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Lots 1-2 2 9 Viewing Thursday 3 June – Saturday 5 June, 10am – 6pm Sunday 6 June, 12pm – 6pm Monday 7 June – Tuesday 8 June, 10am – 6pm Wednesday 9 June, 10am – 2pm

Front Cover Marc Newson, Important early “Pod of Drawers,” 1987, Lot 220 Inside Front Cover Harry Bertoia, Important early “Dandelion” sculpture, ca. 1958, Lot 103 (detail) Title Page Diego Giacometti, “Coupelle á L’Oiseau,” ca. 1978, Lot 40 Inside Back Cover Hans Coper, Monumental sack pot with disc, ca. 1974, Lot 75 (detail) Back Cover Carlo Mollino, Untitled, 19 62-1973, Lot 172


1 MATHIEU MATÉGOT 1910-2001 “Satellite” ceiling light, ca. 1953 Painted perforated sheet metal, painted metal. Manufactured by Ateliers Matègot, France. 10 1/2 in. (26.7 cm.) drop

Estimate $ 2 2 , 0 0 0 - 2 8 , 0 0 0 Literature Patrick Favardin, Les décorateurs des années 50, Paris, 2002, p. 39; Philippe

Jousse and Caroline Mondineu, Mathieu Matègot, Paris, 2003, pp. 64-69, 137 and 187


2 GEORGES JOUVE 1910-1964

3 SERGE MOUILLE 1922-1988

“Chouette” pitcher, ca. 1953

Floor lamp, ca. 1953

Glazed stoneware, applied paint. Underside incised with artist’s mark and “JOUVE.”

Painted aluminum, painted tubular metal, brass. Manufactured by Ateliers Serge Mouille,

6 3/8 in. (16.2 cm.) high

France.

Estimate $ 2 , 0 0 0 - 4 , 0 0 0

66 5/8 in. (169.2 cm.) high

Estimate $ 7, 0 0 0 - 9 , 0 0 0 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005,

p. 137 for similar examples

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


4 JEAN PROUVÉ 1901-1984 Rare “C. P. D. E.” armchair, 1934-1935 Painted bent sheet steel, painted tubular steel, leather. Manufactured by Les Ateliers Jean Prouvé, France. 29 5/8 in. (75.2 cm.) high

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Provenance Compagnie Parisienne de Distribution d’Electricité, France; Galerie Patrick

Seguin, Paris Literature Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934-1944, Basel, 2000, p.

20, fig. 5, p. 74, fig. 397,1 and pp. 76-79, figs. 402-403; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 298 and 300-301


5 CHARLOTTE PERRIand ANd ateliers jean prouvé “Tunisie” bookcase, from the Maison de la Tunisie, Cité Universitaire, Paris, ca. 1952 Pine, painted bent aluminum, painted textured aluminum, painted steel, mahogany. Manufactured by Les Ateliers Jean Prouvé, France. 62 3/4 x 138 5/8 x 20 1/2 in. (159.4 x 352.1 x 52 cm.)

Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 Provenance Maison de la Tunisie, Cité Universitaire, Paris Literature “Maison de la Tunisie à la Cité Universitaire de Paris,” l’Architecture

d’Aujourd’hui, April/May 1953, p. 67; Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design Museum, exh. cat., Weil am Rhein, 1996, pp. 186-187; Mary McLeod, ed., Charlotte Perriand: An Art of Living, New York, 2003, pp. 142-144; Jacques Barsac, Charlotte Perriand: Un Art d’Habiter, 1903-1959, Paris, 2005, pp. 360-361 and 363-365


Opposite side of present lot

6 JEAN PROUVÉ 1901-1984 Façade panel with porthole windows, from Bouqueval, France, 1949-1950 Aluminum, painted aluminum, oak, glass. Manufactured by Les Ateliers Jean Prouvé, France. 116 x 35 5/8 x 2 3/4 in. (294.6 x 90.5 x 7 cm.)

Estimate $ 6 0 , 0 0 0 - 9 0 , 0 0 0 Provenance School complex, Bouqueval, France; Galerie Patrick Seguin, Paris Literature Jean Prouvé Constructeur 1901-1984, exh. cat., Musée des Beaux-Arts, Paris,

© Galerie Patrick Seguin, Paris

2001, p. 98 for similar examples; Peter Sulzer, Jean Prouvé: Œuvre Complète / Complete Works, Volume 3: 1944-1954, Basel, 2005, pp. 104-105 for photographs and mention of the school; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 544-545, 547, 549550 and 552-553

In the Bouqueval primary school, Prouvé used nine façade panels as interior dividers, of which the present lot is one. Two façade panels in situ at the Bouqueval primary school


7 JEAN PROUVÉ 1901-1984

8 GEORGES JOUVE 1910-1964

“Cafétéria” table, model no. 512, ca. 1953

“Grande Voile” sculpture, ca. 1957

Painted bent steel, plastic laminate-covered wood. Manufactured by

Glazed stoneware, metal. Underside incised with artist’s mark and “JOUVE.”

Les Ateliers Jean Prouvé for Galerie Steph Simon, France.

25 1/4 in. (64.1 cm.) high

28 x 51 x 27 1/2 in. (71.1 x 129.5 x 69.9 cm.)

Estimate $ 2 0 , 0 0 0 - 2 5 , 0 0 0

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998,

pp. 73-75; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934-1944, Basel, 1999, p. 268, fig. 1242.3,4; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 406 and 430-432

Paris, 2005, p. 80 for a similar example


Property from the Halsey Minor Collection

9 CHARLOTTE PERRIAND 1903-1999 “Asymétrique” wall-mounted bookcase, ca. 1958 Ash-veneered wood, painted bent aluminum. Manufactured by Les Ateliers Jean Prouvé for Galerie Steph Simon, France. 48 x 126 x 13 in. (121.9 x 320 x 33 cm.)

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Provenance Jousse Entreprise, Paris; Steven Volpe Design, San Francisco, California Literature Charlotte Perriand, Une Vie de Création, Paris, 1998, p. 60 for a similar

example; Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005, pp. 403 and 420425 for similar examples and p. 440


10 JEAN PROUVÉ 1901-1984

11 GEORGES JOUVE 1910-1964

Low table, model no. GB 21, ca. 1949

Abstract sculpture, 1954

Oak, painted metal. Manufactured by Les Ateliers Jean Prouvé, France.

Glazed stoneware, stone. Incised with artist’s mark and “JOUVE.”

13 3/4 in. (34.9 cm.) high, 48 in. (121.9 cm.) diameter

18 1/2 in. (47 cm.) high

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

Estimate $ 2 2 , 0 0 0 - 2 8 , 0 0 0

PROVENANCE Sanatorium de la Guiche, Saône-et-Loire, France

Literature Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 236

Literature Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934-1944, Basel, 2000,

for a similar example

pp. 302-303, fig. 944,1 for a drawing; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 407, 452 and 454-455


All Rights Reserved Sun shutters in situ along the façade of the UAT Building in Conakry

12 JEAN PROUVÉ 1901-1984 Sun shutter, from the Union Aéromaritime de Transport, Conakry, 1957 Ribbed aluminum, steel. Manufactured by Les Ateliers Jean Prouvé, France. 11 1/2 x 129 1/2 x 38 1/4 in. (29.2 x 328.9 x 97.2 cm.)

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 Provenance Union Aéromaritime de Transport (UAT), Conakry, Republic of Guinea,

Africa Exhibited “Charlotte Perriand & Jean Prouvé,” Gagosian Gallery, Beverly Hills, California,

April 29-June 12, 2004 Literature Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005,

p. 297, figs. 1260.5,1 and 1260.5,2; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 520-521

This sun shutter is one of 20 extant examples used at Conakry in the regional office of UAT, a French airline which operated flights between Paris and West Africa.


13 JEAN PROUVÉ 1901-1984 Set of four “Tout Bois” chairs, ca. 1941 Oak, oak-veneered plywood. Manufactured by Les Ateliers Jean Prouvé, France (4). Each: 32 5/8 in. (82.9 cm.) high

Estimate $ 1 6 , 0 0 0 - 2 4 , 0 0 0 Provenance Galerie Patrick Seguin, Paris Literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998,

pp. 42-43; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934-1944, Basel, 2000, p. 295, fig. 915; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 234 and 250-253


The present lot together with lot 13

14 CHARLOTTE PERRIAND 1903-1999 Dining table, ca. 1965 Mahogany. Produced by AndrĂŠ Chetaille for Galerie Steph Simon, France. 28 1/2 x 78 3/4 x 34 1/2 in. (72.4 x 200 x 87.6 cm.)

Estimate $ 6 0 , 0 0 0 - 9 0 , 0 0 0 Provenance Laigle Family, Paris; Galerie Patrick Seguin, Paris Literature Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005, pp. 403, 417

and 436 and p. 428 for a drawing; Jacques Barsac, Charlotte Perriand & le Japon, Paris, 2008, pp. 236, 238-239 and 274


15 CHARLOTTE PERRIAND 1903-1999 Very rare curved cabinet, ca. 1960 Mahogany, painted wood, molded plastic. Produced by André Chetaille for Galerie Steph Simon, France. Each drawer molded with “MODELE CHARLOTTE PERRIAND/BREVETTE S.G.D.G.” 34 x 91 1/8 x 19 in. (86.4 x 231.5 x 48.3 cm.)

Estimate $ 14 0 , 0 0 0 -1 8 0 , 0 0 0 Provenance Private Collection, Southern France; Galerie Patrick Seguin, Paris Literature Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005, p. 433


© Fonds Jean Prouvé One façade panel in situ at the Bouqueval primary school, 1950s

16 JEAN PROUVÉ 1901-1984 Very rare façade panel with porthole windows, from Bouqueval, France, 1949-1950 Oak, glass, aluminum, painted metal. Manufactured by Les Ateliers Jean Prouvé, France. 116 1/8 x 35 7/8 x 2 3/4 in. (295 x 91.1 x 7 cm.)

Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 Provenance School complex, Bouqueval, France; Galerie Patrick Seguin, Paris Literature Peter Sulzer, Jean Prouvé: Œuvre Complète / Complete Works, Volume 3: 1944-1954,

Basel, 2005, pp. 104-105 for photographs and mention of the school; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 545-547 and 552

This example is one of only three produced for the interior of the Bouqueval primary school.


17 CHARLOTTE PERRIAND 1903-1999

18 CHARLOTTE PERRIAND 1903-1999

Pair of armchairs, model no. 21, ca. 1935

Low table, ca. 1960

Oak, rush (2).

Fir. Produced by André Chetaille for Galerie Steph Simon, France.

Each: 30 1/2 in. (77.5 cm.) high

15 1/8 x 61 x 20 1/2 in. (38.4 x 154.9 x 52.1 cm.)

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

Literature Jacques Barsac, Charlotte Perriand, un art d’habiter, Paris, 2005,

Literature Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005,

pp. 136-138, 297 and 305

p. 436 for a similar example


19 MATHIEU MATÉGOT 1910-2001 Pair of “Satellite” sconces, ca. 1954 Painted perforated metal, painted metal. Manufactured by Atelier Matègot, France (2). Each: 13 3/4 x 8 x 3 3/4 in. (34.9 x 20.3 x 9.5 cm.)

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Literature Philippe Jousse and Caroline Mondineu, Mathieu Matègot, Paris, 2003, front

and back covers and p. 145


© Fonds Jean Prouvé Similar façade panels on the manufacturing line at Jean Prouvé’s Maxéville factory near Nancy, France

2 0 JEAN PROUVÉ 1901-1984 Façade panel, from the Compagnie Industrielle de Matériel de Transport, Nevilly, France, 1963 Ribbed aluminum, aluminum, glass, rubber. Manufactured by Les Ateliers Jean Prouvé, France. 108 3/4 x 47 x 3 1/2 in. (276.2 x 119.4 x 8.9 cm.)

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Provenance Compagnie Industrielle de Matériel de Transport, Neuilly, France Literature Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007,

pp. 524-525


© Fonds Jean Prouvé Façade panels in situ at the Fédération du Bâtiment, Paris

21 JEAN PROUVÉ 1901-1984 Façade panel, from the Fédération du Bâtiment, Paris, 1949 Painted aluminum, aluminum, glass. Manufactured by Les Ateliers Jean Prouvé, France. 118 7/8 x 56 3/8 x 5 1/8 in. (301.9 x 143.2 x 13 cm.)

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Provenance Fédération du Bâtiment, Paris Literature Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005, p.

36, fig. 25 and p. 189, fig. 1169,2 for this model in situ; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 526-527


2 2 CHARLOTTE PERRIAND 1903-1999

2 3 LE CORBUSIER 1887-1965

Double bed, from Cité Internationale Universitaire de Paris, 1956-1959

Wardrobe/room divider, from the Unité d’habitation, Marseille, France, 1946-1952

Oak, fabric.

Painted wood, oak.

23 1/4 x 76 1/2 x 57 1/4 in. (59.1 x 194.3 x 145.4 cm.)

61 1/4 x 78 7/8 x 18 3/4 in. (155.6 x 200.3 x 47.6 cm.)

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

Provenance Fondation Franco-Brésilienne, Cité Internationale Universitaire de Paris

Provenance Unité d’habitation, Marseille, France

Literature Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005, p. 470

Literature Allen Brooks, ed., The Le Corbusier Archive, New York/Paris, 1982-1984, vol. 17,

for a single bed

p. 60, plan no. 26.426

This is one of eight double beds produced for teacher’s rooms at the Fondation Franco-Brésilienne.


Opposite side of present lot


24 CHARLOTTE PERRIAND 1903-1999 Bench with drawer and side table, from CitĂŠ Cansado, Mauritania, Africa, 1958 Oak, plastic laminate-covered wood, painted metal, fabric. 13 3/4 x 102 3/8 x 27 1/2 in. (34.9 x 260 x 69.9 cm.)

Estimate $ 1 2 , 0 0 0 -1 6 , 0 0 0 Provenance CitĂŠ Cansado, Mauritania, Africa


Photo: Private Collection Period photograph of the present lot

25 JEAN PROUVÉ AND PIERRE JEANNERET 1901-1984, 1896-1967 Unique prototype “B.C.C.” table, from the Central de Construction B.C.C. Office, Nancy, France, 1946 Oak, painted sheet metal. Manufactured by Les Ateliers Jean Prouvé and Vauconsant, France 29 1/8 x 47 1/4 x 23 in. (74 x 120 x 58.4 cm.)

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Provenance Central de Construction B.C.C. Office, Nancy, France;

Chartreux Family, Nancy, France Literature Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998,

illustrated p. 69; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 2: 1934-1944, Basel, 2000, illustrated p. 295, fig. 921,2; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, illustrated pp. 404 and 418-419


© Photos: Lucien Hervé Sun shutters in situ

2 6 JEAN PROUVÉ 1901-1984 Sun shutter, ca. 1964 Ribbed aluminum, tubular aluminum, painted wood, steel. Manufactured by Les Ateliers Jean Prouvé, France. 106 1/2 x 70 x 4 1/8 in. (270.5 x 177.8 x 10.5 cm.)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0

All Rights Reserved

Provenance Cameroon, Africa Literature Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007,

pp. 522-523; Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 4: 1954-1984, Basel, 2009, pp. 180-181

Sun shutters in situ


Sun shutters in situ at the Manufacture des Tabacs, Marseille

27 JEAN PROUVÉ 1901-1984 Sun shutter, from the Manufacture des Tabacs, Marseille, France, 1954 Ribbed aluminum, tubular aluminum, aluminum, steel. Manufactured by Les Ateliers Jean Prouvé, France. 73 1/2 x 31 x 2 1/4 in. (186.7 x 78.7 x 5.7 cm.)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Provenance Manufacture des Tabacs, Marseille, France Literature Peter Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005,

p. 20, fig. 22 and p. 300, figs. 1260.13,2-1260.13,3; Galerie Patrick Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, p. 528


2 8 JEAN ROYÈRE 1902-1981 “Milles Pattes” floor lamp, ca. 1951 Painted iron, paper shade. 72 in. (182.9 cm.) high

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Literature Gilbert Poillerat, ed., Ferronnerie d’Aujourd’hui, Paris, 1951, pl. 20; Jean Royère,

décorateur à Paris, exh. cat., Musée des Arts décoratifs, Paris, 1999, p. 163


Pierre Jahan, Noll vu par Jahan, exh. cat., Galerie à Rebours, Paris, 2000 The present lot photographed by Pierre Jahan, 1940s

2 9 ALEXANDRE NOLL 1890-1970 Sculpture, ca. 1945 Pear wood. Underside incised with “ANOLL.” 4 1/2 x 8 1/2 x 9 in. (11.4 x 21.6 x 22.9 cm.)

Estimate $ 1 0 , 0 0 0 -1 2 , 0 0 0 Literature Pierre Jahan, Noll vu par Jahan, exh. cat., Galerie à Rebours, Paris, 2000, p. 1


3 0 JEAN ROYÈRE 1902-1981 Rare and important free-form coffee table, ca. 1957 Formica, oak, wrought iron. 15 1/4 x 45 1/2 x 25 in. (38.7 x 115.6 x 63.5 cm.)

Estimate $ 8 0 , 0 0 0 -1 0 0 , 0 0 0 Provenance Jean Royère agency, Avenue des Français, Beirut, Lebanon;

Private Collection Literature Jean Royère, décorateur à Paris, exh. cat., Musée des Arts décoratifs, Paris,

1999, front cover and pp. 68, 125, and 132 for similar examples; Pierre-Emmanuel MartinVivier, Jean Royère, Paris, 2002, p. 115 for a similar example

Jaulmes / Éditions Norma, Paris

© Musée des arts décoratifs de Paris / photograph Laurent-Sully A drawing from the Jean Royère studio illustrating two similar tables with ring feet


31 JEAN ROYÈRE 1902-1981 Rare and important “Salon Sculpture” sofa and pair of chairs, ca. 1955 Beech wood, fabric. Comprising one sofa and two armchairs (3). Sofa: 32 1/4 x 73 1/2 x 31 in. (81.9 x 186.7 x 78.7 cm.); each chair: 28 1/4 in. (71.8 cm.) high

Estimate $ 1 8 0 , 0 0 0 - 2 0 0 , 0 0 0 PROVENANCE Private Collection, France Literature Maison et Jardin, November 1955; Jean Royère, exh. cat., Galerie Jacques

Lacoste, Paris, 1999, p. 68 for the chairs; Jean Royère, décorateur à Paris, exh. cat., Musée des Arts décoratifs, Paris, 1999, pp. 38, 68 and 135 for the chairs and pp. 78 and 166; Catherine and Stéphane de Beyrie and Jacques Ouaiss, Jean Royère, New York, 2000, pp. 49-50 for the chairs; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 261 and pp. 262-263 for the sofa

A similar set was presented in 1959 at the “Salon des Artistes Décorateurs,” Paris.


3 2 JEAN ROYÈRE 1902-1981

3 3 ALEXANDRE NOLL 1890-1970

Andiron, ca. 1950

Box, ca. 1945

Wrought iron.

Oak, horn. Underside incised with “ANOLL.”

71 1/8 x 27 7/8 x 18 3/4 in. (180.7 x 70.8 x 47.6 cm.)

4 1/4 x 9 1/2 x 7 1/2 in. (10.8 x 24.1 x 19.1 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0

Literature Jean Royère, décorateur à Paris, exh. cat., Musée des Arts décoratifs, Paris,

Provenance Madame Lemée, France

1999, p. 121 for a drawing; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 275

Literature Olivier Jean-Elie and Pierre Passebon, Alexandre Noll, Paris, 1999, p. 57

for a drawing

for a similar example


3 4 JEAN ROYÈRE 1902-1981 Rare “Tour Eiffel Alexandrie” side table, ca. 1948 Wrought iron, painted metal, glass. 17 1/2 in. (44.5 cm.) high, 30 1/4 in. (76.8 cm.) diameter

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Literature Jean Royère, décorateur à Paris, exh. cat., Musée des Arts décoratifs, Paris,

1999, pp. 14 and 115 for drawings of similar examples; Catherine and Stéphane de Beyrie and Jacques Ouaiss, Jean Royère, New York, 2000, p. 18 for a similar example


Property from the Halsey minor collection

3 5 JEAN ROYÈRE 1902-1981

3 6 JEAN ROYÈRE 1902-1981

“Serpentin” wall light, ca. 1945

Mirror, ca. 1955

Painted tubular metal, paper shades.

Painted iron, mirrored glass.

8 3/4 x 54 1/2 x 9 3/4 in. (22.2 x 138.4 x 24.8 cm.), including shades

37 1/2 x 25 1/2 x 5 1/4 in. (95.3 x 64.8 x 13.3 cm.)

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

Provenance DeLorenzo 1950, New York; Private Collection, New York

Provenance Alexandre Biaggi, Paris

Literature Jean Royère, décorateur à Paris, exh. cat., Musée des Arts décoratifs, Paris,

Literature Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, p. 104; Pierre-

1999, pp. 30-33; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 147, pl. 25

Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 140


37 JEAN ROYÈRE 1902-1981 Pair of “Mirabeau” table lamps, ca. 1948 Wrought iron, painted metal, paper shades (2). Each: 28 1/4 in. (71.8 cm.) high, including shade

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Literature Catherine and Stéphane de Beyrie and Jacques Ouaiss, Jean Royère,

New York, 2000, pp. 26 and 50 for a similar floor version


3 8 JEAN ROYÈRE 1902-1981 Sideboard, ca. 1938 Zebrawood-veneered wood, wood. Produced by Gouffé, France. 31 3/4 x 63 x 17 3/8 in. (80.6 x 160 x 44.1 cm.)

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Provenance Galerie Neosenso, Paris; Dakis Joannou, Athens, Greece; Christie’s,

Important 20th Century Decorative Art and Design, New York, June 9, 2005, Lot 119


Property from the Halsey Minor collection

3 9 JEAN ROYÈRE 1902-1981 Low side table, ca. 1950 Painted iron, glass. 11 1/2 x 24 x 12 in. (29.2 x 61 x 30.5 cm.)

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Provenance Alexandre Biaggi, Paris Literature Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, pp. 104 and 107

for similar examples; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 140-141 and 147 for similar examples


Property from the Halsey Minor collection

4 0 DIEGO GIACOMETTI 1902-1985 “Coupelle à L‘Oiseau,” ca. 1978 Patinated bronze. Side impressed with “DIEGO.” 3 3/4 x 6 3/4 x 5 in. (9.5 x 17.1 x 12.7 cm.)

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 Literature Michel Butor, Diego Giacometti, Paris, 1985, p. 163 for a similar example;

Daniel Marchesseau, Diego Giacometti, Paris, 1986, p. 171 for a similar example


The interior of the present lot

Property from the Halsey Minor collection

41 PAUL DUPRÉ-LAFON 1900-1971 Rare and important writing cabinet, ca. 1940 Leather-covered wood, macassar ebony-veneered wood, wood, bronze. Leather produced by Hermès, France. Together with an original certificate of authenticity from the legal successors of Paul Dupré-Lafon. 30 1/2 x 43 x 20 1/4 in. (77.5 x 109.2 x 51.4 cm.)

Estimate $ 1 0 0 , 0 0 0 -1 5 0 , 0 0 0 Literature Thierry Couvrat Desvergnes, Dupré-Lafon, Décorateur des Millionaires,

Paris, 1990, p. 58

This work has been authenticated by the legal successors of Paul Dupré-Lafon.


42 JACQUES ADNET 1901-1984 Floor lamp, 1930s Colored glass, copper, steel, fabric shade. Manufactured by Compagnie des Arts Français, France. 69 1/4 in. (176.5 cm.) high

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Provenance Sotheby’s, Important 20th Century Design, New York, June 8, 2005, Lot 19


Property from the Halsey Minor collection

4 3 PAUL DUPRÉ-LAFON 1900-1971 Rare low table, ca. 1940 Patinated iron, ceramic tile, limed oak. Together with an original certificate of authenticity from the legal successors of Paul Dupré-Lafon. 14 1/4 x 47 1/2 x 41 1/2 in. (36.2 x 120.7 x 105.4 cm.)

Estimate $ 1 5 0 , 0 0 0 - 2 0 0 , 0 0 0 Literature Thierry Couvrat Desvergnes, Dupré-Lafon, Décorateur des Millionaires, Paris,

1990, pp. 72 and 171; Bruno Foucart and Jean-Louis Gaillemin, Les Décorateurs des Années 40, Paris, 1998, p. 120 for a similar example.

This work has been authenticated by the legal successors of Paul Dupré-Lafon.


4 4 JEAN E. PUIFORCAT 1897-1945 “Tête à Tête” coffee and tea set, 1929 Silver, Brazilian rosewood. Each piece impressed with “JEAN E PUIFORCAT,” “MADE IN FRANCE,” Minerva head and EP diamond mark. Rim of creamer additionally impressed with “30 NOVEMBRE 1929.” Comprising one coffee pot, one tea pot, one creamer and one covered sugar bowl (4). Coffee pot: 5 1/2 x 6 3/4 x 5 in. (14 x 17.1 x 12.7 cm.)

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 Literature Françoise de Bonneville, Jean E. Puiforcat, Paris, 1986, p. 121 for the tea pot


Property from the Halsey Minor collection

4 5 PAUL DUPRÉ-LAFON 1900-1971 Large four-seater sofa, ca. 1929 Leather, fabric, nickel-plated metal, wood. 29 1/2 x 119 1/2 x 42 1/4 in. (74.9 x 303.5 x 107.3 cm.)

Estimate $ 7 0 , 0 0 0 - 9 0 , 0 0 0 Provenance Galerie Jean-Jacques Dutko, Paris Literature Thierry Couvrat Desvergnes, Dupré-Lafon, Décorateur des Millionaires,

Paris, 1990, pp. 110-111

This work has been authenticated by the legal successors of Paul Dupré-Lafon.


Property from the Halsey Minor collection

4 6 PAUL DUPRÉ-LAFON 1900-1971 Pair of armchairs, ca. 1929 Fabric, nickel-plated metal, wood (2). Each: 22 in. (55.9 cm.) high

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 Provenance Galerie Jean-Jacques Dutko, Paris Literature Thierry Couvrat Desvergnes, Dupré-Lafon, Décorateur des Millionaires, Paris,

1990, p. 8 for a drawing and pp. 31-32, 79, 100, 110-111, 122-123, 126, 143, 148-149, 152, 154-155, 161 and 193

This work has been authenticated by the legal successors of Paul Dupré-Lafon.


Property from the Halsey Minor collection

47 PAUL DUPRÉ-LAFON 1900-1971 Pair of side tables, ca. 1935 Wrought iron, stitched leather, macassar ebony. Leather produced by Hermès, France. Together with an original certificate of authenticity from the legal successors of Paul Dupré-Lafon (2). Each: 21 x 20 3/4 x 20 3/4 in. (53.3 x 52.7 x 52.7 cm.)

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Literature Bruno Foucart and Jean-Louis Gaillemin, Les Décorateurs des Années 40,

Paris, 1998, p. 120

These works have been authenticated by the legal successors of Paul Dupré-Lafon.


Property from the Halsey Minor collection

4 8 PAUL DUPRÉ-LAFON 1900-1971 Gentleman’s valet, ca. 1935 Painted mahogany, leather-covered wood, bronze. Produced for Hermès, France. Back of hanger impressed with “HERMÈS PARIS.” 54 1/4 x 22 x 17 1/2 in. (137.8 x 55.9 x 44.5 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Literature Thierry Couvrat Desvergnes, Dupré-Lafon, Décorateur des Millionaires, Paris,

1990, p. 205; Bruno Foucart and Jean-Louis Gaillemin, Les Décorateurs des Années 40, Paris, 1998, p. 121

This work has been authenticated by the legal successors of Paul Dupré-Lafon.


49 HAMMOND KROLL 1898-1980 Set of four armchairs, 1930s Lacquered wood, chrome-plated metal, vinyl (4). Each: 35 1/4 in. (89.5 cm.) high

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Provenance Alice Astor, New York; Alan Moss, New York Literature Robert Bishop, Centuries and Styles of the American Chair 1640-1970, New York,

1972, p. 487 for a similar example; Lisa Phillips and David Hanks, et al., High Styles: TwentiethCentury American Design, exh. cat., Whitney Museum of American Art, New York, 1985, p. 109, fig. 3.24 for other work by Kroll; Diane Dorrans Saeks, Orlando Diaz-Azcuy, New York, 2009, illustrated pp. 33-34


5 0 T.H. ROBSJOHN-GIBBINGS 1905-1976 Pair of custom side tables, from Casa Encantada, Bel Air, ca. 1937 Acacia-veneered wood, gilt wood, mirrored glass. Underside of each stamped with “”SANS EPOQUE”” and artist’s facsimile signature. From a set of four designed for Casa Encantada, Bel Air, California (2). Each: 24 1/2 in. (62.2 cm.) high, 30 in. (76.2 cm.) diameter

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Mrs. J. O. Weber, Casa Encantada, Bel Air, California; Conrad Hilton, Casa

Encantada, Bel Air, California; David Howard Murdoch, Casa Encantada, Bel Air, California; Sotheby’s, New York, February 5, 1981 Literature Lisa Phillips and David Hanks, et. al., High Styles: Twentieth-Century American

Design, exh. cat., Whitney Museum of American Art, New York, 1985, p. 112, fig. 3.27 for other works from this commission; Todd Merrill and Julie V. Iovine, eds., Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 199 for one table illustrated in situ at Casa Encantada


Courtesy of Jane Coper Lucie Rie and Hans Coper, ca. 1958


Hans Coper & Lucie Rie

a legacy of Modern ceramics

“There seems to the casual onlooker little variety in ceramic shapes and designs, but to the lover of pottery there is an endless variety of the most exciting kind.�

Lucie Rie, ca. 1952


Courtesy of Jane Coper Hans Coper in his studio, Hammersmith, London, ca. 1965


Steffi Brandt-Olsen Lucie Rie in her Albion Mews studio, London, ca. 1960


51 LUCIE RIE

1902-1995

Conical “Rice” bowl, ca. 1978 Porcelain, matte white glaze flowing over a pierced body, bright golden lip. Impressed with artist’s seal. 7 in. (17.8 cm.) diameter

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Provenance Christie’s, Contemporary Ceramics, London, February 1985, Lot 148 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, p. 75, item 112 for a similar example; Tony Birks, Lucie Rie, French edition, Vendin le Vieil, 2006, p. 212 for a similar example


52 LUCIE RIE

1902-1995

Footed bowl, ca. 1980 Porcelain, bright golden manganese glaze, terracotta foot and well and a turquoise ring repeated inside and out. Impressed with artist’s seal. 8 in. (20.3 cm.) diameter

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, p. 89, items 216 and 217 for similar examples; Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, p. 37 for a similar example; Tony Birks, Lucie Rie, French edition, Vendin le Vieil, 2006, p. 194 for a similar example


5 3 LUCIE RIE

1902-1995

Squared white vase, ca. 1976 Porcelain, shiny white glaze, squared body. Impressed with artist’s seal. 10 3/4 in. (27.3 cm.) high

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 Provenance Bonhams, Contemporary Ceramics, London, June 1989, Lot 228 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, front cover and p. 55, item 31 for a similar example; Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, p. 48 for a similar example; Tony Birks, Lucie Rie, French edition, Vendin le Vieil, 2006, p. 216 for a similar example


5 4 HANS COPER

1920-1981

Early large bowl, ca. 1954 T-material, porcelain slip and manganese glaze inlaid into an incised linear design. Impressed with artist’s seal. 11 7/8 in. (30.2 cm.) diameter

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Bonhams, International Contemporary Ceramics including the Willem

Latuasun European Collection, London, November 1993, Lot 374


5 5 LUCIE RIE

1902-1995

Squeezed vase with flaring lip, ca. 1980 Mixed clay body combining with glaze to create a three color integral spiral. Impressed with artist’s seal. 13 1/8 in. (33.3 cm.) high

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Provenance Oxford Gallery, Oxford, UK; Phillips Auctioneers, Contemporary Ceramics,

London, September 25, 2001, Lot 127


5 6 LUCIE RIE

1902-1995

Large conical bowl, ca. 1978 Porcelain, bright golden manganese glaze with concentric rings of sgraffito and inlaid grid designs. Impressed with artist’s seal. 8 5/8 in. (21.9 cm.) diameter

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0


57 LUCIE RIE

1902-1995

Footed bowl, ca. 1980 Stoneware, blue and bright gold manganese glazes. Impressed with artist’s seal. 7 1/8 in. (18.1 cm.) diameter

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Provenance Christie’s, Contemporary Ceramics, London, December 1986, Lot 164 Literature Lucie Rie/Hans Coper— Masterworks by Two British Potters, exh. cat.,

The Metropolitan Museum of Art, New York, 1994, p. 8, item R16 for a similar example; Tony Birks, Lucie Rie, French edition, Vendin le Vieil, 2006, p. 199 for a similar example


5 8 LUCIE RIE

1902-1995

Footed bowl, ca. 1980 Porcelain, glassy green glaze with manganese speckle and bright golden manganese rim. Impressed with artist’s seal. 7 7/8 in. (20 cm.) diameter

Estimate $ 1 2 , 0 0 0 -1 6 , 0 0 0 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, p. 86, item 190 for a similar example; Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, p. 116, item 91 for a similar example; Lucie Rie/Hans Coper— Masterworks by Two British Potters, exh. cat., The Metropolitan Museum of Art, New York, 1994, p. 8, item R32 for a similar example; Tony Birks, Lucie Rie, French edition, Vendin le Vieil, 2006, p. 181 for a similar example


5 9 HANS COPER

1920-1981

Extremely rare “Cycladic” bud pot, 1976 Stoneware, black manganese glaze. Impressed with artist’s seal. 8 1/2 in. (21.6 cm.) high

Estimate $ 6 0 , 0 0 0 - 9 0 , 0 0 0 Exhibited “Lucie Rie/Hans Coper—Masterworks by Two British Potters,” The Metropolitan

Museum of Art, New York, November 15, 1994 – May 21, 1995 Literature Lucie Rie/Hans Coper— Masterworks by Two British Potters, exh. cat.,

The Metropolitan Museum of Art, New York, 1994, illustrated p. 24, item C75


6 0 LUCIE RIE

1902-1995

Tall vase, ca. 1970 Stoneware, off-white pitted cream glaze. Bulbous base with the conical neck squeezed to an oval at the lip. Impressed with artist’s seal. 14 in. (35.6 cm.) high

Estimate $ 1 8 , 0 0 0 - 2 5 , 0 0 0


61 LUCIE RIE

1902-1995

Large open bowl, 1980 Stoneware, manganese lip, blue inlaid design beneath a shiny white glaze. Impressed with artist’s seal. 11 3/8 in. (28.9 cm.) diameter

Estimate $ 7, 0 0 0 - 9 , 0 0 0 Provenance Bonhams, Contemporary Ceramics: Dame Lucie Rie, Hans Coper and their

Influence, London, November 1991, Lot 355


6 2 LUCIE RIE

1902-1995

Miniature triangular bowl, ca. 1964 Porcelain, manganese and blue glaze with sgraffito design in the well and around the foot. Impressed with artist’s seal. 3 7/8 in. (9.8 cm.) diameter

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Provenance Christie’s, Modern Glass and Ceramics, London,

June 1987, Lot 271

6 3 LUCIE RIE

1902-1995

Miniature vase, ca. 1960 Porcelain, manganese and blue glaze, sgraffito and inlaid linear designs. Impressed with artist’s seal. 3 3/8 in. (8.6 cm.) high

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Provenance Christie’s, British Decorative Arts from 1880 to

Present Day, London, January 1986, Lot 68 Literature Tony Birks, Lucie Rie, French edition, Vendin le

Vieil, 2006, p. 109 for a similar example

6 4 LUCIE RIE

1902-1995

Small oval vase, ca. 1980 Stoneware, matte white and golden manganese glazes. Impressed with artist’s seal. 3 1/2 in. (8.9 cm.) high

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Literature Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu

Gallery, Tokyo, 1989, p. 32 for a similar example


6 5 LUCIE RIE

1902-1995

Rare mirror frame, ca. 1947 Stoneware, blue glaze. Impressed with artist’s seal. Together with a certificate confirming provenance. 6 7/8 in. (17.5 cm.) diameter

Estimate $ 1, 6 0 0 - 2 , 4 0 0 Provenance Collection of the artist, London; Bonhams, Lucie

Rie—The Sale of a Lifetime, London, April 17, 1997, Lot 81

6 6 LUCIE RIE

1902-1995

Rare “Sake” Cup, ca. 1960 Stoneware, dolomite glaze. Impressed with artist’s seal. Together with a certificate of provenance. 2 1/8 in. (5.4 cm.) diameter

Estimate $ 1, 6 0 0 - 2 , 4 0 0 Provenance Collection of the artist, London; Bonhams, Lucie

Rie—The Sale of a Lifetime, London, April 17, 1997, Lot 127


67 LUCIE RIE

1902-1995

Monumental flattened vase, ca. 1965 Stoneware, off-white pitted glaze with strong manganese speckle. Impressed with artist’s seal. 16 1/2 in. (41.9 cm.) high

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, p. 81, item 150 for a similar example; Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006, p. 149 for a similar example


6 8 LUCIE RIE

1902-1995

Rare bowl with impressed circular designs, ca. 1980 Porcelain, manganese and pale green glaze, circular impressed designs inlaid with glaze are repeated freehand in sgraffito on the interior. Impressed with artist’s seal. 5 1/8 in. (13 cm.) diameter

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Provenance Bonhams, Contemporary Ceramics, London, February 1990, Lot 257 Literature Jennifer Lee, Serene Beauty: Lucie Rie Retrospective, exh. cat., Shigaraki

Ceramic Cultural Park, 2002, pp. 66-67 for a similar example; Tony Birks, Lucie Rie, French edition, Vendin le Vieil, 2006, p. 113 for similar examples


6 9 LUCIE RIE

1902-1995

Footed bowl, ca. 1976 Porcelain, flat gray glaze breaking to blue in the well, the lip with inlaid bands of blue beneath pink. Impressed with artist’s seal. 7 3/8 in. (18.7 cm.) diameter

Estimate $ 4 , 0 0 0 - 6 , 0 0 0


70 HANS COPER

1920-1981

Large early vase with raised cream spiral, 1953 Stoneware, textured body rubbed with dry manganese glaze. Impressed with artist’s seal. 14 1/2 in. (36.8 cm.) high

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 PROVENANCE Ex. Jane Coper Collection


71 LUCIE RIE

1902-1995

Composite vase form, ca. 1980 Mixed clay body combining with glaze to produce an integral spiral. Impressed with artist’s seal. 9 3/4 in. (24.8 cm.) high

Estimate $ 4 , 0 0 0 - 6 , 0 0 0


72 LUCIE RIE

1902-1995

73 LUCIE RIE

1902-1995

Beaker vase, ca. 1980

Composite vase, ca. 1973

Stoneware, flowing volcanic blue, white and brown glaze. Impressed with artist’s seal.

Stoneware, volcanic ‘spinach’ green glaze. Impressed with artist’s seal.

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

7 in. (17.8 cm.) high

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Provenance John Pike Collection, UK Exhibited “Lucie Rie—Retrospective,” The Arts Council, London, 1967 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, illustrated p. 53, item 29


74 LUCIE RIE

1902-1995

Exceptional tall white bottle vase, ca. 1965 Stoneware, pitted white glaze with a strong manganese speckle. Impressed with artist’s seal. 14 3/8 in. (36.5 cm.) high

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0


75 HANS COPER

1920-1981

Monumental sack pot with disc, ca. 1974 T-material, porcelain slip and manganese glaze inlaid into the textured body. Impressed with artist’s seal. 17 3/8 in. (44.1 cm.) high

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Provenance Sotheby’s, Decorative Arts: Arts and Crafts, Art Nouveau, Art Deco, Art Pottery

and Studio Ceramics, London, July 1983, Lot 318 Literature Margot Coatts, Lucie Rie and Hans Coper—Potters in Parallel, exh. cat., The

Barbican Gallery, London, 1997, p. 89, item 10.15 for a similar example; Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006, p. 70 and p. 166 for similar examples; Hans Coper Retrospective—Innovation in 20th Century Ceramics, exh. cat., Shigaraki Ceramic Cultural Park, 2009, p. 99, item 70 for a similar example


76 LUCIE RIE

1902-1995

Footed bowl, ca. 1964 Porcelain, manganese and white glazes, incised radiating sgraffito design. Impressed with artist’s seal. 7 in. (17.8 cm.) diameter

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Provenance Christie’s, Decorative Arts from 1880 to the Present Day and Contemporary

Ceramics, London, July 1986, Lot 455 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, p. 76, item 121 for a similar example; Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006, p. 114 for a similar example


7 7 LUCIE RIE

1902-1995

Cylindrical vase with flaring lip, 1978 Porcelain, golden manganese glaze, matte blue glaze with sgraffito design. Impressed with artist’s seal. 10 5/8 in. (27 cm.) high

Estimate $ 9 , 0 0 0 -1 2 , 0 0 0 Literature Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo, 1989, p. 84,

item 174 for a similar example


Archive image of Lot 78 in situ in Lucie Rie’s home at Albion Mews

78 HANS COPER

1920-1981

Early “Hourglass” form, ca. 1962 Stoneware, scrubbed surface inlaid and painted with manganese and porcelain slip. Impressed with artist’s seal. 11 in. (27.9 cm.) high

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Provenance Acquired directly from Lucie Rie; Private Collection, London


79 LUCIE RIE

1902-1995

Exceptional tall flattened vase, ca. 1970 Stoneware, off-white flowing glaze with a delicate manganese speckle. Impressed with artist’s seal. 16 7/8 in. (42.9 cm.) high

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, p. 81, item 150; Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006, p. 149 for a similar example


8 0 LUCIE RIE

1902-1995

Rare “Prune” pot, ca. 1958 Stoneware, layered manganese glaze. Impressed with artist’s seal. Together with a certificate confirming provenance. 7 3/4 in. (19.7 cm.) diameter

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Provenance Collection of the artist, London; Bonhams, Lucie

Rie—The Sale of a Lifetime, London, April 17, 1997, Lot 163 Exhibited “Issey Miyake Meets Lucie Rie,” Sogetsu Gallery, Tokyo,

May 10 –June 7, 1989 Literature Issey Miyake Meets Lucie Rie, exh. cat., Sogetsu Gallery,

Tokyo, 1989, illustrated p. 96, item 11

81 LUCIE RIE

1902-1995

Oval bowl, ca. 1947 Earthenware, unglazed exterior, white well with painted manganese lines crossing a yellow band. Impressed with artist’s seal. 3 in. (7.6 cm.) high

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Provenance Sotheby’s, Decorative Arts, London, April 1984, Lot 340 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and

Albert Museum, London, 1981, p. 34, item 3 for a similar example; Tony Birks, Lucie Rie, French edition, Vendin le Vieil, 2006, p. 48 for a similar example


8 2 LUCIE RIE

1902-1995

Lidded pot, ca. 1965 Stoneware, manganese and white glazes with sgraffito designs. Impressed with artist’s seal. 10 1/8 in. (25.7 cm.) diameter

Estimate $ 5 , 0 0 0 -7, 0 0 0

8 3 HANS COPER

1920-1981

Early small-waisted form, ca. 1956 Stoneware, scrubbed surface inlaid and painted with manganese and porcelain slip. Impressed with artist’s seal. 7 1/2 in. (19.1 cm.) high

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Literature Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006,

p. 99


8 4 LUCIE RIE

1902-1995

Rare large bowl, ca. 1958 Porcelain, manganese and blue glaze with sgraffito and inlaid designs. Impressed with artist’s seal. 10 1/8 in. (25.7 cm.) diameter

Estimate $ 14 , 0 0 0 -1 8 , 0 0 0 Exhibited “British Artist Craftsmen: an exhibition of contemporary work,” Smithsonian

Institution, Washington D.C., 1959-1960


8 5 LUCIE RIE

1902-1995

Small footed bowl, ca. 1976 Porcelain, bright golden manganese, terracotta and black glaze. Impressed with artist’s seal. 5 5/8 in. (14.3 cm.) diameter

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, p. 82, item 164 for a similar example


8 6 HANS COPER

1920-1981

Early vase form, ca. 1956 Stoneware, scrubbed surface inlaid and painted with manganese and porcelain slip. Impressed with artist’s seal. 13 3/8 in. (34 cm.) high

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Bonhams, Contemporary Ceramics, April 17, 1996, Lot 243 Literature Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006, p. 216


87 LUCIE RIE

1902-1995

Tall flattened vase, ca. 1970 Stoneware, pitted off-white glaze with a manganese speckle. Impressed with artist’s seal. 16 3/4 in. (42.5 cm.) high

Estimate $ 6 , 0 0 0 - 9 , 0 0 0


8 8 LUCIE RIE

1902-1995

8 9 LUCIE RIE

1902-1995

Bowl, ca. 1972

Tall flattened vase, ca. 1960

Stoneware, matte light gray glaze with delicate manganese speckles.

Stoneware, mushroom-colored glaze with a strong manganese speckle. Impressed with

Impressed with artist’s seal.

artist’s seal.

5 in. (12.7 cm.) diameter

14 3/4 in. (37.5 cm.) high

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 Provenance Bonhams, Contemporary Ceramics: Swansong of the 20th Century, London,

June 9, 1999, Lot 212


9 0 LUCIE RIE

1902-1995

Rare and large soaring vase, ca. 1960 Porcelain, manganese glaze. Unglazed bands of design running horizontally around the form. Impressed with artist’s seal. 11 1/2 in. (29.2 cm.) high

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Collection of the artist, London; Michael and Lucy Foster Collection,

Portland, Oregon; Phillips Auctioneers, Lucie Rie/Hans Coper – Masterworks, London, June 20, 2000, Lot 53 Exhibited “Lucie Rie—Retrospective,” The Arts Council, London, 1967 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, illustrated item 47; Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006, illustrated pp. 68 and 111


91 HANS COPER

1920-1981

Small composite form, ca. 1964 T-material, porcelain slip and manganese glaze inlaid into the scrubbed surface. Impressed with artist’s seal. 7 1/2 in. (19.1 cm.) high

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Hans Coper Retrospective—Innovation in 20th Century Ceramics, exh. cat.,

Shigaraki Ceramic Cultural Park, 2009, p. 83, item 33 for a similar example


9 2 HANS COPER

1920-1981

Black pot on cylindrical foot, ca. 1970 Stoneware, black manganese glaze. Impressed with artist’s seal. 5 7/8 in. (14.9 cm.) high

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Literature Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006, p. 155


9 3 LUCIE RIE

1902-1995

Oval vase with spiral, ca. 1965 Mixed clay body, mineral elements combining with glaze to create a blue and white pitted spiral. Impressed with artist’s seal. 7 5/8 in. (19.4 cm.) high

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Bonhams, Contemporary Ceramics, London, April 1995, Lot 264 Literature Tony Birks, Lucie Rie, French edition, Vendin le Vieil, 2006, illustrated p. 176


9 4 LUCIE RIE

1902-1995

Rare conical vase, ca. 1968 Porcelain, manganese and white glazes. Unglazed horizontal bands of design. Impressed with artist’s seal. 7 in. (17.8 cm.) high

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Literature Lucie Rie, exh. cat., Crafts Council—The Victoria and Albert Museum, London,

1981, p. 76, item 116 for a similar example


9 5 LUCIE RIE

1902-1995

Large open bowl, ca. 1978 Porcelain, manganese glaze, sgraffito and inlaid designs of concentric rings and bands repeated inside and out. Impressed with artist’s seal. 10 1/4 in. (26 cm.) diameter

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 Provenance Christie’s, Contemporary Ceramics, London, February 1985, Lot 126 Literature Jennifer Lee, Serene Beauty: Lucie Rie Retrospective, exh. cat., Shigaraki

Ceramic Cultural Park, 2002, p. 43, item 31 for a similar example


9 6 HANS COPER

1920-1981

Cup on foot, ca. 1972 Stoneware, brushed porcelain slip over textured body. Impressed with artist’s seal. 6 1/4 in. (15.9 cm.) high

Estimate $ 9 , 0 0 0 -14 , 0 0 0 Literature Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006, p. 155

for a similar example


97 LUCIE RIE

1902-1995

Tall cylindrical vase, ca. 1960 Stoneware, white pitted glaze with manganese speckle over a diagonally ‘fluted’ body. Impressed with artist’s seal. 13 3/4 in. (34.9 cm.) high

Estimate $ 9 , 0 0 0 -14 , 0 0 0 Literature Tony Birks, Hans Coper, French edition, Vendin le Vieil, 2006, front cover and

pp. 130-134 for similar examples


9 8 GEORGE NAKASHIMA 1905-1990 Free-edge “Conoid” bench, 1976 Walnut, hickory, two rosewood butterfly keys. Together with a copy of the original order card from George Nakashima studio. 29 3/4 x 85 x 40 1/2 in. (75.6 x 215.9 x 102.9 cm.)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Margaret and William Hahn, Annapolis, Maryland Literature Lee Nordness, Objects: USA, New York, 1970, p. 263; George Nakashima, The

Soul of a Tree, A Woodworker’s Reflections, Tokyo, 1981, p. 151 for a drawing and pp. 164-165; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 157, fig. 28; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 173 and 176

The present “Conoid” bench is listed on a customer order card, dated November 17, 1975, on file at the George Nakashima Studio in New Hope, Pennsylvania. The bench was among a series of works commissioned by Mr. and Mrs. Hahn and shipped to Annapolis, Maryland on September 22, 1976. Phillips de Pury & Company would like to thank Mira Nakashima, Soomi Amagasu and the George Nakashima Studio for their assistance in cataloging this lot.


9 9 CLAIRE FALKENSTEIN 1908-1998 “Sun V” sculpture, ca. 1954 Welded brass. 21 1/2 x 42 x 22 in. (54.6 x 106.7 x 55.9 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Literature Claire Falkenstein, Structure and Flow, Works From 1950-1980, exh. cat., Louis

Stern Fine Arts, West Hollywood, 2006, p. 52, fig. 19 for a similar example


10 0 ERNST GAMPERL b. 1965 “Object,” 2010 Turned oak and fissures fixed with butterfly keys. Signed and incised with “10/03/250.” 34 1/4 in. (87 cm.) high.

Estimate $ 5 , 0 0 0 -7, 0 0 0


101 GEORGE NAKASHIMA 1905-1990 “Kent Hall” floor lamp, ca. 1970 Walnut, rosewood, holly, paper. 58 5/8 in. (148.9 cm.) high

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 Literature George Nakashima, The Soul of a Tree, A Woodworker’s Reflections, Tokyo, 1981,

p. 189 for a drawing; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 173, fig. 39; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 109


10 2 ZANINI DE ZANINE CALDAS b. 1978 “Mapa Mesa” coffee table, 2008 Reclaimed pequi. One leg impressed with “zanini.” 11 3/4 in. (29.8 cm.) high, 53 1/2 in. (135.9 cm.) diameter

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Provenance Acquired directly from the artist


10 3 HARRY BERTOIA 1915-1978 Important early “Dandelion” sculpture, ca. 1958 Chrome-plated tubular steel, marble, bronze, metal rods. Together with a certificate of authenticity from Val Bertoia confirming this is the first example of the “Dandelion” series to be produced. 83 in. (210.8 cm.) high

Estimate $ 1 3 0 , 0 0 0 -1 5 0 , 0 0 0 Literature Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, 2003, p. 126

In the spring of 1957, designer and sculptor Harry Bertoia travelled through Italy on a grant from the Graham Foundation, “bathing in all kinds of new beauties…the works of the Etruscans, some Greek temples and marbles.” ¹ Energized, he returned to his studio in Bally, Pennsylvania with a fresh approach. “All this began to make me feel that something should start from the center and should express its joy and energy by radiating outward.” Prior to his trip, Bertoia often built his sculptures from linear elements and rectangles arranged like screens. Shortly after his return from Italy, he conceived his “Dandelion” series, a radical departure from those earlier planar works. As the present lot demonstrates, his earliest “Dandelions” were literal representations of flowers, their heads bearing articulated seeds. Later “Dandelions”, like those commissioned for the Eastman Kodak Pavilion at the New York World’s Fair in 1964, lost their parachutes, became denser and more abstract. Sometimes known as “Sunbursts”, these later sculptures, when viewed with the present lot, attest to Bertoia’s enthusiastic embrace of all things great and small, from cosmic rays down to the daily details of the backyard.

¹All citations: Nancy N. Schiffer & Val O. Bertoia, “The World of Bertoia,” Schiffer Publishing Ltd., Atglen, PA, 2003.


Property from the halsey minor collection

10 4 ISAMU NOGUCHI 1904-1988 “Pierced Table,” 1982 Hot-dipped galvanized steel. Produced by Gemini G. E. L., USA. Number ten from the edition of 18. One support with metal label “ISAMU NOGUCHI/Pierced Table 10 / 18/ Published by Gemini G.E.L./© Isamu Noguchi Foundation 1993 IN82-2090” and one support with applied weld mark “i. n. 82.” 21 7/8 x 36 3/4 x 36 1/4 in. (55.6 x 93.3 x 92.1 cm.)

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Provenance Galerie du Passage, Paris Literature Rosanjin Kitaoji, Isamu Noguchi, 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, p. 297


50 675_02 remove plinth seams Clean up horizon line


10 5 GEORGE NAKASHIMA 1905-1990 Set of six grass-seated chairs, 1950s Walnut, sea grass. Underside of one signed in marker with “George Nakashima� and illegible date (6). Each: 26 3/4 in. (67.9 cm.) high

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Literature Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft

Museum, New York, 1989, p. 139, fig. 15; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 88 and 183


10 6 GEORGE NAKASHIMA 1905-1990 Free-edge trestle table, 1960s Walnut, three rosewood butterfly keys. 27 3/4 x 54 x 35 in. (70.5 x 137.2 x 88.9 cm.)

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Literature George Nakashima, The Soul of a Tree, A Woodworker’s Reflections, Tokyo, 1981,

p. 188 for a drawing of a similar example; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, pp. 68-69


107 JOAQUIM TENREIRO 1906-1992 Rare large table, ca. 1960 Metal sheet-covered wood, granite. 28 1/2 x 87 x 41 3/8 in. (72.4 x 221 x 105.1 cm.)

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Provenance Private Collection, Rio de Janeiro, Brazil Literature Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 61 for a similar example


10 8 JOAQUIM TENREIRO 1906-1922

10 9 JOAQUIM TENREIRO 1906-1922

Pair of “Curved” armchairs, ca. 1960

“Curved” sofa, ca. 1960

Jacaranda, fabric (2).

Jacaranda, fabric.

Each: 25 in. (63.5 cm.) high

26 x 93 x 30 1/2 in. (66 x 236.2 x 77.5 cm.)

Estimate $ 1 2 , 0 0 0 -1 5 , 0 0 0

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0

Literature Soraia Cals, Tenreiro, Rio de Janeiro, 2000, pp. 139 and 150

Literature Soraia Cals, Tenreiro, Rio de Janeiro, 2000, p. 139


110 GEORGE NAKASHIMA 1905-1990 Early “Minguren II” table, ca. 1962 Walnut, one rosewood butterfly key. Together with a letter of provenance from the original owner. 28 1/2 x 47 3/4 x 70 3/4 in. (72.4 x 121.3 x 179.7 cm.)

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Provenance Jean Foster Jenkins, Bucks County, Pennsylvania Literature George Nakashima, The Soul of a Tree, A Woodworker’s Reflections, Tokyo, 1981,

p. 182 for a drawing of a similar example; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 131, fig. 11 for a “Minguren II” end table; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 202 for a drawing and p. 203 for a “Minguren II” coffee table


111 HARRY BERTOIA 1915-1978 Fine “Bush” sculpture, 1970s Patinated bronze and copper, plastic laminate-covered wood base. 12 3/4 x 15 x 16 in. (32.4 x 38.1 x 40.6 cm.)

Estimate $ 8 0 , 0 0 0 - 9 0 , 0 0 0 Provenance Private Collection, New York LITERATURE Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, 2003,

pp. 110-116 for similar examples


52012 _01

112 WHARTON ESHERICK 1887-1970 Pair of armchairs, 1951 Walnut, leather. Underside of each seatback incised with “1951” and “W. E.” (2).

remove plinth seams, clean up plinth edges

Each: 28 1/2 in. (72.4 cm.) high

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0 Literature Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High

match seats of chairs to 52012 _02

Craft to High Glam, New York, 2008, p. 63


113 WHARTON ESHERICK 1887-1970

114 CLAUDE CONOVER 1907-1994

Pair of stools, 1966

“Chom” vessel, ca. 1970

Walnut, ash. Underside of each incised with “W.E.” and “1966” (2).

Stoneware. Underside signed in pen with “CLAUDE/CONOVER/“CHOM.””

One: 25 in. (63.5 cm.) high; the other: 26 in. (66 cm.) high

21 3/4 in. (55.2 cm.) high

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0

Provenance Acquired directly from the artist; Sotheby’s, Important 20th Century Design,

Literature Craft Horizons, June 1975, p. 44 for a similar example; Paul S. Donhauser,

New York, June 14, 2006, Lot 123

History of American Ceramics: The Studio Potter, Dubuque, 1978, p. 228, fig. 13-33 for similar

Literature Lee Nordness, Objects: USA, New York, 1970, p. 252; The Wharton Esherick

examples; Judith Miller, 20th Century Design: The Definitive Illustrated Sourcebook, New York,

Museum Studio and Collection, Paoli, PA, 1984, p. 12, fig. 6 for a similar example

2009, p. 52


All Rights Reserved Palace of Assembly, Chandigarh, India


CHANDIGARH

MODEL CITY OF MODERNISM

During the Partition of India in 1947, Punjab lost Lahore, its capital, to Pakistan. In his haste to quit the heat, Border Commissions chair Sir Cyril Radcliffe had drawn a reckless line through towns, fields, even houses. In the Punjab alone, ten million Muslims, Hindus, and Sikhs were displaced. Radcliffe had never been to India before and only stayed five weeks. Addressing the urgent need for a Punjabi capital, Prime Minister Nehru commissioned the planning and construction of Chandigarh, a model city to be built in the foothills of the Himalayas. Named for the Hindu goddess Chandi (bearer of lotus and lightning), Chandigarh would function as the symbol of a progressive and auspicious Indian future. American planner Albert Mayer and Polish architect Matthew Nowicki drafted the first drawings of the city, a rectangular grid of ‘superblocks’ intended to house 500,000 residents. Nowicki died in a plane crash in 1950, and Mayer withdrew from the project. In their stead, Le Corbusier and his cousin Pierre Jeanneret undertook the design and completion of the capital complex, including ‘sectors’ for housing, government offices, industry, and commerce. Jeanneret became chief architect after Le Corbusier’s own departure in 1959. Aided by admiring Indian colleagues, Jeanneret built a series of residential and civic buildings including the dramatic Ghandi Bhawan, the library of Ghandian studies at Punjab University. Its canted roofs, like wings, expressed the lofty aspirations of the project. For Jeanneret, no detail was too small; he designed lampposts, manhole covers, paddle boats—everything. Out of necessity, and with respect for his surroundings, he employed local craftsmen to build with local materials. Unlike Sir Radcliffe’s recess, Jeanneret’s fifteen year stay in India was a lifetime. Architectural critic Patwant Singh wrote: “His solutions were not impatient impositions.” Jeanneret helped build by hand what Radcliffe’s arbitrary sweep could not: a modern India. When Jeanneret returned to Europe in 1965, ill and unable to work, he reportedly lamented, “I am leaving my home and going to a foreign country.” His ashes, returned to Chandigarh, were scattered on Lake Sukhna.


115 LE CORBUSIER 1887-1965 “Solar Day” bas-relief, from the Capital Complex Building, Chandigarh, India, ca. 1950 Carved teak. Reverse-incised with “L. C” and “24.” 20 1/2 x 37 3/8 x 1 in. (52.1 x 94.9 x 2.5 cm.)

Estimate $ 1 8 , 0 0 0 - 2 4 , 0 0 0 Provenance Capital Complex Building, Chandigarh, India


116 PIERRE JEANNERET 1896-1967 Demountable desk with compartments, from Chandigarh, India, 1952-1956 Teak-veneered wood, metal. One table edge painted with “17� and other illegible characters. 28 x 71 7/8 x 65 3/8 in. (71.1 x 182.6 x 166.1 cm.)

Estimate $ 3 5 , 0 0 0 - 5 5 , 0 0 0 Provenance Chandigarh, India


117 PIERRE JEANNERET 1896-1967 “Bridge” armchair, from Chandigarh, India, 1952-1956 Teak, leather. 32 1/2 in. (82.6 cm.) high

All Rights Reserved

Estimate $ 8 , 0 0 0 -14 , 0 0 0 Provenance Chandigarh, India Literature Le Corbusier, My Work, London, 1960, p. 241

Le Corbusier and Pierre Jeanneret


118 PIERRE JEANNERET 1896-1967 Low table, from Chandigarh, India, 1952-1956 Teak. 16 1/8 x 32 x 35 in. (41 x 81.3 x 88.9 cm.)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Chandigarh, India


119 PIERRE JEANNERET 1896-1967

12 0 PIERRE JEANNERET 1896-1967

“Square” table, from Chandigarh, India, 1952-1956

Rare set of six “Démountable” chairs, from Chandigarh, India, ca. 1960

Teak. One leg painted with “74 / 2.”

Ebonized wood, cane, fabric (6).

28 1/8 x 35 1/2 x 35 1/2 in. (71.4 x 90.2 x 90.2 cm.)

Each: 23 3/8 in. (59.4 cm.) high

Estimate $ 7, 0 0 0 -1 0 , 0 0 0

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

Provenance Chandigarh, India

Provenance Chandigarh, India


121 PIERRE JEANNERET 1896-1967 “Class” chair, from Chandigarh, India, 1952-1956 Teak, cane. Back edge of chair painted with “P.U.Ec. / 30.” 32 5/8 in. (82.9 cm.) high

Estimate $ 4 , 0 0 0 -7, 0 0 0 Provenance Chandigarh, India


12 2 PIERRE JEANNERET 1896-1967

© Photos: Lucien Hervé

Filing rack with display cabinet, from Chandigarh, India, 1952-1956

Legislative Assembly Building, Chandigarh, India

Teak. 32 3/4 x 48 1/4 x 14 7/8 in. (83.2 x 122.6 x 37.8 cm.)

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 Provenance Chandigarh, India


12 3 PIERRE JEANNERET 1896-1967 Low “Visitor” sofa, from High Court, Chandigarh, India, 1952-1956 Teak, hide. 29 7/8 x 61 3/4 x 29 1/2 in. (75.9 x 156.8 x 74.9 cm.)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Provenance High Court, Chandigarh, India Literature Willy Boesiger, Le Corbusier, Œuvre Complète, Volume 7: 1957-1965, 1995,

pp. 93-94


124 PIERRE JEANNERET 1952-1956 Pair of armchairs, from High Court, Chandigarh, India, 1952-1956 Teak, hide. One leg painted with “P SA / S.48.” (2). Each: 29 1/2 in. (74.9 cm.) high

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 Provenance High Court, Chandigarh, India Literature Willy Boesiger, Le Corbusier, Œuvre Complète, Volume 7: 1957-1965, 1995,

pp. 93-94


All Rights Reserved 125 PIERRE JEANNERET 1896-1967 Coffee table, from Chandigarh, India, 1952-1956 Teak, glass. 15 x 47 x 18 in. (38.1 x 119.4 x 45.7 cm.)

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Provenance Chandigarh, India


12 6 PIERRE JEANNERET 1896-1967 “Office Table” desk, from Chandigarh, India, 1952-1956 Indian rosewood, leather. Front edge painted with symbol and “59 / D.I.154.”

All Rights Reserved

28 1/4 x 48 x 33 1/8 in. (71.8 x 121.9 x 84.1 cm.)

Estimate $ 1 2 , 0 0 0 -1 6 , 0 0 0 Provenance Chandigarh, India

Palace of Justice, Chandigarh, India


127 PIERRE JEANNERET 1896-1967 “Conférence” armchair, from Chandigarh, India, 1952-1956 Teak, cane. Back of seat painted with “PUNSUP.” 30 in. (76.2 cm.) high

Estimate $ 4 , 0 0 0 -7, 0 0 0 Provenance Chandigarh, India


12 8 PIERRE JEANNERET 1896-1967 Display cabinet, from Chandigarh, India, 1952-1956 Teak-veneered wood, teak, glass, brushed steel. Front painted with symbols and “4.” 51 1/4 x 50 1/2 x 12 in. (130.2 x 128.3 x 30.5 cm.)

Estimate $ 1 8 , 0 0 0 - 2 4 , 0 0 0 Provenance Chandigarh, India


12 9 WMF Vase, ca. 1930 Silver-plated brass. Manufactured by Württembergische Metallwarenfabrik, Germany. 11 1/4 in. (28.6 cm.) high

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Karl H. Bröhan, Metallkunst, exh. cat., Bröhan-Museum, Berlin, Vol. 4,

pp. 570-571 for a similar example


13 0 K.E.M. WEBER 1889-1963 Sofa, model no. SD-17-C, ca. 1940 Vinyl, chrome-plated tubular steel, walnut. Manufactured by Lloyd Manufacturing Co., USA. 28 x 65 x 35 1/2 in. (71.1 x 165.1 x 90.2 cm.)

Estimate $ 7, 0 0 0 - 9 , 0 0 0 Provenance Private Collection, New York; Phillips de Pury & Company, 20-21st Century

Design Art, December 8, 2005, Lot 82 Literature Lloyd Chromium Furniture sales catalog, Menominee, MI, 1938, p. 28


131 MARCEL BREUER 1902-1981

13 2 unknown designer

Side table, model no. B23, ca. 1928

“Bauhaus” telephone, ca. 1929

Chrome-plated tubular steel, glass, rubber. Manufactured by Thonet, Germany.

Bent painted sheet brass, Bakelite, nickel-plated metal. Manufactured by H. Fuld & Co.,

29 3/8 x 27 1/2 x 19 1/8 in. (74.5 x 70 x 48.5 cm.)

Germany. Underside stamped with “7801 / A8 300 a” and impressed with “FULD 60367.”

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

5 1/2 x 9 1/2 x 6 1/2 in. (14 x 24.1 x 16.5 cm.)

Estimate $ 1, 0 0 0 - 2 , 0 0 0 Literature Christopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of

Modern Art, New York, 1981, p. 79, fig. 74; Magdalena Droste, Manfred Ludewig and Bauhaus

Literature The New Frankfurt, 1929, p. 191; 100 Years of German Werkbund: 1907-2007, exh.

Archiv, Marcel Breuer Design, Cologne, 1994, p. 98

cat., Architecture Museum of the Technical University of Munich, 2007, p. 163


13 3 C.F. OTTO MÜLLER 1874-1930 Large adjustable “Megaphos” ceiling light, 1930s Nickel-plated metal, colored opaque glass, opaque glass, glass. Manufactured by SistrahLicht GmbH, Germany. Colored glass element stamped with “PATENT ANG/MEGAPHOS.” 58 1/4 in. (148 cm.) drop, fully extended

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005,

p. 320 for a similar example


13 4 WALTER GROPIUS 1883-1969 Door handle and lock plate, ca. 1923 Nickel-plated metal, enameled metal. Lock plate impressed with “KARNIES-FALLE/ D.R.G.M/1355452/D.R.P. angem.” 8 x 5 1/2 x 5 1/2 in. (20.3 x 14 x 14 cm.), mounted

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Literature Klaus Weber, Die Metallwerkstatt am Bauhaus, exh. cat., Bauhaus-Archiv

museum für Gestaltung, Berlin, 1992, p. 208, fig. 168 for a similar example


13 5 HANS FINSLER 1891-1972 Weaving Study, Arts College, Halle, Germany, ca. 1930 Gelatin silver prints. The verso of each stamped with “Copywright by Werkstaten der Stadt Halle Staatle, Kunst Gewerbeschule Halle, Burg Giebichenstein� (3). Each approximately: 4 3/8 x 3 3/8 in. (11.1 x 8.6 cm.)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


13 6 HEINRICH SIEGFRIED BORMANN 1909-1982 Adjustable “Kandem” table lamp, ca. 1932 Painted metal, nickel-plated tubular brass, painted tubular metal. Manufactured by Körting & Mathiesen AG, Germany. 22 7/8 in. (58.1 cm.) high, fully extended

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Literature Barbara Mundt, Produkt-Design, 1900-1990, Eine Auswahl, Berlin,

Kunstgewerbemuseum, Berlin, 1991, p. 68; Klaus Weber, Die Metallwerstatt am Bauhaus, exh. cat., Bauhaus-Archiv Museum für Gestaltung, Berlin, 1992, p. 136, ill. 28 for a similar example; Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959, Cologne, 2005, p. 324 for a similar example


137 C.F. OTTO MÜLLER 1874-1930 “Titan” ceiling light, ca. 1935 Brass, opaque glass, glass. Manufactured by Sistrah-Licht GmbH, Germany. 28 in. (71.1 cm.) drop

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Charlotte and Peter Fiell, eds., 1000 Lights, Vol. I: 1879-1959, Cologne, 2005,

p. 320 for a similar example


13 8 C. F. OTTO MÜLLER 1874-1930 “Megaphos” table lamp, 1930s Chrome-plated metal, colored frosted glass, glass, opaque glass. Manufactured by SistrahLicht GmbH, Germany. Colored glass element stamped with “PATENT MEGAPHOS.” 21 1/4 in. (54 cm.) high

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Klaus Weber, Die Metallwerkstatt am Bauhaus, exh. cat., Bauhaus-Archiv

Museum für Gestaltung, Berlin, 1992, p. 102


13 9 FRITS HENNINGSEN 1889-1965 Rare wingback chair, ca. 1935 Leather, oak. Produced by cabinetmaker Frits Henningsen, Denmark. 45 1/4 in. (114.9 cm.) high

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Provenance Klassik Moderne Møbelkunst, Copenhagen, Denmark Literature Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 42 for similar examples;

Diane Dorrans Saeks, Orlando Diaz-Azcuy, New York, 2009, illustrated front cover and p. 19


14 0 AXEL SALTO 1889-1961 Massive “Knobbed-Style” vessel, 1950s Cast stoneware with sung glaze. Manufactured by Royal Cophenhagen, Denmark. Incised with “SALTO 192-36,” marked “20811,” and with Royal Copenhagen three wave logo in blue glaze and crown logo in green glaze. 15 in. (38.1 cm.) high

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0


141 HELGE VESTERGAARD JENSEN 1917-1987 Dining table and set of eight chairs, ca. 1959 Table: rosewood-veneered wood, oak, rosewood; each chair: rosewood, fabric. Table produced by cabinetmaker Peder Pedersen and chairs produced by cabinetmaker Søren Horn, Denmark. Underside of each chair stamped with “MADE IN DENMARK/BY CABINETMAKER/SØREN HORN.” Table together with three extension leaves (9). Table: 28 1/2 x 66 7/8 x 40 3/4 in. (72.4 x 169.9 x 103.5 cm.); each extension: 2 1/8 x 40 3/4 x 22 3/4 in. (5.4 x 103.5 x 57.8 cm.); each armchair: 34 in. (86.4 cm.) high; each side chair: 33 in. (83.8 cm.) high

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Literature Povl Christiansen and Hakon Stephensen, Handvaerket viser vejen (The

Craftsmen Show the Way), Copenhagen, 1966, p. 124 for the table


142 PREBEN FABRICIUS AND JØRGEN KASTHOLM 1931-1984, 1931-2007 “Grasshopper” chaise longue, model no. FK-87, ca. 1968 Chrome-plated flat steel, linen, leather, cane. Manufactured by Alfred Kill, Denmark. 34 1/4 x 56 x 28 1/4 in. (87 x 142.2 x 71.8 cm.)

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Literature Jerryll Habegger and Joseph H. Osman, Sourcebook of Modern Furniture,

New York, 2005, p. 43, no. 2-21


14 3 ARNE JACOBSEN 1902-1971 Rare pair of long “A. J.” sconces, ca. 1957 Painted aluminum, painted tubular steel, painted cast iron. Manufactured by Louis Poulson, Denmark (2). Each: 17 in. (43.2 cm.) long

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Poul Erik Tøjner and Kjeld Vindum, Arne Jacobsen, Arkitekt & Designer,

Copenhagen, 1999, pp. 72-73 for the table and floor versions; Carsten Thau and Kjeld Vindum, Arne Jacobsen, Copenhagen, 2001, p. 475 for the short version


14 4 JOHANNES ANDERSON 1903-1995 “Capri” sofa, ca. 1958 Vinyl, chrome-plated metal. Manufactured by Trensum, Sweden. 27 x 91 x 37 in. (68.6 x 231.1 x 94 cm.)

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0


14 5 PREBEN FABRICIUS AND JØRGEN KASTHOLM 1931-1984, 1931-2007 Rare pair of “Skater” chairs, model FK 710, ca. 1968 Leather, matte chrome-plated steel. Produced by Alfred Kill, Denmark (2). Each: 27 in. (68.6 cm.) high

Estimate $ 2 0 , 0 0 0 - 2 5 , 0 0 0 Literature Jerryll Habegger and Joseph H. Osman, Sourcebook of Modern Furniture,

New York, 1989, p. 53


14 6 POUL KJÆRHOLM 1929-1980 Table, model no. PK55, ca. 1956 Oregon pine-veneered wood, matte chrome-plated steel. Manufactured by E. Kold Christensen, Denmark. Stretcher impressed with manufacturer’s mark. 27 x 70 3/4 x 35 3/8 in. (68.6 x 179.7 x 89.9 cm.)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Private Collection, Denmark; Phillips de Pury & Company, 20-21st Century

Design Art, December 8, 2005, Lot 123 Literature Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, Poul

Kjærholm, Copenhagen, 1999, pp. 23, 92-93 and 177


147 OLE WANSCHER 1903-1985 Pair of lounge chairs, ca. 1964 Rosewood, fabric. Manufactured by A.J. Iversen, Denmark. Underside of each chair with metal plaque impressed with “ILLUMS BOLIGHUS/KØBENHAVN” and one with “DANISH FURNITUREMAKERS CONTROL” roundel (2). Each: 28 1/2 in. (72.4 cm.) high

Estimate $ 3 , 0 0 0 - 5 , 0 0 0


14 8 FINN JUHL 1912-1989 Sofa, ca. 1951 Walnut, fabric, rosewood. Manufactured by Baker Furniture, USA. 39 1/4 x 76 1/4 x 29 in. (99.7 x 193.7 x 73.7 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Provenance Estate of Orus Orville Eash, Ft. Wayne, Indiana and Sacramento, California Literature Esbjørn Hort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen,

1990, pp. 13 and 46

American architect Orus Orville Eash (1915-2003) produced over five hundred buildings during his long career, including offices, houses, and churches, most of them in the Midwest. Eash’s own home in Ft. Wayne, Indiana (pictured below) hewed to the tenets of the International Style of architecture which espoused volume over mass, balanced proportions, and the absence of superfluous ornament. The same characteristics applied to the furniture of Danish designer Finn Juhl, whom Eash greatly admired. The present three lots, produced from 1951 by Baker Furniture of Grand Rapids, Michigan, are among the rare examples of Juhl’s works produced in the United States. Juhl’s soft contours and his play of mass and void—shaped backrests and restless arms—were a lively counterpoint to the strict geometry of Eash’s own home. The three present lots in the home of architect Orus Orville Eash, Ft. Wayne, Indiana, 1950s


149

150

149 FINN JUHL 1912-1989

15 0 FINN JUHL 1912-1989

Pair of “Delegate” armchairs, ca. 1951

Cocktail table, ca. 1951

Maple, teak, fabric. Manufactured by Baker Furniture, USA (2).

Walnut, maple-veneered wood. Manufactured by Baker Furniture, USA.

Each: 32 1/2 in. (82.6 cm.) high

18 x 63 1/2 x 31 3/8 in. (45.7 x 161.3 x 79.7 cm.)

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

Provenance Estate of Orus Orville Eash, Ft. Wayne, Indiana and Sacramento, California

Provenance Estate of Orus Orville Eash, Ft. Wayne, Indiana and Sacramento, California

Literature Esbjørn Hort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen,

Literature Esbjørn Hort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen,

1990, pp. 13 and 46

1990, pp. 13 and 46; Deborah, K. Dietsch, Classic Modern: Midcentury Modern at Home, New York, 2000, p. 193


151 MICHAEL AND FRANCES HIGGINS Rare pair of occasional tables, 1950s Fused glass, stainless steel. Produced by Higgins Studio, USA (2). Each: 16 x 24 1/2 x 20 1/2 in. (40.6 x 62.2 x 52.1 cm.)

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Provenance Frances Higgins Estate, Riverside, Illinois Literature Donald-Brian Johnson, Higgins: Poetry in Glass, New York, 2004, illustrated

p. 11 in situ in the Higgins’ home


152 EDWARD WORMLEY 1907-1995 “Listen to Me” chaise, 1950s Bent laminated birch and cherry, metal, original Jack Lenor Larsen fabric. Manufactured by Dunbar, USA/Underside with brass plaque impressed with “DUNBAR/BERNE INDIANA.” 26 x 73 1/2 x 26 in. (66 x 186.7 x 66 cm.)

Estimate $ 1 8 , 0 0 0 - 2 2 , 0 0 0 Literature Interiors, November 1956, p. 98, figs. 2-3; Charlotte and Peter Fiell, 1000

Chairs, Cologne, 1997, p. 294; Edward Wormley, The Other Face of Modernism: An Exhibition of Mid-Century Furniture Designs, exh. cat., Lin Weinberg Gallery, New York, 1997, p. 14; Jerryl Habegger and Joseph H. Osman, Sourcebook of Modern Furniture, New York, 1989, p. 39, fig. 2-11; Todd Merrill and Julie V. Lovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, pp. 220-221


15 3 JACQUES DUMOND 1906-1988 Desk, 1950s Ash-veneered wood, glass, brushed metal. 30 3/4 x 70 7/8 x 30 1/4 in. (78.1 x 180 x 76.8 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Provenance Phillips de Pury & Company, 20-21st Century Design Art,

December 8, 2005, Lot 118 Literature La Maison Franรงaise, March 1968, n.p. for a similar example; Yvonne

Brunhammer, Le Mobilier Franรงais 1930-1960, Paris, 1997, p. 153 for a similar example


15 4 HANS WEGNER 1914-2007 “Papa Bear” armchair, 1950s Oak, Hallingdal fabric designed by Nanna Ditzel. Manufactured by AP Stolen, Denmark. Underside with metal roundel “FURNITUREMAKERS/DANISH/CONTROL.” 38 3/4 in. (98.4 cm.) high

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Johan Møller Nielson, Sitting Pretty: Wegner en Dansk Mobelkunstner,

Copenhagen, 1965, p. 70


15 5 HANS WEGNER 1914-2007 “Papa Bear” armchair, 1950s Oak, Hallingdal fabric designed by Nanna Ditzel. Manufactured by AP Stolen, Denmark. 38 3/4 in. (98.4 cm.) high

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Please see previous lot


15 6 GEORGE NELSON AND ASSOCIATES “Cone” table clock, model no. 2218, ca. 1954 Aluminum, painted wood, painted metal, map pins. Manufactured by The Howard Miller Clock Company, USA. Underside with decal “Chronopak/howard miller clock company/ ZEELAND, MICHIGAN.” 7 1/4 x 6 1/2 x 6 1/2 in. (18.4 x 16.5 x 16.5 cm.)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Provenance Wright, Important 20th Century Modern Design, September 25, 2005, Lot 113 Literature Howard Miller Clocks, Howard Miller sales catalog, 1950s; Howard Miller Clocks:

A Collection of Contemporary Timepieces, Howard Miller sales catalog, 1950s


The son of Italian immigrants from Westerly, Rhode Island, James Prestini caught a lucky break in the 1920s when he caddied for Thomas Watson, founder of I.B.M. Watson’s largesse allowed the teenager to attend Yale University, where he graduated in 1930 with a degree in mechanical engineering. Prestini spent the Depression as a math teacher at Lake Forest Academy, north of Chicago. Piqued by the school’s woodworking shop, Prestini taught himself—and shortly thereafter students—to turn wood as thinly as blown glass. Edgar Kaufman Jr., exhibiting Prestini’s work at the Museum of Modern Art in 1949, wrote: “He has made grand things that are not overwhelming, beautiful things that are not personal unveilings, and simple things that do not urge usefulness to excuse their simplicity.” Prestini built the present table while he was an instructor at László Moholy-Nagy’s School of Design, now the Illinois Institute of Technology.

157 JAMES PRESTINI 1908-1993 Rare experimental table, 1942 Molded birch plywood. 20 x 32 x 32 in. (50.8 x 81.3 x 81.3 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Provenance Collection of the artist; Private Collection, Los Angeles, California;

Wright, Important 20th Century Design, December 4, 2005, Lot 209 Exhibited School of Design, Chicago, 1942 Literature Peter Han and Lloyd C. Engelbrecht, 50 Jahre Bauhaus Nachfolge: New Bauhaus

in Chicago, exh. cat., Bauhaus-Archiv, Museum fur Gestaltung, Berlin, 1987, p. 200


15 8 ERIK Kolling ANDERSEN Pair of high-backed lounge chairs and one ottoman, ca. 1954 Leather, rosewood. Produced by cabinetmaker Peder Pedersen, Denmark (3). Each chair: 41 1/4 in. (104.8 cm.) high; ottoman: 15 x 21 1/2 x 14 1/2 in. (38.1 x 54.6 x 36.8 cm.)

Estimate $ 7, 0 0 0 - 9 , 0 0 0


15 9 FRITS HENNINGSEN 1889-1965 Pair of stools, 1930s Mahogany, leather. Produced by cabinetmaker Frits Henningsen, Denmark. Underside of one stool impressed with “249” (2). Each: 17 1/4 x 18 x 18 in. (43.8 x 45.7 x 45.7 cm.)

Estimate $ 3 , 5 0 0 - 4 , 5 0 0


16 0 FINN JUHL 1912-1989 “Chieftain” chair, ca. 1949 Teak, leather. Produced by cabinetmaker Niels Vodder, Denmark. Underside branded with “CABINETMAKER NIELS VODDER/COPENHAGEN DENMARK/DESIGN FINN JUHL.” 36 3/4 in. (93.3 cm.) high

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Literature Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied Art, Copenhagen, 1990,

pp. 23 and 40-41; Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 187; Noritsugu Oda, Danish Chairs, San Francisco, 1996, pp. 92-93


161 SHAO FAN b. 1964 “Work No. 5 of Year 2005,” 2005 Catalpa wood. Number four from the edition of five. Base incised with artist’s signature and “4 / 5.” 20 x 40 x 30 in. (50.8 x 101.6 x 76.2 cm.)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Contrasts Gallery, Shanghai, China Exhibited Design 05 Miami, December 1-5, 2005; “Shao Fan-Pierre Marie Lejeune-

Sculpteurs-Deux Propositions,” Contrasts Gallery, Shanghai, May 14–June 28, 2006 Literature “Contrasts and Contradictions: Contrasts Gallery,” Modern Painters, March

2006, p. 125 for a similar example; Nancy Berlinger and Edward S. Cooke, Jr., Inspired by China: Contemporary Furniture Makers Explore Chinese Traditions, exh. cat., Peabody Essex Museum, Salem, 2007, p. 125 for a similar example; Zhang Hongxing and Lauren Parker, eds., China Design Now, London, 2008, p. 86, fig. 81 for a similar example; Volker Fischer and Stephan von der Schulenburg, Sit in China: Ein Streifzug durch 500 Jahre Kultur des Sitzens=An Excursion through 500 Years of the Culture of Sitting, Stuttgart, 2010, p. 66 for a similar example


Property from the halsey minor collection

16 2 RONAN AND ERWAN BOUROULLEC b. 1971, b. 1976 Prototype “Icefield” low table, 2007 Gel-coated resin, painted plywood. Produced for Galerie kreo, France. Prototype number one of two for the edition of eight plus two artist’s proofs. Underside edge impressed with “ERB, PROTO.1.2007.” 7 x 111 x 40 1/2 in. (17.8 x 281.9 x 102.9 cm.)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Galerie kreo, Paris Literature Abitare, December 2007/January 2008, p. 89

The “Icefield” table will be included as “ERB - 12TBB - 2007” in the forthcoming catalogue raisonné of limited editions by Ronan and Erwan Bouroullec being prepared by Didier Krzentowski of Galerie kreo, Paris.


Property from the halsey minor collection

16 3 MARTIN SZEKELY b. 1956 Prototype “SiC” mirror, 2006 Silicon carbide, brushed steel. Produced for Galerie kreo, France. Prototype number one of two for the edition of eight plus two artist’s proofs. Back impressed with “Martin Szekely/ Proto 01/2006.” 19 3/4 x 10 1/4 x 3/4 in. (50.2 x 26 x 1.9 cm.)

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 Provenance Galerie kreo, Paris

The “SiC” mirror will be included as “MSZ - 12MS - 2006” in the forthcoming catalogue raisonné of limited editions by Martin Szekely being prepared by Didier Krzentowski of Galerie kreo, Paris.


Property from the halsey minor collection

16 4 JASPER MORRISON b. 1959 “Museum Pieces, Cabinet A,” 2006 Resin, oak, Securit glass. Produced for Galerie kreo, France. Number seven from the edition of 12 plus one prototype. One shelf with brass plaque “Museum Pieces/Cabinet A. 2006 7 / 12, Edition Galerie kreo, Design: Jasper Morrison.” Comprising one shelving unit and 15 resin pieces. 73 1/4 x 25 1/2 x 25 1/2 in. (186 x 64.8 x 64.8 cm.)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Provenance Galerie kreo, Paris Exhibited “Museum Pieces,” Galerie kreo, Paris, September-October 2006

The “Museum Piece” will be included as “JM - 13MP - 2006” in the forthcoming catalogue raisonné of limited editions by Jasper Morrison being prepared by Didier Krzentowski of Galerie kreo, Paris.


16 5 MAARTEN VAN SEVEREN 1956-2005 Pair of lounge chairs, model no. F88, ca. 1988 Leather, fabric, stainless steel. Manufactured by Maarten Van Severen MEUBELEN, The Netherlands (2). Each: 26 in. (66 cm.) high

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 Literature Lieven Daenens, ed., Maarten Van Severen: Work, Oostkamp, 2004,

pp. 228 and 248


16 6 PHILIPPE STARCK b. 1949 “House in a Box,” 1994 Wooden box with hammer, Philippe Starck’s notes, blueprints, notebook, flag and videotape. Produced for 3 Suisses, France. Front of box stamped with “Starck/Chez 3 Suisses/1994” and hand-numbered with “384.” 3 3/8 x 31 1/2 x 24 3/8 in. (8.6 x 80 x 61.9 cm.)

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Benedikt Taschen, ed., Starck, Cologne, 2000, pp. 28-33


Property from the halsey minor collection

167 JASPER MORRISON b. 1959 “Handlebar” table, 1983 Beech, bicycle handlebars, glass. From the edition of ten. Each handlebar impressed with “DALLAS” and “FIAMME.” 25 3/8 in. (64.5 cm.) high, 23 in. (58.4 cm.) diameter

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 Literature Jasper Morrison, Everything but the Walls, Baden, 2002, p. 191

The “Handlebar” table will be included as “JM - 10HBT - 1983” in the forthcoming catalogue raisonné of limited editions by Jasper Morrison being prepared by Didier Krzentowski of Galerie kreo, Paris.


16 8 SHIRO KURAMATA 1934-1991 “Just in Time” clock, ca. 1986 Melamine board, twigs, wool yarn, nylon string. Reverse with paper label “’Just in Time 1986/Shiro Kuramata.” 20 1/2 x 14 1/2 x 3 in. (52.1 x 36.8 x 7.6 cm.)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art,

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

“Just in Time was designed for ‘Clocks by 31 Artists’ held at the Matsuya Design Gallery in 1986. For the hour hand of the first clock, Kuramata pulled out of his pocket some twigs that looked like something he’d found while walking, and for the second hand he used some kind of bristle (what could they be?), experimenting repeatedly so that when the hands moved they would create a gentle arc. The Clock was like a free-forming picture, changing according to the time it showed. Kuramata was very fond of this clock and, for a long while, liked to have one near him.” (Shiro Kuramata, exh. cat., Tokyo, 1986, p. 78)


16 9 SOL LEWITT 1928-2007 Dining table, 1998 Patinated steel, glass. Produced for The Renaissance Society, USA. From the edition of ten. 30 1/4 x 113 3/4 x 46 1/2 in. (76.8 x 288.9 x 118.1 cm.)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Provenance The Renaissance Society at the University of Chicago, Illinois Literature Gary Garrels, Sol Lewitt: A Retrospective, exh. cat., San Francisco Museum of

Modern Art, 2000, p. 365, fig. 385

Located on the campus of The University of Chicago, The Renaissance Society is an independent, non-collecting contemporary art museum founded in 1915 and is one of the country’s oldest institutions devoted to the promotion of progressive visual arts. Since 1997 The Renaissance Society has published editions by prominent contemporary artists including John Baldessari, Jenny Holzer, Kara Walker, and Sol LeWitt.


Property from the halsey minor collection

170 JASPER MORRISON b. 1959 “Carrara Tables, Variation N° 16 + 1,” 2005 Carrara marble-covered aluminum honeycomb, brushed metal. Produced for Galerie kreo, France. Number seven from the edition of 12. Underside of smallest table with metal plaque impressed with artist’s signature and “Variation N˚ 16 + 1, 2005/7 / 12/Collection Carrara Tables/Edition Galerie Kreo, limitèe à 12 exemplaires.” Comprising two large tables, one medium table and one small table (4). Largest table: 11 x 65 3/4 x 15 1/4 in. (27.9 x 167 x 38.7 cm.)

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Provenance Galerie kreo, Paris Exhibited “Carrara Tables,” Galerie kreo, Paris, May-July 2006; “Museum Pieces,” Galerie

kreo, Paris, September-October 2006 Literature Laurence Mauderli, Repertoire pour une Forme: Jasper Morrison, Paris, 2006,

front cover and p. 7; Charlotte and Peter Fiell, Design Now, Cologne, 2007, pp. 380-381

The “Carrara Tables, Variation N˚ 16 + 1” will be included as “JM 12V+1 - 2005” in the forthcoming catalogue raisonné of limited editions by Jasper Morrison being prepared by Didier Krzentowski of Galerie kreo, Paris.


171 RON ARAD b. 1951 “Oh-Void 2” chair, 2006 Carbon fiber, Nomex resin-impregnated paper. Produced by The Gallery Mourmans, The Netherlands. Number six from the edition of 20 plus five artist’s proofs. Lower edge incised with “Ron Arad 6 / 20.” 30 1/4 in. (76.8 cm.) high

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Literature Matthew Collings, Ron Arad Talks to Matthew Collings, London, 2004, pp. 78-79;

Ron Arad, A Retrospective Exhibition 1981-2001, exh. cat., Barry Friedman Ltd., New York, 2005, p. 38


172 CARLO MOLLINO 1905-1973 Untitled, 1962-1973 Polaroid print. 4 1/4 x 3 5/8 in. (10.8 x 9.2 cm.)

Estimate $ 7, 0 0 0 - 9 , 0 0 0 Exhibited “Carlo Mollino Arabesques,” Civica d’Arte Moderna e Contemporanea, Milan,

September 20, 2006 – January 7, 2007 Literature Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat.,

Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, illustrated p. 274, fig. 136


Actual size


173 CARLO MOLLINO 1905-1973 Set of ten “Lutrario” chairs, from the Lutrario Ballroom, Turin, 1959 Painted tubular iron, painted iron, Resinflex upholstery, bent oak plywood, brass. Produced by Doro, Italy. Back of each chair with decal “DORO/CUNEO” and three additionally with paper label “SC INTERNATIONAL/poltrone & arredi” (10). Each: 29 3/4 in. (75.6 cm.) high

Estimate $ 2 5 , 0 0 0 - 3 0 , 0 0 0 Provenance Lutrario Ballroom, Turin; Galerie Downtown, Paris Literature Fulvio Ferrari, Carlo Mollino Cronaca, Turin, 1985, p. 140, fig. 234; Giovanni

Brino, Carlo Mollino: Architecture as Autobiography, Milan, 1987, pp. 145-146; Fulvio Ferrari and Napoleone Ferrari, The Furniture of Carlo Mollino, New York, 2006, p. 153, figs. 267-268 and 270 and pp. 154-155, fig. 272; Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, pp. 95-97


Actual size

174 CARLO MOLLINO 1905-1973 Untitled, 1962-1973 Polaroid print. 3 5/8 x 4 1/4 in. (9.2 x 10.8 cm.)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


Actual size

175 CARLO MOLLINO 1905-1973 Untitled, 1968-1973 Polaroid print. 4 1/4 x 3 5/8 in. (10.8 x 9.2 cm.)

Estimate $ 7, 0 0 0 - 9 , 0 0 0 Exhibited “Carlo Mollino Arabesques,” Civica d’Arte Moderna e Contemporanea,

Milan,September 20, 2006 – January 7, 2007 Literature Fulvio Ferrari and Napoleone Ferrari, eds., Carlo Mollino Arabesques, exh. cat.,

Galleria Civica d’Arte Moderna e Contemporanea, Milan, 2007, illustrated p. 269, fig. 119


176 ICO AND LUISA PARISI Coffee table, model no. 1112, ca. 1950 Walnut burl-veneered wood, walnut, brass. Manufactured for Singer & Sons, USA. Underside impressed twice with “MADE IN ITALY.� 16 3/4 x 59 x 19 5/8 in. (42.5 x 149.9 x 49.8 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Literature Roberto Aloi, Esempi: Tavoli, Tavolini, Carrelli, Milan, 1955, fig. 56; Flaminio

Gualdoni, Ico Parisi: & Architecture, Modena, 1990, pp. 198-199; William J. Hennessey, Modern Furnishings for the Home, New York, 1997, p. 110


17 7 MAX INGRAND 1908-1969 Ceiling light, model no. 1748, ca. 1960 Partially frosted and chiseled glass, brass. Manufactured by Fontana Arte, Italy. 16 in. (40.6 cm.) drop

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Literature Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959,

Cologne, 2005, pp. 482-483


178 PAOLO BUFFA 1903-1970 Low table, ca. 1946 Onyx, brass, iron. Produced by Angelo Marelli, Italy. 18 1/2 in. (47 cm.) high, 31 3/4 in. (80.6 cm.) diameter

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0


179 Attributed to ANGELO LELLI Rare floor lamp, ca. 1955 Brass, painted metal. Manufactured by Arredoluce, Italy. Switch impressed with “MADE IN ITALY/ARREDOLUCE MONZA.” 68 in. (172.7 cm.) high

Estimate $ 4 , 0 0 0 - 6 , 0 0 0


18 0 OSVALDO BORSANI 1911-1985

181 unknown designer

Set of three standing lights, model no. LT8, ca. 1957

Table lamp, ca. 1952

Painted metal, brass. Manufactured by Tecno, Italy (3).

Painted metal, tubular brass.

Each: 131 1/4 in. (333.4 cm.) high, fully extended

11 1/2 in. (29.2 cm.) high

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Literature “Nuova Idea, Nuovo Disegno,� Domus, June 1957, p. 36

Literature Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 1: 1879 to 1959,

Cologne, 2005, p. 461 for a similar example


18 2 STILNOVO Floor lamp, 1960s Painted metal, marble, brass. Manufactured by Stilnovo, Italy. 80 1/2 in. (204.5 cm.) high

Estimate $ 5 , 0 0 0 -7, 0 0 0 Provenance Private Collection, Italy


18 3 FONTANA ARTE Pair of wall lights, model no. 2093, ca. 1963 Faceted glass, brushed nickel, brass, chrome-plated metal, painted metal. Manufactured by Fontana Arte, Italy (2). Each: 3 x 11 x 10 in. (7.6 x 27.9 x 25.4 cm.)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


18 4 FONTANA ARTE

18 5 max ingrand

Mirror, model no. 2224, ca. 1960

Rare pair of wall lights, ca. 1950

Mirrored glass, colored glass, painted metal. Manufactured by Fontana Arte, Italy.

Frosted and chiseled glass, opaque glass, chrome-plated metal, painted metal.

23 5/8 x 35 1/2 x 3 1/2 in. (60 x 90.2 x 8.9 cm.)

Manufactured by Fontana Arte, Italy (2).

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0

Each: 18 3/4 x 7 3/4 x 4 3/4 in. (47.6 x 19.7 x 12.1 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Literature Fontana Arte sales catalogue, 1960, n.p.; Edoardo Paoli, Quaderni Vitrum,

Specchiere e specchi, 1966, p. 118

Literature Quaderno di Fontana Arte, 1967, p. 123


18 6 CARLO SCARPA 1906-1978 Chandelier, ca. 1938 Mezza filigrana glass, tubular brass. Manufactured by Venini, Italy. 39 x 36 5/8 x 5 in. (99.1 x 93 x 12.7 cm.)

Estimate $ 14 , 0 0 0 -1 8 , 0 0 0 Provenance Private Collection, Italy Literature Catalogo Blu, p. 156, nos. 207 and 208 for similar examples


187 ANGELO MANGIAROTTI b. 1921 Dining table, ca. 1960 Carrara marble, turned bronze. Manufactured by Bernini, Italy. 28 1/2 in. (72.4 cm.) high, 52 3/4 in. (134 cm.) diameter

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Literature Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni’ 40 e ‘50,

Roma-Bari, 1992, p. 201, fig. 10 for similar examples; Charlotte and Peter Fiell, eds., Domus Vol. IV 1955-1959, Cologne, 2006, pp. 546-548 for similar examples


18 8 ANGELO MANGIAROTTI b. 1921 Rare dish, ca. 1962 Turned bronze. Produced by Fonderia Battaglia, Italy. Underside impressed with “MANGIAROTTI.” 2 1/2 in. (6.4 cm.) high, 9 in. (22.9 cm.) diameter

Estimate $ 3 , 5 0 0 - 5 , 5 0 0 Literature Enrico D. Bona, Angelo Mangiarotti: Il Processo Del Construire, Milano 1980,

p. 90, fig. 273 and p. 113, fig. 334; Beppe Finessi, Su Mangiarotti—Architettura, design, scultura, Milan, 2002, pp. 146-147


18 9 GABRIELLA CRESPI b. 1922 Occasional table, 1970s Painted wood, brass. 16 3/8 x 29 x 24 in. (41.6 x 73.7 x 61 cm.)

Estimate $ 7, 0 0 0 - 9 , 0 0 0


19 0 VLADIMIR KAGAN b. 1927 “Crescent” executive desk, model no. 7045P, ca. 1975 Lacquered wood, acrylic, oak. Manufactured by Vladimir Kagan Designs Inc., USA. Interior of drawer with paper label “HAND MADE IN THE WORKSHOPS OF/VLADIMIR KAGAN DESIGNS NEW YORK” and with artist’s facsimile signature. 29 1/2 x 89 1/2 x 44 in. (74.9 x 227.3 x 111.8 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Provenance Wright, Circa 70, Chicago, December 6, 2005, Lot 746 Literature Vladimir Kagan, Kagan: Three Decades of Design, New York, 1980, n. p.;

Vladimir Kagan, The Complete Kagan: Vladimir Kagan: A Lifetime of Avant-garde Design, New York, 2004, p. 179 for a similar example; Todd Merrill and Julie V. Iovine, eds., Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 116 for a similar example


191 WENDELL CASTLE b. 1932 Coffee table, 1977 Stack-laminated walnut. Side of base incised with “W.C. 77.” 18 x 43 x 39 in. (45.7 x 109.2 x 99.1 cm.)

Estimate $ 4 0 , 0 0 0 - 5 0 , 0 0 0 Literature Lee Nordness, Objects: USA, New York, 1970, pp. 256-257 for similar examples


19 2 ARTHUR ESPENET CARPENTER 1920-2006 “Wishbone” chair, 1988 Black walnut, leather. Underside incised with “Espenet 8817” and “Brown.” 31 1/2 in. (80 cm.) high

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 provenance Acquired directly from the artist Literature Michael A. Stone, Contemporary American Woodworkers, Salt Lake City, 1986,

p. 84; Patricia Conway and Jon Jensen, Art for Everyday: the New Craft Movement, New York, 1990, p. 262; Edward S. Cooke, Jr., Gerald W.R. Ward and Kelly H. L’Ecuyer, The Maker’s Hand: American Studio Furniture 1940-1990, exh. cat., Museum of Fine Arts, Boston, 2003, p. 45; Kathleen Hannah, “A Straightforward Desire for Utility: An Interview with Furniture Maker Arthur Espenet Carpenter,” Archives of American Art Journal, 2003, p. 33; Jo Lauria and Suzanne Baizerman, California Design: the Legacy of West Coast Craft and Style, San Francisco, 2005, p. 74; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 73


19 3 DANIEL LOOMIS VALENZA b. 1934 Table-top cabinet, 1960s Stack-laminated fruitwoods. 22 x 18 x 10 in. (55.9 x 45.7 x 25.4 cm.)

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Lee Nordness, Objects: USA, New York, 1970, p. 266 for a similar example


19 4 J.B. BLUNK 1926-2002 Unique low table, ca. 1985 Buckeye burl. 16 x 59 x 36 in. (40.6 x 149.9 x 91.4 cm.)

Estimate $ 4 5 , 0 0 0 - 5 5 , 0 0 0 Provenance Estate of the artist; Sotheby’s, Important 20th Century Design,

June 19, 2007, Lot 139 Literature Todd Merrill and Julie V. Iovine, eds., Modern Americana: Studio Furniture from

High Craft to High Glam, New York, 2008, illustrated p. 40

This low dining table was commissioned in the mid-1980s by a Japanese client from California artist J.B. Blunk. Given the irregularities of burl, the client became concerned about the table’s practicality. Blunk produced for him a second example in rosewood and kept the present lot in his personal collection. Carved by hand and by chainsaw from a single piece of buckeye burl, the table is evidence of Blunk’s superior woodworking abilities in service to the natural characteristics of the wood.


19 5 WENDELL CASTLE b. 1932 Unique “Arid” console, 1998 Polychromed jelutong, wenge-veneered wood. One leg incised with “Castle 98.” 58 1/2 x 64 x 21 1/2 in. (148.6 x 162.6 x 54.6 cm.)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Leo Kaplan Modern, New York

Phillips de Pury & Company would like to thank Wendell Castle for his assistance in cataloging this lot.


FOUR ARTISTS

INNOVATIONS IN VENETIAN GLASS

“Do as nature does in fire,” wrote Italian poet Dante Alighieri in his Divine Comedy. To evoke the crucible of glassblowing, curator Ferruccio Franzoia borrowed the line for his exhibition of contemporary glass artists at the 53rd Venice Biennale in 2009. “Fa come natura face in foco”, on view in the Venice Pavilion last summer, represented the triumphant return of Murano glass to the Biennale after the exclusion of decorative arts in 1972 and in subsequent years. Three of the nine artists selected—Toni Zuccheri (19372008), Lino Tagliapietra, and Dale Chihuly—have enjoyed long, established careers. Four others—Yoichi Ohira, Laura de Santillana, Cristiano Bianchin, and Ritsue Mishima—all of whom appear in this catalog, represent the spry future of Venetian glassmaking, despite the fact that all are seasoned artists of varying ages and all have worked for many years in the furnaces of Murano. In Dante’s lyric, sound follows sense: the heavy stresses of his iambs and anapests combust on the page. Franzoia’s borrowing was an apt one. As their work moves from function towards pure sculpture, each of the following four artists is shaping the art of contemporary glass in an explosive way. In his reinterpretation of the vessel, Ohira swells his vases and constricts their necks; De Santillana collapses hers into slabs, their mouths sealed; but the viewer, confronting such claustrophobic forms, finds freedom in Ohira’s expansive surface treatments and in De Santillana’s incalmo landscapes. Mishima practices a more violent distortion. Although no longer vessels, her punctured forms are receptacles nonetheless: they hold calming clarity and profound turmoil, a supreme contradiction. Bianchin’s work, his opaque black glass sculptures and his hand-blown urns holding lengths of folded hemp, evoke the grand forces at either end of life: the chrysalis transforming in its shell (a vessel of sorts) and viscera embalmed in Canopic burial jars. Another line from the Divine Comedy comes to mind: “A great flame follows a little spark.” Certainly Murano’s thousand year tradition of glassmaking is no little spark. However, as the following lots show, these four artists are keeping the fires banked.


19 6 YOICHI OHIRA b. 1946 “Fili Rossi con Finestre” vase, 2002 Hand-blown glass canes with murrine and powder inserts, gold leaf. Executed with Maestro Livio Serena and Maestro Giacomo Barbini, Anfora furnace, Murano, Italy. Underside painted with “Yoichi Ohira/M˚L Serena/M˚g Barbini/Friday 12-4-2002/Murano.” 10 1/8 in. (25.7 cm.) high

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Barry Friedman Ltd., New York Exhibited “Yoichi Ohira: A Retrospective Exhibition,” Barry Friedman Ltd., New York,

September 19 – November 9, 2002 Literature Rosa Barovier Mentasti, et al., eds., Yoichi Ohira: A Phenomenon in Glass, A

Retrospective Exhibition, exh. cat., Barry Friedman Ltd., New York, 2002, illustrated p. 333


197 YOICHI OHIRA b. 1946 “Fili Neri” vase, 2002 Hand-blown glass canes with murrine and powder inserts, gold leaf. Executed with Maestro Livio Serena, Anfora furnace, Murano, Italy. Underside painted with “Yoichi Ohira/M˚L Serena/1 / 1/unico/Thursday/18-4-2002.” 12 1/8 in. (30.8 cm.) high

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Provenance Barry Friedman Ltd., New York Exhibited “Yoichi Ohira: A Retrospective Exhibition,” Barry Friedman Ltd., New York,

September 19-November 9, 2002 Literature Rosa Barovier Mentasti, et al., eds., Yoichi Ohira: A Phenomenon in Glass, A

Retrospective Exhibition, exh. cat., Barry Friedman Ltd., New York, 2002, illustrated p. 333


19 8 LAURA DE SANTILLANA b. 1955 Sculpture, 2000 Hand-blown and shaped glass. Underside incised with “LAURA DE SANTILLANA 2000.” 11 x 17 x 2 1/2 in. (27.9 x 43.2 x 6.4 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Literature Barry Friedman, Janet Koplos and Attila Dorigato, et al., Venice. 3 Visions in

Glass, exh. cat., Barry Friedman Ltd., New York, 2009, pp. 344-359 for similar examples


19 9 CRISTIANO BIANCHIN b. 1963 “Crisaliforme (Chrysalislike)� sculpture, 2006-2007 Hand-blown, ground and polished black glass, elm. 26 in. (66 cm). high

Estimate $ 1 2 , 0 0 0 -1 8 , 0 0 0 provenance Acquired directly from the artist Literature Neues Glas, No. 4, 1998, p. 17 for similar forms in glass; Textures and

Transparencies: Works by Cristiano Bianchin, Venice, exh. cat., Israel Museum, 2001, pp. 19 and 29 for similar examples; Barry Friedman, Venice, 3 Visions in Glass: Cristiano Bianchin, Yoichi Ohira, Laura de Santillana, exh. cat., Barry Friedman Ltd, New York, 2009, p. 125 for similar examples


2 0 0 RITSUE MISHIMA b. 1962 Unique “Eolo” glass work, 2009 Hand-blown and shaped glass. Executed with Maestro Andrea Zilio, Anfora furnace, Murano, Italy. Underside acid-etched with “MISHIMA/2009.” 17 in. (43.2 cm.) high

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Provenance Acquired directly from the artist Literature Ritsue Mishima, Glass Works Venice, Fruits of Fire, Kyoto, 2007,

for similar examples throughout


2 01 RON ARAD b. 1951 “A. Y. O. R. (At Your Own Risk),” ca. 1991 Mirror-polished stainless steel. Produced by One-Off Ltd., UK and The Gallery Mourmans, The Netherlands. Number six from the edition of 20 plus five artist’s proofs. Bottom edge incised with “Ron Arad 6 / 20.” 39 in. (99.1 cm.) high

Estimate $ 7 0 , 0 0 0 - 9 0 , 0 0 0 Provenance Acquired directly from the artist; Private Collection, Europe Literature Matthew Collings, Ron Arad Talks to Matthew Collings, London, 2004, p. 160;

Ron Arad, A Retrospective Exhibition 1981-2001, exh. cat., Barry Friedman Ltd., New York, 2005, pp. 10-11


2 0 2 MATTIA BONETTI b. 1953 Important “Strata” buffet, 2004 Mirror-polished stainless steel. Produced for David Gill Ltd., UK. Number five from the edition of eight plus two prototypes and two artist’s proofs. Interior of door with two metal roundels, one impressed with “DAVID GILL/London” and the other with artist’s facsimile signature and “5 / 8.” 41 1/2 x 72 x 19 5/8 in. (105.4 x 182.9 x 49.8 cm.)

Estimate $ 1 0 0 , 0 0 0 -1 5 0 , 0 0 0 Provenance David Gill Ltd., London


2 0 3 MARCEL WANDERS b. 1963 “Crochet” chair, 2006 Crocheted fiber, epoxy resin, gilt metal. Number four from the edition of 20. Underside with locket impressed with “4 / 20.” Together with an embroidered “Jester” fabric dust jacket. 22 1/2 in. (57.2 cm.) high

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Provenance Friedman Benda, New York Literature

“Tutto Wanders,” Flair, March 2007, front cover; “The Doily Show: This Just

In: Space-Age Seating. No Joke,” The New York Times Style Magazine, April 2007, New York, p. 54; Josephine Minutillo, “The Performance Artist,” Whitewall, Summer 2007, p. 134


2 0 4 MATTIA BONETTI b. 1953 Important “Strata” cabinet, 2004 Mirror-polished stainless steel. Produced for David Gill Ltd., UK. Number one from the edition of eight plus two prototypes and two artist’s proofs. Interior of door with two metal roundels, one impressed with “DAVID GILL/London” and the other with artist’s facsimile signature and “1 / 8.” 66 1/4 x 35 x 18 in. (168.3 x 88.9 x 45.7 cm.)

Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 Provenance David Gill Ltd., London Literature Lindsay Pollack and Georgina Adam, “Where contemporary art leads, design

follows,” The Art Newspaper, October 12, 2007, p. 7


2 0 5 RON ARAD b. 1951 Prototype “Little Heavy” chair, 1989 Patinated steel. Produced by One-Off Ltd., UK. Prototype for the edition of 20. Underside painted with “VGB-1003.” 24 1/4 in. (74.3 cm.) high

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Provenance Collection of the artist, London; Alexander von Vegesack, Germany; Phillips

de Pury & Company, Masterworks from the Collection of Alexander von Vegesack, December 8, 2005, Lot 9 Exhibited “Volumes Two,” Inspazio Metals, Milan, 1989; “Ron Arad: Sticks and Stones,”

Vitra Design Museum, Weil am Rhein, 1990-1995; “13 nach Memphis,” Museum für Kunsthandwerk, Frankfurt, February 15-March 15, 1995; “100 Years-100 Chairs,” Vitra Design Museum, Weil am Rhein, 2000-2005 Literature One Offs & Short Runs, exh. cat., Vitra Design Museum, Weil am Rhein, 1995,

p. 112; Deyan Sudjic, Ron Arad, London, 1999, pp. 58-59

Cut, forged, and welded from sheet steel, Ron Arad’s “Little Heavy” was among his increasingly expressionistic, sculptural works of the late 1980s, a departure from the earlier pragmatism of his Kee Klamp experiments such as “Rover Chair” and “Round Rail Bed”. In Restless Furniture, Deyan Sudjic wrote: “While some designers continue to celebrate the imagery of the machine…others like Arad attempt to turn design into a species of poetry.” (New York, 1989) By the time of “Little Heavy”, Arad had mostly left behind salvaged or open-source materials, his use of which was so reminiscent of machines and vehicles. He gave wing to his imagination and with it a new poetry: the rhythms of volume and space for which he is now celebrated.


2 0 6 RICK OWENS b. 1962 “Curial” chair, ca. 2006 Plywood. Number five from the edition of 25. One leg with inset label with artist’s signature and “5 / 25.” 26 in. (66 cm.) high

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Provenance Galerie Jousse Entreprise, Paris

Renowned fashion designer Rick Owens launched his own line of geometric chairs, stools, and daybeds in 2005, most of them made in the same building that houses his atelier on the Place du Palais Bourbon in Paris. “Order and discipline are my comfort zones,” Owens declared in a recent interview (Vanessa Friedman, “His Dark Materials,” Financial Times: How To Spend It, London, March 20, 2010, Web). His chairs support that statement; a compliment to his angular fashions, their lines are strict, planes wide, surfaces hard. They recall the square, blunt furniture of Donald Judd, although without Judd’s total devotion to right angles—Owens bends a bit. His “Curial” chair (2006) stands at attention, but the curve of its seat eases the eye, if not the posterior. A Judd maxim comes to mind: “I think the thing to do is to either sit up or lie down or stand up: I’m not sympathetic to in-between positions.” (“Donald Judd Furniture,” Louisa Guinness Gallery, London, Web) The Curia Julia in Rome, the Senate House built by Julius Caesar, stands as a reminder of our endless need to convene. Its austere walls, faced with pale, exposed brick, held within their confines the fevered deliberations of the assembled tribe, circa 44 B.C. Two millennia later our confab continues, albeit between less hallowed walls. Owens’s “Curial” chair hints at a different sort of meeting place. Its plywood construction—flat bottom, steep arms—directly references those half-pipe skateboard ramps so prevalent in backyards throughout Southern California, where Owens grew up. The tribe is shaggier but the talk can’t be so different: curial decrees, shouts, young men boasting in air. Owens’s chair, a humble throne built from everyday materials, elevates the conversation.


2 07 FERNANDO AND HUMBERTO CAMPANA b. 1961, b. 1953 Rare “Via Crucis� candelabra, 1989 Iron, barbed wire. Produced by Estudio Campana, Brazil. One from the edition of two. Together with a certificate of authenticity from Estudio Campana. 24 in. (61 cm.) high

Estimate $ 7, 0 0 0 - 9 , 0 0 0 Provenance Acquired directly from the artists Literature Fernando and Humberto Campana, Campana Brothers: Complete Works (So Far),

New York, 2010, p. 249 for a similar example


2 0 8 ATELIER VAN LIESHOUT “Sensory Deprivation Skull,” ca. 2007 Reinforced fiberglass, sheepskin. From the edition of ten. 54 1/2 x 43 x 58 in. (138.4 x 109.2 x 147.3 cm.)

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0 Provenance Carpenter’s Workshop Gallery, London; Private Collection, Europe Literature Meghan Dailey, ”In the Studio,” Art + Auction, April 2008, p. 60; Sophie Lovell,

Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 200

An example from this same edition was exhibited in “Telling Tales: Fantasy and Fear in Contemporary Design” at the Victoria and Albert Museum, London, July 14-October 18, 2009.


2 0 9 FORREST MYERS b. 1941 Unique “Trapezoid Red Cube,” 2007 Painted aluminum. Self-production, USA. Underside with metal tag incised with “TRAPEZOID/Red Cube/fm 07/Forrest Myers.” 16 1/4 x 22 x 19 in. (41.3 x 56 x 48.3 cm.)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Provenance Friedman Benda, New York Literature David A. Hanks, Anne Hoy and Martin Eidelberg, Design for Living: Furniture

and Lighting 1950-2000, exh. cat., Montreal Museum of Decorative Arts, Paris, 2000, p. 181, fig. 97 for a similar example


210 IVÁN NAVARRO b. 1972 Unique “Deep Table,” 2004 Painted metal, glass, mirrored glass, mirrored plastic, fluorescent tube, plastic. Together with a certificate of authenticity. 14 x 24 1/2 x 16 1/2 in. (35.6 x 62.2 x 41.9 cm.)

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Literature John B. Ravanal, Artificial Light: New Light-based Sculpture and Installation Art,

Richmond, 2006, p. 35 for a similar example

Comprising fluorescent light bulbs and mirror, “Deep Table” attests to contemporary artist Iván Navarro’s preoccupation with ready-made materials, electricity, and illusion. “I make spaces in a fictional way to deal with my own psychological anxiety,” he explained on the occasion of his self-titled 2008 exhibition at Tufts University Art Gallery in Medford, Massachusetts. Raised in Chile during the dictatorship of Augusto Pinochet, Navarro imbues his design works—generic tables or fluorescent reproductions of iconic works such as Gerrit Rietveld’s “Red Blue Chair”— with lethal energy, dysfunction, and dread.


211

212

211 MARIO TICCO

212 ANDREA BELLOSI

“Nebulosa” table lamp, ca. 1970

“Arc en Ciel” table lamp, ca. 1980

Opaque glass, colored glass, chrome-plated metal. Manufactured by Venini, Italy.

Marble, painted metal, brushed metal, glass prism. Manufactured for Studio Alchimia, Italy.

12 in. (30.5 cm.) high

11 in. (27.9 cm.) high

Estimate $ 5 , 0 0 0 -7, 0 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0


213

214

213 VERNER PANTON 1926-1999 Rare “Design Hands” fabric panel, designed 1968, printed 1978 Printed cotton. Manufactured by Mira-X, Switzerland. From the Anatomical Designs collection. 42 1/4 x 42 in. (107.3 x 106.7 cm.)

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Alexander von Vegesack and Mathias Remmele, eds., Verner Panton: The

Collected Works, Weil am Rhein, 2000, p. 335

214 NANDA VIGO b. 1940 “Manhattan” floor lamp, ca. 1972 Stainless steel, painted steel. Manufactured by Arredoluce, Italy. 75 3/4 in. (192.4 cm.) high

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Literature Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 375; Fulvio Ferrari and

Napoleone Ferrari, Luce: Lampade 1968-1973: il nuovo design Italiano, Turin, 2002, pl. 57


215 STUDIO TETRARCH “Tovaglia� table, ca. 1969 Gel-coated GRP. Manufactured by Alberto Bazzani, Italy and distributed by Stendig, USA. 15 x 41 x 41 in. (38.1 x 104.1 x 104.1 cm.)

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Literature Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 295; Martin Eidelberg,

ed., Designed for Delight: Alternative Aspects of Twentieth-Century Decorative Arts, exh. cat., Montreal Museum of Decorative Arts, 1997, p. 276, fig. 188


216 ETTORE SOTSASS JR. 1917-2007 “Harlow” table, ca. 1970 Cast aluminum, smoked glass. Manufactured by Poltronova, Italy. Underside cast with “poltronova / DIS ARCH ETTORE SOTTSASS.” 14 1/2 x 39 1/4 x 19 5/8 in. (36.8 x 99.7 x 49.8 cm.)

Estimate $ 8 , 0 0 0 -1 2 , 0 0 0 Literature Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 345 for the “Harlow”

chair


217 FERNANDO AND HUMBERTO CAMPANA b. 1961, b. 1953 “Shark and Dolphin Banquete,” 2006 Stuffed toy animals, tubular stainless steel. Produced by Estudio Campana, Brazil. Number eight from the edition of 35. One animal embroidered with “Campanas NO 8 2006.” Together with a certificate of authenticity from Estudio Campana. 35 in. (88.9 cm.) high

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Literature “Qu’est-ce que le Design? (Aujourd’hui),” Beaux Arts Magazine, Paris, 2004,

p. 93, fig. 1 for a similar example; Antibodies— Fernando & Humberto Campana 1989-2009, exh. cat., Vitra Design Museum, Weil am Rhein, 2009, p. 96 for a similar example


218 ETTORE SOTTSASS JR. 1917-2007 “Murmansk” centerpiece, designed 1982 Sterling silver. Produced for Memphis, Italy. Base impressed with “Memphis/Milano” and “925” twice. Interior also with inset plate impressed with “MEMPHIS/MILANO” and “925.” 11 1/2 in. (29.2 cm.) high, 14 1/4 in. (36.2 cm.) diameter

Estimate $ 1 5 , 0 0 0 - 2 0 , 0 0 0 Literature Albrecht Bangert, Italian Furniture Design: Ideas, Styles, Movements, Munich,

1988, p. 171; Martin Eidelberg, ed., Designed for Delight: Alternative Aspects of TwentiethCentury Decorative Arts, exh. cat., Montreal Museum of Decorative Arts, 1997, p. 120 for a similar example


219 ALESSANDRO GUERRIERO b. 1943 Unique “Acid House” desk, 1989 Painted metal. Produced for Studio Alchimia, Italy. Together with a certificate of authenticity from the artist. 37 1/2 x 57 x 28 in. (95.3 x 144.8 x 71.1 cm.)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0


IMPORTANT WORKS BY MARC NEWSON FROM THE HALSEY MINOR COLLECTION

Renowned collector and technology entrepreneur Halsey Minor has amassed a highly important collection of design, including seminal limited edition works by Marc Newson. In effect a comprehensive survey of Newson’s career, Mr. Minor’s collection ranges from early studio masterpieces like “Pod of Drawers” (1987) to recent ones like a prototype “Micarta” desk (2006) while stopping at all the key points between. Of his devotion to design, Mr. Minor states, “Collecting is about learning…It is an intense ongoing process of education, and it is my mission to collect only the best.”

Phillips de Pury & Company would like to thank Marc Newson and Didier Krzentowski for their assistance in cataloging these lots.


2 2 0 MARC NEWSON b. 1963 Important early “Pod of Drawers,” 1987 Fiberglass-reinforced polyester resin core, blind-riveted sheet aluminum, paint. Produced by Basecraft for Pod, Australia. From the edition of ten plus two artist’s proofs and one prototype. 50 3/8 x 27 1/2 x 17 1/4 in. (128 x 69.9 x 43.8 cm.)

Estimate $ 3 0 0 , 0 0 0 - 5 0 0 , 0 0 0 Provenance Private Collection, New York; Christie’s, Post-War and Contemporary Art

Evening Sale, New York, May 16, 2007, Lot 3; Sebastian + Barquet, New York Literature Mario Romanelli, ”Marc Newson: Progetti tra il 1987 e il 1990,” Domus, March

1990, p. 67; Alice Rawsthorn, Marc Newson, London, 1999, p. 23; Hilary Jay, “Rising Design Stars,” Art and Antiques, April 2001, p. 61; Stephen Crafti, Request.Response.Reaction. The Designers of Australia and New Zealand, Victoria, 2002, p. 86; Conway Lloyd Morgan, Marc Newson, London, 2003, p. 166; Béatrice Salmon, ed., Masterpieces of the Museum of Decorative Arts, Paris, 2006, pp. 205-206; Julie Brener and Sarah Douglas, “Dealer’s Choice,” Art + Auction, September 2008, p. 172

The “Pod of Drawers” with black feet will be included as “MN 12PODB - 1987,” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris.


2 21 MARC NEWSON b. 1963 Early “Black Hole” table, 1988 Carbon fiber. Produced by Idée, Japan. 28 1/4 x 97 7/8 x 40 in. (71.8 x 248.6 x 101.6 cm.)

Estimate $ 8 0 , 0 0 0 -1 2 0 , 0 0 0 Literature Alice Rawsthorn, Marc Newson, London, 1999, pp. 38-41; Conway Lloyd

Morgan, Marc Newson, London, 2002, pp. 162-163

The carbon “Black Hole” table 1 will be included as “MN - CBHT1 1988” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris.


2 2 2 MARC NEWSON b. 1963 Unique “Event Horizon Table,” 1992 Enameled aluminum, polished aluminum. Produced by Pod Edition, UK. Artist’s proof for the edition of ten. Edge of top impressed with “MARC NEWSON EDITION EVENT HORIZON 1992” and Pod logo. This is the only example produced with a yellow body. 31 1/2 x 70 5/8 x 38 in. (80 x 179.4 x 96.5 cm.)

Estimate $ 2 5 0 , 0 0 0 - 3 5 0 , 0 0 0 Provenance Collection of the artist; Christie’s, Masterworks: 1900-2000, New York, June 8,

2000, Lot 263; William Bradley Pitt; Sotheby’s, Important 20th Century Design, December 15, 2006; Sebastian + Barquet, New York Literature Domus, September 1992, pp. 67-69; Yvònne G.J.M. Joris, ed., Ron Arad, Gijs

Bakker, Jasper Morrison, Marc Newson, Bruno Ninaber van Eyben, Benno Premsela: Design for Cor Unum Ceramics, exh. cat., Museum het Kruithuis, 1993, p. 41; Phil Starling, “An Australian in Paris,” Blueprint, February 1994, front cover and p. 31; Jean Bond Rafferty, ”Making Waves,” Harper’s Bazaar, April 1994, p. 140; Volker Albus and Volker Fischer, 13 Nach Memphis: Design Zwichen Askese und Sinnlichkeit, Munich, 1995, p. 127; Alice Rawsthorn, “Marc Newson,” The International Design Magazine, January/February 1996, p. 70; Akiko Bush, “George Nelson Design Awards 1999,” Interiors, May 1999, p. 86; Alice Rawsthorn, Marc Newson, London, 1999, pp. 64-69 and 213; Claire Fayolle, “Marc Newson: Á Fond La Forme,” Beaux Arts Magazine, June 2000, p. 55; Anne Watson, “Marc Newson: Design Works,” Powerline, Spring 2001, p. 5; Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 150, 157 and 170-171; Louise Neri, ed., Marc Newson, exh. cat., Gagosian Gallery, New York, 2007, p. 64

This “Event Horizon” table will be included as “MN - 1YEHT - 1992” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris.


2 2 3 MARC NEWSON b. 1963 Unique “Dark Star” table, 1986 Welded aluminum tread sheet, glass, tubular aluminum, rubber-covered wood. Side of base incised with “I CANT BELIEVE I DESIGNED THIS BUT I DID/LOVE EVER MARC NEWSON.” 30 in. (76.2 cm.) high, 39 1/4 in. (99.7 cm.) diameter

Estimate $ 5 0 , 0 0 0 -7 0 , 0 0 0

The “Dark Star” table will be included as “MN - 1DST - 1986” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris.


2 24 MARC NEWSON b. 1963 Rare and early adjustable “Insect Chair,” 1985 Vinyl, painted tubular metal, plastic, steel. Hand made by Marc Newson. 30 in. (76.2 cm.) high

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 Literature Arata Isozaki, ed., International Design Yearbook, New York, p. 81 for a similar

example

The “Insect Chair” will be included as “MN - 1IC - 1985,” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris.


2 25 MARC NEWSON b. 1963 Rare and important conference table and eight “Komed” chairs, 1999 Table: coated fiberglass, painted tubular steel; each chair: vinyl, painted tubular steel. The present lot is one of two tables with eight chairs designed for a private commission (9). Table: 33 x 152 1/2 x 45 1/4 in. (83.8 x 387.4 x 114.9 cm.); each chair: 34 1/4 in. (87 cm.) high

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 Provenance Private Collection, Amsterdam; Christie’s, 20th Century Decorative Arts,

Amsterdam, November 22, 2006 Literature Alice Rawsthorn, Marc Newson, London, 1999, pp. 136-141 for the chairs;

“Tangerine Dream,” Interior Design, December 1999, pp. 99-100 for the chairs; Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 137 and187 for the chairs


2 2 6 MARC NEWSON b. 1963 “Super Guppy” floor lamp, ca. 1987 Tubular aluminum, aluminum, molded glass. Manufactured by Idée, Japan. Base of light fitting with decal “IDÉE.” 72 in. (182.9 cm.) high

Estimate $ 1 0 , 0 0 0 -1 5 , 0 0 0 Provenance Galerie kreo, Paris Literature Mario Romanelli, ”Marc Newson: Progetti tra il 1987 e il 1990,” Domus, March

1990, p. 70; Jean Bond Rafferty, “Making Waves,” Harper’s Bazaar, April 1994, p. 140; Alice Rawsthorn, Marc Newson, London, 1999, pp. 31-33 and p. 212 for a drawing; Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 167 and 179; Stephen Crafti, Request. Response. Reaction: The Designers of Australia and New Zealand, Victoria, 2002, p. 87; Charlotte and Peter Fiell, eds., Domus Vol. XI 1990-1994, Cologne, 2006, p. 56


2 27 MARC NEWSON b. 1963 “Gello� table, ca. 1994 Colored plastic, Perspex. Produced by 3 Suisses, France. Together with the original instructions manual. 19 in. (48.3 cm.) high; 23 1/2 in. (59.7 cm.) diameter

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Alice Rawsthorn, Marc Newson, London, 1999, pp. 103-107


2 2 8 MARC NEWSON b. 1963 Prototype “Voronoi Shelf,” 2006 Bardiglio marble. Prototype for the edition of eight plus two artist’s proofs. 70 1/4 x 108 3/4 x 14 3/4 in. (178.4 x 276.2 x 37.5 cm.)

Estimate $ 1 0 0 , 0 0 0 -1 5 0 , 0 0 0 Provenance Gagosian Gallery, New York Literature Louise Neri, ed., Marc Newson, exh. cat., Gagosian Gallery, New York, 2007,

pp. 14-15, 18-19 and 72 for similar examples; Catherine Slessor, “Stone Age,” Architectural Review, April 2008, p. 91 for a similar example

The bardiglio “Voronoi Shelf” will be included as “MN - 11BVS - 2006” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris.


2 2 9 MARC NEWSON b. 1963 Prototype “Micarta” desk, 2006 Linen phenolic composite. Prototype for the edition of ten plus two artist’s proofs. Underside with metal roundel impressed with “Micarta desk/Proto” and incised with artist’s signature. 28 3/8 x 101 x 37 5/8 in. (72.1 x 256.5 x 95.6 cm.)

Estimate $ 1 5 0 , 0 0 0 - 2 0 0 , 0 0 0 Provenance Gagosian Gallery, New York Literature Louise Neri, ed., Marc Newson, exh. cat., Gagosian Gallery, New York, 2007,

illustrated p. 48

The “Micarta” desk will be included as “MN - 13MD - 2006” in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris. This prototype is the only example of the “Micarta” desk with open wells leading down into the legs, reminiscent of Newson’s “Black Hole” table of 1988.


index Adnet, J. 42 Anderson, J. 144 Arad, R. 171, 201, 205 Atelier Van Lieshout 208 Bellosi, A. 212 Bertoia, H. 103, 111 Bianchin, C. 199 Blunk, J.B. 194 Bonetti, M. 202, 204 Bormann, H.S. 136 Borsani, O. 180 Bouroullec, E. 162 Bouroullec, R. 162 Breuer, M. 131 Buffa, P. 178 Campana, F. 207, 217 Campana, H. 207, 217

Lelli, A. 179

Carpenter, A.E. 192

LeWitt, S. 169

Castle, W. 191, 195 Conover, C. 114

Mangiarotti, A. 187, 188

Coper, H. 54, 59, 70, 75, 78, 83, 86, 91, 92, 96

Matègot, M. 1, 19

Crespi, G. 189

Mishima, R. 200

de Santillana, L. 198

Morrison, J. 164, 167, 170

de Zanine Caldas, Z. 102

Mouille, S. 3

Mollino, C. 172, 173, 174, 175

Dumond, J. 153

Müller, C.F.O. 133, 137, 138

Dupré-Lafon, P. 41, 43, 45, 46, 47, 48

Myers, F. 209

Esherick, W. 112, 113

Nakashima, G. 98, 101, 105, 106, 110 Navarro, I. 210

Fabricius, P. 142, 145

Nelson, G. 156

Falkenstein, C. 99

Newson, M. 220, 221, 222, 223, 224, 225, 226, 227, 228, 229

Fan, S. 161

Noguchi, I. 104

Finsler, H. 135

Noll, A. 29, 33

Fontana Arte 183, 184 Ohira, Y. 196, 197 Gamperl, E. 100

Owens, R. 206

Giacometti, D. 40 Gropius, W. 134

Panton, V. 213

Guerriero, A. 219

Parisi, I. 176 Parisi, L. 176

Henningsen, F. 139, 159

Perriand, C. 5, 9, 14, 15, 17, 18, 22, 24

Higgins, F. 151

Prestini, J. 157

Higgins, M. 151

Prouvé, J. 4, 6, 7, 10, 12, 13, 16, 20, 21, 25, 26, 27 Puiforcat, J.E. 44

Ingrand, M. 177, 185 Rie, L. 51, 52, 53, 55, 56, 57, 58, 60, 61, 62, 63, 64, 65, 66, Jacobsen, A. 143

67, 68, 69, 71, 72, 73, 74, 76, 77, 79, 80, 81, 82, 84, 85, 87,

Jeanneret, P. 25, 116, 117, 118, 119, 120, 121, 122,

88, 89, 90, 93, 94, 95, 97

123, 124, 125, 126, 127, 128

Robsjohn-Gibbings, T.H. 50

Jouve, G. 2, 8, 11

Royère, J. 28, 30, 31, 32, 34, 35, 36, 37, 38, 39

Juhl, F. 148, 149, 150, 160 Salto, A. 140 Kagan, V. 190

Scarpa, C. 186

Kastholm, J. 142, 145

Sottsass Jr., E. 216, 218

Kjærholm, P. 146

Starck, P. 166

Kolling Andersen, E. 158

Stilnovo 182

Kroll, H. 49

Studio Tetrarch 215

Kuramata, S. 168

Szekely, M. 163

Le Corbusier 23, 115

Tenreiro, J. 107, 108, 109 Ticco, M. 211 Valenza, D.L. 193 Van Severen, M. 165 Vestergaard Jensen, H. 141 Vigo, N. 214 Wanders, M. 203 Wanscher, O. 147 Weber, K.E.M. 130 Wegner, H. 154, 155 WMF 129 Wormley, E. 152


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

relationship among Phillips, the seller and the buyer and describe the terms upon which

below which a lot may not be sold. The reserve for each lot is generally set at a percentage of

property is bought at auction. Please be advised that Phillips de Pury & Company generally

the low estimate and will not exceed the low pre-sale estimate.

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

acts as agent for the seller. 2 BIDDING IN THE SALE BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium,

Bidding at Auction

on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of

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

the total purchase price at the following rates: 25% of the hammer price up to and including

sale in writing by absentee bid.

$50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

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

1 PRIOR TO AUCTION

Proof of identity in the form of government issued identification will be required, as will an

Catalogue Subscriptions

original signature. We may also require that you furnish us with a bank reference. New clients

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

are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us

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

to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses.

Pre-Sale Estimates

Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury &

Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high

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

and low estimate range should, in our opinion, offer a chance of success. However, many lots

registration desk.

achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us

Bidding by Telephone

closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do

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

not include the buyer’s premium or any applicable taxes.

lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may

Pre-Sale Estimates in Pounds Sterling and Euros

be recorded. By bidding on the telephone, you consent to the recording of your conversation.

Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues

We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable

may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time

taxes, which we can execute on your behalf in the event we are unable to reach you by

of catalogue production and not at the date of auction, you should treat estimates in pounds

telephone.

sterling or euros as a guide only. Absentee Bids Catalogue Entries

If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury

Phillips may print in the catalogue entry the history of ownership of a work of art, as well as

& Company will be happy to execute written bids on your behalf. A bidding form can be found

the exhibition history of the property and references to the work in art publications. While we

at the back of this catalogue. This service is free and confidential. Bids must be placed in the

are careful in the cataloguing process, provenance, exhibition and literature references may

currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible

not be exhaustive and in some cases we may intentionally refrain from disclosing the identity

price taking into account the reserve and other bidders. Always indicate a maximum bid,

of previous owners. Please note that all dimensions of the property set forth in the catalogue

excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted.

entry are approximate.

Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g.,

Employee Bidding

prints). Such references, though, do not amount to a full description of condition. The absence

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

of reference to the condition of a lot in the catalogue entry does not imply that the lot is free

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

from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company

reserve when submitting their absentee bids and otherwise comply with our employee bidding

may provide condition reports. In preparing such reports, our specialists assess the condition

procedures.

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

Bidding Increments

are not professional restorers or trained conservators. We therefore encourage all prospective

Bidding generally opens below the low estimate and advances in increments of up to 10%,

buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

the case of any lot of significant value, that you retain your own restorer or professional

set below may be lowered to the next bidding increment.

advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property

$50 to $1,000

by $50s

is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed,

$1,000 to $2,000

by $100s

Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot

$2,000 to $3,000

by $200s

unframed, we will be pleased to refer the purchaser to a professional framer.

$3,000 to $5,000

by $200s, 500, 800

(i.e. $4,200, 4,500, 4,800)

Pre-Auction Viewing

$5,000 to $10,000

by $500s

Pre-auction viewings are open to the public and free of charge. Our specialists are available

$10,000 to $20,000

by $1,000s

to give advice and condition reports at viewings or by appointment.

$20,000 to $30,000

by $2,000s

$30,000 to $50,000

by $2,000s, 5,000, 8,000

Electrical and Mechanical Lots

$50,000 to $100,000

by $5,000s

All lots with electrical and/or mechanical features are sold on the basis of their decorative

$100,000 to $200,000

by $10,000s

value only and should not be assumed to be operative. It is essential that, prior to any intended

above $200,000

auctioneer’s discretion

use, the electrical system is verified and approved by a qualified electrician. The auctioneer may vary the increments during the course of the auction at his or her own Symbol Key

discretion.

The following key explains the symbols you may see inside this catalogue. 3 THE AUCTION O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may

Conditions of Sale

be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party.

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

Phillips de Pury & Company and third parties providing or participating in a guarantee may

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

benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not

addendum or auctioneer’s announcement.

successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful

Interested Parties Announcement

bidder.

In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party


providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. 4 AFTER THE AUCTION Payment 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 of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy an administrative fee of $35, a storage fee of $5 per day and a pro rated Insurance charge of 0.1% of the purchase price per month. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please 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 import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.


ITALIA

CONTEMPORARY ART

AUCTION 30 JUNE 2010 Viewing 19 – 29 June

PHOTOGRAPHS

DESIGN

LONDON

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 20 7318 4040 Catalogues +44 20 7318 4039 / +1 212 940 1240 phillipsdepury.com FAUSTO MELOTTI Rare ‘Cerchi’ sculpture, c. 1961 Estimate £14,000–18,000


CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

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

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers,

is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone

on the other hand. All prospective buyers should read these Conditions of Sale and Authorship

bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury

Warranty carefully before bidding.

& Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer.

1 INTRODUCTION

Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the

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

recording of the conversation.

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

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

or other written material posted by Phillips de Pury & Company in the saleroom, in each case

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6

as amended by any addendum or announcement by the auctioneer prior to the auction.

(a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting

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

as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so

that we will only look to the principal for such payment.

changed or supplemented, and Authorship Warranty. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

& Company to prospective buyers. While we undertake to exercise reasonable care in

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

undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this

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

catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in

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

which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or

reserve when submitting their absentee bids and otherwise comply with our employee bidding

financial interest in a lot as a secured creditor or otherwise.

procedures.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

5 CONDUCT OF THE AUCTION

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

(a) Unless otherwise indicated by the symbol

such description is changed or supplemented, as provided in Paragraph 1 above) and in the

is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.

condition that they are in at the time of the sale on the following basis.

The reserve will not exceed the low pre-sale estimate at the time of the auction.

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

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

on information provided to us by the seller, and Phillips de Pury & Company is not able to

lot for sale (including after the fall of the hammer) if he or she believes there may be error or

and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge

dispute and take such other action as he or she deems reasonably appropriate.

each lot is offered subject to a reserve, which

this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing,

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

we shall exercise such reasonable care when making express statements in catalogue

she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place

descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale

one or more bids on behalf of the seller up to the reserve without indicating he or she is doing

and in light of (i) the information provided to us by the seller, (ii) scholarship and technical

so, either by placing consecutive bids or bids in response to other bidders.

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

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in

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

pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly,

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

estimates in pounds sterling or euros should be treated only as a guide.

the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior

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

to bidding and have satisfied themselves as to both the condition of the lot and the accuracy

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

of its description.

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

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

prepare and provide condition reports to assist prospective buyers when they are inspecting

“returned to owner” or “bought-in.”

lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale

referred to in the catalogue or condition report. All dimensions are approximate. Illustrations

and Authorship Warranty as if sold in the auction.

are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium

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

and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

estimate, whether written or oral, and information in any catalogue, condition or other report,

price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to

commentary or valuation, is not a representation of fact but rather a statement of opinion held

and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law.

& Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our

All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive

affiliated companies shall be liable for any difference between the pre-sale estimates for any

of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from

lot and the actual price achieved at auction or upon resale.

US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

participation in the sale. All bidders must register for a paddle prior to bidding, supplying such

following the auction regardless of any intention to obtain an export or import license or other

information and references as required by Phillips de Pury & Company.

permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows:

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid

behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of

in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so

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

in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular

Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum

weekday business hours.

amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer

not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest

provides to us acceptable government issued identification. Checks and banker’s drafts

possible price taking into account the reserve and other bidders. Any absentee bid must be

should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,

received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid

please send the check or banker’s draft to the attention of the Client Accounting Department

received will take precedence.

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.


MO DER N AND CO NTEMPORARY

EDITIONS AUCTION 8 JUNE 2010 Viewing 1 – 7 June

NEW YORK

10am & 2:30pm

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

PHILLIPSDEPURY.COM

ED RUSCHA Sin, 1970 Screenprint in colors, numbered 131/150.

Estimate $6,000–9,000


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

shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to

transfer details:

recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable

Citibank

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

322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33

(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips

ABA Routing: 021 000 089

de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and

For the account of Phillips de Pury & Company LLC

the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in

Account no.: 58347736

any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as

Please reference the relevant sale and lot number.

the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default

(d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

to one of our affiliated companies, we will so notify the buyer. Our security interest in any

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

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

(c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer

unconditional obligation to pay the Purchase Price.

also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the

7 COLLECTION OF PROPERTY

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

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

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

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including

10 Rescission by Phillips de Pury & Company

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

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

other terms as we in our sole discretion shall require, including completing any anti-money

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

laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

foregoing conditions, and no later than five days after the conclusion of the auction, he or she

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

collection of purchased property.

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th

& Company and the seller with respect to such rescinded sale..

Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury

11 Export, Import and Endangered Species Licenses and Permits

& Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand

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

carry back to our premises at 450 West 15th Street, New York, New York for collection within

as to whether a license is required to export a lot from the United States or to import it into

30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the

another country. Prospective buyers are advised that some countries prohibit the import

responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five

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

days after the auction. Until risk passes, Phillips de Pury & Company will compensate the

ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid,

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should

subject to our usual exclusions for loss or damage to property.

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

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased

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

lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling,

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

insurance and shipping services or coordinate with shipping agents instructed by the buyer in

full payment for the lot.

order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and

12 Client Information

responsibility, and we will not be liable for acts or omissions of third party packers or shippers.

In connection with the management and operation of our business and the marketing and

Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924

supply of auction related services, or as required by law, we may ask clients to provide

6477 at least 24 hours in advance of collection in order to schedule pickup.

personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as

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

“sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use

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

it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If

8 FAILURE TO COLLECT PURCHASES

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

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

to your information, please contact us at +1 212 940 1228. If you would prefer not to receive

auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro

details of future events please call the above number.

rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer

13 Limitation of Liability

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction

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

or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

discretion. The proceeds of such sale will be applied to pay for storage charges and any other

limited to the Purchase Price actually paid by the buyer for the lot.

outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within

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

two years of the original auction.

of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or

9 REMEDIES FOR NON-PAYMENT

any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts

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

or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our

fails to make payment of the Purchase Price for a lot in cleared funds within five days of the

affiliated companies in connection with the conduct of the auction or for any other matter

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

relating to the sale of any lot.

following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii)

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

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

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

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

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer,

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our

exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

& Company and instruct our affiliated companies to exercise a lien over any of the buyer’s

the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss

property which is in their possession and, in each case, no earlier than 30 days from the date

or damage is characterized as direct, indirect, special, incidental or consequential, or for the

of such notice, arrange the sale of such property and apply the proceeds to the amount owed

payment of interest on the Purchase Price to the fullest extent permitted by law.

to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot

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

by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

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

reasonable discretion, it being understood that in the event such resale is for less than the

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

original hammer price and buyer’s premium for that lot, the buyer will remain liable for the

injury caused by our negligent acts or omissions.


FILM

CONTEMPORARY ART AUCTION 24 JUNE 2010 Viewing 19 – 24 June

PHOTOGRAPHS

EDITIONS

MEMORABILIA

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1234 Catalogues +1 212 940 1240 / +44 20 7318 4039 phillipsdepury.com

herman makkink “Rocking Machine” kinetic sculpture, from the film A Clockwork Orange, 1969 Estimate $20,000–25,000


AUTHORSHIP WARRANTY 14 Copyright

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

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

period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions

Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain

and limitations set forth below.

at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of

& Company and the seller make no representations or warranties that the buyer of a lot will

record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

acquire any copyright or other reproduction rights in it.

extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created

15 General

prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above,

less than 50 years ago with an intent to deceive) and has a value at the date of the claim under

and Authorship Warranty set out the entire agreement between the parties with respect to the

this warranty which is materially less than the Purchase Price paid; (iii) property where the

transactions contemplated herein and supersede all prior and contemporaneous written, oral

description in the catalogue states that there is a conflict of opinion on the authorship of the

or implied understandings, representations and agreements.

property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department

whose description or dating is proved inaccurate by means of scientific methods or tests not

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

generally accepted for use at the time of the publication of the catalogue or which were at such

catalogue. Notices to clients shall be addressed to the last address notified by them in writing

time deemed unreasonably expensive or impractical to use.

to Phillips de Pury & Company. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves (c) These Conditions of Sale are not assignable by any buyer without our prior written consent

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

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

provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced

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

by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury

for any reason, the remaining provisions shall remain in full force and effect. No failure by any

& Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the

party to exercise, nor any delay in exercising, any right or remedy under these Conditions of

buyer the reasonable costs charged by the experts commissioned by the buyer and approved in

Sale shall act as a waiver or release thereof in whole or in part.

advance by us.

16 Law and Jurisdiction

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

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

for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury

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

& Company in writing within three months of receiving any information which causes the

foregoing shall be governed by and interpreted in accordance with laws of the State of New

buyer to question the authorship of the lot, specifying the auction in which the property was

York, excluding its conflicts of law rules.

included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction

same condition as at the time of its auction and is able to transfer good and marketable title in

of the (i) state courts of the State of New York located in New York City and (ii) the federal

the lot free from any third party claim arising after the date of the auction.

courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

and Authorship Warranty relate or apply.

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

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

de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other

connection with proceedings in any court by facsimile transmission, personal service, delivery

remedy available as a matter of law. This means that none of Phillips de Pury & Company, any

by mail or in any other manner permitted by New York law or the law of the place of service, at

of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy

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

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.


phillips de pury & company

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg

Chief Executive Officer Bernd Runge

Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

International Specialists

Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44

Buenos Aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611 Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771

Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671

Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +86 35 0118 2804

Singapore Chin-Chin Yap, Specialist, Contemporary Art +1 347 784 6916 Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

General Counsel

Managing Directors

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

PARIS

GENEVA

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +41 22 906 80 00 fax +41 22 906 80 01

LONDON

BERLIN

Howick Place, London SW1P 1BB, United Kingdom

Auguststrasse 19, 10117 Berlin, Germany

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +49 30 8800 1842 fax +49 30 8800 1843


SPECIALISTs AND DEPARTMENTS

CONTEMPORARY ART

and Worldwide Head, Contemporary Art

MODERN AND CONTEMPORARY EDITIONS

Michael McGinnis, Senior Director +1 212 940 1254

New York

New York

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

Jannah Greenblatt +1 212 940 1332

Joy Deibert +1 212 940 1333

Aileen Agopian, New York Director +1 212 940 1255

Roxana Bruno +1 212 940 1229

Sarah Mudge, Head of Part II +1 212 940 1259

Jean-Michel Placent +1 212 940 1263

Timothy Malyk +1 212 940 1258

Jeremy Goldsmith +1 212 940 1253

Rodman Primack +1 212 940 1256

Shlomi Rabi +1 212 940 1246

Sara Davidson +1 212 940 1262

Caroline Shea +1 212 940 1247

Alexandra Leive +1 212 940 1252

Carol Ehlers, Consultant +1 212 940 1245

Peter Flores +1 212 940 1223

Sarah Krueger +1 212 940 1245

Sarah Stein-Sapir +1 212 940 1303

LONdON

Peter Sumner, Head of Sales, London +44 20 7318 4063

Henry Allsopp +44 20 7318 4060

Leonie Moschner +44 20 7318 4074

Ivgenia Naiman +44 20 7318 4071

Sarah Buchwald +44 20 7318 4085

Catherine Higgs +44 20 7318 4089

Lou Proud +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025 Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4087

Laetitia Catoir +44 20 7318 4064

Helen Hayman +44 20 7318 4092

Judith Hess +44 20 7318 4075

Emma Lewis +44 20 7318 4092

George O’Dell +44 20 7318 4093

Raphael Lepine +44 20 7318 4078

Tanya Tikhnenko +44 20 7318 4065

Phillippa Willison +44 20 7318 4070

Edouard de Moussac + 33 1 42 78 67 77

Alexander Payne, Worldwide Director +44 20 7318 4052

JEWELRY

Nazgol Jahan, Worldwide Director +1 212 940 1283

New York

Carmela Manoli +1 212 940 1302

Emily Bangert +1 212 940 1365

Heather Zises +1 212 940 1290

PARIS

DESIGN

LONDON

New York Vanessa Kramer, New York Director +1 212 940 1243

(Uli) Zhiheng Huang +1 212 940 1288

PHOTOGRAPHS

GENEVA

Carolin Bulgari +41 22 906 80 00

Veronica Lota +41 22 906 80 00

LONDON

Lane McLean +44 20 7318 4032

New York Alex Heminway, New York Director +1 212 940 1269

Tara DeWitt +1 212 940 1265

Meaghan Roddy +1 212 940 1266

Corey Barr, New York Manager +1 212 940 1234

Marcus Tremonto +1 212 940 1268

Steve Agin, Consultant +1 908 475 1796

Alexandra Gilbert +1 212 940 1268

Anne Huntington +1 212 940 1210

Stephanie Max +1 212 940 1301

THEME SALES New York

LONDON

Domenico Raimondo +44 20 7318 4016

Ellen Stelter +44 20 7318 4021

Ben Williams +44 20 7318 4027

Marcus McDonald +44 20 7318 4014

Marine Hartogs +44 20 7318 4021

PARIS

LONDON Tobias Sirtl, London Manager +44 20 7318 4095

Henry Highley +44 20 7318 4061

Arianna Jacobs +44 20 7318 4054

Siobhan O’Connor +44 20 7318 4040

Johanna Frydman +33 1 42 78 67 77

editorial Karen Wright, Senior Editor Iggy Cortez, Assistant to the Editor

art and production Fiona Hayes, Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager London Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

Private sales New York Andrea Hill +1 212 940 1238

Marketing NEW YORK Trish Walsh, Marketing Manager


SALE INFORMATION

Auction Wednesday 9 June 2010 at 2pm

Catalogues Leslie Pitts +1 212 940 1240

Viewing

$60/£30 at the Gallery

Thursday 3 June – Saturday 5 June, 10am – 6pm

catalogues@phillipsdepury.com

Sunday 6 June, 12pm – 6pm Monday 7 June – Tuesday 8 June, 10am – 6pm

Absentee and Telephone Bids

Wednesday 9 June, 10am – 2pm

Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax Maureen Morrison, Bid Clerk +1 212 940 1228

Viewing & Auction Location

bids@phillipsdepury.com

450 West 15 Street New York NY 10011 client accounting Sale Designation

Sylvia Leitao +1 212 940 1231

In sending written bids or making enquiries please refer to this

Buyers Accounts

sale as NY050110 or Design.

Nicole Rodriguez +1 212 940 1235 Seller Accounts

Worldwide Director

Barbara Doupal +1 212 940 1232

Alexander Payne London +44 20 7318 4052

Nadia Somwaru +1 212 940 1280

international CONSULTANT

Client Services

Marcus Tremonto +1 212 940 1268

+1 212 940 1200

new york Director

Shipping

Alex Heminway +1 212 940 1269

Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372

Specialists Tara DeWitt +1 212 940 1265 Meaghan Roddy +1 212 940 1266 Ben Williams London +44 20 7318 4027 Domenico Raimondo London +44 20 7318 4026 Ellen Stelter London +44 20 7318 4021 Johanna Frydman Paris +33 1 42 78 67 77 cataloguer Marcus McDonald London +44 20 7318 4014 Administrators Alexandra Gilbert +1 212 940 1268 Marine Hartogs London +44 20 7318 4021 Property Managers Ferran Martin +1 212 940 1364 Oliver Gottschalk London +44 20 7318 4038 Photography Clint Blowers, Byron Slater, Morten Smidt, Kent Pell selected essays Alex Heminway

Front Cover Marc Newson, Important early “Pod of Drawers,” 1987, Lot 220 Inside Front Cover Harry Bertoia, Important early “Dandelion” sculpture, ca. 1958, Lot 103 (detail) Title Page Diego Giacometti, “Coupelle á L’Oiseau,” ca. 1978, Lot 40 Inside Back Cover Hans Coper, Monumental sack pot with disc, ca. 1974, Lot 75 (detail) Back Cover Carlo Mollino, Untitled, 19 62-1973, Lot 172


w w w. p h illip s d e p u ry.c o m

Design Sale NY  

NY Auction 9 June 2010

Design Sale NY  

NY Auction 9 June 2010

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