 8 0 0 - 3 9 ,70 0 € 2 0 , 6 0 0 - 2 7,4 0 0 Ω Provenance Magen H. Gallery, New York literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris,

1998, pp. 170-175, 181 and 194 for similar examples; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934-1944, Basel, 2000, pp. 302-303, fig. 944,1 for a drawing; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005, p. 152, figs. 1132.1 and 1132.3; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 407 and 452-456 for similar examples

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SERGE MOUILLE 1922-1988 Floor lamp, c. 1950 Painted aluminium, painted tubular metal, brass. Manufactured by Ateliers Serge Mouille, France. 174.6 cm. (68 3/4 in.) high

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 Ω literature Alan and Christine Counord, Serge Mouille, Luminaires, 1953-1962,

Paris, 1983, n.p.; Patrick Favardin, Les Décorateurs des Années 50, Paris, 2002, p. 162; Charlotte and Peter Fiell, eds, 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 502; Pierre Émile Pralus, Serge Mouille a French Classic, Saint Cyr au Mont d’Or, 2006, pp. 69, 115, 118, 129 and 156

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GEORGES JOUVE 1910-1964 ‘Galet’ vase, c. 1957 Glazed stoneware. Underside incised with artist’s mark and ‘JOUVE’. 19 cm. (7 1/2 in.) high

Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 , 0 0 0 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 78-79, 148 for similar examples

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GEORGES JOUVE 1910-1964 ‘Cratère’ vase, c. 1958 Glazed stoneware. Underside incised with artist’s mark and ‘JOUVE’. 25.5 cm. (9 7/8 in.) high

Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 , 0 0 0 Literature Pierre Staudenmeyer, La Céramique Française des Années 50, Paris,

2001, p. 200

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GEORGES JOUVE 1910-1964 Lidded box, c. 1956 Glazed stoneware. Underside incised with artist’s mark and ‘JOUVE’. 18 cm. (7 1/8 in.) high

Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 €1,70 0 - 2 , 3 0 0 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, p. 163

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JEAN PROUVÉ 1901-1984 ‘Dactylo’ desk, c. 1942 Oak, painted bent steel. Manufactured by Les Ateliers Jean Prouvé, France. 70 x 103 x 52.5 cm. (27 1/2 x 40 1/2 x 20 5/8 in.)

Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -13 , 2 0 0 € 6 , 9 0 0 - 9,10 0 Literature Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934-1944, Basel,

2000, pp. 288-289, fig. 896; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005, p.178, fig. 1159.1; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 330 and 336-337

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PIERRE GUARICHE 1926-1995 ‘Balancier’ wall light, c. 1955 Painted metal, painted tubular metal, patinated metal. Manufactured by Disderot, France. 160 cm. (63 in.) long

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 Literature Centre de Création Industrielle, Lumières: Je Pense à Vous, exh. cat.,

Centre Georges Pompidou, Paris, c. 1985, p. 164

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CHARLOTTE PERRIAND 1903-1999 Important wall-mounted bookcase, c. 1950 Aluminium, oak. Manufactured by Les Ateliers Jean Prouvé, France and editioned by Galerie Steph Simon, France. 140.3 x 320 x 33.6 cm. (55 1/4 x 126 x 13 1/4 in.)

Estimate £ 8 0 , 0 0 0 -12 0 , 0 0 0 $13 2 , 0 0 0 -19 8 , 0 0 0 € 91,4 0 0 -13 7, 0 0 0 Ω Provenance Galeries Jousse Seguin, Paris; Private Collection, New York Literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998,

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

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GEORGES JOUVE 1910-1964 ‘Galet’ vase, c. 1957 Glazed stoneware. Underside incised with artist’s mark and ‘JOUVE’. 16 cm. (6 1/4 in.) high

Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 - 6 , 9 0 0 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 78-79 for similar examples

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JEAN ROYÈRE 1902-1981 Set of eight dining chairs, c. 1958 Ebonised wood, velvet (8). Each: 84.5 cm. (33 1/4 in.) high

Estimate £15 , 0 0 0 - 2 0 , 0 0 0 $ 24 , 8 0 0 - 3 3 ,10 0 €17,10 0 - 2 2 , 8 0 0 Literature Jean Royère, Décorateur à Paris, exh. cat., Musée des Arts Décoratifs,

Paris, 1999, p. 72

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35

GEORGES JOUVE 1910-1964 Tall vase, c. 1955 Glazed stoneware. Underside incised with artist’s mark and ‘JOUVE’. 49 cm. (19 1/4 in.) high

Estimate £12 , 0 0 0 -15 , 0 0 0 $19 , 8 0 0 - 24 , 8 0 0 €13 ,70 0 -17,10 0 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, p. 59 for a similar example

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36

JEAN ROYÈRE 1902-1981 Rare ‘Ours Polaire’ sofa, c. 1951 Fabric, oak. 82.6 x 238.8 x 137.2 cm. (32 1/2 x 94 x 54 in.)

Estimate £10 0,0 0 0 -15 0,0 0 0 $16 5,0 0 0 -247,0 0 0 €114,0 0 0 -171,0 0 0 Ω Provenance Galerie Downtown, Paris Literature Yvonne Brunhammer, Le Mobilier Français 1930-1960, Paris, 1997,

p. 139 for a drawing; Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, pp. 24, 40, 63 and 83-85; Jean Royère, Décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, pp. 9-10, 25, 41, 60, 63, 70-72, 76, 161, 165 and pp. 12, 115, 122-123 and 125 for drawings; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 45, 143, 210-211, 226-229, 231-232, 247, 266, 285, 291 and pp. 15 and 233 for drawings

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37

HANS COPER 1920-1981 Large ‘Spade’ form, 1967 Stoneware, layers of vitreous porcelain slip over a textured body painted with iron and manganese, the interior with a rich manganese glaze. Impressed with artist’s seal. 28.6 cm. (11 1/4 in.) high

Estimate £12 , 0 0 0 -18 , 0 0 0 $19 , 8 0 0 - 2 9 , 8 0 0 €13 ,70 0 - 2 0 , 6 0 0 Literature Tony Birks, Hans Coper, London, 1983, illustrated p. 151

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000

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38

HANS COPER 1920-1981

39

HANS COPER 1920-1981

Early bowl form, c. 1955

Composite cup and disc form, c. 1965

Stoneware, manganese and clear glaze. The well with a resist abstract design of

Stoneware, manganese glaze, white porcelain slip. Impressed with artist’s seal.

concentric circles. Impressed with artist’s seal.

12.1 cm. (4 3/4 in.) high

14.9 cm. (5 7/8 in.) diameter

Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 - 6 , 9 0 0 Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 ,4 0 0 - 4 , 6 0 0 ExhibitEd ‘Lucie Rie & Hans Coper—Potters in Parallel’, Barbican Art Gallery,

London, 1997

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000

40

JOE COLOMBO 1930-1971 Prototype ‘Personal Container’, 1965 Rosewood-veneered wood, walnut, brushed aluminium, felt. Manufactured by Arflex, Italy. 180.5 x 81 x 77 cm. (71 x 31 7/8 x 30 1/4 in.)

Estimate £ 9 , 0 0 0 -12 , 0 0 0 $14 , 9 0 0 -19 , 8 0 0 €10 , 3 0 0 -13 ,70 0 ExhibitEd Salone del Mobile, Milan, September 1965 LitEraturE Domus, November 1965, for similar examples also included in the exhibition; Domus,

September 1967, for a similar example; Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 224 for a similar example; Mateo Kries and Alexander von Vegesack, Joe Colombo Inventing the Future, Weil am Rhein, 2005, pp. 168-169, figs. 143-146 for sketches and similar examples

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41

ETTORE SOTTSASS JR 1917-2007 Table mirror, 1965 Ebonised wood, lacquered wood, plastic, mirrored glass, brass. Manufactured by Poltranova, Italy. 48.5 x 41 x 17 cm. (19 1/8 x 16 1/8 x 6 3/4 in.)

Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 ,4 0 0 LitEraturE Claudia Neumann, Design in Italia, Milan, 1999, p. 67

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42

42

ETTORE SOTTSASS JR 1917-2007 Unique prototype framed mirror, 1960 Stained birch, mirrored glass. 40.5 x 40 x 2 cm. (16 x 15 3/4 x 3/4 in.)

Estimate £ 4 , 5 0 0 - 6 , 5 0 0 $7,4 0 0 -10 ,70 0 € 5 ,10 0 -7,4 0 0 Provenance Galleria Il Sestante, Milan, Italy exhibited ‘Cornici e Oggetti di Legno’, Galleria Il Sestante, Milan, Italy, 18 May 1960 Literature Guia Sambonet, Ettore Sottsass: Mobili e Qualche Arredamento, exh.

cat., Galleria Rocca 6, Turin, 1985, p. 28 for similar examples

43

43

ETTORE SOTTSASS JR 1917-2007 Unique prototype double picture frame, 1960 Stained birch, glass, photographs. 38 x 29.5 x 2 cm. (15 x 11 3/4 x 1 in.)

Estimate £ 4 , 5 0 0 - 6 , 5 0 0 $7,4 0 0 -10 ,70 0 € 5 ,10 0 -7,4 0 0 Provenance Galleria Il Sestante, Milan, Italy exhibited ‘Cornici e Oggetti di Legno’, Galleria Il Sestante, Milan, Italy, 18 May 1960 Literature Guia Sambonet, Ettore Sottsass: Mobili e Qualche Arredamento, exh.

cat., Galleria Rocca 6, Turin, 1985, illustrated p. 28

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44

ETTORE SOTTSASS JR 1917-2007 Collage, 1960 Gouache, collage on paper. Verso signed with ‘Sottsass’. Together with a poster and original exhibition invitation. 49.5 x 34 cm. (19 1/2 x 13 3/8 in.)

Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 ,4 0 0 Provenance Galleria Il Sestante, Milan, Italy exhibited ‘Cornici e Oggetti di Legno’, Galleria Il Sestante, Milan, Italy, 18 May 1960 Literature Guia Sambonet, Ettore Sottsass: Mobili e Qualche Arredamento, exh.

cat., Galleria Rocca 6, Turin, 1985, illustrated p. 29

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45

45

ANGELO MANGIAROTTI b. 1921

46

ANGELO MANGIAROTTI b. 1921

Prototype bowl, 1970s

Prototype bowl, 1970s

Travertine marble.

Travertine marble.

10 cm. (4 in.) high; 44 cm. (17 1/4 in.) diameter

18 cm. (7 1/8 in.) high, 39.5 cm. (15 1/2 in.) diameter

Estimate £ 2 , 2 0 0 - 2 , 8 0 0 $ 3 , 6 0 0 - 4 , 6 0 0 € 2 , 5 0 0 - 3 , 2 0 0 ♠

Estimate £ 2 , 2 0 0 - 2 , 8 0 0 $ 3 , 6 0 0 - 4 , 6 0 0 € 2 , 5 0 0 - 3 , 2 0 0 ♠

Provenance Acquired directly from the artist

Provenance Acquired directly from the artist

46

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47

ACHILLE & PIER GIACOMO CASTIGLIONI 1918-2002, 1913-1968 Pair of ‘Sanluca’ armchairs, c. 1960 Leather, rosewood, brass. Manufactured by Gavina, Italy (2). Each: 94.5 cm. (37 1/4 in.) high

Estimate £7, 0 0 0 - 9, 0 0 0 $11, 6 0 0 -14 , 9 0 0 € 8 , 0 0 0 -10 , 3 0 0 Literature Paolo Ferrari, Achille Castiglioni, exh. cat., Centre Georges Pompidou/

CCI, Paris, 1985, p. 54, fig. 55, p. 56, fig. 60, pp. 58-59, figs. 62-63, pp. 150-151, figs. 215-217, and p. 210, fig. 318 and p. 225 for drawings; Sergio Polano, Achille Castiglioni, Complete Works, Milan, 2001, front cover and p. 163, fig. 244, p. 164, figs. 246-247, p. 174, figs. 270-271, p. 179, fig. 286 and p. 14 for a drawing; Charlotte and Peter Fiell, eds, Domus Vol. V 1960-1964, Cologne, 2006, pp. 224-225

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48

CESARE CASATI & ENZO HYBSCH b. 1936, b. 1932 Very rare ‘Simone’ sofa with integrated stereo system, 1966 Leather, painted MDF, chrome-plated metal, electrical components, plastic. Manufactured by Comfort, Italy. 72.5 x 274 x 106.5 cm. (28 1/2 x 107 7/8 x 42 in.)

Estimate £15 , 0 0 0 - 2 0 , 0 0 0 $ 24 , 8 0 0 - 3 3 ,10 0 €17,10 0 - 2 2 , 8 0 0 ♠ Literature Philippe Garner, Sixties Design, Cologne, 1996, p. 124; Giuliana Gramigna,

Repertorio 1950-1980, Milan, 2001, p. 233

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49

49

ETTORE SOTTSASS JR 1917-2007 ‘Asteroid’ table lamp, c. 1968 Coloured methacrylate, fluorescent tube, painted aluminium, chrome-plated metal. Manufactured by Francesconi for Design Centre, Italy and distributed by Poltronova, Italy. 72.4 cm. (28 1/2 in.) high

Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 - 6 , 9 0 0 Literature Emilio Ambasz, Italy: The New Domestic Landscape: Achievements and

Problems of Italian Design, exh. cat., The Museum of Modern Art, New York, 1972, p. 106; Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen, 1993, p. 90; Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973: il nuovo design italiano, Turin, 2002, pl. 153; Charlotte and Peter Fiell, eds, Domus Vol. VI 1965-1969, Cologne, 2006, pp. 436 and 500 for similar examples

50

50

ETTORE SOTTSASS JR 1917-2007 Very rare table clock, 1968 Clear and painted glass, chrome-plated metal. Produced by Olivetti, Italy. 10.5 cm. (4 in.) high, 17.5 cm. (6 7/8 in.) diameter

Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 , 0 0 0 Literature Giovanni Giudici, Olivetti Design Process 1908-1983, Ivrea, 1983, p. 203, fig. 13

This clock was produced in a limited edition in 1968 and was given as a Christmas gift for all Olivetti company managers.

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51

PIERRE CARDIN b. 1922 Double-sided floor lamp, 1970s Smoked glass, mirrored glass, sheet aluminium, painted metal. Manufactured by Venini, Italy. Underside of base impressed with ‘venini j.a.j./Murano/MADE IN ITALY’. 122 cm. (48 in.) high

Estimate £12 , 0 0 0 -18 , 0 0 0 $19, 8 0 0 - 2 9 , 8 0 0 €13 ,70 0 - 2 0 , 6 0 0 ♠ Literature Domus, September 1970, for this lamp in a Venini advertisement; Diane

Dorran Saeks, Seaside Interiors, Cologne, 2000, p. 78 for a single-sided example in the artist’s holiday home

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52

MARIO TICCO ‘Nebulosa’ table lamp, c. 1970 Moulded coloured and clear glass, chrome-plated metal. Manufactured by Venini, Italy. Underside with manufacturer’s paper label ‘MURANO ® BC’. 21 cm. (8 1/4 in.) high

Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7,4 0 0 € 4 , 0 0 0 - 5 ,10 0 Literature Anna Venini Diaz de Santillana Venini Catalogue Raisonné 1921-1986,

Milan, 2000, p. 299

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53

VITTORIO INTROINI b. 1935 Adjustable library system, c. 1969 Chrome-plated steel. Manufactured by Saporiti, Italy. Two sections with remnants of manufacturer’s label. Each: 233 x 65 x 36 cm. (91 3/4 x 25 1/2 x 14 1/8 in.)

Estimate £12 , 0 0 0 -18 , 0 0 0 $19, 8 0 0 - 2 9 , 8 0 0 €13 ,70 0 - 2 0 , 6 0 0 ♠ Literature Kathryn Heisinger and George Marcus, Design Since 1945, exh. cat.,

Philadelphia Museum of Art, 1983, p. 126, fig. III-32

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54

HUSSEIN CHALAYAN b. 1970 ‘Airmail Dress’, 1998 Tyvek. Self-produced, UK. One of three signed examples from the edition of 200. Reverse of envelope signed in pencil with artist’s signature and ‘3 / 3 30/03/06’. 119.5 x 66 cm. (47 x 26 in.)

Estimate £7, 0 0 0 - 9 , 0 0 0 $11, 6 0 0 -14 , 9 0 0 € 8 , 0 0 0 -10 , 3 0 0 ♠†

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TOM DIXON b. 1959 Protoype writing table, c. 1994 Sheet aluminium, glass. Produced by Tom Dixon Studio, UK. One of three existing examples from the series. 73.5 x 170 x 85 cm. (29 x 67 x 33 1/4 in.)

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 Ω ♠

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56

KOMpLOT DESIgN BORIS BERLIN & pOUL CHRISTIANSEN b. 1953, b. 1947 ‘Grid Chair’, 1999 Ash, oak. Produced by Kasper Holst Pedersen, Denmark. One of seven known examples. 78 cm. (30 3/4 in.) high

Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 ,4 0 0 - 5 ,70 0 Literature Walk the Plank, exh. cat., Kunstindustrimuseet, Copenhagen, 1999, pp. 46-47

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57

JESSE REISER & NANAKO UMEMOTO REISER + UMEMOTO RUR ARCHITECTURE Prototype ‘Vector Wall’, 2008 Hand-built laser-cut powder-coated sheet steel, flat-head threaded fasteners. 243.8 x 243.8 x 61 cm. (96 x 96 x 24 in.)

Estimate £ 3 0 , 0 0 0 - 4 0 , 0 0 0 $ 4 9 , 6 0 0 - 6 6 ,10 0 € 3 4 , 3 0 0 - 4 5 ,70 0 ‡ ExhibitEd ‘Home Delivery: Fabricating the Modern Dwelling’, The Museum of

Modern Art, New York, 20 July – 20 October 2008 litEraturE Barry Bergdoll and Peter Christensen, Home Delivery: Fabricating the

Modern Dwelling, exh. cat., The Museum of Modern Art, New York, 2008, illustrated p. 186; Nicolai Ouroussoff, ‘Instant Homes, Then and Now’, The New York Times, 18 July 2008; Advanced Interior Design, Seoul, 2009, pp. 862, 1022 and 1026; ‘Digital Tectonics’, World Architecture, August 2009, pp. 28 – 35

‘Vector Wall’ was commissioned by Barry Bergdoll, Chief Curator of Architecture and Design at The Museum of Modern Art, on the occasion of ‘Home Delivery’, his exhibition on the prefabricated house. When Barry asked us to develop a contemporary prototype of mass customisation, we seized on the idea that the most significant aspects of production today, as compared to early modernism, are not technological advances (those must be assumed), but the reemergence of the sensual body in architecture: a joyful coda to an otherwise somber and moralizing history. Our project then was to take the contemporary logics of mass customization and the techniques of continuous variation and place them in the service of the body—the lived body—and not the ‘machine à habiter’ with its ruthless call to efficiency and its reduction of the body to a vehicle for purely productive ends. In that myth the body must ultimately disappear within a schema of pure efficiency and lose its shameful condition as flesh. Our prototype ‘Vector Wall’ is a celebration of intimacy, an exploration of sensuality and its affects. It is a boudoir object comprised of a complex, lace-like pattern laser-cut into a steel sheet then stretched and hand tuned to develop the wall’s unique form and personality. In mass production the concept allows a single pattern to develop almost limitless subtle variations of form and effects, depending upon how the forces of manufacture are applied to the sheet. Jesse Reiser and Nanako Umemoto

Works by Reiser + Umemoto are in the permanent collections of The Museum of Modern Art, New York, the Centre Pompidou, Paris, and the Canadian Centre for Architecture, Montreal.

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ProPerty sold to benefit the london design festival

58

SHIGERU BAN b. 1957 ‘Paper Tower’ pavilion, 2009 Paper tubes, steel, concrete. for the size + Matter Project, part of the london design festival. 2300 cm. (905 1/2 in.) high, 900 cm. (354 3/8 in.) diameter

Estimate £ 5 0 , 0 0 0 -70 , 0 0 0 $ 8 2 ,70 0 -113 , 0 0 0 € 57,10 0 -7 7, 0 0 0 † ExhibitEd ‘size + Matter’, london design festival, southbank Centre, london,

until 18 october 2009 ‘Paper tower’ comprises 432 cardboard tubes manufactured by sonoco, a supplier of innovative packaging solutions and a sponsor of the pavilion. arup, the global firm of consulting engineers, planners, and project managers, provided technical expertise. at 22 metres high, the pavilion is the tallest paper tower in the world.

language and buildings are held together by joints. beams, like clauses, need support. Japanese architect shigeru ban speaks clearly: his ‘Paper tower’ pavilion, a single coneshaped frame, comprises compressed cardboard tubes articulated by steel nodes. like an exclamation, it voices his intent to build ambitious projects using recycled and sustainable materials. a pioneer of cardboard structures, ban has constructed paper tube houses, domes, churches, bridges, and notably, emergency shelters for disaster victims. in 1998 he persuaded the United nations to deploy his paper tents to refugees displaced by rwanda’s civil war. Cardboard tubes, manufactured on site with simple machinery, offered a low-cost alternative to aluminium poles, which were being sold as contraband. in sri lanka, he devised mud brick houses to replace those destroyed by the tsunami in 2004. ban’s humble efforts stand in contrast to the clamour of much contemporary architecture, which can feel like braggadocio. for a quarter century, he has experimented with alternative materials in an attempt to adhere to minimum waste, his golden rule. in a Washington Post interview on the occasion of his thomas Jefferson Medal in architecture (linda hales, “Paper heavyweight,” april 13, 2005), ban summed up: “Mottainai.” the interjection, a Japanese expression of regret in the face of wastefulness, aptly conveys ban’s motivations and method: keep it simple; speak economically; punctuate the conversation with feeling

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HARRY BERTOIA 1915-1978 Monumental ‘Sonambient’ sounding sculpture, for Grieghallen, Bergen, Norway, 1976 beryllium copper, bronze. 466 x 91.4 x 91.4 cm. (183 1/2 x 36 x 36 in.)

Estimate £20 0,0 0 0 -250,0 0 0 $331,0 0 0 - 413,0 0 0 €228,0 0 0 -286,0 0 0 ‡ ProvEnancE grieghallen, bergen, norway; Kaare berntsen gallery, oslo, norway;

robert Miller gallery, new york; Private Collection, Michigan; Wright, Important Design, 20 May 2008, lot 642 litEraturE nancy n. schiffer and val o. bertoia, The World of Bertoia, atglen,

2003, for similar examples throughout

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“take wire. add poetry,” stated a 1950s Knoll advertisement for harry bertoia’s chairs, among that firm’s most popular offerings. designer, sculptor, graphic artist, jewelry maker, bertoia fit the definition of a polymath. born into a family of music lovers (his father worked in the theatre, his brother composed), bertoia from an early age devoted himself to art: he drew accomplished portraits at eleven; at fifteen he enrolled in drafting classes in san lorenzo, his birthplace in northern italy. years later, on an application to the renowned Cranbrook academy, bertoia wrote: “i can use any tool or machinery with dexterity.”1 although a painting major, he refused to confine himself to canvas. after the 1950s, bertoia never returned to furniture production but concentrated instead on unique abstract constructions in steel, brass, bronze, copper, and nickel alloys. for the next quarter century he welded, cast and bundled a menagerie of forms including screens, panels, flowers, cones, spills, and bushes, among others. abstracted from their legs, the seats of his chairs now read as early sculptural experiments. although fundamental to his output, they represent a stopover in his “long quest to seek and sometimes find a form, a structure, a sound or a way.” that statement affirms bertoia’s earnest desire for grand truths, for understanding, and for music. Working one day in 1959, he snapped a standing rod in error. it struck another—the way forward was clear as a bell. “for a number of years i had realized that sculpture had existed in silence through time… i thought: ‘Why is sound left outside?’” in the 1960s, outward from the closed geometry of his chairs and dense panels, bertoia opened his forms to air: bundled wires twisted out like fans or ‘wept’ as willows; thin lines of copper rods danced and rang. by the late 1960s, he had begun making large tonal sculptures with weighted rods arranged in grids. standing nearly five metres, the present “sounding” sculpture is among the largest of bertoia’s rare private commissions. executed in 1976 for the opening of norway’s grieghallen concert hall – a fitting location – the work comprises thirteen beryllium copper rods surmounted by caps. When struck, they produce a deep music like the sound of church bells. but this is not the angelus calling us to prayer. the only belief it tolls for is delight. bertoia stated that same year, “at this eternal moment, i have a gut feeling that awareness of the miracle of life is the purpose of life.” 1all citations: nancy n. schiffer & val o. bertoia, “the World of bertoia,” schiffer Publishing ltd., atglen, Pa, 2003

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60

MARC NEWSON b. 1963 ‘Supercell’ pavilion, 2009 fabricated enamelled steel. steel panels produced by arcelorMittal, luxembourg. for the size + Matter Project, part of the london design festival. 327.7 cm. (129 in.) high, 627.4 cm. (247 in.) diameter

Estimate £100,000-150,000 $165,000-247,000 €114,000-171,000 † ExhibitEd ‘size + Matter’, london design festival, southbank Centre, london,

until 18 october 2009

‘supercell’ comprises enamelled hexagonal steel panels produced by arcelorMittal, a leading steel company and a sponsor of the pavilion. arup, the global firm of consulting engineers, planners, and project managers, provided assistance. although mathematical in its precision, the exaggerated funnel form of the pavilion recalls a ‘supercell’ thunderstorm with its projecting anvil and steep cumulonimbus. the overall structure and its honeycomb panels confirm newson’s ongoing preoccupation with forms found in nature. the ‘supercell’ will be included as ‘Mn – 1sC – 2009 in the forthcoming catalogue raisonné of limited editions by Marc newson, currently being prepared by didier Krzentowski of galerie Kreo, Paris.

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61

PABLO REINOSO b. 1955 ‘Aluminium Bench’, 2008 Aluminium, steel. Self-produced, France. Number three from the edition of eight plus four artist’s proofs. Back of bench impressed with ‘3 / 8 FC 2009 Reinoso’. 72.5 x 145 x 71 cm. (28 1/2 x 57 1/8 x 28 in.)

Estimate £ 2 0 , 0 0 0 - 3 0 , 0 0 0 $ 3 3 ,10 0 - 4 9 , 6 0 0 € 2 2 , 8 0 0 - 3 4 , 3 0 0 ♠ Literature Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art

Furniture, Basel, 2009, pp. 8-9 for similar examples

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62

ARNE QUINZE b. 1971 ‘Stilthouse Mansize Male 1700’, 2009 Lacquered wood. Self-produced, Belgium. Leg with artist’s signature. 170 x 57 x 82 cm. (67 x 22 3/8 x 32 1/4 in.)

Estimate £16 , 0 0 0 -18 , 0 0 0 $ 2 6 ,4 0 0 - 2 9 , 8 0 0 €18 , 3 0 0 - 2 0 , 6 0 0 ♠ exhibited ‘Sculptures’, L’Eclaireur, Paris, 17-26 March 2009  Literature Arne Quinze Sculptures, exh. cat., L’Eclaireur, Paris, 2009, illustrated p. 14

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MARC NEWSON b. 1963 ‘Micarta Chair’ (wingless), 2006 Linen phenolic composite. Number one from the edition of ten. Underside with metal label impressed with ‘Wingless/Micarta chair/Marc Newson/1 / 10’. 75 cm. (29 1/2 in.) high

Estimate £ 4 0 , 0 0 0 - 6 0 , 0 0 0 $ 6 6 ,10 0 - 9 9 , 2 0 0 € 4 5 ,70 0 - 6 8 , 5 0 0 Ω Provenance Gagosian Gallery, New York Literature marc newson, exh. cat., Gagosian Gallery, New York, 2007, pp. 38-41

and 43 for the winged version; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 236 for the winged version and p. 237 for the wingless version in marble

The ‘Micarta Chair’ will be included as ‘MN-13MC-2006’ in the forthcoming catalogue raisonné of limited editions by Marc Newson, currently being prepared by Didier Krzentowski of Galerie Kreo, Paris.

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YASUO HAYASHI b. 1928 ‘Pose—II’, 1972 Stoneware, ‘irabo’ glaze. Incised with artist’s mark and date. 39.4 cm. (15 1/2 in.) high

Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7,4 0 0 € 4 , 0 0 0 - 5 ,10 0

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65

MAARTEN BAAS b. 1978 ‘Sculpt’ cabinet with drawer, 2007 Powder-coated steel. Produced by Baas & den Herder studio, The Netherlands. Number three from the edition of eight. Back of cabinet signed in pen with ‘Maarten/#3 / 8’. 50.5 x 45.2 x 92 cm. (19 7/8 x 17 3/4 x 36 1/4 in.)

Estimate £7, 0 0 0 - 9, 0 0 0 $11, 6 0 0 -14 , 9 0 0 € 8 , 0 0 0 -10 , 3 0 0 ♠ Literature Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art

Furniture, Basel, 2009, p. 124

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66

MICHAEL GEERTSEN b. 1966 Yellow standing object, 2008 Earthenware, thrown and assembled, yellow and gold glazes. 60 cm. (23 5/8 in.) high

Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 , 0 0 0 exhibited Sixpm Project Space, London 14th - 18th October 2008 

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67

Arne Quinze b. 1971 ‘Stilthouse 17.3.09’, 2009 Lacquered wood. Self-produced, Belgium. Base with artist’s signature. 60 x 49 x 37 cm. (23 3/8 x 15 3/4 x 14 1/2 in.)

estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 ExhibitEd ‘Sculptures’, L’Eclaireur, Paris, 17-26 March 2009  LitEraturE Arne Quinze Sculptures, exh. cat., L’Eclaireur, Paris, 2009, illustrated p. 3

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68

MAArTen BAAS b. 1978 ‘Clay’ cabinet with drawer, 2009 Industrial clay, metal. Produced by Baas & den Herder studio, The Netherlands. Back of cabinet inset with metal lettering ‘BAAS’ and underside signed in marker with ‘Maarten/Januari ‘09’. 77.5 x 41 x 29.5 cm. (30 1/2 x 16 1/8 x 11 5/8 in.)

estimate £1, 8 0 0 - 2 , 2 0 0 $ 3 , 0 0 0 - 3 , 6 0 0 € 2 ,10 0 - 2 , 5 0 0 ♠

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69

71

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69

ANDERS RUHWALD b. 1974

70

ANDERS RUHWALD b. 1974

‘Social Piece of Furniture #2’, 2004

‘Piece of Furniture 3’, 2004

Earthenware, glaze.

Earthenware, glaze, painted steel, plywood (2).

83.8 cm. (33 in.) high

Larger: 120 x 56 x 81 cm (47 1/4 x 22 x 32 in.)

Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 €1,70 0 - 2 , 3 0 0

Estimate £ 4 , 0 0 0 - 5 , 0 0 0 $ 6 , 6 0 0 - 8 , 3 0 0 € 4 , 6 0 0 - 5 ,70 0

ExhibitEd ‘Strata: New Perspectives on Ceramics from Scandinavia and the

ExhibitEd ‘Strata: New Perspectives on Ceramics from Scandinavia and the United

United States’, Skulpturens Hus, Stockholm, 4 June – 25 August 2005; ‘My Room’,

States’, Skulpturens Hus, Stockholm, 4 June – 25 August 2005; ‘The Autumn Exhibition’,

Sophienholm, Copenhagen, 2005; ‘The Autumn Exhibition’, Charlottenborg Kunsthal,

Charlottenborg Kunsthal, Copenhagen, 2006

Copenhagen, 2006

71

ANDERS RUHWALD b. 1974 ‘Step’, 2005 Earthenware, glaze. 92.1 cm. (36 1/4 in.) long

Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 ,4 0 0 ExhibitEd ‘Strata: New Perspectives on Ceramics from Scandinavia and the

United States’, Skulpturens Hus, Stockholm, 4 June – 25 August 2005; ‘The Autumn Exhibition’, Charlottenborg Kunsthal, Copenhagen, 2006

70

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72

72

ROBERT WILSON b. 1941 ‘Pierre Curie Chair’, 1996-1997 Stainless steel. Produced for RW Work Ltd by La Paloma under the supervision of Paula Cooper Gallery, New York. Number 11 from the edition of 15. Originally produced for the theatrical production De Materie, 1989. 120 cm. (47 1/4 in.) high

Estimate £12 , 0 0 0 -15 , 0 0 0 $19, 8 0 0 - 24 , 8 0 0 €13 ,70 0 -17,10 0 Ω Literature Barbara Bloemink and Joseph Cunningham, Design ≠ Art: Functional

Objects from Donald Judd to Rachel Whiteread, exh. cat., Cooper Hewitt Design Museum, New York, 2004, p. 108, fig. 101

73

73

ROBERT WILSON b. 1941 ‘Esmerelda’s Sofa’, 1991 Lacquered wood, steel. Produced for RW Work Ltd by Luca Dosi Delfini, Amsterdam. Number five from the edition of 12. Underside with manufacturer’s brass plaque impressed with ‘RW/WORK LTD/EDITIONS DOSI DELFINI’ and incised with ‘ESMERELDAS SOFA 5/12’. Originally designed for the theatrical production of Doktor Faustus, 1989. 92 x 208 x 49.5 cm. (36 1/4 x 81 7/8 x 19 1/2 in.)

Estimate £15 , 0 0 0 -18 , 0 0 0 $ 24 , 8 0 0 - 2 9 , 8 0 0 €17,10 0 - 2 0 , 6 0 0 Ω Literature Trevor Fairbrother, Robert Wilson’s Vision, exh. cat., Museum of Fine

Arts, Boston, New York, p. 89

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74

MAARTEN BAAS b. 1978 ‘Sculpt’ dining chair, 2007 Powder-coated steel. Produced by Baas & den Herder studio, The Netherlands. Number one from the edition of eight. Underside signed in marker with ‘Sculpt black diner/#1 / 8/Maarten’. 92.5 cm. (36 3/8 in.) high

Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 - 6 , 9 0 0 ♠ Literature Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art

Furniture, Basel, 2009, p. 124

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75

SEBASTIAN BRAJKOVIC b. 1975 ‘Lathe 1’, 2008 Bronze, embroidered upholstery. Self-produced, The Netherlands. From the edition of eight. 85 cm. (33 1/2 in.) high, 114 cm. (44 7/8 in.) diameter.

Estimate £ 3 0 , 0 0 0 - 4 0 , 0 0 0 $ 4 9 , 6 0 0 - 6 6 ,10 0 € 3 4 , 3 0 0 - 4 5 ,70 0 ♠ Literature Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art

Furniture, Basel, 2009, pp. 188-189 for similar examples

Revolution, whether caused by uproar in the street or the quieter convulsions of the artist’s studio, shocks. Onlookers never saw it coming. Agitators who break from the past seem to come from nowhere. Dutch modernist Gerrit Rietveld was one such example. His iconic ‘Red Blue Chair’ of 1923, an elementary composition of lines and canted planes, must have arrived from the remote tracts of a singular imagination. The reality is more complex. Rietveld, as critic Paul Overy has discussed, was anticipated by vernacular Dutch furniture and by Frank Lloyd Wright’s planar harmonies. Today’s fruit was borne from yesterday’s seed. Dutch designer Sebastian Brajkovic’s ‘Lathe 1’ demonstrates the point, although more explicitly than Rietveld’s work. As one might describe an arc by turning a compass, Brajkovic stretches the right and left profiles of a 19th-century armchair into a rounded seat with conical back, a circular sofa known as a ‘borne.’ Cabriole legs, seat, and top rail distend as in a hallucination. The chair’s upholstery follows suit: flowers embroidered near the antique margins of the work dissolve into concentric lines. Action painting comes to mind. As if spun or spinning on a lathe, the armchair appears subject to a tremendous implied and applied force. Is it time passing? The artistic will? Fashion? In the case of ‘Lathe 1,’ Brajkovic references outmoded forms to create an update of an outmoded form, but the effect feels à la mode. Brajkovic belongs to a cohort of contortionists—Jeroen Verhoeven, Vincent Dubourg, Shao Fan—who distort antique furniture to create wholly new silhouettes. To borrow an expression from Ellen Lupton, curator at the Cooper-Hewitt National Design Museum, Brajkovic is both “abstract and referential,” similar to Verhoeven and the others. Unlike so much furniture sitting heavily on the floor, ‘Lathe 1’ moves: it compasses time and space. That’s no small revolution. Brajkovic’s ‘Lathe VII’, from the same series as the present lot is currently on view in ‘Telling Tales’, the Victoria and Albert Museum, London, 14 July – 18 October 2009.

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76

76

ROBERT WILSON b. 1941 ‘Queen’s Chair’, 1999 Lacquered beech. Produced for RW Work Ltd by Diazoma Woodworking, USA. Number one from the edition of two plus one prototype and one artist’s proof. Originally designed for the theatrical production The Days Before: Death, Destruction and Detroit III, 1999. 73 cm. (28 3/4 in.) high

Estimate £14 , 0 0 0 -16 , 0 0 0 $ 2 3 ,10 0 - 2 6 ,4 0 0 €16 , 0 0 0 -18 , 3 0 0 Ω Literature Robert Wilson, ‘RW Notebook’, Connaissance des Arts, January 2000,

p. 116 and p. 7 for a drawing

77

77

MARCEL WANDERS b. 1963 ‘Pizzo Carrara Bench’, 2007 Sandblasted Carrara marble, painted steel. Number six from the edition of 20. Underside with metal plaque with artist’s mark and ‘6 / 20’. From the Personal Editions collection. 39 x 130 x 45 cm. (15 3/8 x 51 1/8 x 17 3/4 in.)

Estimate £12 , 0 0 0 -15 , 0 0 0 $19 , 8 0 0 - 24 , 8 0 0 €13 ,70 0 -17,10 0 ♠ Literature Josephine Minutillo, ‘The Performance Artist’, Whitewall, Summer

2007, p. 134 for a similar example

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78

ROBERT WILSON b. 1941 ‘Fritzi’s Chair’, 1999 Tempered clear and frosted glass. Produced for RW Work Ltd by Glass Impressions, USA. Number five from the edition of ten. Originally designed for the theatrical production The Days Before: Death, Destruction and Detroit III, 1999 108 cm. (42 1/2 in.) high

Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 ,4 0 0 - 4 , 6 0 0 Ω Literature Miguel Morey and Carmen Pardo, Robert Wilson, Barcelona, 2003, pp. 120-121

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79

MARC NEWSON b. 1963 Large ‘Diode’ floor lamp, 2006 Moulded glass, painted steel, carbon, aluminium. Number four from the edition of ten plus one prototype and two artist’s proofs. Foot with steel roundel ‘Diode lamp/L/Marc Newson/4 / 10’. 220 cm. (86 5/8 in.) high

Estimate £ 3 0 , 0 0 0 - 5 0 , 0 0 0 $ 4 9 , 6 0 0 - 8 2 ,70 0 € 3 4 , 3 0 0 - 57,10 0 Ω Provenance Gagosian Gallery, New York Literature marc newson, exh. cat., Gagosian Gallery, New York, 2007, pp. 56-57

The ‘Diode Lamps–Large’ will be included as ‘MN-13DLL-2006’ in the forthcoming catalogue raisonné of limited editions by Marc Newson, currently being prepared by Didier Krzentowski of Galerie Kreo, Paris.

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80

ALEV SIESBYE b. 1938 Bowl, c. 1991 Stoneware, cobalt blue glaze, turquoise glaze on the lip. The masked design running in concentric bands exposing the body material beneath. Incised with ‘Alev’. 33 cm. (13 in.) diameter

Estimate £ 4 , 5 0 0 - 6 , 5 0 0 $7,4 0 0 -10 ,70 0 € 5 ,10 0 -7,4 0 0 ♠

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81

PETER HARVEY b. 1961 Prototype ‘Smile’ chaise longue, 1990s Lacquered wood, leather, chrome-plated tubular metal. Self-production, UK. Artist’s proof from the edition of 50. Underside with metal plaque impressed with ‘Peter Harvey/S-C-L A/P 01’. 87.5 cm. (34 1/2 in.) high

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 Literature Does Laren, Peter Harvey in Laren, inside information, April 2005, front

cover and illustrated p.32.

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82

LUCIE RIE 1902-1995 Composite flask, c. 1957 Porcelain, manganese glaze, pink glaze with sgraffito design to lip and underside of foot. Impressed with artist’s seal and original exhibition sticker. 23.5 cm. (9 1/4 in.) high

Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 - 6 , 9 0 0 Provenance Ex Lucie Rie’s Private Collection exhibited ‘Lucie Rie’, Crafts Council—The Victoria and Albert Museum, London, 1981 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum,

London, illustrated p. 74, item 98

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83

LUCIE RIE 1902-1995 Conical bowl, c. 1978 Porcelain, manganese glaze. Inlay and sgraffito design of concentric rings inside and out. Impressed with artist’s seal. 19.7 cm. (7 3/4 in.) diameter

Estimate £ 6 , 0 0 0 - 9, 0 0 0 $ 9, 9 0 0 -14 , 9 0 0 € 6 , 9 0 0 -10 , 3 0 0 Provenance Oxford Gallery, Oxford, UK

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84

LUCIE RIE 1902-1995 Large bowl, c. 1965 Stoneware, blue-green pitted glaze, mineral elements in the body material producing a brown speckle. An unglazed ring in the well. Impressed with artist’s seal. 34.3 cm. (13 1/2 in.) diameter

Estimate £ 6 , 0 0 0 - 9 , 0 0 0 $ 9 , 9 0 0 -14 , 9 0 0 € 6 , 9 0 0 -10 , 3 0 0

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85

LUCIE RIE 1902-1995 Globular jar, c. 1967 Stoneware, off-white pitted glaze. Impressed with artist’s seal. 20 cm. (7 7/8 in.) diameter

Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 - 6 , 9 0 0 Provenance Bonhams, London, 3 June 1990 exhibited ‘Lucie Rie: A retrospective exhibition of earthenware,

stoneware and porcelain 1926-1967’, Arts Council Gallery, London, 1967

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86

LUCIE RIE 1902-1995 Footed bowl, c. 1980 Porcelain, bright golden manganese glaze, sgraffito design inside and out. Impressed with artist’s seal. 17.8 cm. (7 in.) diameter

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0

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87

CARLO SCARPA 1906-1978 Vase, 1934 ‘Sommerso’ glass. Manufactured by Venini, Italy. 20.5 cm. (8 in.) high

Estimate £12 , 0 0 0 -18 , 0 0 0 $19 , 8 0 0 - 2 9 , 8 0 0 €13 ,70 0 - 2 0 , 6 0 0 Provenance Galleria Ecodiforme, Turin Literature Fondazione Giorgio Cini, Gli Artisti Di Venini, exh. cat., Istituto di Storia

dell’Arte, Venice, 1996, p. 91, figs. 77-78; Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan 1930-1970, Munich, 1997, p. 60, fig. 21; Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, illustrated p. 132, fig. 86

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88

STILNOVO Pair of large wall lights, c. 1955 Opaque plastic, coloured plastic, brass, painted metal. Manufactured by Stilnovo, Italy. Back of one light with manufacturer’s label ‘MILANO/STILNOVO/ ITALY’ (2). Each: 18 cm. (7 in.) high, 39 cm. (15 3/8 in.) diameter

Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 , 0 0 0

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89

GIO PONTI 1891-1979

90

GIO PONTI 1891-1979

Small cylindrical vase, 1950s

Cylindrical vase, 1950s

Enamelled copper, steel. Manufactured by Del Campo, Italy. Underside

Enamelled copper, steel. Manufactured by Del Campo, Italy. Underside

impressed with artist’s mark and incised with ‘Gio Ponti/del campo’.

impressed with artist’s mark and incised with ‘Gio Ponti/del Campo.’

19 cm. (7 3/8 in.) high

25.5 cm. (10 in.) high

Estimate £1,70 0 - 2 , 2 0 0 $ 2 , 8 0 0 - 3 , 6 0 0 €1, 9 0 0 - 2 , 5 0 0

Estimate £ 2 , 0 0 0 - 2 , 5 0 0 $ 3 , 3 0 0 - 4 ,10 0 € 2 , 3 0 0 - 2 , 9 0 0

Literature Ugo La Pietra, ed., Gio Ponti, New York, 1996, p. 299, fig. 623 for a

Literature Please see previous lot

similar example

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91

TOMMASO BUZZI 1900-1981 Floor lamp, 1933 ‘Lattimo’ glass, opaque glass, brass. Manufactured by Venini, Italy. 181 cm. (71 1/4 in.) high

Estimate £ 2 2 , 0 0 0 - 2 8 , 0 0 0 $ 3 6 ,4 0 0 - 4 6 , 3 0 0 € 2 5 ,10 0 - 3 2 , 0 0 0 Provenance Galleria Ecodiforme, Turin Literature Catalogo Blu, no. 508; Anna Venini Diaz de Santillana, Venini Catalogue

Raisonné 1921-1986, Milan, 2000, illustrated p. 116, fig. 65 and p. 208, fig. 100

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92

THOMAS STEARNS 1936-2006 Rare incalmo vase, c. 1960 Coloured glass. Manufactured by Venini, Italy. Underside acid-etched with ‘venini/murano/ITALIA’. 37.5 cm. (14 3/4 in.) high

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 Literature Fondazione Giorgio Cini, Gli Artisti Di Venini, exh. cat., Istituto di Storia

dell’Arte, Venice, 1996, p. 151, fig. 222; Franco Deboni, Venini Glass, Milan, 2003, pl. 171

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93

94

93 95

94

GIO PONTI & PAOLO DE POLI 1891-1979, 1905-1984

95

GIO PONTI & PAOLO DE POLI 1891-1979, 1905-1984

Vase, 1950s

Rectangular vase, 1950s

Enamelled copper. Underside incised with ‘De Poli’.

Enamelled copper. Underside impressed with ‘P. DE POLI/MADE IN ITALY’.

20.5 cm. (8 in.) high

25.5 cm. (10 in.) high

Estimate £ 2 , 0 0 0 - 2 , 5 0 0 $ 3 , 3 0 0 - 4 ,10 0 € 2 , 3 0 0 - 2 , 9 0 0

Estimate £ 2 , 2 0 0 - 2 , 8 0 0 $ 3 , 6 0 0 - 4 , 6 0 0 € 2 , 5 0 0 - 3 , 2 0 0

GIO PONTI & PAOLO DE POLI 1891-1979, 1905-1984 Bottle, 1950s Enamelled copper. Underside incised with ‘De Poli’. 30 cm. (11 1/4 in.) high

Estimate £ 2 , 2 0 0 - 2 , 8 0 0 $ 3 , 6 0 0 - 4 , 6 0 0 € 2 , 5 0 0 - 3 , 2 0 0

94

95

93

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96

GIO PONTI 1891-1979 Extremely rare chair with ottoman, 1950s Walnut, suede. Produced by Fratelli Marelli, Italy. Together with a certificate of authenticity from the Ponti Archives (2). Chair: 98 cm. (38 1/2 in.) high; ottoman: 37 x 41 x 31 cm. (14 1/2 x 16 1/8 x 12 1/4 in.)

Estimate ÂŁ 9 , 0 0 0 -12 , 0 0 0 $14 , 9 0 0 -19 , 8 0 0 â‚Ź10 , 3 0 0 -13 ,70 0

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97

GIO PONTI 1891-1979 Rare floor lamp, c. 1956 Brass. Lower back of support with Gio Ponti archives paper label ‘09021/ 000/Gio Ponti Archives’. Designed for the ‘Centro Gallini’, Voghera, Italy. 128.5 cm. (50 5/8 in.) high

Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 ,4 0 0 - 4 , 6 0 0

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98

MAX INGRAND 1908-1969 Rare ‘Dahlia’ chandelier, 1950s Coloured glass, glass, brass, bronze. Manufactured by Fontana Arte, Italy. 90 cm. (35 1/2 in.) drop, 60 cm. (23 5/8 in.) diameter

Estimate £14 , 0 0 0 -18 , 0 0 0 $ 2 3 ,10 0 - 2 9 , 8 0 0 €16 , 0 0 0 - 2 0 , 6 0 0 Literature Andrea Branzi and Michele De Lucchi, eds., Il Design Italiano

Degli Anni ’50, Milan, 1985, p. 231, fig. 809; Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 212, fig. 102 for a similar example

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99

ICO PARISI 1916-1996 Unique double-sided desk, 1952 Walnut, plastic laminate-covered wood, painted tubular steel, glass, rubber. Produced by Fratelli Rizzi Di Intimiano, Italy. 75 x 160 x 24 cm. (29 1/2 x 63 x 61 in.)

Estimate ÂŁ15 , 0 0 0 - 2 0 , 0 0 0 $ 24 , 8 0 0 - 3 3 ,10 0 â‚Ź17,10 0 - 2 2 , 8 0 0 Provenance Casa Rizzi, Intimiano, Italy Literature Magnificenza e Progetto, exh. cat., Palazzo Reale, Milan, 2009,

illustrated p. 170

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100

BAROVIER & TOSO Four large ‘Fuochi d’Artificio’ wall lights, c. 1958 Coloured glass with gold inclusions, brass. Manufactured by Barovier and Toso, Italy (4). Each: 84 x 57 x 20 cm. (33 x 22 1/2 x 8 in.)

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0

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101

GIO PONTI 1891-1979 Extremely rare desk and chair, 1950s Desk: walnut-veneered wood, walnut, glass, suede, brass; chair: walnut, suede. Produced by Fratelli Marelli, Italy. Together with a certificate of authenticity from the Ponti Archives (2). Desk: 75 x 80 x 42.5 cm. (29 1/2 x 31 1/2 x 16 3/4 in.); chair: 80 cm. (31 1/2 in.) high

Estimate ÂŁ12 , 0 0 0 -18 , 0 0 0 $19 , 8 0 0 - 2 9 , 8 0 0 â‚Ź13 ,70 0 - 2 0 , 6 0 0

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102

ETTORE SOTTSASS JR 1917-2007 Rare early mirror, 1958 Mirrored glass, glazed ceramic tiles, wood. Produced by Santambrogio & de Berti, Italy. 60 x 60 x 4.5 cm. (23 5/8 x 23 5/8 x 1 3/4 in.)

Estimate £15 , 0 0 0 - 2 0 , 0 0 0 $ 24 , 8 0 0 - 3 3 ,10 0 €17,10 0 - 2 2 , 8 0 0 Literature Domus, February 1958, for a similar example; Domus, September 1967, p. 41

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103

MAX INGRAND 1908-1969 Rare pair of ‘Dahlia’ wall lights, model no. 1461, 1950s Coloured glass, glass, brass. Manufactured by Fontana Arte, Italy (2). Each: 75 x 15 x 12 cm. (29 1/2 x 6 x 4 3/4 in.)

Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 - 6 , 9 0 0 Literature Fontana Arte sales catalogue, 1960s, p. 56; Andrea Branzi and Michele

De Lucchi, eds., Il Design Italiano Degli Anni ’50, Milan, 1985, p. 231, fig. 810

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104

FONTANA ARTE Table lamp, c. 1940 Bronze, glass, painted metal, fabric shade. Manufactured by Fontana Arte, Italy. 69 cm. (27 1/8 in.) high, including shade

Estimate ÂŁ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 â‚Ź 3 ,4 0 0 - 5 ,70 0 Literature Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 73

for a similar example

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105

GIO PONTI 1891-1979 ‘Tenaglia’ table, 1938 Limed ebonised oak, glass. Manufactured by Fontana Arte, Italy. Together with a certificate of authenticity from the Ponti Archives. 45.5 x 96 x 55.5 cm. (17 7/8 x 37 3/4 x 21 7/8 in.)

Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -13 , 2 0 0 € 6 , 9 0 0 - 9,10 0 Literature Domus, December 1939, p. 56; Laura Falconi, Fontana Arte: Una Storia

Trasparente, Milan, 1998, p. 206, fig. 61 for a similar example

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106

FONTANA ARTE Table lamp, 1950s Brass, frosted glass. Manufactured by Fontana Arte, Italy. 51 cm. (20 1/8 in.) high

Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 ,4 0 0 - 5 ,70 0 Literature Rathbone Holme and Kathleen Frost, eds., Decorative Art:

The Studio Year Book of Furnishing & Decoration, London, 1957-1958, p. 121

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107

MAX INGRAND 1908-1969 Pair of wall lights, model no. 1944, 1960s Frosted and partially-chiselled glass, brass. Manufactured by Fontana Arte, Italy and glass chiselled by Dubè (2). Each: 20 x 20.5 x 8.5 cm. (7 7/8 x 8 x 3 3/8 in.)

Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7,4 0 0 € 4 , 0 0 0 - 5 ,10 0 Literature Fontana Arte sales catalogue, 1967, p. 239; Laura Falconi, Fontana Arte:

Una Storia Trasparente, Milan, 1998, p. 111 for a wall light with similarly cut glass and p. 214, fig. 113 for a similar example

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108

PIETRO CHIESA 1892-1948 Table lamp, c. 1956 Opaque glass, textured glass, glass, brass, painted metal. Manufactured by Fontana Arte, Italy. 52 cm. (20 1/2 in.) high

Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 ,4 0 0 - 5 ,70 0

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109

PIETRO CHIESA 1892-1945 ‘Luminator’ floor lamp, model no. 0556, c. 1933 Brushed brass. Manufactured by Fontana Arte, Italy. 187 cm. (73 5/5 in.) high

Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 , 0 0 0 Literature Fontana Arte sales catalogue, 1960s, p. 76; Laura Falconi, Fontana

Arte: Una Storia Trasparente, Milan, 1998, pp. 57, 70 and 203, fig. 36; Charlotte and Peter Fiell, eds, Domus Vol. I 1928-1939, Cologne, 2006, p. 402

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110

JAQUES QUINET 1918-1992 Three-legged table, 1950s Bronze, leather-covered wood, glass. 74 cm. (29 1/4 in.) high, 60 cm. (23 5/8 in.) diameter

Estimate £12 , 0 0 0 -15 , 0 0 0 $19 , 8 0 0 - 24 , 8 0 0 €13 ,70 0 -17,10 0 PROVENANCE Dassault Industrie, Paris EXHIBITED ‘Jacques Quinet’, Galerie Chastel Maréchal, Paris, 9 September-18

October 2008 LITERATURE Guy Bloch Chamfort, Jacques Quinet, exh. cat., Galerie Chastel

Maréchal, Paris, 2008, illustrated p. 46-47

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111

GILBERT POILLERAT 1902-1988 Pair of table lamps, c. 1950 Patinated bronze, paper shades (2). Each: 72.1 cm. (28 3/8 in.) high, including shade

Estimate £ 8 , 0 0 0 -10 , 0 0 0 $13 , 2 0 0 -16 , 5 0 0 € 9 ,10 0 -11,4 0 0 LITERATURE François Baudot, Gilbert Poillerat: Maître Ferronnier, Paris, 1998, p. 211

for a similar example

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112

MARGARET KÖHLER Cabinet with two nesting tables, 1934 Walnut-veneered wood, Macassar ebony-veneered wood. Manufactured by Futurum, Sweden (3). Cabinet: 139.5 x 81 x 41 cm. (54 7/8 x 31 7/8 x 16 1/8 in.)

Estimate £7, 0 0 0 - 9 , 0 0 0 $11, 6 0 0 -14 , 9 0 0 € 8 , 0 0 0 -10 , 3 0 0

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113

FRITS HENNINGSEN 1889-1965 Sofa, c. 1938 Rosewood, leather. Produced by cabinetmaker Frits Henningsen, Denmark. 80 x 228 x 78 cm. (31 1/2 x 89 3/4 x 30 3/4 in.)

Estimate £10 , 0 0 0 -15 , 0 0 0 $16 , 5 0 0 - 24 , 8 0 0 €11,4 0 0 -17,10 0

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114

POUL HENNINGSEN 1894-1967 Rare piano lamp, 1930s Patinated bronze, coloured frosted glass, Bakelite. Manufactured by Louis Poulsen, Denmark. 34.5 cm. (13 1/2 in.) high

Estimate £15 , 0 0 0 - 2 0 , 0 0 0 $ 24 , 8 0 0 - 3 3 ,10 0 €17,10 0 - 2 2 , 8 0 0 LITERATURE Tina Jørstian and Poul Erik Munk Nielsen, eds, Light Years Ahead,

The Story of the PH Lamp, Copenhagen, 1994, p. 186

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115

POUL HENNINGSEN 1894-1967 Nine-armed ‘Cascade’ chandelier, 1933 Nickel-plated tubular metal, patinated metal, frosted glass. Manufactured by Louis Poulsen, Denmark. 35 cm. (13 3/4 in.) high, 70 cm. (27 1/2 in.) diameter

Estimate £12 , 0 0 0 -15 , 0 0 0 $19 , 8 0 0 - 24 , 8 0 0 €13 ,70 0 -17,10 0 Literature Tina Jørstian and Poul Erik Munk Nielsen, eds, Light Years Ahead,

The Story of the PH Lamp, Copenhagen, 1994, p. 201

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116

CHRISTIAN DELL 1893-1974 ‘Type K’ floor lamp, model no. 213, c. 1929 Chrome-plated tubular metal, painted aluminium, painted cast iron, painted wood. Manufactured by Chr. Zimmermann GmbH, Germany. 177 cm. (69 7/8 in.) high

Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 - 6 , 9 0 0 Literature Klaus Weber, Die Metallwerkstatt am Bauhaus, exh. cat., Bauhaus-

Archiv Museum für Gestaltung, Berlin, 1992, p. 202, fig. 157

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117

TAPIO WIRKKALA 1915-1985

118

TAPIO WIRKKALA 1915-1985

‘Lapponi’ vase, 1966

‘Lapponi’ vase, 1966

Coloured glass. Manufactured by Venini, Italy. Underside incised with ‘venini/

Coloured glass. Manufactured by Venini, Italy. Underside with manufacturer’s

italia’ and artist’s signature.

paper label with ‘VENINI S.A-MURANO-’ and incised with ‘venini/italia’.

23.5 cm. (9 1/4 in.) high

34 cm. (13 1/2 in.) high

Estimate £1, 5 0 0 - 2 , 5 0 0 $ 2 , 5 0 0 - 4 ,10 0 €1,70 0 - 2 , 9 0 0

Estimate £1, 5 0 0 - 2 , 5 0 0 $ 2 , 5 0 0 - 4 ,10 0 €1,70 0 - 2 , 9 0 0

Literature Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al.,

Literature Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al.,

Tapio Wirkkala—eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki,

Tapio Wirkkala—eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki,

2000, p. 332

2000, p. 332

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119

POUL KJÆRHOLM 1929–1980 Pair of ‘Element’ lounge chairs, model no. PK25, c. 1988 Matt chrome-plated steel, halyard line. Manufactured by Fritz Hansen, Denmark. Underside of each impressed with ‘POUL KJÆRHOLM/DENMARK/FRITZ HANSEN’ (2). Each: 71.5 cm. (28 1/8 in.) high

Estimate £ 8 , 0 0 0 -12 , 0 0 0 $13 , 2 0 0 -19 , 8 0 0 € 9 ,10 0 -13 ,70 0 Literature Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm,

Poul Kjærholm, Copenhagen, 1999, pp. 16, 82-83 and 172 and p. 17 for a drawing; Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 20-23

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120

PREBEN FABRICIUS & JØRGEN KASTHOLM 1931-1984, 1938-2007 Executive desk, c. 1970 Wenge-veneered wood, chrome-plated steel. Manufactured by Bo-ex, Denmark. 69 x 180 x 90 cm. (27 1/8 x 70 7/8 x 35 1/2 in.)

Estimate £ 8 , 0 0 0 -12 , 0 0 0 $13 , 2 0 0 -19 , 8 0 0 € 9 ,10 0 -13 ,70 0

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121

POUL KJÆRHOLM 1929–1980 Set of eight armchairs, model no. PK 11, c. 1957 Matt chrome-plated steel, laminated oak, leather. Manufactured by E. Kold Christensen, Denmark. Underside of six chairs impressed with manufacturer’s mark (8). Each: 65.5 cm. (25 3/4 in.) high

Estimate £ 2 2 , 0 0 0 - 2 8 , 0 0 0 $ 3 6 ,4 0 0 - 4 6 , 3 0 0 € 2 5 ,10 0 - 3 2 , 0 0 0 Literature Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm,

Poul Kjærholm, Copenhagen, 1999, pp. 23, 92, 94-95, 153 and 177; Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 97, 99-101 and 103

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45088Rt

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122

PAAVO TYNELL 1890-1973 Floor lamp, c. 1954 Brass, cane. Manufactured by Idman Oy, Finland. Back of lamp impressed with ‘idman’. 161 cm. (63 5/8 in.) high

Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 , 0 0 0 Literature Charlotte and Peter Fiell, eds, 1000 Lights, Vol. 1: 1879 to 1959,

Cologne, 2005, p. 398 for a similar desk lamp

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123

PEDER MOOS 1906-1991 Low occasional table, c. 1948 Mahogany-veneered wood, ash, maple. 56 cm. (22 in.) high, 82.5 cm. (32 1/2 in.) diameter

Estimate £10 , 0 0 0 -15 , 0 0 0 $16 , 5 0 0 - 24 , 8 0 0 €11,4 0 0 -17,10 0 Literature Grete Jalk, ed., 40 Years of Danish Furniture Design: The Copenhagen

Cabinet-Maker’s Guild Exhibitions, 1927-1966, Vol. 3, Copenhagen, 1987, pp. 62-65 for similar examples

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124

TAPIO WIRKKALA 1915-1985 ‘Leaf’ dish, 1956 Cast and cut crystal. Manufactured by Iittala, Finland. Underside incised with ‘TAPIO WIRKKALA·IITTALA-56’. 42 x 13 x 5 cm. (16 1/2 x 5 1/8 x 2 in.)

Estimate £ 8 , 0 0 0 -10 , 0 0 0 $13 , 2 0 0 -16 , 5 0 0 € 9,10 0 -11,4 0 0

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125

VERNER PANTON 1926-1988 ‘C-1’ chair, c. 1959 Steel, fabric. Manufactured by Plus-linje, Denmark. 73 cm. (28 3/4 in.) high

Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -13 , 2 0 0 € 6 , 9 0 0 - 9,10 0 Literature Niels-Jørgen Kaiser, Verner Panton, Basel, 1986, n.p.; Alexander von

Vegesack and Mathias Remmele, eds., Verner Panton: The Collected Works, Weil am Rhein, 2000, p. 44

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126

TAPIO WIRKKALA 1915-1985 Rare ‘Leaf’ platter, c. 1951 Laminated birch plywood. 49 x 25 x 2 cm. (16 1/2 x 5 1/8 x 2 in.)

Estimate £12 , 0 0 0 -18 , 0 0 0 $19 , 8 0 0 - 2 9 , 8 0 0 €13 ,70 0 - 2 0 , 6 0 0 Literature Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al.,

Tapio Wirkkala - eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, front cover for a similar example

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127

AXEL SALTO 1889-1961 Large ‘Budding’ vase, c. 1955 Glazed stoneware. Manufactured by Royal Copenhagen, Denmark. Underside with printed manufacturer’s mark, painted with three wave motif and incised with ‘SALTO’. 30.5 cm. (12 in.) high

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 ‡

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128

FRITS HENNINGSEN 1889-1965 Rare wingback chair, c. 1955 Leather, oak. Produced by cabinetmaker Frits Henningsen, Denmark. 115 cm. (45 1/4 in.) high

Estimate £ 3 5 , 0 0 0 - 4 5 , 0 0 0 $ 57, 9 0 0 -74 ,4 0 0 € 4 0 , 0 0 0 - 51,4 0 0 Ω Literature Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 42 for

similar examples

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129

HELGE VESTERGAARD JENSEN 1917-1987 Rare armchair, c. 1957 Teak, nylon string, brass. Produced by cabinetmaker Peder Pedersen, Denmark. One of only two known extant examples. 106.7 cm. (42 in.) high

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 Ω Literature Mobilia, September 1959, p. 15; Grete Jalk, ed., 40 Years of Danish

Furniture Design: The Copenhagen Cabinet-maker’s Guild Exhibitions, 1927-1966, Vol. 4, Copenhagen 1987, pp. 26-27 provenance Acquired by the present owner in 1959 during a sailing trip in Denmark.

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130

HANS WEGNER 1914-2007 ‘Valet’ chair, c. 1953 Teak, rosewood, maple, brass. Manufactured by Johannes Hansen, Denmark. Underside branded with manufacturer’s mark and ‘JOHANNES HANSEN/ COPENHAGEN/DENMARK’. 94.6 cm. (37 1/4 in.) high

Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -13 , 2 0 0 € 6 , 9 0 0 - 9,10 0 Literature Johan Møller Nielson, Sitting Pretty: Wegner en Dansk Møbelkunstner,

Copenhagen, 1965, pp. 56-58; Jens Bernsen, Hans J. Wegner: On Design, exh. cat., Dansk Design Center, Copenhagen, 1995, p. 23; Noritsugu Oda, Danish Chairs, San Francisco, 1996, pp. 116-117

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131

POUL KJÆRHOLM 1929–1980 Lounge chair, model no. PK 0, designed 1952, executed 1997 Painted and laminated beech. Manufactured by Fritz Hansen, Denmark. Number 15 from the edition of 600 plus eight trial examples. Underside with manufacturer’s steel plaque ‘PK0 · POUL KJAERHOLM MADE IN DENMARK/15/FRITZ HANSEN©/1872-1997’. 68.5 cm. (25 3/4 in.) high

Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 , 0 0 0 Literature Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm,

Poul Kjærholm, Copenhagen, 1999, pp. 13 and 173 and p. 11 for a drawing; Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 36-39

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132

AXEL SALTO 1889-1961 Monumental and important ‘Budding’ vase, c. 1956 Stoneware, ‘Sung’ glaze. Manufactured by Royal Copenhagen, Denmark. Painted with ‘21332’, printed with manufacturer’s mark, painted with three wave motif and incised with ‘SALTO’. 38.4 cm. (15 1/8 in.) high

Estimate £ 3 5 , 0 0 0 - 4 5 , 0 0 0 $ 57, 9 0 0 -74 ,4 0 0 € 4 0 , 0 0 0 - 51,4 0 0 Provenance Private Collection, Copenhagen, Denmark

Ordered disorder characterises the relief ornamentation of Axel Salto’s stoneware vessels. Their textured surfaces resemble the tubercles of gourds or a reptile’s granular scales. In a 1999 New York Times article, William Hamilton labelled Salto “a ceramist who confronted nature.” Perhaps the opposite was true: nature confronted him. Regardless, they stood face to face. A Danish potter, painter, and illustrator, Salto kept a studio at the Royal Copenhagen Porcelain Manufactory from the 1930s until his death in 1961. He categorised his best known works as ‘budding,’ ‘sprouting,’ and ‘fluted’. In The Sprouting Style (1949), he wrote, “The vase is a living organism. The body buds, the buds develop, and a sprouting—even prickly—vessel results.” Like his forms, Salto’s glazes agitate: they pool and drip akin to Sung dynasty blackwares. As potter Edmund de Waal has pointed out, a pervasive unease attends the work. Salto wrote of his own forms, “Strangely, no one is really comfortable with such perilous and eruptive shapes.” Uncomfortable perhaps, but persuasive: Salto won a Grand Prix at the Milan Triennial in 1951. Unlike the functionalist wares of his compatriots, Salto’s vessels push and move; the effect is one of irrepressible growth, like cell division.

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133

FINN JUHL 1912–1989 Important and rare ‘Pelican’ table, c. 1940 Oregon pine. Produced by cabinetmaker Niels Vodder, Denmark. The only known extant example. Together with copies of the original draft and order from Niels Vodder dated 15 February 1941. 45 cm. (17 3/4 in.) high; 63 cm. (24 3/4 in.) diameter

Estimate £ 2 2 , 0 0 0 - 2 8 , 0 0 0 $ 3 6 ,4 0 0 - 4 6 , 3 0 0 € 2 5 ,10 0 - 3 2 , 0 0 0 PROVENANCE Henrik and Kirsten Ravn, Copenhagen, Denmark; Møbler Belysning

oy Kunsthåndværk. LitERAtuRE Grete Jalk, ed., 40 Years of Danish Furniture Design: The Copenhagen

Cabinet-maker’s Guild Exhibitions, 1927-1966, Vol. 2, pp.128-129; Esbjørn Hiort, Finn Juhl, Copenhagen, 1990, p. 30

‘Pelican’ seems a misnomer: this table sits firmly on the floor. The present lot takes its name from Danish designer Finn Juhl’s famous ‘Pelican Chair,’ noted for its exaggerated wingback. He exhibited the two en suite at the 1940 Cabinetmaker’s Guild exhibition on the stand of Niels Vodder, who built them. The only known extant example, the present table was commissioned in 1941 by Henrik and Kirsten Ravn for their apartment on Sortedam Dossering in Copenhagen. It followed them through life, to a new apartment down the street in 1947 and north to their house in Lyngby in 1954. In the 1930s modernism meant many things to many people: Marcel Breuer favored steel and glass; Danish designers, rejecting industrial processes, hand built chairs from wood. Juhl and his compatriots inhabited common ground: sound technique, expert understanding of wood properties, and an aversion to superfluous decoration. That said, Juhl rejected the aloof rationalism and Georgian-inspired restraint promoted by his peers. Historian Kristen Dovey wrote: “He threw off the historicist influence of English furniture, aligning his applied art with abstract sculpture and African implements.” (Modernism and Tradition, Harris Lindsay, 2003) And forms in nature, one might add. His ‘Pelican Chair’ stretches its wings as if in flight. His table, buoyant on rounded legs, follows close behind.

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134

FINN JUHL 1912 -1989 Armchair, model no. FJ46, designed 1946 Rosewood, leather, brass. Produced by cabinetmaker Niels Vodder, Denmark. Underside branded with ‘CABINETMAKER NIELS VODDER/COPENHAGEN DENMARK/DESIGN FINN JUHL’. 83.5 cm. (32 3/4 in.) high

Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 ,70 0 - 8 , 0 0 0 Literature Esbjørn Hiort, Finn Juhl, Copenhagen, 1990, pp. 10 and 26

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135

OLE WANSCHER 1903-1985 ‘Egyptian’ stool, model no. PJ-2000, c. 1960 Rosewood, leather, brass. Produced by cabinetmaker A.J. Iversen, Denmark. 40.5 x 55 x 31 cm. (15 7/8 x 21 5/8 x 12 1/4 in.)

Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 ,4 0 0 - 4 , 6 0 0 Literature Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 72; Charlotte

and Peter Fiell, Scandinavian Design, Cologne, 2002, p. 316

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index

Baas, M. 65, 68, 74 Baldwin, G. 2, 4 Ban, S. 58 Barovier & Toso 100 Berlin, B. 56 Bertoia, H. 12, 59

Reinoso, P. 61

Boontje, T. 23

Reiser + Umemoto 61

Brajkovic, S. 75

Reiser, J. 57

Buzzi, T. 91

Rie, L. 82, 83, 84, 85, 86 Royère, J. 34, 36

Cardin, P. 51

Ruhwald, A. 69, 70, 71

Casati, C. 48 Castiglioni, A. 47

Salto, A. 127, 132

Castiglioni, P.G. 47

Scarpa, C. 87

Chalayan, H. 54 Chiesa, P. 108, 109 Christansen, P. 56 Colombo, J. 40 Coper, H. 37, 38, 39 de Poli, P. 90, 93, 94, 95 de Waal, E. 5 Dell, C. 116 Dixon, T. 55 Dubourg, V. 18 Evans, P. 22 Fabricius, P. 120 Fontana Arte 104, 106 França, H. 15 Gamperl, E. 13, 21 Geertsen, M. 66 Guariche, P. 31 Harvey, P. 81 Hayashi, Y. 64 Hayek, L. 11 Henningsen, F. 113, 128 Henningsen, P. 114, 115 Hybsch, E. 48

Sibingo, D. 11 Ingrand, M. 98, 103, 107

Siesbye, A. 80

Introini, V. 53

Sottsass Jr, E. 41, 42, 43, 44, 49, 50, 102 Spira, R. 1, 19

Jensen, H.V. 129

Stearns, T. 92

Jouve, G. 27, 28, 29, 33, 35

Stilnovo 88

Juhl, F. 133, 134 Ticco, M. 52 Kastholm, J. 120

Tynell, P. 122

Kim, Y. 11 Kjærholm, P. 119, 121, 131

Umemoto, N 57

Komplot Design 56 Köhler, M. 112

Walmsley, L. 16

Kuramata, S. 6

Wanders, M. 78 Wanscher, O. 135

Lee, T. 11

Wegner, H. 130

Liao, C. 3

Wilson, R. 72, 73, 76, 77 Wirkkala, T. 117, 118, 124, 126

Mangiarotti, A. 45, 46 Moos, P. 123

Yoshioka, T. 9

Mouille, S. 26 Nakashima, G. 20 Newson, M. 60, 63, 79 Noguchi, I. 7, 14 Odundo, M. 10, 17 Panton, V. 125 Parisi, I. 99 Partridge, J. 8, 16 Perriand, C. 32 Poillerat, G. 111 Ponti, G. 89, 90, 93, 94, 95, 96, 97, 101, 105 Prouvé, J. 24, 25, 27, 30 Quinet, J. 110 Quinze, A. 62, 67

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∆ Property in Which Phillips de Pury & Company Has an Ownership interest

catalogue.

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

Catalogue Subscriptions

If you would like to purchase a catalogue for this auction or any other Phillips de Pury

reserve is the confidential value established between Phillips de Pury & Company and

& Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

the seller and below which a lot may not be sold. The reserve for each lot is generally

1 PRiOR TO aUCTiOn

no Reserve

Unless indicated by a

, all lots in this catalogue are offered subject to a reserve. A

set at a percentage of the low estimate and will not exceed the low pre-sale estimate. Pre-Sale estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the

♠ Property Subject to the artist’s Resale Right

high and low estimate range should, in our opinion, offer a chance of success.

Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage

However, many lots achieve prices below or above the pre-sale estimates. Where

of the hammer price and payable as part of the purchase price as follows:

“Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as

Portion of the Hammer Price (in EUR)

Royalty Rate

estimates can be subject to revision. Pre-sale estimates do not include the buyer’s

From 1,000 to 50,000

4%

premium or VAT.

From 50,001 to 200,000

3%

From 200,001 to 350,000

1%

Pre-Sale estimates in US dollars and euros

From 350,001 to 500,000

0.5%

Although the sale is conducted in pounds sterling, the pre-sale estimates in the

Exceeding 500,000

0.25%

auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more,

auction, you should treat estimates in US dollars or euros as a guide only.

subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the

Catalogue entries

date of the sale by the European Central Bank.

Phillips may print in the catalogue entry 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

†, § , ‡ , or Ω Property Subject to VaT

publications. While we are careful in the cataloguing process, provenance, exhibition

Please refer to the section entitled “VAT AND OTHER TAX INFORMATION FOR

and literature references may not be exhaustive and in some cases we may

BUYERS” in this catalogue for additional information.

intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

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

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VAT And oTher TAx informATion for buyers

Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips de Pury & Company will charge the VAT amount due as a deposit and refund it if the lot has been exported within three months of the date of sale

The following paragraphs provide general information to buyers on the VAT and

and the following conditions are met:

certain other potential tax implications of purchasing property at Phillips de Pury & Company. This information is not intended to be complete. In all cases, the relevant tax

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT

legislation takes precedence, and the VAT rates in effect on the day of the auction will

rules, Phillips de Pury & Company is provided with appropriate

be the rates charged. It should be noted that, for VAT purposes only, Phillips de Pury &

documentary proof of export from the EU. Buyers carrying their own

Company is not usually treated as agent and most property is sold as if it is the

property should obtain hand-carry papers from the Shipping Department

property of Phillips de Pury & Company. In the following paragraphs, reference to VAT

to facilitate this process; or

symbols shall mean those symbols located beside the lot number or the pre-sale

• For lots sold under temporary importation, Phillips de Pury & Company is

estimates in the catalogue (or amending saleroom addendum).

provided with a copy of the correct paperwork duly completed and stamped by HM Revenue and Customs which shows the property has been exported

1 ProPerTy wiTh no VAT symbol

from the EU via the UK. It is essential for shippers acting on behalf of

Where there is no VAT symbol, Phillips de Pury & Company is able to use the

buyers to collect copies of original import papers from our Shipping

Auctioneer’s Margin Scheme, and VAT will not normally be charged on the

Department. HM Revenue and Customs insist that the correct customs

hammer price.

procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the export documents do not exactly comply with

Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will

governmental regulations. Property subject to temporary importation must

charge an amount in lieu of VAT at 15% on the buyer’s premium. This amount will form

be transferred to another customs procedure immediately if any restoration

part of the buyer’s premium on our invoice and will not be separately identified.

or repair work is to be carried out.

2 ProPerTy wiTh A † symbol

Buyers carrying their own property must obtain hand-carry papers from the Shipping

These lots will be sold under the normal UK VAT rules, and VAT will be charged at 15%

Department, for which a charge of £20 will be made. The VAT refund will be processed

on both the hammer price and buyer’s premium.

once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips de Pury & Company is not able to cancel or refund any VAT charged on sales

3 ProPerTy wiTh A § symbol

made to UK or EU private residents unless the lot is subject to temporary importation

Lots sold to buyers whose registered address is in the EU will be assumed to be

and the property is exported from the EU within three months of the sale date. Any

remaining in the EU. The property will be invoiced as if it had no VAT symbol. However,

refund of VAT is subject to a minimum of £50 per shipment and a processing charge of

if an EU buyer advises us that the property is to be exported from the EU, Phillips de

£20.

Pury & Company will re-invoice the property under the normal VAT rules. Buyers intending to export, repair, restore or alter lots under temporary importation Lots sold to buyers whose address is outside the EU will be assumed to be exported

should notify the Shipping Department before collection. Failure to do so may result in

from the EU. The property will be invoiced under the normal VAT rules. Although the

the import VAT becoming payable immediately and Phillips de Pury & Company being

hammer price will be subject to VAT, the VAT will be canceled or refunded upon export.

unable to refund the VAT charged on deposit.

The buyer’s premium will always bear VAT. However, buyers who are not intending to export their property from the EU should notify our Client Accounting Department on

6 VAT refunds from hm reVenue And CusToms

the day of the sale, and the property will be re-invoiced showing no VAT on the

Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company,

hammer price.

it may be possible to seek repayment from HM Revenue and Customs. Repayments in this manner are limited to businesses located outside the UK and may be

4 ProPerTy sold wiTh A ‡ or Ω symbol

considered for:

These lots have been imported from outside the EU to be sold at auction under temporary importation. Property subject to temporary importation will be offered

• VAT charged on the buyer’s premium on property sold under the normal

under the Auctioneer’s Margin Scheme and will be subject to import VAT of either 5%

VAT rules.

or 15% on the hammer price and an amount in lieu of VAT at 15% on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin Scheme should

• Import VAT charged on the hammer price and buyer’s premium for lots

notify the Client Accounting Department before the sale.

sold under temporary importation.

‡ = 5%

Ω = 15%

Claim forms are available from: HM Revenue and Customs

5 exPorTs from The euroPeAn union

VAT Overseas Repayment Section

The following types of VAT may be cancelled or refunded by Phillips de Pury &

P.O. Box 34, Foyle House, Duncreggan Road, Londonderry

Company on exports made within three months of the sale date if strict conditions

Northern Ireland BT48 7AE

are met:

Tel +44 28 7130 5100 Fax +44 28 7130 5101 • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol).

7 sAles And use TAxes Buyers from outside the UK should note that local sales taxes or use taxes may

• The VAT on the hammer price for property sold under the normal VAT

become payable upon import of lots following purchase. Buyers should consult their

rules (i.e., with a † or a § symbol).

own tax advisors.

• The import VAT charged on the hammer price and buyer’s premium for property sold under temporary importation (i.e., with a ‡ or a Ω symbol). In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury & Company to export the property from the EU. If such instruction is received after payment, a refund of the VAT amount will be made.

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DESIGN AuCTion 14 NOVEMBER 2009 4pm Viewing 7 – 14 November

new yorK

Phillips de Pury & Company 450 West 15 Street New York 10011 enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com INCLUDING AN IMPORTANT SELECTION OF WORKS FROM T HE VENINI ARCHIVE CArlo sCArPA ‘Fili’ glass vase, circa 1942 Exhibited XXIII Venice Biennale estimate $35,000-45,000

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2 Bidding in the Sale

interested Parties announcement

Bidding at auction

In situations where a person allowed to bid on a lot has a direct or indirect interest in

Bids may be executed during the auction in person by paddle or by telephone or prior

such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner

to the sale in writing by absentee bid. Proof of identity in the form of government

of the lot or a party providing or participating in a guarantee on the lot, Phillips de

issued identification will be required, as will an original signature. We may also

Pury & Company will make an announcement in the saleroom that interested parties

require that you furnish us with a bank reference.

may bid on the lot.

Bidding in Person

consecutive and Responsive Bidding

To bid in person, you will need to register for and collect a paddle before the auction

The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.

begins. New clients are encouraged to register at least 48 hours in advance of a sale to

The auctioneer may further bid on behalf of the seller up to the amount of the reserve

allow sufficient time for us to process your information. All lots sold will be invoiced to

by placing consecutive bids or bids in response to other bidders.

the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company

4 afteR the auction

staff member immediately. At the end of the auction, please return your paddle to the

Payment

registration desk.

Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance

Bidding by telephone

of the sale. Payments must be made in pounds sterling either by cash, cheque drawn

If you cannot attend the auction, you may bid live on the telephone with one of our

on a UK bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is

multi-lingual staff members. This service must be arranged at least 24 hours in

our corporate policy not to make or accept single or multiple payments in cash or cash

advance of the sale and is available for lots whose low pre-sale estimate is at least

equivalents in excess of the local currency equivalent of US$10,000.

£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

credit cards

unable to reach you by telephone.

As a courtesy to clients, Phillips de Pury & Company will accept Visa, Mastercard and UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form

collection

can be found at the back of this catalogue. This service is free and confidential. Bids

It is our policy to request proof of identity on collection of a lot. A lot will be released

must be placed in the currency of the sale. Our staff will attempt to execute an

to the buyer or the buyer’s authorized representative when Phillips de Pury & Company

absentee bid at the lowest possible price taking into account the reserve and other

has received full and cleared payment and we are not owed any other amount by the

bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT.

buyer. Promptly after the auction, we will transfer all lots to a third party storage

Unlimited bids will not be accepted. Any absentee bid must be received at least 24

facility and will so advise all buyers. If you are in doubt about the location of your

hours in advance of the sale. In the event of identical bids, the earliest bid received will

purchase, please contact the Shipping Department prior to arranging collection. We

take precedence.

will levy removal, interest, storage and handling charges on uncollected lots.

employee Bidding

loss or damage

Employees of Phillips de Pury & Company and our affiliated companies, including the

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or

auctioneer, may bid at the auction by placing absentee bids so long as they do not

damage to lots for a maximum of five days following the auction.

know the reserve when submitting their absentee bids and otherwise comply with our

transport and Shipping

employee bidding procedures.

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We do not provide packing, handling or shipping services directly.

Bidding increments

However, we will coordinate with shipping agents instructed by you in order to

Bidding generally opens below the low estimate and advances in increments of up to

facilitate the packing, handling and shipping of property purchased at Phillips

10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the

de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more

increments set below may be lowered to the next bidding increment.

information.

UK£50 to UK£1,000

by UK£50s

export and import licenses

UK£1,000 to UK£2,000

by UK£100s

Before bidding for any property, prospective bidders are advised to make independent

UK£2,000 to UK£3,000

by UK£200s

enquiries as to whether a license is required to export the property from the United

UK£3,000 to UK£5,000

by UK£200s, 500, 800

Kingdom or to import it into another country. It is the buyer’s sole responsibility to

(i.e. UK£4,200, 4,500, 4,800)

comply with all import and export laws and to obtain any necessary licenses or

UK£5,000 to UK£10,000

by UK£500s

permits. The denial of any required license or permit or any delay in obtaining such

UK£10,000 to UK£20,000

by UK£1,000s

documentation will not justify the cancellation of the sale or any delay in making full

UK£20,000 to UK£30,000

by UK£2,000s

payment for the lot.

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

endangered Species

UK£100,000 to UK£200,000

by UK£10,000s

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

above UK£200,000

auctioneer’s discretion

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or

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

certificates upon importation to any country outside the European Union (EU). Please

own discretion.

note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife

3 the auction

import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain

conditions of Sale

any necessary export or import licenses or certificates as well as any other required

As noted above, the auction is governed by the Conditions of Sale and Authorship

documentation. The denial of any required license or certificate or any delay in

Warranty. All prospective bidders should read them carefully. They may be amended

obtaining such documentation will not justify the cancellation of the sale or any delay

by saleroom addendum or auctioneer’s announcement.

in making full payment for the lot.

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MODERN & CONTEMPORARY EDITIONS auction 15 NOVEMBER 2009 2pm Viewing 7 – 14 November

neW YoRK

Phillips de Pury & company 450 West 15 Street New York 10011 enquiries +1 212 940 1220 catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

donald Judd Untitled, 1961-75 Woodcut, numbered ‘AP 3/6’

07_LON_OCT_DESIGN_Backmatter_v5(182-195).indd 187

estimate $20,000-30,000

22/09/09 19:28


w

conditions of sale

Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price

The Conditions of Sale and Authorship Warranty set forth below govern the

achieved at auction or upon resale.

relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these

4 Bidding at auction

Conditions of Sale and Authorship Warranty carefully before bidding.

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to

1 introduction

bidding, supplying such information and references as required by Phillips de Pury

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of

& Company.

Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de

this catalogue or other written material posted by Phillips de Pury & Company in the

Pury & Company may, if so instructed by the bidder, execute written absentee bids on

saleroom, in each case as amended by any addendum or announcement by the

a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid

auctioneer prior to the auction.

Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must

By bidding at the auction, whether in person, through an agent, by written bid, by

clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s

telephone bid or other means, bidders and buyers agree to be bound by these

premium and value added tax (VAT). The auctioneer will not accept an instruction to

Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

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

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty

the reserve and other bidders. Any absentee bid must be received at least 24 hours

contain all the terms on which Phillips de Pury & Company and the seller contract with

in advance of the sale. In the event of identical bids, the earliest bid received will

the buyer.

take precedence.

2 PhilliPs de Pury & comPany as agent

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated

of which is printed in this catalogue or otherwise available from Phillips de Pury &

in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company

Company. Telephone bidding is available for lots whose low pre-sale estimate is at

may own a lot, in which case we will act in a principal capacity as a consignor, or may

least £500. Phillips de Pury & Company reserves the right to require written

have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

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

3 catalogue descriPtions and condition of ProPerty

recorded and, by bidding on the telephone, a bidder consents to the recording of

Lots are sold subject to the Authorship Warranty, as described in the catalogue

the conversation.

(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

(d) When making a bid, whether in person, by absentee bid or on the telephone, a

following basis.

bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

agreed in writing with Phillips de Pury & Company before the commencement of the

dependent on information provided to us by the seller, and Phillips de Pury & Company

auction that the bidder is acting as agent on behalf of an identified third party

is not able to and does not carry out exhaustive due diligence on each lot. Prospective

acceptable to Phillips de Pury & Company and that we will only look to the principal for

buyers acknowledge this fact and accept responsibility for carrying out inspections

such payment.

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

(e) Arranging absentee and telephone bids is a free service provided by Phillips de

express statements in catalogue descriptions or condition reports as is consistent

Pury & Company to prospective buyers. While we undertake to exercise reasonable

with our role as auctioneer of lots in this sale and in light of (i) the information

care in undertaking such activity, we cannot accept liability for failure to execute such

provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the

bids except where such failure is caused by our willful misconduct.

generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection

know the reserve when submitting their absentee bids and otherwise comply with our

by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids

employee bidding procedures.

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)

5 conduct of the auction

have fully inspected the lot prior to bidding and have satisfied themselves as to both

(a) Unless otherwise indicated by the symbol • each lot is offered subject to a reserve,

the condition of the lot and the accuracy of its description.

which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of

(c) Prospective buyers acknowledge that many lots are of an age and type which

the auction.

means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-

when they are inspecting lots. Catalogue descriptions and condition reports may make

offer a lot for sale (including after the fall of the hammer) if he or she believes there

reference to particular imperfections of a lot, but bidders should note that lots may

may be error or dispute and take such other action as he or she deems reasonably

have other faults not expressly referred to in the catalogue or condition report. All

appropriate.

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

(c) The auctioneer will commence and advance the bidding at levels and in increments

actual condition of lots.

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

(d) Information provided to prospective buyers in respect of any lot, including any

indicating he or she is doing so, either by placing consecutive bids or bids in response

pre-sale estimate, whether written or oral, and information in any catalogue, condition

to other bidders.

or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may

(d) The sale will be conducted in pounds sterling and payment is due in pounds

not be relied on as a prediction of the selling price or value of the lot and may be

sterling. For the benefit of international clients, pre-sale estimates in the auction

revised from time to time by Phillips de Pury & Company in our absolute discretion.

catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate

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COLLECTION ON vIEw AT ThE SAATChI GALLERy OCT 7 - OCT 24 2009 DukE Of YORk’S HQ king’S ROaD LOnDOn Sw3 4SQ

PROPERTY fROM ThE BlEICh-ROssI COllECTION

MARTIN KIPPENBERGER

w

CONTEMPORARY ART AUCTIONS LONDON Contemporary Art Day Sale 17 OCTOBER 2009 4pm Contemporary Art Evening Sale 17 OCTOBER 2009 7pm Viewing 10 – 16 October Phillips de Pury & Company Howick Place London Sw1P 1BB Enquiries +44 20 7318 4067 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com MARTIN KIPPENBERGER Big Until Great Hunger 1984 Estimate £400,000-600,000

07_LON_OCT_DESIGN_Backmatter_v5(182-195).indd 189

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exchange rates. Accordingly, estimates in US dollars or euros should be treated only

7 collection of ProPerty

as a guide.

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by

outstanding amounts due to Phillips de Pury & Company or any of our affiliated

the auctioneer will be the buyer and the striking of the hammer marks the acceptance

companies, including any charges payable pursuant to Paragraph 8 (a) below, and the

of the highest bid and the conclusion of a contract for sale between the seller and the

buyer has satisfied such other terms as we in our sole discretion shall require,

buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph

including completing any anti-money laundering or anti-terrorism financing checks. As

7 below.

soon as a buyer has satisfied all of the foregoing conditions, he or she should contact

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,”

property.

us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased

“withdrawn,” “returned to owner” or “bought-in.” (b) The buyer must arrange for collection of a purchased lot within five days of the date (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions

of the auction. Promptly after the auction, we will transfer the purchased lot to a third

of Sale and Authorship Warranty as if sold in the auction.

party storage facility and will so advise the buyer. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date

6 Purchase Price and Payment

of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury &

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s

Company will compensate the buyer for any loss or damage to a purchased lot up to a

premium, plus any applicable value added tax (VAT) and any applicable resale royalty

maximum of the Purchase Price paid, subject to our usual exclusions for loss or

(the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and

damage to property.

including £25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000 and 12% of the portion of the hammer price above £500,000.

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or

(b) VAT is payable in accordance with applicable law. All prices, fees, charges and

shipping services. We will coordinate with shipping agents instructed by the buyer,

expenses set out in these Conditions of Sale are quoted exclusive of VAT.

whether or not recommended by Phillips de Pury & Company, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips de Pury &

(c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to

Company. Any such instruction is entirely at the buyer’s risk and responsibility, and we

pay to us an amount equal to the resale royalty provided for in those regulations and

will not be liable for acts or omissions of third party packers or shippers.

we undertake to the buyer to pay such amount to the artist’s collection agent. Lots subject to the Artist’s Resale Right are identified with the symbol ♠ next to the lot

(d) Phillips de Pury & Company will require presentation of government issued

number.

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

(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

8 failure to collect Purchases

import license or other permit for such lot. Payments must be made by the

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30

invoiced party in pounds sterling either by cash, cheque drawn on a uK bank or

days of the auction, the buyer will incur a late collection fee of £25, storage charges of

wire transfer, as follows:

£3 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot.

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed the local

(b) If a purchased lot is paid for but not collected within six months of the auction, the

currency equivalent of US$10,000.

buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury &

(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK

Company’s reasonable discretion. The proceeds of such sale will be applied to pay for

bank and the buyer provides to us acceptable government issued

storage charges and any other outstanding costs and expenses owed by the buyer to

identification. Cheques and banker’s drafts should be made payable to

Phillips de Pury & Company or our affiliated companies and the remainder will be

“PDEPL LTD.” If payment is sent by post, please send the cheque or

forfeited unless collected by the buyer within two years of the original auction.

banker’s draft to the attention of the Client Accounting Department at Howick Place, London SW1P 1BB and ensure that the sale number is written on the cheque. Cheques or banker’s drafts drawn by third parties will not be accepted.

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

Bank of Scotland Gordon Street, Glasgow G1 3RS. SWIFT BIC: BOFSGB21138 Sort code: 80-54-01 IBAN: GB36BOFS 8054 0100 4407 80 For the account of PDEPL LTD Account no.: 00440780

(e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, Mastercard and UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

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9 remedies for non-Payment

import and endangered species licenses or permits. Failure to obtain a license or

(a) Without prejudice to any rights the seller may have, if the buyer without prior

permit or delay in so doing will not justify the cancellation of the sale or any delay in

agreement fails to make payment of the Purchase Price for a lot in cleared funds

making full payment for the lot.

within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury &

12 data Protection

Company’s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the

(a) In connection with the management and operation of our business and the

sale of the lot, retaining any partial payment of the Purchase Price as liquidated

marketing and supply of auction related services, or as required by law, we may ask

damages; (iii) reject future bids from the buyer or render such bids subject to payment

clients to provide personal information about themselves or obtain information about

of a deposit; (iv) charge interest at 12% per annum from the date payment became due

clients from third parties (e.g., credit information). If clients provide us with

until the date the Purchase Price is received in cleared funds; (v) subject to

information that is defined by law as “sensitive,” they agree that Phillips de Pury &

notification of the buyer, exercise a lien over any of the buyer’s property which is in the

Company and our affiliated companies may use it for the above purposes. Phillips de

possession of Phillips de Pury & Company and instruct our affiliated companies to

Pury & Company and our affiliated companies will not use or process sensitive

exercise a lien over any of the buyer’s property which is in their possession and, in

information for any other purpose without the client’s express consent. If you would

each case, no earlier than 30 days from the date of such notice arrange the sale of

like further information on our policies on personal data or wish to make corrections

such property and apply the proceeds to the amount owed to Phillips de Pury &

to your information, please contact us at +44 (0)20 7318 4010. If you would prefer not to

Company or any of our affiliated companies after the deduction from sale proceeds of

receive details of future events please call the above number.

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

(b) In order to fulfill the services clients have requested, Phillips de Pury & Company

at Phillips de Pury & Company’s reasonable discretion, it being understood that in the

may disclose information to third parties such as shippers. Some countries do not

event such resale is for less than the original hammer price and buyer’s premium for

offer equivalent legal protection of personal information to that offered within the

that lot, the buyer will remain liable for the shortfall together with all costs incurred in

European Union (EU). It is Phillips de Pury & Company’s policy to require that any

such resale; (vii) commence legal proceedings to recover the hammer price and

such third parties respect the privacy and confidentiality of our clients’ information

buyer’s premium for that lot, together with interest and the costs of such proceedings;

and provide the same level of protection for client information as provided within the

or (viii) release the name and address of the buyer to the seller to enable the seller to

EU, whether or not they are located in a country that offers equivalent legal protection

commence legal proceedings to recover the amounts due and legal costs.

of personal information. By agreeing to these Conditions of Sale, clients agree to such disclosure.

(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the buyer’s property which is in our possession upon notification by any of our

13 limitation of liability

affiliated companies that the buyer is in default of payment. Phillips de Pury &

(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury &

Company will notify the buyer of any such lien. The buyer also irrevocably authorizes

Company, our affiliated companies and the seller to the buyer in connection with the

Phillips de Pury & Company, upon notification by any of our affiliated companies that

sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.

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

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury &

any outstanding amount due. Phillips de Pury & Company will notify the buyer if the

Company, any of our affiliated companies or the seller (i) is liable for any errors or

buyer’s property has been delivered to an affiliated company by way of pledge.

omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de

responsibility to any bidder in respect of acts or omissions, whether negligent or

Pury & Company to instruct any of our affiliated companies in possession of the

otherwise, by Phillips de Pury & Company or any of our affiliated companies in

buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third

connection with the conduct of the auction or for any other matter relating to the sale

party instructed by Phillips de Pury & Company to hold the property on our behalf as

of any lot.

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

(c) All warranties other than the Authorship Warranty, express or implied, including

such manner and for such consideration as can reasonably be obtained on a forced

any warranty of satisfactory quality and fitness for purpose, are specifically excluded

sale basis and to apply the proceeds to any amount owed to Phillips de Pury &

by Phillips de Pury & Company, our affiliated companies and the seller to the fullest

Company or any of our affiliated companies after the deduction from sale proceeds of

extent permitted by law.

our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon.

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage

10 rescission by PhilliPs de Pury & comPany

beyond the refund of the Purchase Price referred to in subparagraph (a) above,

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a

whether such loss or damage is characterized as direct, indirect, special, incidental or

sale without notice to the buyer if we reasonably believe that there is a material breach

consequential, or for the payment of interest on the Purchase Price to the fullest

of the seller’s representations and warranties or the Authorship Warranty or an

extent permitted by law.

adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury &

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the

Company, and we will then refund the Purchase Price paid to us. As described more

liability of Phillips de Pury & Company or any of our affiliated companies to the buyer

fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse

in respect of any fraud or fraudulent misrepresentation made by any of us or in respect

of the buyer against Phillips de Pury & Company and the seller with respect to such

of death or personal injury caused by our negligent acts or omissions.

rescinded sale. 14 coPyright 11 exPort, imPort and endangered sPecies licenses

The copyright in all images, illustrations and written materials produced by or for

and Permits

Phillips de Pury & Company relating to a lot, including the contents of this catalogue,

Before bidding for any property, prospective buyers are advised to make their own

is and shall remain at all times the property of Phillips de Pury & Company and,

enquiries as to whether a license is required to export a lot from the United Kingdom

subject to the provisions of the Copyright, Designs and Patents Act 1988, such images

or to import it into another country. Prospective buyers are advised that some

and materials may not be used by the buyer or any other party without our prior written

countries prohibit the import of property made of or incorporating plant or animal

consent. Phillips de Pury & Company and the seller make no representations or

material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell,

warranties that the buyer of a lot will acquire any copyright or other reproduction

irrespective of age, percentage or value. Accordingly, prior to bidding, prospective

rights in it.

buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export,

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15 General

autHorsHiP warrantY

(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

Phillips de Pury & Company warrants the authorship of property in this auction

respect to the transactions contemplated herein and supersede all prior and

catalogue for a period of five years from date of sale by Phillips de Pury & Company,

contemporaneous written, oral or implied understandings, representations and

subject to the exclusions and limitations set forth below.

agreements. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the

buyer of record (i.e., the registered successful bidder) of any lot. This Authorship

department in charge of the sale, quoting the reference number specified at the

Warranty does not extend to (i) subsequent owners of the property, including

beginning of the sale catalogue. Notices to clients shall be addressed to the last

purchasers or recipients by way of gift from the original buyer, heirs, successors,

address notified by them in writing to Phillips de Pury & Company.

beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an

(c) These Conditions of Sale are not assignable by any buyer without our prior written

intent to deceive) and has a value at the date of the claim under this warranty which is

consent but are binding on the buyer’s successors, assigns and representatives.

materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property;

(d) Should any provision of these Conditions of Sale be held void, invalid or

(iv) property where our attribution of authorship was on the date of sale consistent

unenforceable for any reason, the remaining provisions shall remain in full force and

with the generally accepted opinions of specialists, scholars or other experts; or (v)

effect. No failure by any party to exercise, nor any delay in exercising, any right or

property whose description or dating is proved inaccurate by means of scientific

remedy under these Conditions of Sale shall act as a waiver or release thereof in

methods or tests not generally accepted for use at the time of the publication of the

whole or in part.

catalogue or which were at such time deemed unreasonably expensive or impractical to use.

(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.

(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require

16 law and Jurisdiction

the buyer to provide to us at the buyer’s expense the written opinions of two

(a) The rights and obligations of the parties with respect to these Conditions of Sale

recognized experts approved in advance by Phillips de Pury & Company. We shall not

and Authorship Warranty, the conduct of the auction and any matters related to any of

be bound by any expert report produced by the buyer and reserve the right to consult

the foregoing shall be governed by and interpreted in accordance with English law.

our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs

(b) For the benefit of Phillips de Pury & Company, all bidders and sellers agree that the

charged by the experts commissioned by the buyer and approved in advance by us.

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

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring

Sale and Authorship Warranty relate or apply. All parties agree that Phillips de Pury &

a claim for breach of the Authorship Warranty provided that (i) he or she has notified

Company shall retain the right to bring proceedings in any court other than the Courts

Phillips de Pury & Company in writing within three months of receiving any

of England.

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

(c) All bidders and sellers irrevocably consent to service of process or any other

and the reasons why the authorship of the lot is being questioned and (ii) the buyer

documents in connection with proceedings in any court by facsimile transmission,

returns the lot to Phillips de Pury & Company in the same condition as at the time of

personal service, delivery by mail or in any other manner permitted by English law,

its auction and is able to transfer good and marketable title in the lot free from any

the law of the place of service or the law of the jurisdiction where proceedings

third party claim arising after the date of the auction.

are instituted at the last address of the bidder or seller known to Phillips de Pury & Company.

(d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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PHilliPs de PurY & comPanY

chairman

senior Partners

advisory Board

Simon de Pury

Michael McGinnis

Maria Bell

Dr. Michaela Neumeister

Janna Bullock

chief executive ofďŹ cer

Lisa Eisner

Bernd Runge

Partners

Lapo Elkann

Aileen Agopian

Ben Elliot

Sean Cleary

Lady Elena Foster

Alexander Payne

H.I.H. Francesca von Habsburg

Rodman Primack

Marc Jacobs

Olivier Vrankenne

Malcolm McLaren

Tiffany Wood

Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria vonThurn undTaxis Jean Michel Wilmotte Anita Zabludowicz

worldwide oFFices NEW YORK

PARIS

BERLIN

450 West 15 Street NewYork NY 10011 USA

C/O Pro First 15 Rue de la Paix 75002 Paris France

Auguststrasse 19 10117 Berlin Germany

+1 212 940 1200 +1 212 924 5403 fax

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

+49 30 880 018 42 +49 30 880 018 43 fax

LONDON

MUNICH

GENEVA

Howick Place London SW1P 1BB United Kingdom

Maximiliansplatz 12a 80333 Munich Germany

23, quai des Bergues 1201 Geneva Switzerland

+44 20 7318 4010 +44 20 7318 4011 fax

+49 89 238 88 48 0 +49 89 238 88 48 15 fax

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

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SPECIALIST AND SERVICE DEPARTMENTS

CONTEMPORARY ART LONDON

MODERN AND CONTEMPORARY EDITIONS NEW YORK

Anthony McNerney, Head of Evening Sale, London

+44 20 7318 4067

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Peter Sumner, Head of Day Sale, London

+44 20 7318 4063

Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Laetitia Catoir

+44 20 7318 4064

Jannah Greenblatt

+1 212 940 1332

Silke Taprogge

+44 20 7318 4012

Joy Deibert

+1 212 940 1333

Ivgenia Naiman

+44 20 7318 4071

Fiona Biberstein

+44 20 7318 4013

JEWELRY

Siobhan O’Connor

+44 20 7318 4093

NEW YORK

Catherine Higgs

+44 20 7318 4089

Nazgol Jahan, Worldwide Director

+1 212 940 1283

Raphael Lepine

+44 20 7318 4078

Carmela Manoli

+1 212 940 1302

Tanya Tikhnenko

+44 20 7318 4065

Heather Zises

+1 212 940 1290

Sarah Buchwald

+44 20 7318 4085

Phillippa Willison

+44 20 7318 4070

NEW YORK Michael McGinnis, Worldwide Director

+1 212 940 1254

Aileen Agopian, New York Director

+1 212 940 1255

Jean-Michel Placent

+1 212 940 1263

GENEVA Carolin Bulgari

+41 22 906 80 00

Veronica Lota

+41 22 906 80 05

LONDON Lane McLean

+44 20 7318 4032

Timothy Malyk

+1 212 940 1258

Chin-Chin Yap

+1 212 940 1250

Sarah Mudge, Head of Part II, New York

+1 212 940 1259

Roxana Bruno

+1 212 940 1229

Sara Davidson

+1 212 940 1262

Tobias Sirtl, London Manager

+44 20 7318 4095

Maria Bueno

+1 212 940 1261

Arianna Jacobs

+44 20 7318 4054

Peter Flores

+1 212 940 1223

George O’Dell

+44 20 7318 4040

(Uli) Zhiheng Huang

+1 212 940 1288

Eugenia Ballvé

+1 212 940 1303

DESIGN

THEME SALES Tiffany Wood, Worldwide Director

+49 30 880 018 42

LONDON

NEW YORK Corey Barr, New York Manager

+1 212 940 1234

Anne Huntington

+1 212 940 1210

Steve Agin, Consultant

+1 908 475 1796

LONDON Alexander Payne, Worldwide Director

+44 20 7318 4052

Ben Williams

+44 20 7318 4027

Domenico Raimondo

+44 20 7318 4016

Ellen Stelter

+44 20 7318 4021

Marcus McDonald

+44 20 7318 4014

NEW YORK Marcus Tremonto, International Consultant

+1 212 940 1268

Alex Heminway, New York Director

+1 212 940 1269

Tara DeWitt

+1 212 940 1265

Meaghan Roddy

+1 212 940 1266

Stephanie Abraitis

+1 212 940 1268

CHAIRMAN LONDON Rodman Primack

+44 20 7318 4017

MANAGING DIRECTORS Finn Dombernowsky, London Charlie Horne, New York

+44 20 7318 4034 +1 212 940 1292

PRIVATE SALES Christina Scheublein

+1 212 940 1248

PARIS Johanna Frydman

+33 1 42 78 67 77

PHOTOGRAPHS LONDON

INTERNATIONAL SPECIALISTS AND REPRESENTATIVES Berlin & Munich Dr. Michaela Neumeister

+49 89 238 88 48 10

Lou Proud

+44 20 7318 4018

Brussels & Paris Olivier Vrankenne

+32 486 43 43 44

Sebastien Montabonel

+44 20 7318 4025

Paris Leonie Moschner

+33 6 85 53 92 03

Alexandra Bibby

+44 20 7318 4087

London Ivgenia Naiman

+44 20 7318 4071

Helen Hayman

+44 20 7318 4092

Brooke de Ocampo

+44 777 551 7060

NEW YORK Vanessa Kramer, New York Director Shlomi Rabi

+ 1 212 940 1246

+1 310 600 9192

Maya McLaughlin

+1 323 791 1771

Milan Laura Garbarino

+39 339 478 9671

Caroline Shea

+1 212 940 1247

Eugenia Bertelè

+39 02 3669 5895

Sarah Krueger

+1 212 940 1245

Moscow Svetlana Marich

+7 495 225 88 22

Charlie Scheips, International Consulting Director

07_LON_OCT_DESIGN_Backmatter_v5(182-195).indd 194

+1 212 940 1243

Los Angeles Mimi Won Techentin

+ 1 212 940 1245

Shanghai/Beijing Jeremy Wingfield

+86 135 0118 2804

22/09/09 19:29


SALE INFORMATION

AuCTION Thursday 15 October 2009 at 5pm VIEWING Saturday 10 October 10am – 6pm Sunday 11 October 12pm – 6pm Monday 12 October – Wednesday 14 October 10am – 6pm Thursday 15 October 10am – 12pm VIEWING & AuCTION LOCATION Howick Place London SW1P 1BB SALE DESIGNATION In sending written bids or making inquiries please refer to this sale as UK050209 WORLDWIDE DIRECTOR Alexander Payne London +44 20 7318 4052 New York +1 212 940 1267 INTERNATIONAL CONSuLTANT Marcus Tremonto New York +1 212 940 1268 DIRECTOR NEW YORk Alex Heminway New York +1 212 940 1269 SPECIALISTS Ben Williams +44 20 7318 4027 Domenico Raimondo +44 20 7318 4016 Ellen Stelter +44 20 7318 4021 Tara DeWitt New York +1 212 940 1265 Meaghan Roddy New York +1 212 940 1266 Johanna Frydman Paris +33 1 42 78 67 77

SHIPPING Kate Spalding +44 20 7318 4081 Andrew Ballaro +44 20 7318 4082 Clare Simpson +44 20 7318 4026 PRINCIPAL AuCTIONEER Simon de Pury 0874341 AuCTIONEERS AileenAgopian 1199037 Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK PHOTOGRAPHY Byron Slater, Peter Hepplewhite, Clint Blowers SELECT ESSAYS Alex Heminway E-MAIL ADDRESSES All Phillips de Pury & Company e-mails are first initial and last name @phillipsdepury.com (e.g. twood@phillipsdepury.com) www.phillipsdepury.com Please note that all lots are offered and sold subject to (i) the StandardTerms and Conditions, and (ii) Special Terms and Conditions applicable to this sale as described within this sale catalogue. The Standard Terms and Conditions and Special Terms and Conditions should be fully read and understood prior to bidding at the auction. All lots are sold “AS-IS.” All lots are offered subject to a reserve unless otherwise indicated.

Allyson Melchor + 44 20 7318 4039 + 1 212 940 1240 Catalogues £30 at the Gallery/$60 catalogues@phillipsdepury.com

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Front Cover Pablo Reinoso, ‘Aluminium Bench’, 2008, Lot 61 (detail) Inside Front Cover Shigeru Ban, ‘Paper Tower’, 2009, Lot 58 (detail) title Facing Page Poul Henningsen, Rare piano lamp, 1930s, Lot 114 Inside Back Cover Marc Newson, ‘Supercell’ pavilion, 2009, Lot 60 (detail) Back Cover Tapio Wirkkala, Rare ‘Leaf’ platter, c. 1951, Lot 126

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w w w. p h i l l i p s d e p u ry.c o m

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Design London Oct