DE SIGN 14
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DECEMBER
2 011
NEW YORK
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DE SIGN 14
DECE MB ER
2 0 11
2 PM
NE W YO RK AUCTION
4 5 0 PARK AVENU E
VIE WING
4 5 0 WEST 1 5 STRE E T
LOTS 101-2 52
VIEWING 450 West 15 Street December 7 – December 13
Hours Monday – Saturday Sunday
10am – 6pm
12pm – 6pm
Front cover Fontana Arte, Occasional table, 1950s, Lot 248 Back cover Roy McMakin, Custom dinning table and set of eight chairs, 2005, Lot 201 (detail) Inside front and inside back covers Tapio Wirkkala, “Rhythmic Plywood” coffee table, ca. 1957, Lot 131 (detail) Opposite Scott Burton, “Arch-Plate Table,” designed 1988, ca. 2005, Lot 199
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101 LE CORBUSIER 1887-1965 Wall light, from La Maison du Brésil, Cité Internationale Universitaire de Paris, ca. 1957-1959 Painted steel, aluminum, plastic, fluorescent tube, incandescent bulb. 3 1/2 x 27 1/2 x 1 7/8 in. (9 x 69.9 x 5 cm)
Estimate $ 3 ,0 0 0 - 6 ,0 0 0 PROVENANCE
La Maison du Brésil, Fondation Franco-Brésilienne, Cité Internationale Universitaire de Paris, France
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102 PIERRE JEANNERET 1896-1967 Pair of “Committee” armchairs, model no. PJ-SI-30-A, from an Administrative building, Chandigarh, ca. 1953-1954 Teak, leather (2). Each: 34 1/2 in. (87.6 cm) high
Estimate $18 ,0 0 0 - 24 ,0 0 0 PROVENANCE
Administrative building, Chandigarh, India LITERATURE
Norma Evenson, Chandigarh, Los Angeles, 1966, pls. 114–115 Philippe Sers, ed., Le Corbusier Œuvre Tissé, Paris, 1987, p. 80 W. Boesiger, ed., Le Corbusier et Son Atelier rue de Sevres 35, Œuvre Complète Volume 7 · 1957-1965, New York, 1990, p. 91 Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret: The Indian Adventure – Design-Art-Architecture, Paris, 2010, pp. 232-233 and 563
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103 LE CORBUSIER 1887-1965 “Les 24 heures solaires” carved mold, model no. LC-SIG-25-A, from The Capitol Complex Building, Chandigarh, ca. 1950 Teak. 20 1/2 x 37 1/2 x 1 1/8 in. (52.1 x 95.3 x 2.9 cm)
Estimate $18 ,0 0 0 - 2 8 ,0 0 0 PROVENANCE
The Capitol Complex building, Chandigarh, India Private collection, New York LITERATURE
Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret: The Indian Adventure – Design-Art-Architecture, Paris, 2010, p. 621
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104 PIERRE JEANNERET 1896-1967 “Committee” table, model no. LC/PJ-TAT-14-A, from the Assembly, Chandigarh, ca. 1963-1964 Teak, teak-veneered wood. 27 3/4 x 108 1/2 x 47 7/8 in. (70.5 x 275.6 x 121.6 cm)
Estimate $ 6 0,0 0 0 -10 0,0 0 0 PROVENANCE
The Assembly, Chandigarh, India LITERATURE
Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architeture, Paris, 2010, pp. 246-247 and 582
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105 PIERRE JEANNERET 1896-1967 Pair of lounge chairs, model no. PJ-SI-18-A, from a private residence, Chandigarh, ca. 1955-1960 Teak, cow hide (2). Each: 27 1/8 in. (69 cm) high
Estimate $ 3 0,0 0 0 - 5 0,0 0 0 PROVENANCE
Private residence, Chandigarh, India Galerie Patrick Seguin, Paris LITERATURE
Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architeture, Paris, 2010, pp. 322 and 559
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106 PIERRE JEANNERET 1896-1967 Pair of lounge chairs, model no. PJ-SI-18-A, from a private residence, Chandigarh, ca. 1955-1960 Teak, cow hide (2). Each: 27 1/8 in. (69 cm) high
Estimate $ 3 0, 0 0 0 - 5 0,0 0 0 PROVENANCE
Private residence, Chandigarh, India Galerie Patrick Seguin, Paris LITERATURE
Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architeture, Paris, 2010, pp. 322 and 559
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107 PIERRE JEANNERET 1896-1967 Dining table, model no. PJ-TA-01-A, from P.G.I. cafeteria, Chandigarh, ca. 1960-1961 Teak. 27 7/8 x 60 5/8 x 35 3/8 in. (71 x 154 x 90 cm)
Estimate $ 3 0,0 0 0 - 5 0,0 0 0 PROVENANCE
P.G.I. cafeteria, Chandigarh, India Galerie Patrick Seguin, Paris LITERATURE
Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architeture, Paris, 2010, pp. 330 and 583
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108 LE CORBUSIER AND PIERRE JEANNERET 1887-1965, 1896-1967
109 PIERRE JEANNERET 1896-1967
Pair of “Advocate and Press” armchairs, model no. LC/PJ-SI-41-A, from the High Court,
“Public bench,” model no. PJ-SI-37-B, from the High Court,
Chandigarh, ca. 1955-1956
Chandigarh, ca. 1959-1960
Teak, hide (2).
Teak, hide.
Each: 35 in. (89 cm) high
33 7/8 x 55 1/8 x 22 7/8 in. (86 x 140 x 58 cm)
Estimate $12,0 0 0 - 2 0,0 0 0
Estimate $7, 0 0 0 -12, 0 0 0
PROVENANCE
PROVENANCE
High Court, Chandigarh, India
High Court, Chandigarh, India
LITERATURE
LITERATURE
Le Corbusier, My Work, London, 1960, p. 241; Eric Touchaleaume and Gerald Moreau, Le
Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure,
Corbusier Pierre Jeanneret, The Indian Adventure, Design-Art-Architeture, Paris, 2010, pp.
Design-Art-Architeture, Paris, 2010, pp. 162-163 and 566
168-169 and 567
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110 PIERRE JEANNERET 1896-1967 Set of four “Cross easy” armchairs, model no. PJ-SI-46-A, from the College of Architecture, Chandigarh, ca. 1963-1964 Teak, leather (4). Each: 30 1/8 in. (76.5 cm) high
Estimate $ 3 0,0 0 0 - 4 5 ,0 0 0 PROVENANCE
Punjab Engineering College, 12th district, Chandigarh, India LITERATURE
Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure – Design-Art-Architeture, Paris, 2010, p. 568 for technical drawing of a similar example
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111 PIERRE JEANNERET 1896-1967 Set of four “Cross easy” armchairs, model no. PJ-SI-46-A, from the College of Architecture, Chandigarh, ca. 1963-1964 Teak, leather (4). Each: 30 1/8 in. (76.5 cm) high
Estimate $ 3 0,0 0 0 - 4 5 ,0 0 0 PROVENANCE
Punjab Engineering College, 12th district, Chandigarh, India LITERATURE
Eric Touchaleaume and Gerald Moreau, Le Corbusier Pierre Jeanneret, The Indian Adventure – Design-Art-Architeture, Paris, 2010, p. 568 for technical drawing of a similar example
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Courtesy Bibliothèque des Arts Décoratifs, Paris
The present model, Henriette Léon’s boutique, ca. 1928
PROPERTY FROM A CANADIAN COLLECTION
112 RENÉ HERBST 1891-1982 Armchair, ca. 1928 Nickel-plated metal, fabric. Possibly produced by Les Élablissements Siegel et Stockman Reunis, France. 25 in. (63.5 cm) high
Estimate $10,0 0 0 -15 ,0 0 0 PROVENANCE
Eaton’s, Toronto Acquired from an employee of Eaton’s in the 1980s LITERATURE
Solange Goguel, René Herbst, Paris, 1990, p.176 Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 207 Guillemette Delaporte-Idrissi, René Herbst: Pioneer of Modernism, Paris, 2000, pp. 51-53
By the 1880s, the T. Eaton Company, Ltd., or Eaton’s as it was known, had installed Toronto’s biggest plate glass windows, an elevator, and electricity—the first for a shop in that city. From humble beginnings as a dry-goods and haberdashery in 1869, Eaton’s at the turn of the century boasted of “Canada’s Greatest Store.” With a booming mail-order business and flagships in Toronto, Winnipeg, and later Montreal, Eaton’s employed nearly 20,000 people by the First World War and maintained buying offices in London and Paris. Within its sprawling space at Yonge Street, Eaton’s “Seven Seas Shop”, a décor boutique, offered clients the latest decorative arts from Eorupe including works by the Weiner Werkstätte, Venini, and Fontana Arte, as well as prominent designers such as Emile-Jacques Ruhlmann, Edgar Brandt, Alvar Aalto, Gio Ponti, and René Herbst, among many others. The present model chair was first exhibited at the 1928 Salon des Artistes Décorateurs at the Grand Palais, Paris.
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PROPERTY FROM A CANADIAN COLLECTION
113 GILBERT ROHDE 1894-1944 Early low table for Elizabeth Kaufer, 1930s Brass, glass. Manufactured by Valley Furniture, USA. 15 1/4 in. (38.7 cm) high, 36 in. (91.4 cm) diameter
Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE
Elizabeth Kaufer, Buffalo, New York Acquired from the above in the 1980s LITERATURE
Leslie A. Pina, Herman Miller 1940 Catalogue and Supplement: Gilbert Rohde Modern Furniture Design, Atglen, Pennsylvania, 2007, p.12 for a similar later example
When he died at the age of fifty during lunch in Manhattan, Gilbert Rohde was accompanied by his assistant Elizabeth Kaufer. As she recounted, Rohde built the present model table at her request with glass locally sourced by his wife, Gladys Vorsanger. An editor at Women’s Wear Daily, Vorsanger had encouraged Rohde to travel in 1927 to Europe, where he visited the Bauhaus in Dessau and gathered inspiration from the spare forms of French Modernists such as René Herbst and Pierre Chareau.
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ATTRIBUTED TO 114 WILHELM WAGENFELD 1900-1990 Unique object, ca. 1935-1944 Clear glass. Executed at the Vereinigte Lausitzer Glaswerke, Germany 4 x 6 x 5 in. (10.2 x 15.2 x 12.7 cm)
Estimate $ 3 ,0 0 0 - 5 ,0 0 0 PROVENANCE
Rolf G채rtner, Germany
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115 WARREN MCARTHUR 1885-1961 Desk and pair of side chairs, model no. 1150, 1930s Table: tubular aluminum; vinyl, chairs: tubular aluminum, vinyl, rubber, metal. Manufactured by Warren McArthur Corporation, USA. Underside of each chair with paper label with “WARREN MCARTHUR CORPORATION/ONE PARK AVE. NEW YORK/THIS ARTICLE COVERED BY ONE OR/MORE OF THE FOLLOWING U.S. PATENTS/REISSUE 19909 NO. 2035488 NO. 2035469” (3). Desk: 30 1/4 x 60 1/4 x 24 1/2 in. (76.8 x 153 x 62.2 cm); each chair: 33 1/4 in. (84.5 cm) high
Estimate $ 5 ,0 0 0 -7,0 0 0 LITERATURE
Warren McArthur Corporation, Alexandria, 1990s, p. 17 for the chairs
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PROPERTY FROM A CANADIAN COLLECTION
116 WILHELM HÜLSE Coffee and tea service, ca. 1928 Silver, ebony, Rosenthal porcelain, glass. Comprising one coffee pot, one tea pot, twelve coffee cups, twelve porcelain coffee cup liners, ten coffee cup saucers, six tea cups, five porcelain tea cup liners, one glass tea cup liner, six tea cup saucers, one plate, and one refuse bowl. Each piece of silver impressed with German national mark, silver standard mark, maker’s mark and “WILHELM HÜLSE/BERLIN W.8.” Each piece of porcelain printed in green with “ROSENTHAL/SELB-BAVARIA” (55) Coffee pot: 8 3/4 in. (22.2 cm) high; tea pot: 4 3/4 in. (12.1 cm) high; tray: 21 in. long; each coffee cup: 2 1/2 in. high including saucer: each tea cup: 4 3/4 in. high including saucer
Estimate $15 ,0 0 0 - 2 0,0 0 0
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THE APARTMENT OF FRED FORBÁT, BERLIN The following five lots belonged to Hungarian architect Fred Forbát (1897-1972) and were installed in his apartment in Berlin’s Zehlendorf neighborhood. A lecturer at the Bauhaus Weimar and later chief architect for Berlin contractor Adolf Sommerfeld, Forbát had encouraged his countryman Marcel Breuer to enroll at the Bauhaus as a joinery apprentice in 1920. Breuer graduated from the school as a journeyman in 1924. Although he briefly moved to Paris that year, Breuer returned in 1925 to the Bauhaus, where he became the head of the carpentry workshop. As Christopher Wilk has noted, “Breuer’s use of built-in or free-standing cabinet units of varying shapes and sizes became one of the most common features of his interiors” (Marcel Breuer: Furniture and Interiors, New York, 1990, p. 59). When Forbát moved to the U.S.S.R. in 1933 to join the May Brigade, an exiled group of German architects, he sold his Berlin apartment and its contents to compatriots Andor and Catherine Kemeny. When they in turn fled Germany in the mid 1930s, the Kemenys transported the suite to Toronto, where it remained.
PROPERTY FROM A CANADIAN COLLECTION
117 MARCEL BREUER 1902-1981 Dining table, from the apartment of Fred Forbát, ca. 1925 Cherry-veneered wood, wood. 28 1/2 x 47 1/8 x 29 1/4 in. (72.4 x 119.7 x 74.3 cm)
Estimate $7,0 0 0 - 9,0 0 0 PROVENANCE
Fred Forbát, Zehlendorf, Berlin Andor & Catherine Kemeny, Zehlendorf, Berlin Andor & Catherine Kemeny, Toronto Acquired from Catherine Kemeny in the late 1990s LITERATURE
Walter Scheidig, Weimer Crafts at the Bauhaus: 1919-1924 / An Early Experiment in Industrial Design, London, 1967, p. 131 for a similar example
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THE APARTMENT OF FRED FORBÁT, BERLIN
PROPERTY FROM A CANADIAN COLLECTION
118 MARCEL BREUER 1902-1981 Vitrine, from the apartment of Fred Forbát, ca. 1925 Cherry-veneered wood, wood, metal, glass. 76 3/4 x 22 1/8 x 20 in. (194.9 x 56.2 x 50.8 cm)
Estimate $ 2 5 ,0 0 0 - 3 5 ,0 0 0 PROVENANCE
Fred Forbát, Zehlendorf, Berlin Andor & Catherine Kemeny, Zehlendorf, Berlin Andor & Catherine Kemeny, Toronto Acquired from Catherine Kemeny in the late 1990s LITERATURE
Christopher Wilk, Marcel Breuer: Furniture and Interiors, exh. cat., The Museum of Modern Art, New York, 1981, p. 58 for a similar example Bauhaus Furniture: A Legend Reviewed, exh. cat., Bauhaus Archiv Museum für bestaltung, Berlin, 2002, p. 53 for a similar example
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THE APARTMENT OF FRED FORBร T, BERLIN
PROPERTY FROM A CANADIAN COLLECTION
119 MARCEL BREUER 1902-1981 Sideboard from the apartment of Fred Forbรกt, ca. 1925 Cherry-veneered wood, wood, painted wood, glass. 64 1/2 x 105 1/2 x 25 1/2 in. (163.8 x 268 x 64.8 cm)
Estimate $ 2 0,0 0 0 - 3 0,0 0 0 PROVENANCE
Fred Forbรกt, Zehlendorf, Berlin Andor & Catherine Kemeny, Zehlendorf, Berlin Andor & Catherine Kemeny, Toronto Acquired from Catherine Kemeny in the late 1990s
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THE APARTMENT OF FRED FORBÁT, BERLIN
PROPERTY FROM A CANADIAN COLLECTION
120 HANS FRICKE 1906-1994 “Tea” table from the apartment of Fred Forbát, ca. 1925 Cherry-veneered wood, wood. 29 3/4 x 25 1/2 x 25 3/4 in. (75.6 x 64.8 x 65.4 cm)
Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE
Fred Forbát, Zehlendorf, Berlin Andor & Catherine Kemeny, Zehlendorf, Berlin Andor & Catherine Kemeny, Toronto Acquired from Catherine Kemeny in the late 1990s LITERATURE
Peter Hahn, Bauhaus-Möbel: Eine Legende Wird Besichtigt, Berlin, 2002, pp 113 for a similar example and 114
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PROPERTY FROM A CANADIAN COLLECTION
121 MARCEL BREUER 1902-1981 Small cabinet from the apartment of Fred Forbรกt, ca. 1925 Cherry-veneered wood, wood, painted wood, brass. 25 3/4 x 26 1/4 x 17 1/4 in. (65.4 x 66.7 x 43.8 cm)
Estimate $10, 0 0 0 -15 , 0 0 0 PROVENANCE
Fred Forbรกt, Zehlendorf, Berlin Andor & Catherine Kemeny, Zehlendorf, Berlin Andor & Catherine Kemeny, Toronto Acquired from Catherine Kemeny in the late 1990s Alternative view
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PROPERTY OF A CANADIAN COLLECTION 122 WILHELM WAGENFELD 1900-1990 Set of seven cups, ca. 1931-1935 Wood, clear glass. Manufactured by Jenaer Glas, Germany. Underside of each glass element acid-etched with “SCHOTT & GEN/MAINZ/ JENAer GLAS” (7). Each: 2 1/2 x 4 1/8 x 3 1/2 in. (6.4 x 10.5 x 8.9 cm)
Estimate $ 3 ,0 0 0 - 4,0 0 0
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123 WALTER GROPIUS 1883-1969 Set of six door handles with lock plates, ca. 1922 Nickel-plated metal. Manufactured by S. A. Loevy, Germany. One handle impressed with “Patent” and “Patent Vorst” (30). Each: 4 1/2 x 7 x 3/4 in. (11.4 x 17.8 x 1.9 cm)
Estimate $ 2,0 0 0 - 3 ,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 Stefan Reinke, et al., Design: Made in Germany, Cologne, 2000, p. 21
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124 LUCIE RIE 1902-1995 White vase with áaring lip, 1989 Stoneware, pitted glaze. Impressed with artist’s seal. 12 1/4 in. (31 cm) high
Estimate $12,0 0 0 -16 ,0 0 0 PROVENANCE
Lucie Rie, Albion Mews Studio, London EXHIBITED
“Dame Lucie Rie 1902-1995,” Galerie Besson, London, June 23 - July 23, 1999 “Lucie Rie,” Musée national de Céramique, Sèvres, Paris, March - April 2008 “Hans Coper and Lucie Rie,” 20th Anniversary Exhibition, Galerie Besson, London, July 16 - August 28, 2008 LITERATURE
“Ceramics : A Fragile History,” BBC4, London, October 24, 2011
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125 LUCIE RIE 1902-1995 Tall tapering vase, ca.1964 Stoneware, gray pitted glaze. Impressed with artist’s seal. 16 1/2 in. (41.9 cm) high
Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE
Galerie Besson, London
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126 LUCIE RIE 1902-1995 ‘Knitted’ bowl, ca. 1980 Stoneware, inlaid manganese glaze beneath a white dolomite layer. Impressed with artist’s seal. 8 1/4 in. (21 cm) high, 3 1/2 in (8.9 cm) diameter
Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE
Garth Clark Gallery, London, 1985
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127 HANS COPER 1920-1981 Black form, ca. 1960 Stoneware, black glaze over textured body. Impressed with artist’s seal. 8 1/8 in. (20.6 cm) high
Estimate $ 3 ,0 0 0 - 5 ,0 0 0
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128 LUCIE RIE 1902-1995 Vase with integral spiral, 1978 Porcelain, mixed body material producing an integral green, brown and white spiral beneath the glaze. Impressed with artist’s seal. 11 3/4 in. (29.8 cm) high
Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE
Lucie Rie, Albion Mews Studio, London, 1978
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129 RUTH DUCKWORTH 1919 - 2009 Untitled (cup and blade form), ca. 1990 Porcelain. Incised with “R” and painted with “188990.” 7 in. (17.8 cm) high
Estimate $ 6 ,0 0 0 - 9,0 0 0
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130 DENHAM MACLAREN 1903-1989 Rare low table, ca. 1931 Painted wood, glass. 9 1/8 x 40 1/2 x 16 in. (23.2 x 102.9 x 40.6 cm)
Estimate $ 5 ,0 0 0 -7,0 0 0 PROVENANCE
Sotheby’s, Applied Arts from 1880 including Arts and Crafts, Art Nouvaeu, Art Deco, Art Pottery and Studio Ceramics, London, October 23, 1987, lot 433 Sotheby’s, London, October 19, 1990, lot 433 Phillips de Pury & Company, Design, London, April 30, 2009, lot 14 LITERATURE
For further reading: Harper’s Bazaar, May 1936, pp. 34-35 For further reading: E. Nelson Exton and Frederic Littman, Modern Furniture, London, 1936, p. 36 For further reading: Paul Greenhalgh, “British Modern Furniture Designers,” Antique Collecting, Vol. 26, no. 9, Woodbridge, March 1992, pp. 5-8
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131 TAPIO WIRKKALA 1915–1985 “Rhythmic Plywood” coffee table, ca. 1957 Birch-veneered wood, painted steel. Manufactured by Asko, Finland. Underside branded with “TAPIO WIRKALLA/ ASKO/MADE IN FINLAND.” 16 x 48 3/4 x 24 3/8 in. (40.6 x 123.8 x 61.9 cm)
Estimate $15 ,0 0 0 - 2 0,0 0 0 LITERATURE
Domus, no. 341, April 1958, n.p. for similar examples Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala - eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, pp. 283 and 380 Charlotte and Peter Fiell, eds., Domus Vol. IV 1955-1959, Cologne, 2006, pp. 381-383 for similar examples Judith Gura, Scandinavian Furniture: A Sourcebook of Classic Designs for the 21st Century, London, 2007, p. 39 for a similar example
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132 POUL KJÆRHOLM 1929–1980 Daybed, model no. PK80, ca. 1957 Matte chrome-plated steel, leather, painted plywood, rubber. Manufactured by E. Kold Christensen, Denmark. Frame impressed twice with manufacturer’s mark. 12 x 75 1/4 x 31 1/2 in. (30.5 x 191 x 80 cm)
Estimate $18 ,0 0 0 - 2 2,0 0 0 LITERATURE
Frederik Sieck, Contemporary Danish Furniture Design: A Short Illustrated Review, Copenhagen, 1990, p. 149 Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 1999, pp. 104-105 and 177 Michael Sheridan, Poul Kjærholm: Furniture Architect, exh. cat., Louisiana Museum of Modern Art, exh. cat., Esberg, 2006, pp. 9, 77 and 162-163 Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 104-105
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133 PREBEN FABRICIUS and JØRGEN KASTHOLM 1931-1984, 1938-2007 Pair of folding armchairs, model no. PB 10, ca. 1963 Oak, leather, brass, fabric. Produced by Master Cabinetmaker Paul Bachmann, Denmark (2). Each: 34 in. (86.4 cm) high
Estimate $ 2 0,0 0 0 - 3 0,0 0 0 LITERATURE
Grete Jalk, Dansk Møbelkunst Gennem 40 Aar, Vol. 4, Copenhagen, 1987, pp. 222-223
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134 PAAVO TYNELL 1890-1973 Floor lamp, model no. 10502, ca. 1946 Tubular brass, brass, cane, painted metal, paper. Manufactured by Taito Oy, Finland. 59 1/2 in. (151.1 cm) high
Estimate $ 5 ,0 0 0 -7,0 0 0 LITERATURE
Finland House catalogue, n.d., ref. 10502
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135 HANS WEGNER 1914-2007 “Ox” armchair, model no. 46, ca. 1960 Fabric, leather piping, stainless tubular steel. Manufactured by AP Stolen, Denmark. Underside with metal roundel impressed with “FURNITURE MAKERS/DANISH/CONTROL.” 34 1/2 in. (87.6 cm) high
Estimate $10,0 0 0 -15 ,0 0 0 LITERATURE
Interiors, Vol. CXXIII, no. 4, November 1963, p. 16 Ulf Hård af Segerstad, Modern Scandinavian Furniture, Copenhagen, 1963, p. 89 Johan Møller Nielson, Sitting Pretty: Wegner en Dansk Mobelkunstner, Copenhagen, 1965, pp. 11, 71 and 72 Frederik Sieck, Contemporary Danish Furniture Design: A Short Illustrated Review, Copenhagen, 1990, p. 219 Jens Bernsen, Hans J Wegner: Om Design, Copenhagen, 1995, pp. 19, 23 and 81 for an image and a technical drawing Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 121 Peter and Charlotte Fiell, Scandinavian Design, Cologne, 2002, p. 657 Henrik Sten Møller, Hans J. Wegner, exh. cat., Dansk Møbel Kunst, Copenhagen, 2007, p. 53
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136 BRUNO MATHSSON 1907-1988 Low table, designed 1936 Birch, bent birch plywood. Manufactured by Firma Karl Mathsson, Sweden. Underside branded with manufacturer’s mark “BRUNO MATHSSON/DESIGN/MADE IN SWEDEN” and “FIRMA KARL MATHSSON/MADE IN–VÄRNAMO–SWEDEN.” 11 1/2 x 51 1/4 x 13 3/4 in. (29.2 x 130.2 x 34.9 cm)
Estimate $ 4,0 0 0 - 6 ,0 0 0 LITERATURE
Monica Boman, et. al., Svenska Möbler: 1890-1990, Lund, 1991, p. 177 for the circular examples
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137 PAAVO TYNELL 1890-1973 Two adjustable ceiling lights, model no. 10205, ca. 1948 Perforated brass, painted brass, brass. Manufactured by Taito Oy, Finland (2). Each: variable drop; 8 in. (20.3 cm) diameter
Estimate $12,0 0 0 -18 ,0 0 0 LITERATURE
Finland House catalogue, n.d., ref. 10205
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138 PAAVO TYNELL 1890-1973 Pair of floor lamps, 1950s Tubular brass, brass, cane, painted metal, fabric. Manufactured by Taito Oy, Finland. One lamp impressed with “OY TAITO A.B./9627” (2). Each: 63 3/4 in. (161.9 cm) high
Estimate $12,0 0 0 -18 ,0 0 0
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139 FINN JUHL 1912-1989 Coffee table, ca. 1953 Teak, brass, painted tubular metal. Manufactured by Bovirke, Denmark. Underside branded with manufacturer’s stamp and impressed with “BOVIRKE/MADE IN DENMARK.” 16 1/4 x 44 1/4 x 18 in. (41.3 x 112.4 x 45.7 cm)
Estimate $ 4 ,0 0 0 - 6 ,0 0 0 PROVENANCE
Antik, New York LITERATURE
Esbjørn Hjort, Finn Juhl, Copenhagen, 1990, p. 57 for a similiar table bench Andrew Hollingsworth, Danish Modern, Layton, Utah, 2008, pp. 49 and III for a similar example
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140 ORREFORS Floor lamp, ca. 1950 Glass, tubular chrome-plated metal, brass, paper. Manufactured by Orrefors, Sweden. Underside of base with paper manufacturer’s label “ORREFORS/SWEDEN.” 63 in. (160 cm) high
Estimate $ 3 ,0 0 0 - 5 ,0 0 0
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141 AINO AALTO 1894–1949 Stool, from the Paimio Sanatorium, ca. 1932 Painted tubular metal, painted plywood. Manufactured by O.y. Huonekalu-ja Rakennustyötehdas A.b., Finland. Underside with painted stenciled Paimio no. “V.” 17 1/4 in. (43.8 cm) high, 16 1/2 in. (41.9 cm) diameter
Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE
Paimio Sanatorium, Finland LITERATURE
Aarno Ruusuvuori, ed., Alvar Aalto 1898-1978, Helsinki, 1978, p. 65, fig. 93 Eva B Ottillinger, Alvar Aalto, Møbel: Die Sammlung Kossdorff, Wien, 2002, p. 31, fig. 8 Pirkko Tuukkanen, ed., Alvar Aalto Designer, Vammala, 2002, p. 76; Alvar Aalto: Tuberculosis Sanatorium 1929-1933, Paimio, exh. cat., Museo Jyväskylä, 2004, n.p. Thomas Kellein, Alvar & Aino Aalto Design; Collection Bischofberger, Zurich, 2005, pp. 58 and 61
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142 PAAVO TYNELL 1890-1973 Chandelier, ca. 1948 Tubular brass, brass, meshed brass, frosted glass. Manufactured by Taito Oy, Finland. 49 1/4 in. (125 cm) drop, 29 1/2 in. (75 cm) diameter
Estimate $15 ,0 0 0 - 2 0,0 0 0 LITERATURE
Charlotte and Peter Fiell, Scandinavian Design, Cologne, 2002, p. 627 for a similar example Charlotte and Peter Fiell, eds., 1000 Lights, Vol. I: 1879 to 1959, Cologne, 2005, pp. 396-397 for a similar example
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143 MADELEINE CASTAING 1894–1992 Curved side table, ca. 1970 Lacquered wood. 24 1/2 x 71 1/2 x 24 in. (62.2 x 181.6 x 61 cm)
Estimate $ 2,0 0 0 - 3 ,0 0 0 LITERATURE
Adam Lewis, The Great Lady Decorators: The Women Who Defined Interior Design 1870-1955, New York, 2009, pp. 216-217 Emily Eerdmans, The World of Madeleine Castaing, New York, 2010, pp. 243 and 252-253
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144 MAISON JANSEN Pair of Empire-Style armchairs, ca. 1940 Sycamore, Clarence House “Mikinos” fabric, brass. Produced by Maison Jansen, France (2). Each: 30 3/4 in. (78.1 cm) high
Estimate $7,0 0 0 - 9,0 0 0 LITERATURE
James Archer, Jansen Furniture, New York, 2007, p. 12
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145 PIET HEIN 1905-1996 Pair of “Ursa Major” candelabra, ca. 1953 Brass (2). Each: 20 1/2 in. (52.1 cm) high
Estimate $ 6 ,0 0 0 - 8 ,0 0 0 LITERATURE
Dwell, March 2007, appendix “Star Struck,” Architectural Digest, no. 65, September 2008, p. 96
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146 FRITS HENNINGSEN 1889-1969 Sofa, ca. 1930 Leather, oak-veneered wood, oak, brass. 29 3/4 x 78 x 29 3/8 in. (75.6 x 198.1 x 74.6 cm)
Estimate $ 2 0,0 0 0 - 2 5 ,0 0 0 PROVENANCE
Sotheby’s, Fine 20th Century Design, London, November 9, 2010, lot 27 LITERATURE
Bodil Busk Laurse and Christian Holmsed Olesen, eds., Mesterværker: 100 års dansk mobelsnedkeri, Copenhagen, 2003, p. 39 for a similar example Andrew Hollingsworth, Danish Modern, Layton, 2008, p. 121
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PROPERTY OF A GENTLEMAN
147 PIERRE CHAREAU 1883–1950
Pair of wall lights, model no. LA 271, ca. 1926 Alabaster, iron (2). Each: 5 1/2 x 5 1/2 x 4 in. (14 x 14 x 10.2 cm)
Estimate $ 2 5 ,0 0 0 – 3 5 ,0 0 0 PROVENANCE
Michael Chow, Los Angeles; DeLorenzo Gallery, New York LITERATURE
Marc Vellay, Pierre Chareau, Paris, 1984, pp. 90, 196 and 330
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PROPERTY OF A GENTLEMAN
148 PAUL DUPRÉ-LAFON 1900-1971 Illuminated globe, ca. 1927 Brass, glass, paper. 17 in. (43.2 cm) high, 9 1/2 in. (24.1 cm) diameter
Estimate $16 ,0 0 0 - 2 0,0 0 0 PROVENANCE
Tajan, Paris, May 30, 2002, lot 78 LITERATURE
Thierry Couvrat Desvergnes, Dupré-Lafon: Décorateur des Millionaires, Paris, 1990, p. 103 for a similar example
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149 MAURICE JALLOT 1900-1967 Pair of armchairs, ca. 1935 Fabric, rosewood-veneered wood (2). Each: 34 in (86.4 cm) high
Estimate $12,0 0 0 -18 ,0 0 0 EXHIBITED
Galerie Makassar-France, Paris
150 VICTOR COURTRAY 1896-1987 Coffee table, ca. 1938 Rosewood-veneered wood. 22 x 47 1/2 x 35 5/8 in. (55.9 x 120.7 x 90.5 cm)
Estimate $7,0 0 0 - 9,0 0 0 PROVENANCE
Galerie Makassar-France, Paris
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151 ANDRÉ SORNAY 1902-2000 Occasional table, 1940s Rosewood, mahogany, brass. Underside branded with “FRANCE/SORNAY/BREVETÉ/ETRANGER.” 28 (71.1 cm) high, 33 3/4 in. (85.7 cm) diameter
Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE
Bernd Goeckler Antiques, New York LITERATURE
Thierry Roche, André Sonay 1902 -2000, Lyon, 2002, p. 73 for a detail of brass inlay
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PROPERTY OF AN IMPORTANT COLLECTOR
152 MATALI CRASSET b. 1965 “Diamonds are a Girl’s Best Friend I” large ceiling light, ca. 2009 Paktong, glass, mirrored glass, frosted glass. Produced by Meta, UK in collaboration with Belmont Metals, US, Glaschütte Lamberts, Germany, and Heritage Metalworks, US. Top of frame impressed with makers’ marks and numeral “2.” 69 in. (175.3 cm) drop, 26 in. (66 cm) diameter
Estimate $ 3 0,0 0 0 - 4 0,0 0 0 LITERATURE
The First Collection: Meta, exh. cat., Mallet, London, 2008, pp. 30-39 for similar examples Julie Taraska, “Past Forward,” Metropolis, November 2008, p. 80 “Shortlist: Dark Destroyers,” The World of Interiors, March 2011, p. 37
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153 JEAN ROYÈRE 1902-1981
‘Ribbon’ bed, ca. 1945 Rosewood-veneered wood, goat skin. 32 x 62 x 87 1/2 in. (81.3 x 157.5 x 222.3 cm)
Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE
Neo Senso, France; Private collection, New York LITERATURE
Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 94 for a sketch of a similar example Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 31 for a design sketch of a similar example
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154 JEAN ROYÈRE 1902-1981 Pair of “Bouquet” wall lights, ca. 1948 Painted tubular metal, paper (2). Each: 18 7/8 x 26 3/4 x 14 1/8 in. (48 x 68 x 36 cm )
Estimate $ 3 0,0 0 0 - 4 0,0 0 0 PROVENANCE
Patrick Seguin, Paris; Galerie Jacques Lacoste, Paris LITERATURE
Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 123 for a sketch of a similar example Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, p. 39
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155 GEORGES JOUVE 1910-1964 Table lamp, ca. 1947 Glazed ceramic, chrome-plated metal, fabric. Underside incised with artist’s mark and “Jouve.” 25 1/4 in. (64.1 cm) high
Estimate $12,0 0 0 -15 ,0 0 0 PROVENANCE
Private collection, France LITERATURE
Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, pp. 92 and 113 for a similar vase
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Courtesy Galerie Jacques Lacoste, Paris
Ansóm Fernandini’s private residence, Ancon, Lima, Peru
156 JEAN ROYÈRE 1902-1981 “Quille” table and pair of chairs, ca. 1955 Painted wood (3). Table: 29 3/4 x 37 3/4 x 37 3/4 in. (75.5 x 96 x 96 cm); each chair: 35 1/2 in. (90 cm) high
Estimate $ 2 5 ,0 0 0 - 4 5 ,0 0 0 PROVENANCE
Ansóm Fernandini, Ancon, Lima Galerie Patrick Seguin and Galerie Jacques Lacoste, Paris
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157 SERGE MOUILLE 1922-1988 Set of three “Grosse Moule” ceiling lights, ca. 1955 Painted aluminum, painted tubular metal, brass. Manufactured by Atelier Serge Mouille, France (3). Each: 70 1/2 in. (179.1 cm) drop, 19 1/2 in. (49.5 cm) diameter
Estimate $ 4 0,0 0 0 - 6 0,0 0 0 PROVENANCE
Phillips de Pury & Company, Design and Design Art, New York, December 14, 2006, lot 208 LITERATURE
Pierre Émile Pralus, Serge Mouille: a French Classic, Saint Cyr au Mont d’Or, 2006, p. 81 for the track version
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158 JACQUES and DANI RUELLAND 1926-2008, 1933-2010 Group of six vases, ca. 1960 Glazed earthenware. Underside of each incised with “Ruelland” (6). Tallest: 12 in. (30.5 cm) high
Estimate $ 5 ,0 0 0 -7,0 0 0 LITERATURE
Pierre Staudenmeyer, La Céramique Française des Années 50, Paris, 2001, pp. 284-285 for similar examples
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COLLECTION OF A GENTLEMAN 159 GEORGES JOUVE 1910-1964 Small bowl, 1950s Glazed ceramic. Underside incised with artist’s mark. 2 in. (5.1 cm) high, 4 3/8 in. (11.1 cm) diameter
Estimate $ 2,0 0 0 - 3 ,0 0 0 PROVENANCE
Duinat Antiquities, Saint-Ouen, France LITERATURE
Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 293 for similar examples
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160 JEAN PROUVÉ 1901-1984 “Compas” cafétéria table, model no. 512, ca. 1953 Painted bent sheet metal, laminated wood. Manufactured by Les Ateliers Jean Prouvé, France. 27 3/4 x 45 1/4 in. (70.5 x 114.9 cm)
Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE
Galerie Downtown, Paris Private collection, New York LITERATURE
Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, pp. 73– 75 Jean Prouvé Constructeur 1901–1984, exh. cat., Musée des Beaux-Arts, Paris, 2001, p. 90 for similar examples Peter Sulzer, Jean Prouvé: OEuvre Complète, Volume 3: 1944–1954, Basel, 2005, pp. 268–269 Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, pp. 430–431
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161 JEAN PROUVÉ and CHARLOTTE PERRIAND 1901-1984, 1903-1999 Large “Afrique” room divider, from the Air France building, Brazzaville, Congo, ca. 1952 Painted bent steel, mahogany. Manufactured by Les Ateliers Jean Prouvé, France. 111 x 99 1/4 x 9 1/4 in. (282 x 252 x 23.5 cm)
Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE
Air France building, Brazzaville, Congo; Galerie Patrick Seguin, Paris, France EXHIBITED
“Jean Prouvé,” Sonnabend Gallery, New York, February 22 - March 22, 2003 LITERATURE
Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, p. 223 for a similar example in Jean Prouvé’s home Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, p. 488
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162 GEORGES JOUVE 1910-1964 Vide poche, 1950s Glazed ceramic. Underside incised with artist’s mark and “JOUVE.” 3 x 5 x 7 in. (7.6 x 12.7 x 17.8 cm)
Estimate $ 2, 5 0 0 - 3 , 5 0 0 PROVENANCE
Jousse Entreprise, Paris LITERATURE
Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 302 for a sketch of a similar example
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163 SERGE MOUILLE 1922-1988 “Cocotte” desk lamp, ca. 1957 Painted aluminum, painted tubular metal, brass. Manufactured by Atelier Serge Mouille, France. Editioned by Galerie Steph Simon, France. 14 in. (35.6 cm) high
Estimate $10,0 0 0 -12,0 0 0 LITERATURE
Alan and Christine Counord, Serge Mouille, Luminaires, 1953-1962, Paris, 1983, pp. 28 and 41 Anthony Delorenzo, ed., Jean Prouvé/Serge Mouille, New York, 1985, pp. 130 and 132 Pierre Émile Pralus, Serge Mouille a French Classic, Saint Cyr au Mont d’Or, 2006, pp. 89 and 206
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164 JEAN PROUVÉ 1901-1984 “Compas” desk, from the Cité Internationale Universitaire, Antony, ca. 1955 Painted tubular steel, painted bent sheet steel, plastic laminate-covered wood, oak. Manufactured by Les Ateliers Jean Prouvé, France and editioned by Steph Simon, France. 28 3/4 x 55 1/8 x 25 7/8 in. (73 x 140 x 66 cm)
Estimate $7,0 0 0 -12,0 0 0 PROVENANCE
Cité Internationale Universitaire, Antony, France LITERATURE
Anthony DeLorenzo, ed., Jean Prouvé/ Serge Mouille, New York, 1985, p. 65 Peter Sulzer, Jean Prouvé: Œuvre Compléte, Volume 3: 1944-1954, Basel, 2005, p. 264, fig. 1242.1 for a drawing and pp. 266-267 for similar examples Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, pp. 351-52 for a drawing and similar example
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165 GEORGES JOUVE 1910-1964 Pair of “Papillon” wall lights, ca. 1956 Glazed ceramic, painted metal, fabric. One incised with artist’s mark and “Jouve” (2). Each: 21 x 12 1/4 x 7 in. (53.3 x 31.1 x 17.8 cm), including shade
Estimate $ 2 0,0 0 0 - 2 5 ,0 0 0 PROVENANCE
Phillips de Pury & Company, Design and Design Art, New York, December 14, 2006, lot 99 LITERATURE
Philippe Jousse and Galerie Jousse Enterprise, Georges Jouve, Paris, 2005, p. 288
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166 PIERRE JEANNERET 1896-1967 Stool, 1950s Oak, painted metal. Underside stenciled with “E” and indecipherable text. 30 in. (76.2 cm) high
Estimate $ 2,0 0 0 - 3 ,0 0 0 PROVENANCE
DeLorenzo 1950, New York LITERATURE
Eric Touchaleaume and Gerald Mureau, Le Corbusier, Pierre Jeanneret: The Indian Adventure - Design - Art - Architecture, Paris, 2010, p. 560 for similar examples
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167 LE CORBUSIER 1887-1965
168 CHARLOTTE PERRIAND 1903-1999
Blackboard, from la Maison du Brésil, Cité Internationale Universitaire de Paris,
Table with articulated joints, from Cité Cansado, Cansado, Mauritania, 1958
1956-1959
Lacquered steel, plastic laminate-covered wood, rubber.
Oak, painted cork.
75 x 140 x 80 in. (190.5 x 355.6 x 203.2 cm)
27 1/2 x 55 x 4 1/2 in. (69.9 x 139.7 x 11.4 cm)
Estimate $ 3 ,0 0 0 - 6 ,0 0 0 PROVENANCE
Estimate $ 6 , 0 0 0 -10, 0 0 0 PROVENANCE
Cité Cansado, Cansado, Mauritania
Maison du Brésil, Cité Internationale Universitaire de Paris, France LITERATURE
Françoise Choay, “Vous montre le Pavillon du Brésil que Le Corbusier vient d’achever à la Cité Universitaire de Paris”, L’Oeil, September 1959, pp. 54-59 W. Boesiger, ed., Le Corbusier et son atelier 35 rue de Sèvres, Œuvre Complète 1957-1965, New York, 1990, pp. 192-99 Elisabeth Vedrenne, Le Corbusier: Mémoire de Style, Paris, 1998, pp. 66-67 “Le Corbu à La Cité U.”, L’Oeil, November 1998, pp. 70-75 Elisabeth Vedrenne, Le Corbusier, Paris, 1999, pp. 66-67
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169 JACQUES and DANI RUELLAND 1926-2008, 1933-2010 “Snow trap” vase, ca. 1960 Glazed earthenware. Underside incised with “Ruelland.”
8 in. (20.3 cm) high
Estimate $ 3 ,0 0 0 - 4,0 0 0 LITERATURE
Pierre Staudenmeyer, La Céramique Française des Années 50, Paris, 2001, p. 282 for a similar example
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170 CHARLOTTE PERRIAND 1903-1999 Bench, from Cité Cansado, Mauritania, ca. 1958 Painted metal, oak. Editioned by Steph Simon, France. 9 1/2 x 74 5/8 x 27 1/2 in. (24 x 198.5 x 70 cm)
Estimate $ 6 ,0 0 0 -10,0 0 0 PROVENANCE
Cité Cansado, Cansado, Mauritania LITERATURE
Jacques Barsac, Charlotte Perriand-Un Art d’Habiter, Paris, 2005, pp. 403 and 430 for similar examples
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171 JACQUES and DANI RUELLAND 1926-2008, 1933-2010 Table lamp, ca. 1960 Glazed earthenware, paper. Underside incised with “Ruelland.” 18 in. (45.7 cm) high, including shade
Estimate $ 6 ,0 0 0 - 9,0 0 0 LITERATURE
Pierre Staudenmeyer, La Céramique Française des Années 50, Paris, 2001, p. 282 for a similar example
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172 JEAN PROUVÉ 1901-1984 “Compas” desk, ca. 1953 Painted bent steel, oak. Manufactured by Les Ateliers Jean Prouvé, France Editioned by Steph Simon, France. 28 7/8 x 47 1/4 x 19 1/2 in. (73.3 x 120 x 49.5 cm)
Estimate $14,0 0 0 -18 ,0 0 0 PROVENANCE
Galeries Jousse Seguin, Paris; Richard Kern, New York LITERATURE
Anthony Delorenzo, ed., Jean Prouvé/ Serge Mouille, New York, 1985, p. 65 Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris, 1998, p. 103 Peter Sulzer, Jean Prouvé: Œuvre Compléte, Volume 3: 1944-1954, Basel, 2005, p. 264, fig. 1242.1 for a drawing and pp. 266-67 for similar examples Galerie Patrick Seguin, Jean Prouvé, Volume 2, Paris, 2007, pp. 351-52 for a drawing and similar example
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173 SERGE MOUILLE 1922-1988 “Antony” wall light, from the Cité International Universitaire, Antony, 1954 Painted aluminum, painted tubular aluminum, brass. Manufactured by Atelier Serge Mouille, France. 15 3/4 x 11 3/4 x 14 7/8 in. (40 x 30 x 38 cm)
Estimate $ 4,0 0 0 -7,0 0 0 PROVENANCE
Cité International Universitaire, Antony, France LITERATURE
Anthony DeLorenzo, ed., Jean Prouvé / Serge Mouille, New York, 1985, p. 133; Pierre Émile Pralus, Serge Mouille: a French Classic, Saint Cyr au Mont d’Or, 2006, p. 91, and pp. 168–169
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174 CHARLOTTE PERRIAND 1903-1999 Rare and large ‘Bahut’ sideboard, ca. 1960 Oak, oak-veneered wood, painted metal, plastic. Editioned by Galerie Steph Simon, France. Each drawer molded with “MODELE CHARLOTTE PERRIAND/BREVETE S.G.D.G.” 34 5/8 x 122 7/8 x 18 1/8 in. (88 x 312 x 46 cm)
Estimate $ 3 5 , 0 0 0 - 5 0,0 0 0 PROVENANCE
Private Collection, Genes, France LITERATURE
Jacques Barsac, Charlotte Perriand: Un Art D’Habiter, 1903–1959, Paris, 2005, pp. 440–441 for similar examples
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COLLECTION OF A GENTLEMAN
175 GEORGES JOUVE 1910-1964 “Apollo” vase, ca. 1948 Glazed ceramic. Underside incised with “Apollo.” 11 3/4 in. (29.8 cm) high, 7 1/2 in. (19.1 cm) diameter
Estimate $ 2 5 ,0 0 0 - 3 5 ,0 0 0 PROVENANCE
Christie’s, Paris, November 30, 2006. lot 19 LITERATURE
Michel Far, “Georges Jouve,” Art et Industrie, Paris, 1965, p. 44 for a sketch of a similar vase Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris, 2005, p. 300 for a sketch of the design
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176 LINE VAUTRIN 1913-1997 Mirror, ca. 1955 Mirrored glass, talosel resin, colored glass. Reverse incised with “LINE VAUTRIN • XII.” 15 1/2 in. (39.4 cm) diameter
Estimate $18 ,0 0 0 - 24 ,0 0 0 LITERATURE
G. Brunon-Guardia, Jean Royére, Art et Décoration, n.d., p. 180 Line Vautrin and Patrick Mauriès, Line Vautrin Bijoux et Objects, London, 1992, p. 83 for a similar example Patrick Mauriès, Line Vautrin: Miroirs, exh. cat., Galerie Chastel Maréchal, Paris, 2004, pp. 21 and 40 for similar examples
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177 JEAN BESNARD 1889-1958 Table lamp, ca. 1935 Glazed and enameled ceramic, paper. Underside incised with “Jean Besnard FRANCE.” 43 in. (109.2 cm) high, including fully extended shade
Estimate $12,0 0 0 -15 ,0 0 0 EXHIBITED
Private collection, Paris
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COLLECTION OF A GENTLEMAN
178 JEAN ROYÈRE 1902-1981 Chenets, 1940s Iron. 7 3/4 x 23 5/8 x 18 in. (19.7 x 60 x 45.7 cm)
Estimate $12,0 0 0 -18 ,0 0 0 PROVENANCE
Art Works SARL, Paris LITERATURE
G. Brunon-Guardia, Jean Royére, Art et Décoration, n.d., p. 180
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179 PHILLIP LLOYD POWELL and PAUL EVANS 1919-2008, 1931-1987 Wall-mounted cabinet, ca. 1962 Walnut, bronze, fabric. 54 x 30 x 19 1/4 in. (137.2 x 76.2 x 49 cm)
Estimate $ 3 0,0 0 0 - 4 0,0 0 0 PROVENANCE
Sollo Rago, Lambertville, New Jersey, October 27, 2007, lot 250 LITERATURE
Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, pp. 93-94, 102-103 and 107 for similar examples of the metalwork and p. 101 for a similar cabinet
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180 JENNIFER LEE b. 1956 “Pale speckled bands” vessel, ca. 1985 Stoneware integral body color, cream and ochre with manganese speckles. 7 1/8 (18.2 cm) high, 8 7/8 in. (22.5 cm) diameter
Estimate $ 4,0 0 0 - 6 ,0 0 0 PROVENANCE
Collection of Professor John Ball, London
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181 VLADIMIR TSIVIN b. 1949 “Two Muses,” 1990 Stoneware Impressed with “M8.90 CARDIFF.” 18 1/2 in. (47 cm) high
Estimate $ 6 ,0 0 0 - 9,0 0 0 PROVENANCE
Private collection, UK EXHIBITED
“Vladimir Tsivin,” Galerie Besson, October-November 1990
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182 BEATRICE WOOD 1893-1998 “Bird Vessel B958,” 1989 Earthenware, luster glazes. Hand-painted with “BEATO/8158.” 9 1/2 x 9 3/4 x 5 in. (24.1 x 24.8 x 12.7 cm)
Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE
Garth Clark Gallery, New York, 1989 EXHIBITED
“Beatrice Wood: A Centennial Exhibit,” American Craft Museum, New York, March 3, 1997 - June 6, 1997 and Santa Barbara Museum of Art, California, September 13, 1997 -
January 4, 1998 LITERATURE
Beatrice Wood: A Centennial Exhibit, exh. cat., American Craft Museum, New York, 1997, illustrated n.p.
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183 VLADIMIR KAGAN b. 1927 “Contour� lounge chair and ottoman, designed ca. 1954 Walnut, fabric. Manufactured by Kagan-Dreyfuss, USA (2). Chair: 33 in. (83.8 cm) high; ottoman: 13 1/2 x 21 x 22 3/4 in. (34.3 x 53.3 x 57.8 cm)
Estimate $7,0 0 0 - 9,0 0 0 LITERATURE
Vladimir Kagan, The Complete Kagan: A Lifetime of Avant-Garde Design, New York, 2004, pp. 121 for a similar example of the armchair and p. 122 for the ottoman Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, pp. 112, 117 and 122 for similar examples
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184 GEORGE NAKASHIMA 1905-1990 “Minguren I” coffee table, 1981 American black walnut, one East Indian rosewood butterfly key. Underside signed in black marker with “George Nakashima Sept 1981” and “Townsend.” Together with a copy of the original order card and a letter of authenticity from Mira Nakashima. 13 x 42 x 21 1/4 in. (33 x 106.7 x 54 cm)
Estimate $ 2 5 ,0 0 0 - 3 5 ,0 0 0 PROVENANCE
Penny Townsend, Towson, Maryland LITERATURE
Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima, New York, 2003, p. 200 for a similar example
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185 PHILLIP LLOYD POWELL 1919-2008 Pole lamp, 1960s Walnut, paper. 95 7/8 in. (243.8 cm) high
Estimate $ 5 ,0 0 0 -7,0 0 0 PROVENANCE
Sollo Rago, Lambertville, New Jersey, October 27, 2007, lot 257A LITERATURE
Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, pp. 106-107 for similar pole carvings
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186 SAMUEL MARX 1885-1964 Set of four side chairs, ca. 1950 Ash, acrylic, printed vinyl (4). Each: 31 1/4 in. (79.4 cm) high
Estimate $7,0 0 0 - 9,0 0 0 LITERATURE
Liz O’Brien, Ultra Modern: Samuel Marx Architect, Designer, Art Collector, 2007, pp. 86 and 200 for similar examples
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PROPERTY OF AN IMPORTANT COLLECTOR
187 VLADIMIR KAGAN b. 1927 “Tri-Symmetric” stool, model no. 504, ca. 1955 Aluminum, vinyl. Manufactured by Kagan-Dreyfuss, USA. 14 in. (35.6 cm) high
Estimate $ 4 ,0 0 0 - 6 ,0 0 0 PROVENANCE
Michael and Gabrielle Boyd, Santa Monica Phillips de Pury & Company, Design, New York, June 7, 2006, lot 76 Phillips de Pury & Company, Design, New York, June 3, 2009, lot 14 EXHIBITED
“Sitting on the Edge: Modernist Design from the Collection of Michael and Gabrielle Boyd,” San Francisco Museum of Modern Art, November 20, 1998 – February 23, 1999 LITERATURE
Paola Antonelli, et al., Sitting on the Edge: Modernist Design from the Collection of Michael and Gabrielle Boyd, exh. cat., San Francisco Museum of Modern Art, 1998, illustrated pl. 82 Vladimir Kagan, The Complete Kagan: Vladimir Kagan: a Lifetime of Avant-garde Design, New York, 2004, p. 133 Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, p. 122
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188 T.H. ROBSJOHN-GIBBINGS 1905-1976 “Mesa” table, ca. 1952 Mahogany-veneered wood. Manufactured by Widdicomb Furniture Company, USA. 21 1/2 x 73 1/4 x 47 1/4 in. (54.6 x 186.1 x 120 cm)
Estimate $ 3 0,0 0 0 - 4 0,0 0 0 PROVENANCE
Galerie Eric Philippe, France LITERATURE
Charlotte and Peter Fiell, 50s Decorative Art, Cologne, 2000, p. 126; Leslie Piña, Fifties Furniture, Atglen, 2000, p. 130 Alexander Payne and James Zemaitis, The Coffee Table Coffee Table Book, London/New York, 2003, p. 99, fig. 60 Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, pp. 200-201 Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008, pp. 200-201
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PROPERTY OF AN IMPORTANT COLLECTOR
189 VLADIMIR KAGAN b. 1927 “Tri-Symmetric” side chair, model no. 500, ca. 1960 Aluminum, leather. Manufactured by Kagan-Dreyfuss, USA. 30 in. (76.2 cm) high
Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE
Phillips de Pury & Company, Design, New York, June 3, 2009, lot 13 LITERATURE
Vladimir Kagan, The Complete Kagan: Vladimir Kagan: a Lifetime of Avant-garde Design, New York, 2004, pp. 132-133
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190 WENDELL CASTLE b. 1932 Mirror, ca. 1970 Laminated walnut, mirrored glass. 16 1.4 x 14 3/4 x 4 5/8 in. (44.2 x 37.5 x 11.7 cm)
Estimate $7,0 0 0 - 9,0 0 0
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PROPERTY OF A NEW YORK COLLECTOR
191 GAETANO PESCE b. 1939 Executive Desk for TBWA/Chiat/Day New York, ca. 1994 Resin, steel, rubber. 51 1/2 x 64 1/2 x 42 1/8 in. (130.8 x 163.8 x 107 cm)
Estimate $ 4,0 0 0 - 6 ,0 0 0 PROVENANCE
TBWA/Chiat/Day, New York LITERATURE
Marisa Bartolucci, Gaetano Pesce, San Francisco, 2003, p. 84 Bernard Leupen, RenĂŠ Heijne and Jasper van Zwol, eds., Time Based Architecture, Rotterdam, 2006, p. 147
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192 YONEL LEBOVICI 1937-1998 “Maxi” light, ca. 1978 Molded polystyrene, aluminum. From the edition of 20. 25 3/8 x 17 1/2 x 8 1/2 in. (64.5 x 44.5 x 21.6 cm)
Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE
Marie & Cyril Grizot EXHIBITED
“The Collection of Marie & Cyril Grizot,” Maison Gerard, New York, 2007 LITERATURE
Michèle Chartier, Yonel Lebovici, Sculpteur de haut niveau, Paris, 1995, p.84, fig. 41 Delphine and Yorane Lebovici, Yonel Lebovici: 1937-1998, exh. cat., Paris, 2003, pp. 92-93
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193 VERNER PANTON 1926-1998 “Diamond Pyramid” mirror, model no. 570039, ca. 1974 Mirrored glass, painted wood. Manufactured by Beylerian, USA. 32 3/4 x 32 3/4 x 8 1/2 in. (83.2 x 83.2 x 21.6 cm)
Estimate $ 3 ,0 0 0 - 5 ,0 0 0 LITERATURE
Beylerian sales catalogue, n.p. Alexander von Vegesack and Mathias Remmele, eds., Verner Panton: The Collected Works, Weil am Rhein, 2000, p. 303
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194 VERNER PANTON 1926-1998 Ceiling light, model no. SP2, ca. 1969 Plastic, nylon. 56 in. (142.2 cm) drop, 19 1/2 in. (49.5 cm) diameter
Estimate $ 5 ,0 0 0 -7,0 0 0 LITERATURE
Alexander von Vegesack and Mathias Remmele, eds., Verner Panton: The Collected Works, Weil am Rhein, 2000, pp. 62, 118-119, 122, 185, 187, 195 and 292 for similar examples in the same series
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195 ROBERT VENTURI b. 1925 “Sheraton Chair,” 1985 Screen-printed laminated plywood, leather. Produced by Knoll International, USA. Underside with three manufacturer’s labels, one with “Knoll International / 655 Madison Avenue / New York, N.Y. 10022” and another with client order information, dated “DEC 09 1985.” 33 1/4 in. (84.5 cm) high
Estimate $ 4 ,0 0 0 - 5 ,0 0 0 PROVENANCE
Betty Asher, Los Angeles, 1985 LITERATURE
Kathryn B. Hiesinger and George H. Marcus, Landmarks of Twentieth-Century Design: An Illustrated Handbook, New York, 1993, p. 296 Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997, p. 549 David Bruce Brownlee, Out of Ordinary: Robert Venturi: Denise Scott Brown and Associates: Architecture, Urbanism, Design, Philadelphia Museum of Art, 2001, p. 206
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196 MARCELLO PIETRANTONI and ROBERTO LUCCI b. 1934, b. 1942 “Nuvola” ceiling light, ca. 1966 Perspex, painted metal. Manufactured by Stilnovo, Italy. Interior with applied label with “STILNOVO/MILANO ITALY.” 11 7/8 x 57 x 29 in. (30.2 x 144.8 x 73.7 cm)
Estimate $ 3 ,0 0 0 - 5 ,0 0 0 LITERATURE
Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 2: 1960 to Present, Cologne, 2005, p. 94
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197 EDMUND DE WAAL b. 1964 Two dishes, 2002 Porcelain, white glaze over impressed inventory marks (2). Larger: 3 3/4 in. (9.5 cm) high, 10 5/8 in. (27 cm) diameter
Estimate $ 4 ,0 0 0 - 6 ,0 0 0 LITERATURE
Jorunn Weitberg and Helen Waters, Edmund de Waal at Kettle’s Yard, exh. cat., Cambridge, 2007, for similar examples throughout
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198 OSCAR NIEMEYER b. 1907 “Aran” lounge chair, ca. 1970 Leather, steel, plastic. 28 x 28 x 41 in. (71.1 x 71.1 x 104.1 cm)
Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE
DeLorenzo 1950, New York LITERATURE
Charlotte and Peter Fiell, eds., Domus Vol. VIII 1975-1979, Cologne, 2006, p. 92 for similar examples Alan Hess, Oscar Niemeyer Houses, New York, 2006, pp. 132-133 for similar examples
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199 SCOTT BURTON 1939-1989 “Arch-Plate Table,” designed 1988, executed ca. 2005 Patinated steel. Number two from the editon of five. Executed by the Scott Burton Estate, New York. 28 1/4 x 54 3/4 x 22 1/4 in. (71.8 x 139.1 x 56.5 cm)
Estimate $ 6 0,0 0 0 -70,0 0 0 LITERATURE
Jill Svetska, Scott Burton: Skulpturen/Sculptures 1980-89, exh. cat., Kunstverein für die Rheinlande und Westfalen, Düsseldorf, 1989, pp. 24-25 Scott Burton, exh. cat., Kunstverein für die Rheinland und Westfalen Düsseldorf, March 3-April 6, 1989, pp. 24-25 Ana Maria Torres, Scott Burton, exh. cat., Instituto Valencia d’Art Modern, Valencia, 2004, p. 213 Barbara Bloemink and Joseph Cunningham, Design ≠ Art, Functional Objects from Donald Judd to Rachel Whiteread, exh. cat., Cooper-Hewitt National Design Museum, New York, 2004, p. 59, fig. 53
This design was exhibited at Kunstverein für die Rheinlande und Westfalen, Düsseldorf for the “Scott Burton: Skulpturen/Sculptures 1980-1989” show in 1989
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200 DAVID TRUBRIDGE b. 1951 “Body Raft,” ca. 2000 Steam-bent American white ash, Australian hoop pine plywood. Produced by David Trubridge Design, New Zealand. Interior of base impressed with artist’s mark. From a production of approximately 30 examples. 29 3/4 x 34 x 100 in. (75.6 x 86.4 x 254 cm)
Estimate $7,0 0 0 - 9,0 0 0 PROVENANCE
Phillips de Pury & Company, Design, New York, December 14, 2006, lot 259 LITERATURE
“NZ furniture designer hits the big time,” The Dominion, May 17, 2001, p. 7 Julia Richardson, “Easy Riders,” Australian Magazine, August 16, 2003, p. 42
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201 ROY MCMAKIN b. 1956 Custom dinning table and set of eight chairs, 2005 Table: ebonized white oak; chairs: ebonized white oak, painted eastern maple, metal, fabric, embroidered fabric. Produced by Domestic Furniture Company, USA. Underside of six chairs with fabric labels with “DOMESTIC/FURNITURE/COMPANY,” underside of one chair stamped with “DOMESTIC/BIG LEAF MANUFACTURING/ORCHARD ST SEATTLE” and signed and dated in pen “WALCØLD/ 2 - 21 - ‘05/A.T. ___”, underside of one chair branded with “DOMESTIC/BIG LEAF MANUFACTURING/ORCHARD ST SEATTLE” and signed and dated in pen “WALCØlC/2 - 22 - ‘05/A.T. ___.” Table: 29 3/4 x 104 x 44 in. (75.6 x 375.9 cm); chairs variable, tallest: 38 1/2 in. (97.8 cm) high
Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE
Acquired directly from the artist LITERATURE
Roy McMakin, The Art of Roy McMakin: When is a Chair Not a Chair?, New York, 2010, illustrated pp. 138-139 and bibliography selection
Phillips de Pury & Company would like to thank Roy McMakin and Seth Tucker at McMakin Studio for their assistance in cataloguing this lot.
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202 AMANDA LEVETE and FUTURE SYSTEMS b. 1959 Prototype “H-K” table, 2006 Hand-layered fiberglass, stainless steel. Produced by Future Systems, UK. From a production of two. 28 1/8 x 156 x 52 in. (71.4 x 396.2 x 132.1 cm)
Estimate $10 0,0 0 0 -15 0,0 0 0 PROVENANCE
Phillips de Pury & Company, Design and Design Art, New York, Thursday, December 14, 2006, lot 271 LITERATURE
Deyan Sudjic, Future Systems, London, 2006, illustrated pp. 50-51
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203 MATHIAS BENGTSSON b. 1971 “Slice” armchair, ca. 1999 Laser-cut aluminum. Number ten from the edition of 20. Underside of top layer signed and numbered in black ink with “Mathias Bengtsson 10 / 20. 30 1/4 in. (76.8 cm) high
Estimate $ 2 0,0 0 0 - 3 0,0 0 0 LITERATURE
Anders Hammarstrand, Mathias Bengtsson, ex. cat., Röhsska Museet, Gothenburg, 2005, pp. 4-5, 18-19, and 20-21 for individual “slices” Sophie Lovell, Furnish: Furniture and Interior Design for the 21st Century, Berlin, 2007, p. 211 for the version in wood Robert Klanten, et al., Desire: The Shape of Things to Come, Berlin, 2008, p. 115, fig. 5
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204 RICHARD DEVORE 1933-2006 “Vessel #R-236,” 1980 Stoneware, layered glazes. Inscribed with “583.” 16 1/4 in. (41.3 cm) high, 10 1/2 in. (26.7 cm) diameter
Estimate $14,0 0 0 -18 ,0 0 0 PROVENANCE
Exhibit A, Chicago, 1980
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205 ANGELO MANGIAROTTI b. 1921 Center table, ca. 1959 Onyx, turned bronze. Manufactured by Bernini, Italy. 28 in. (71.1 cm) high, 47 in. (119.4 cm) diameter
Estimate $ 2 0,0 0 0 - 3 0,0 0 0 LITERATURE
Domus, November 1963, p. 42 for similar examples 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 Charlotte and Peter Fiell, eds., Domus Vol. V 1960-1964, Cologne, 2006, pp. 430-431 Ugo Alfano Casati, ed., Angelo Mangiarotti: Matter and Sense, Chicago, 2007, np. for similar examples
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206 GIO PONTI 1891-1979 Ceiling light, ca. 1955 Opaque glass, brass, painted brass, painted metal. Together with a certiďŹ cate of authenticity from the Gio Ponti Archives. 6 in. (15.2 cm) drop, 46 in (116.8 cm) diameter
Estimate $12,0 0 0 -18 ,0 0 0
The present model is also installed in the entrance hall of the Quadri Luminosi in Palazzo Ponti, Via SpreaďŹ co Monza.
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207 GIO PONTI 1891-1979 Ceiling light, ca. 1955 Opaque glass, brass, painted brass, painted metal. Together with a certiďŹ cate of authenticity from the Gio Ponti Archives. 6 in. (15.2 cm) drop, 46 in. (116.8 cm) diameter
Estimate $12,0 0 0 -18 ,0 0 0
The present model is also installed in the entrance hall of the Quadri Luminosi in Palazzo Ponti, Via SpreaďŹ co Monza.
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208 PAOLO PORTOGHESI b. 1931 Floor lamp, ca. 1972 Painted bent wood, painted metal. 69 1/2 in. (176.5 cm) high
Estimate $ 5 ,0 0 0 -7,0 0 0 PROVENANCE
Casa Corrias, Campagnano, Italy LITERATURE
Mario Pisani, Paolo Portoghesi, Milan, 1992, p. 85 for a similar stool example Petra Bernitsa and Maria Ercadi, eds., Paolo Portoghesi, Milan, 2006, p. 79 for a similar stool example
The present lot is one of eight examples executed for the Casa Corrias, Campagnano.
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209 OSVALDO BORSANI 1911-1985 Center table, 1950s Rosewood-veneered wood, marble. 30 3/8 in. (77.2 cm) high, 51 1/8 in. (129.9 cm) diameter
Estimate $10,0 0 0 -15 ,0 0 0
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210 GIO PONTI 1891-1979 Monumental “Gran Rosso” vase, ca. 1929 Glazed ceramic. Produced by Richard Ginori, Italy. Underside with remnant of paper label with “Richard / Ginori / 1277” and painted with “MADE IN ITALY.” 20 3/4 in. (52.7 cm) high, 13 1/2 in. (34.3 cm) diameter
Estimate $7,0 0 0 - 9,0 0 0 EXHIBITED
Table Normal “Espressioni di Gio Ponti,” Triennale, Milan, May 6–July 24, 2011 LITERATURE
Loris Manna, Gio Ponti: Le Maioliche, Milan, 2000, p. 39
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211 GIO PONTI 1891-1979 Desk, model no. AP1025, ca. 1954 Walnut, walnut-veneered wood, brass. 33 5/8 x 70 x 27 1/4 in. (85.4 x 177.8 x 69.2 cm)
Estimate $ 5 0,0 0 0 -70,0 0 0 LITERATURE
L. L. Ponti, Gio Ponti, London, 1990, p. 164 Ugo La Pietra, Gio Ponti, New York, 1995, p. 182 for similar examples M. Romanelli, Gio Ponti: A World, Milan, 2002, p. 67 for similar examples
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212 GIO PONTI 1891-1979 Rare “Quadro luminoso” wall light, ca. 1950s Brass, painted metal, painted wood, earthenware. Light manufactured by Greco, Italy. Figure manufactured by Gabbianelli, Italy. Interior of figure painted with “P.3.V.” Together with a certificate of authenticity from the Gio Ponti Archives. 3 x 23 3/4 x 13 in. (7.6 x 60.3 x 33 cm)
Estimate $18 ,0 0 0 – 24 ,0 0 0 PROVENANCE
Private collection, London LITERATURE
Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923–1978, London, 1990, p. 166 for similar examples Ugo La Pietra, ed., Gio Ponti: L’Arte Si Innamora Dell’Industria, New York, 2009, 174, 252–253 for similar examples and pp. 178–179 for detailed photographs of similar figurines Germano Celant, ed., Espressioni di Gio Ponti, exh. cat., Triennale, Milan, 2011, p. 104, fig. 160 for a similar example
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213 GIO PONTI 1891-1979 Pair of wall lights, model no. 12661, ca. 1957 Painted metal, brass. Manufactured by Arredoluce, Italy. Reverse of each with paper label with “MADE IN ITALY/ARREDOLUCE MONZA” and with paper label with “Gio Ponti Archives/09001/131.” Together with a certificate of authenticity from the Gio Ponti Archives (2). Each:12 1/2 x 15 3/4 x 5 in. (31.8 x 40 x 12.7 cm)
Estimate $12,0 0 0 -18 ,0 0 0 LITERATURE
“Rich Ticket Office,” Forum, March 1959, p. 119 Lisa Licitra Ponti, Gio Ponti: The Complete Work, 1923-1978, Cambridge, 1990, pp. 178 and 217 Alberto Bassi, “Arredoluce: Quando Milano era la luce: Sottsass, Vigo, Castiglioni, Ponti,” Casabella, September 2002, p. 83 Michele Porcu and Attilio Stocchi, Gio Ponti: tre ville inventate: Planchart, Arreaza, Nemazee, Milan, 2003, pp. 97-98 Laura Falconi, Gio Ponti: Interni, Oggetti, Disegni 1920-1976, Milan, 2004, p. 248 Gio Ponti, oggetti di design 1925-1970, exh. cat., Galleria Babuino Novecento, Rome, 2007, p. 67 Bernd Polster, Claudia Neumann and Markus Schüler, et al., AZ Design, Milan, 2008, p. 404, fig. 5
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214 OSVALDO BORSANI 1911-1985 Desk, ca. 1956 Mahogany, mahogany-veneered wood, brass. 30 1/4 x 82 3/8 x 33 1/2 in. (76.8 x 209.2 x 85.1 cm)
Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE
Phillips de Pury & Company, 20–21st-Century Design, New York, December 8, 2005, lot 97 LITERATURE
Gramigna Irace, Osvaldo Borsani, Milan, 1998, p. 283
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215 VISTOSI Set of six pendants, ca. 1960 Colored glass, brass, painted metal. Produced by Vistosi, Italy (6). Each: variable drop, 6 in. (15.2 cm) diameter
Estimate $ 2,0 0 0 - 3 ,0 0 0
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216 GIO PONTI 1891-1979 Set of ten “Africa” dining chairs, from the first class dining room of the “Oceania” ocean liner, ca. 1951 Stained ash, fabric, brass. Manufactured by Cassina, Italy. Together with a certificate of authenticity from the Gio Ponti Archives (10). Each: 33 1/8 in. (84 cm) high
Estimate $ 2 0,0 0 0 - 2 5 ,0 0 0 PROVENANCE
“Oceania” ocean liner, Italy EXHIBITED
One dining chair from the present lot was exhibited in “Espressioni di Gio Ponti,” Triennale, Milan, May 6–July 24, 2011 LITERATURE
Marco Romanelli, Gio Ponti: A World, Milan, 2002, p. 90 Paolo Piccione, Gio Ponti: II Progetto Degli Interni Navali, 1948-1953, Milan, 2007, pp. 120-121 and 126-129 Ugo La Pietra, ed, Gio Ponti: L’arte si innamora dell’industria, New York, 2009, pp. 224-25, figs. 463-65 Germano Celant, ed., Espressioni di Gio Ponti, exh. cat., Triennale, Milan, 2011, p. 51 fig. 80 and p. 105, fig. 161 Daria Guarnati, ed., “Espressioni di Gio Ponti,” Aria D’Italia VIII, Milan, 2011, pp. 75 and 82
06_DESIGN_NY_Dec11_156-213_v2.indd 166
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217 GIO PONTI 1891-1979 Console, ca. 1955 Walnut-veneered plywood, walnut-veneered wood, wood. Manufactured by Giordano Chiesa, Italy. Together with a certificate of authenticity from the Gio Ponti Archives. 33 1/2 x 50 1/4 x 14 1/4 in. (85.1 x 127.6 x 36.2 cm)
Estimate $10,0 0 0 -15 ,0 0 0 LITERATURE
Laura Falconi, Gio Ponti: Interior, Objects, Drawings, 1920-1976, Milan, 2010, p. 244 for a similar example Daria Guarnati, ed., “Espressioni di Gio Ponti,” Aria D’Italia VIII, Milan, 2011, p. 74 for a similar example
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218 GIO PONTI 1891-1979 Pair of wall lights, model no. 575, ca. 1960 Brass, tubular brass, painted metal. Manufactured by Lumi, Italy. Reverse of each with manufacturer’s label impressed with “LUMI” (2). Each: 15 5/8 x 16 x 4 in. (39.7 x 40.6 x 10.2 cm)
Estimate $7,0 0 0 - 9,0 0 0 PROVENANCE
Wright, Important 20th Century Design, Chicago, May 20, 2007, lot 169 LITERATURE
Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 165 Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923-1978, London, 1990, p. 211 Ugo La Pietra, ed, Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 344, fig. 722
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219 MAX INGRAND 1908-1969 Mirror, model no. 2085, 1960s Colored glass, mirrored glass, brass, wood. Manufactured by Fontana Arte, Italy. 33 x 24 1/2 x 2 in. (83.8 x 62.2 x 5.1 cm)
Estimate $ 6 ,0 0 0 - 8 ,0 0 0 LITERATURE
Laura Falconi, Fontana Arte: Una Storia Transparente, Milan, 1998, p. 111 for a similar example
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220 GINO SARFATTI 1912-1985 Rare ceiling light, 1940s Painted metal. Manufactured by Arteluce, Italy. 14 1/8 in. (36 cm) drop, 31 1/2 in. (80 cm) diameter
Estimate $ 4,0 0 0 - 6 ,0 0 0
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221 FONTANA ARTE Large mirror, 1960s Mirrored glass, colored mirrored glass, wood. Produced by Luigi Fontana, Italy. Reverse with manufacture’s paper label with “GA LVANT/FONTANA/ITALY/REGISTRATO/LUIGI/FONTANA & c. S.p.a./MILANO . TORINO . GENOVA . CANTU . MESSINA.” 39 3/8 in. (100cm) diameter
Estimate $ 9,0 0 0 -14,0 0 0 LITERATURE
Roberto Aloi, L’Arredamento Moderno, Milan, 1964, p.127
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222 GIO PONTI 1891-1979 Unique sofa, 1940s Stained oak, suede. Together with a certificate of authenticity from the Gio Ponti Archives. 32 5/8 x 67 3/4 x 34 1/4 in. (83 x 172 x 87 cm)
Estimate $16 ,0 0 0 - 24 ,0 0 0 LITERATURE
Laura Falconi, Gio Ponti: Interior, Objects, Drawings, 1920-1976, Milan, 2010, p. 174 for a similar example
According to the Gio Ponti Archives, the present unique sofa is most likely the predecessor of a sofa designed by Ponti for Altamira in 1953. As was often the case, works designed by Ponti for private commissions served as inspiration for his later serial productions. The refinement of the present sofa is noteworthy for the combination of structural stability with the thinness and flexibility of its seat and back.
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223 GIO PONTI 1891-1979 Pair of rare consoles, ca. 1954 Painted wood, walnut, brass. Together with a certificate of authenticity from the Gio Ponti Archives (2). Each: 34 3/4 x 64 1/2 x 18 3/4 in. (88.3 x 163.8 x 47.6 cm)
Estimate $ 2 5 ,0 0 0 - 3 0,0 0 0 LITERATURE
Fulvio Irace, Gio Ponti a Stoccolma: l’Istituto italiano di cultura C. M. Lerici, Milan, 2007, p. 113 for a similar example
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224 STUDIO BBPR GIAN LUIGI BANFI, LUDOVICO BELGIOJOSO, ENRICO PERESSUTTI and ERNESTO NATHAN ROGERS Pair of important chandeliers, from Cinema Mediolanum, Milan, ca. 1971 Painted tubular metal, painted metal, brass (2). Each: 45 in. (114.3 cm) drop, 60 in. x 60 in. (152.4 cm) diameter
Estimate $ 2 5 ,0 0 0 - 3 5 ,0 0 0 PROVENANCE
Cinema Mediolanum, Milan
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225 GINO SARFATTI 1912-1985 Set of three wall lights, model no. 240, 1960s Opaque glass, brass. Manufactured by Arteluce, Italy (3). Each: 8 5/8 in. (22 cm) high, 13 3/4 in. (35 cm ) diameter
Estimate $ 6 ,0 0 0 - 8 ,0 0 0 LITERATURE
Arteluce sales catalogue, 1960s, n.p.
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226 GINO SARFATTI 1912-1985 Rare and early ceiling light, model no. 2070, ca. 1959 Perspex, painted metal. Manufactured by Arteluce, Italy. Variable drop, 21 1/4 in. (54 cm) diameter
Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE
Phillips de Pury & Company, Design and Design Art, New York, December 14, 2006, lot 71 LITERATURE
Charlotte and Peter Fiell, eds., Domus Vol. IV, 1955-1959, Cologne, 2006, p. 333 for a similar example
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227 ARREDOLUCE Adjustable floor lamp, 1950s Painted metal, painted tubular metal, tubular brass, brass. Manufactured by Arredoluce, Italy. Underside of light switch impressed with “Made in Italy.” 76 in. (193 cm) high
Estimate $ 5 ,0 0 0 -7,0 0 0 LITERATURE
Domus, no. 268, March 1952, no. 26, p. 61
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228 ICO PARISI 1916-1996 Writing desk, ca. 1956 Walnut, plastic laminate-covered wood, painted tubular steel, glass, rubber. Manufactured by Studio La Ruota, Italy. 32 1/2 x 55 1/2 x 28 1/2 in. (82.6 x 141 x 72.4 cm)
Estimate $7,0 0 0 - 9,0 0 0 LITERATURE
Domus, no. 322, September 1956, pp. 38, and 40-41
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229 GIO PONTI 1891-1979 Set of eight stools, ca. 1954 Walnut, fabric. Together with a certiďŹ cate of authenticity from the Gio Ponti Archives (8). Each: 54 1/2 in (138.4 cm) high
Estimate $ 8 ,0 0 0 -12,0 0 0
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230 ANGELO LELLI Counterbalance ceiling light, ca. 1950 Painted metal, tubular brass, brass. Manufactured by Arredoluce, Italy. 39 1/4 in. (99.8 cm) drop, 67 3/8 in. (171 cm) diameter
Estimate $ 8 ,0 0 0 -12,0 0 0
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231 GIO PONTI 1891-1979 Illuminated cocktail cabinet, ca. 1940 Cerused oak, painted oak, brass, glass. Manufactured by Fontana Arte, Italy. Reverse of cabinet and stand impressed with “FX.” Together with a certificate of authenticity from the Gio Ponti Archives. 64 x 37 5/8 x 18 in. (162.6 x 95.6 x 45.7 cm)
Estimate $18 ,0 0 0 - 24 ,0 0 0 LITERATURE
Domus, no. 141, September 1939, n.p. for a similar example Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 210, fig. 84 for a similar example Charlotte and Peter Fiell, eds., Domus Vol. I 1928-1939, Cologne, 2006, p. 530 for a similar example Laura Falconi, Gio Ponti: Interior, Objects, Drawings, 1920-1976, Milan, 2010, p. 240 for a similar example
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232 VENINI Set of six monumental wall lights, model no. 413, ca. 1931-1935 Lattimo glass, brass. Manufactured by Venini, Italy (6). Each: 24 1/2 x 7 1/2 x 6 1/4 in. (62.2 x 19.1 x 15.9 cm)
Estimate $10,0 0 0 -15 ,0 0 0 LITERATURE
Catalogo Blu, Venini, Murano, 1938, p. 150, model no. 413 Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 258, pl. 149, fig. 413 for a preparatory drawing Franco Deboni, Venini Glass, Its history, artists and techniques, Volume 1, Milan, 2007, pl. 149, fig. 413 for a preparatory drawing
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233 JULES LELEU 1883-1961 Side table, ca. 1930 Burr walnut-veneered wood. 24 1/8 in. (61.3 cm), 29 1/2 in. (74.9 cm) diameter
Estimate $ 6 ,0 0 0 - 8 ,0 0 0 PROVENANCE
Galerie Makassar-France, Paris
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234 TOMASO BUZZI 1900-1981 Table lamp, model no. 505, ca. 1931-1935 Laguna glass, brass. Manufactured by Venini, Italy. Base impressed with “VENINI/MURANO.” 39 3/4 in. (101 cm) high
Estimate $ 2 0,0 0 0 - 3 0,0 0 0 PROVENANCE
Mr. and Mrs. Rainer Zeitz, London LITERATURE
Venini: Catologo Blu, Murano, 1938, p. 154, model no. 505 Anna Venini Diaz de Santillana, Venini Catalogue Raisonné 1921-1986, Milan, 2000, p. 258, pl. 154, model no. 505 Franco Deboni, Venini Glass: Its history, artists and techniques, Vol. 1, Milan, 2007, pl. 154, model no. 505 Franco Deboni, Venini Glass: Catalogue 1921-2007, Vol. 2, Milan, 2007, illustrated pl. 51
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235 FONTANA ARTE Set of eleven door handles, 1950s Clear glass, brass. Manufactured by Fontana Arte, Italy (11). Each: 4 3/4 x 7 1/2 x 1 1/2 in. (12.1 x 19.1 x 3.8 cm)
Estimate $ 6 ,0 0 0 - 8 ,0 0 0
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236 VENINI 1895-1959 Chandelier, model no. 207, ca. 1931-1935 Copper-plated metal, ďŹ ligrana glass. Produced by Venini, Italy. 37 x 46 x 8 in. (94 x 116.8 x 20.3 cm)
Estimate $12,0 0 0 -18 ,0 0 0 LITERATURE
Venini: Catologo Blu, Murano, 1938, p. 156, model no. 207 Anna Venini Diaz de Santillana, Venini Catalogue RaisonnĂŠ 1921-1986, Milan, 2000, p. 259, pl. 156 Franco Deboni, Venini Glass, catalogue 1921-2007, Vol. 2, Milan, 2007, pl. 120
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237 PAOLO BUFFA 1903-1970 Chandelier, ca. 1930 Silver-plated bronze, opaque glass, glass, fabric. Manufactured by Donzelli, Italy. 45 x 6 5/8 x 6 in. (114.3 x 16.8 x 15.2 cm)
Estimate $ 5 ,0 0 0 -7,0 0 0 EXHIBITED
This model was exhibited at the IV Triennale, Monza, 1930 LITERATURE
“L’arte Nella Casa,” Domus, July 1930, p. 51
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238 GIO PONTI 1891-1979 Pair of vases, ca. 1933 Pewter. Manufactured by Nino Ferrari, Italy. Underside of each with impressed signature “Nino Ferrari.” Together with a certificate of authenticity from the Gio Ponti Archives (2). Each: 10 1/4 in. (26 cm) high, 9 3/4 in. (24.8 cm) diameter
Estimate $ 6 , 0 0 0 - 8 , 0 0 0 EXHIBITED
This model was exhibited at the V Triennale, Milan, 1933
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239 GIO PONTI 1891-1979 Occasional table, ca. 1932 Securit glass, clear glass, chrome-plated brass. Produced by Luigi Fontana, Italy. Each glass element acid-etched with “SECURIT.” Together with a certificate of authenticity from the Gio Ponti Archives. 16 1/4 in. (41.3 cm) high, 12 in. (30.5 cm) diameter
Estimate $ 8 ,0 0 0 -12,0 0 0 LITERATURE
Laura Falconi, Gio Ponti: Interni Oggetti Disegni, Milan, 2004, pp. 65, 85, 234 for similar examples
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240 PIERO FORNASETTI 1913-1988 Pair of mirrors, ca. 1960 Brass, mirrored glass, wood. Reverse of one with paper label with “FORNASETTI/MILANO” (2). Each: 17 1/2 in. (44.5 cm) diameter
Estimate $ 8 ,0 0 0 -12,0 0 0 PROVENANCE
Mullendorf Antiques, Antwerp LITERATURE
Piero Fornasetti and Barnaba Fornasetti, Fornasetti: The Complete Universe, New York, 2010, p. 246
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241 MARIO TERZAGHI and AUGUSTO MAGNAGHI 1915-1998, 1914-1963 Coffee table, ca. 1955 Painted etched glass, brass. 15 1/4 in. (38.7 cm) high, 47 1/4 in. (120 cm) diameter
Estimate $ 6 ,0 0 0 - 8 ,0 0 0 LITERATURE
Charlotte and Peter Fiell, eds., Domus Vol. IV 1955-1959, Cologne, 2006, pp. 195 and 197 for a similar example
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242 GIO PONTI 1891-1979 Unique armchair, ca. 1948 Fabric, walnut. Together with a certiďŹ cate of authenticity from the Gio Ponti Archives. 31 1/8 in. (79 cm) high
Estimate $18 ,0 0 0 - 24 ,0 0 0 PROVENANCE
Galleria O, Rome, Italy Private collection, Italy LITERATURE
Laura Falconi, Gio Ponti: Interior, Objects, Drawings, 1920-1976, Milan, 2010, p. 160
The fabric of this armchair is original and is based on an illustration by Luigi Crippa, an artist close to Ponti. According to the Gio Ponti Archives, this armchair was commissioned for a private apartment and the design, in line and proportion, was a model for subsequent serial productions from Cassina and Altamira.
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243 GIO PONTI 1891-1979 “La testa dell’architetto” drawing, design for Daniel Roo’s villa, Marin County, California 1969 Work on paper. Together with a certificate of authenticity from the Gio Ponti Archives. 25 x 25 in. (63.5 x 63.5 cm), excluding frame.
Estimate $ 6 ,0 0 0 - 8 ,0 0 0
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244 GINO SARFATTI 1912-1985 “Sputnik” ceiling light, 1950s Tubular brass, brass. Manufactured by Arteluce, Italy. Variable drop, 41 in. (104.1 cm) diameter
Estimate $ 8 ,0 0 0 -12,0 0 0 LITERATURE
Domus, 1951, p. 56 for a photograph of the present model in the Arteluce showroom “Il Cristallo che va da pavimento a soffitto,” Domus, no. 384, November 1961, front matter in a period advertisement Lumieres, je pense a vous, Centre Georges Pompidou, 1985, p. 126 Michael Lassel, “Design Icon: The Sputnik Chandelier,” Elle Décor, September, 2009, p. 24
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245 VLADIMIR KAGAN b. 1927 Flip-top console, ca. 1959 Walnut. 29 1/2 x 79 7/8 x 38 7/8 in. (74.9 x 202.9 x 98.7 cm), fully extended
Estimate $7, 0 0 0 - 9, 0 0 0 LITERATURE
Vladimir Kagan, The Complete Kagan: Vladimir Kagan: a Lifetime of Avant-garde Design, New York, 2004, pp. 82-84 for sketches of a similar design
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246 GIO PONTI 1891-1979 Mirror, model no. 1998, 1950s Mirrored glass, glass, painted wood, painted metal. Manufactured by Fontana Arte, Italy. Reverse with partial manufacturer’s paper label “FONTANA/LUIGI FONTANA & C.S.p.a./MILANO•ITALY/PROTEZIONE TERMOPLASTICA.” 29 1/8 x 26 5/8 x 2 3/8 in. (74 x 67.6 x 6 cm)
Estimate $7,0 0 0 - 9,0 0 0 LITERATURE
“Specchi da Parete,” Fontana Arte sales catalogue, p. 27 “Specchiere e Specchi,” Quaderni di Vitrum, no. 8, p. 117
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247 MAX INGRAND 1908-1969 Illuminated mirror, model no. 1657, ca. 1959 Beveled, engraved and painted glass, mirrored glass, brass, painted metal. Manufactured by Fontana Arte, Italy. 25 x 19 1/2 x 3 1/2 in. (63.5 x 49.5 x 8.9 cm)
Estimate $18 ,0 0 0 - 24 ,0 0 0 LITERATURE
Pierre-Emmanuel Martin Vivier, Max Ingrand, Du Verre À La Lumière, Paris, 2009, front cover and p. 217
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248 FONTANA ARTE Occasional table, 1950s Colored mirrored glass, glass, brass. Manufactured by Fontana Arte, Italy. 14 1/2 in. (36.8 cm) high, 33 1/4 in. (84.5 cm) diameter
Estimate $ 3 4,0 0 0 - 3 8 ,0 0 0 LITERATURE
Laura Falconi, Luci e Trasparenze: Fontana Arte, Rome, 2006, pp. 36-37 and p. 86
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249 GIO PONTI 1891-1979 Unique monumental ceiling light, from the main entrance of the Dalmine S.p.A. headquarters, Via Brera, Milan, ca. 1948 Frosted glass, painted metal. Manufactured by Fontana Arte, Italy. Together with a certificate of authenticity from the Gio Ponti Archives. 78 1/4 x 20 x 6 in. (198.8 x 50.8 x 15.2 cm)
Estimate $ 2 8 ,0 0 0 - 3 4,0 0 0 PROVENANCE
Dalmine Headquators, S.p.A. Headquarters, Via Brera, Milan LITERATURE
“Lastre di vetro e cristallo,” Vitrum, no. 34, August 1952, illustrated p. 10
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250 ENRICO CAPUZZO and PAOLO VENINI 1895-1959 “Barchetta” hanging light, 1958 Clear glass, acid-etched decorated with inclusions of blue and violet colored glass. Manufactured by Venini and Company, Italy. Variable drop; 41 x 7 in. (104.1 x 17.8 cm)
Estimate $ 3 0,0 0 0 - 4 0,0 0 0 PROVENANCE
Professor Rodolfo Pallucchini, Venice Private collection, Venice EXHIBITED
Gli Artisti di Venini, Exhibition Fondazione Giorgio Cini, April 24– 7 July 7, 1996 LITERATURE
Alessandro Bettagno, Gli Artisti Di Venini : Per Una Storia Del Vetro D’Arte Veneziano, exh. cat., Milan, 1996, p. 144, fig. 204
The present lot is one of four unique ceiling lights commissioned by art history professor Rodolfo Pallucchini for his “studiolo” in Venice.
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The present table top on its alternate low base
PROPERTY OF AN IMPORTANT COLLECTOR
251 DANIEL CLÉMENT b. 1940 Table with two bases, ca. 1979 Mirrored glass, painted wood, cement. Together with an additional low base (3). Dimensions with console base: 30 1/3 x 71 7/8 x 40 1/2 in. (77 x 182.6 x 102.9 cm); dimensions with low base: 17 7/8 x 71 7/8 x 40 1/2 in. (45.4 x 182.6 x 102.9 cm)
Estimate $15 ,0 0 0 - 2 0,0 0 0 PROVENANCE
Venfield, New York LITERATURE
Daniel Clément Glasmöbel, Geneva, 1996, pp. 72-83 for similar examples
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252 PIERO FORNASETTI 1913-1988 Early “Leopardo” chest of drawers, ca. 1953 Lithographic transfer-printed wood, brass, painted wood. Produced by Fornasetti, Italy. Interior of top drawer with plastic roundel impressed with logo and “FORNASETTI/MILANO.” 33 x 39 x 22 in. (83.8 x 99.1 x 55.9 cm)
Estimate $ 24 ,0 0 0 - 2 8 ,0 0 0 LITERATURE
Patrick Mauriès, Fornasetti Designer of Dreams, London, 1991, p. 256 Mariuccia Casadio and Barnaba Fornasetti, Fornasetti: I. L’artista alchimista, Milan, 2009, p. 266, fig. 42 Mariuccia Casadio and Barnaba Fornasetti, Fornasetti: II. La bottega fantastica, Milan, 2009, pp. 378-79, figs. 83-85 Piero and Barnaba Fornasetti, Fornasetti: The Complete Universe, New York, 2010, pp. 370-371
Barnaba Fornasetti has confirmed that the present example dates from the 1950s.
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DESIGNER INDEX
Aalto, A.
141
Ingrand, M.
Arredoluce
227
Banfi, G. L.
224 224 203
Besnard, J.
177
Borsani, O.
209, 214
102, 104, 105, 106, 107, 108, 109, 110,
Portoghesi, P. 208 Powell, P. L. 179, 185
111, 166 Jouve, G. Juhl, F.
196
206, 207, 210, 211, 212, 213, 216, 217, 218,
222, 223, 229, 231, 238, 239, 242, 243, 246, 249
149
Jeanneret, P.
Bengtsson, M.
Pietrantoni, M. Ponti, G.
Jallot, M. Belgiojoso, L.
219, 247
155, 159, 162, 165, 175
Prouvé, J.
160, 161, 164, 172
139 Rie, L.
124, 125, 126, 128
Breuer, M. 117, 118, 119, 121
Kagan, V.
Buffa, P.
Kastholm, J.
133
Rogers, E. N.
Kjærholm, P.
132
Rohde, G.
113
Royère, J.
153, 154, 156, 178
237
Burton, S. Buzzi, T.
199
183, 187, 189, 245
234 Le Corbusier
Capuzzo, E.
250
Castaing, M. Castle, W.
143
190
Chareau, P. Clément, D. Coper, H.
101, 103, 108, 167
Lebovici, Y. 192 Lee, J.
158, 169, 171
Sarfatti, G.
220, 225, 226, 244
Sornay, A.
151
251
Levete, A. 202
Studio BBPR 224
233
Lucci, R.
150 152
196 Terzaghi, M. Trubridge, D.
Magnaghi, A.
Tsivin, V.
181
Tynell, P.
134, 137, 138, 142
241
Maison Jansen
144
DeVore, R.
Mangiarotti, A.
205
204
Duckworth, R.
129
Dupré-Lafon, P. 148 179
241
Maclaren, D. 130
de Waal, E. 197
Marx, S.
Vautrin, L.
186
Mathsson, B.
136
200
176
Venini 232, 236
McArthur, W. 115
Venini, P. 250
McMakin, R.
Venturi, R. 195
Mouille, S.
201 157, 163, 173
Vistosi
215
133
Fontana Arte 221, 235, 248
Nakashima, G.
Fornasetti, P.
Niemeyer, O. 198
240, 252
184
120 Orrefors
Gropius, W.
Panton, V.
123
Parisi, I. 145
Wegner, H. Wood, B.
140
114, 122
135 131
182
193, 194 228
Peressutti, E.
Henningsen, F. 146
Perriand, C.
Herbst, R.
Pesce, G.
112
Wagenfeld, W. Wirkkala, T.
Future Systems 202
Hein, P.
158, 169, 171
Ruelland, J.
Lelli, A. 230
Crasset, M.
Fricke, H.
Ruelland, D.
147
Courtray, V.
Fabricius, P.
188
224
180
Leleu, J.
127
Evans, P.
Robsjohn-Gibbings, T. H.
224 161, 168, 170, 174
191
Hülse, W. 116
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DESIGN MASTERS and DESIGN AUCTIONS 13 & 14 DECEMBER 2011 NEW YORK
Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1268 | designnewyork@phillipsdepury.com Catalogues +1 212 940 1240 | +44 20 7318 4039
PHILLIPSDEPURY.COM EMILE- JACQUES RUHLMANN Pair of “Gonse” armchairs, model no. 278 NR, ca. 1930 –1932, lot 53, detail Estimate $6 0 0,0 0 0 – 8 0 0,0 0 0
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GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you. CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller. BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $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. 1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010. Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician. Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may
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be allowed to net the financial remuneration received in connection with the guarantee against the final purchase price if such party is the successful bidder. In this catalogue, if property has O◊ next to the lot number, the guarantee of minimum price has been fully financed by third parties. ∆ Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.
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No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.
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∑ Endangered Species This property may require an export, import or endangered species license or permit. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. 2 BIDDING IN THE SALE Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000
by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion
The auctioneer may vary the increments during the course of the auction at his or her own discretion.
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JEWELS
AUCTION 6 DECEMBER 2011
NEW YORK
Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1234 | jewels@phillipsdepury.com Catalogues +1 212 940 1240 | +44 20 7318 4039
PHILLIPSDEPURY.COM CARTIER An Art Deco Diamond Bracelet, Estimate $50,0 0 0 – 70,0 0 0
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3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips 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 a late collection fee of $50, an additional administrative fee of $10 per day and insurance charges of 0.1% of the Purchase Price per month on each uncollected lot. 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.
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MODERN AND CONTEMPORARY
EDITIONS
AUCTION 25 JANUARY 2012
NEW YORK
Viewing 18 – 25 January Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 | +44 20 7318 4039
PHILLIPSDEPURY.COM JOSEF ALBERS Six Variants (D. 192), 19 69, the complete por t folio of six screenprints in colors Estimate $8,0 0 0 – 12,0 0 0
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CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips 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 & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (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 behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other
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bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury & 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. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 CONDUCT OF THE AUCTION each lot is offered subject to a reserve, (a) Unless otherwise indicated by the symbol which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.
•
(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (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 pounds sterling and/or euros and, if so, will re∑ect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $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. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours.
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(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department 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. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, and no later than five days after the conclusion of the auction, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) 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, Phillips de Pury & Company will upon request transfer on a bi-weekly basis 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. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in 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 responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, each lot will incur a late collection fee of $50, administrative charges of $10 per day and 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 authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & 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) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to
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payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips 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 by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in 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 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 to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer 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 payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. 10 RESCISSION BY PHILLIPS de PURY & COMPANY Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale.. 11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. 12 CLIENT INFORMATION In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide 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 “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use 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 you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number. 13 LIMITATION OF LIABILITY (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot.
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(c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain 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 & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 LAW AND JURISDICTION (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its con∑icts of law rules.
AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a con∑ict of opinion on the authorship of the 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 whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to 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 by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.
(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal 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 and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.
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PHILLIPS de PURY & COMPANY
Chairman
Directors
Advisory Board
Simon de Pury
Sean Cleary
Maria Bell
Finn Schouenborg Dombernowsky
Janna Bullock
Patricia G. Hambrecht
Lisa Eisner
Alexander Payne
Lapo Elkann
Olivier Vrankenne
Ben Elliot
Chief Executive Officer Bernd Runge
Lady Elena Foster H.I.H. Francesca von Habsburg 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 Brussels
Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Bérénice Chef, Specialist, Contemporary Art +32 473 12 27 06
Paris
Thomas Dryll, International Senior Specialist + 33 1 42 78 67 77
Buenos Aires & London Brooke Metcalfe, 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 17 289 736 11
Los Angeles Milan Moscow Paris
Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Thomas Dryll, Specialist, Contemporary Art +33 1 42 78 67 77
GENERAL COUNSEL
MANAGING DIRECTORS
Patricia G. Hambrecht
Sean Cleary, New York Finn Schouenborg Dombernowsky, London/Europe
WORLDWIDE OFFICES NEW YORK
PARIS
GENEVA
450 Park Avenue, New York, NY 10022, USA
6, avenue Franklin D. Roosevelt, 75008 Paris, France
23 quai des Bergues, 1201 Geneva, Switzerland
tel +1 212 940 1300 fax +1 212 940 1230
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
NEW YORK
BERLIN
MOSCOW
450 West 15 Street, New York, NY 10011, USA
Auguststrasse 19, 10117 Berlin, Germany
TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia
tel +1 212 940 1200 fax +1 212 924 5403
tel +49 30 8800 1842 fax +49 30 8800 1843
tel +7 495 225 88 22 fax +7 495 225 88 87
LONDON Howick Place, London SW1P 1BB, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011
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SPECIALISTS AND DEPARTMENTS
CONTEMPORARY ART Michael McGinnis, Senior Director +1 212 940 1254 and Worldwide Head, Contemporary Art
PHOTOGRAPHS Vanessa Kramer, Worldwide Director +1 212 940 1243 NEW YORK Shlomi Rabi +1 212 940 1246 Caroline Deck +1 212 940 1247
NEW YORK Zach Miner, Head of Part I +1 212 940 1256 Sarah Mudge, Head of Part II +1 212 940 1259 Roxana Bruno Jean-Michel Placent
+1 212 940 1229 +1 212 940 1263
Peter Flores Winnie Scheuer Alyse Serrell Amanda Stoffel Roxanne Tahbaz Jonathan Winter
+1 212 940 1223 +1 212 940 1226 +1 212 940 1303 +1 212 940 1261 +1 212 940 1292 +1 212 757 0190
LONDON Peter Sumner, Head of Evening Sale +44 20 7318 4063 George O’Dell, Head of Day Sale +44 20 7318 4093 Karen Levy Matt Langton Raphael Lepine
+44 20 7318 4082 +44 20 7318 4074 +44 20 7318 4078
Paul de Bono Henry Highley Helen Rohwedder Charlotte Salisbury
+44 20 7318 4070 +44 20 7318 4061 +44 20 7318 4042 +44 20 7318 4010
PARIS Thomas Dryll +33 1 42 78 67 77 Edouard de Moussac +33 1 42 78 67 77
DESIGN Alexander Payne, Director +44 20 7318 4052 and Worldwide Head, Design
+1 212 940 1268 +1 212 940 1266
Alexandra Gilbert
+1 212 940 1265
Lauren Sohn
+1 212 940 1268
Megan McGee
Deniz Atac Carol Ehlers, Consultant
+1 212 940 1245 +1 212 940 1245
Rita Almeida Freitas Emma Lewis
+44 20 7318 4062 +44 20 7318 4092
JEWELS NEW YORK Nazgol Jahan, Worldwide Director +1 212 940 1283 Joanna Bengoa +1 212 940 1302 Brittany Gersh +1 212 940 1365 LONDON Ardavan Ghavami, Head of Jewels, Europe +44 20 7318 4064 Rose Curran +44 20 7318 4010 Lane McLean +44 20 7318 4032 GENEVA Agnies Leki +41 22 906 8000
CURATED THEME SALES Henry Allsopp, Worldwide Director +44 20 7318 4060 NEW YORK Corey Barr +1 212 940 1239 Steve Agin, Consultant +1 908 475 1796 Laura González Stephanie Max
+1 212 940 1216 +1 212 940 1301
LONDON Arianna Jacobs +44 20 7318 4054 Lisa de Simone +44 20 7318 4090
LONDON Domenico Raimondo +44 20 7318 4016 Ben Williams +44 20 7318 4027 Marine Hartogs +44 20 7318 4021 Marcus McDonald
+1 212 940 1225
LONDON Lou Proud, Head of Photographs, London +44 20 7318 4018 Sebastien Montabonel +44 20 7318 4025 Alexandra Bibby +44 20 7318 4087
NEW YORK Alex Heminway, New York Director +1 212 940 1268 Marcus Tremonto Meaghan Roddy
Sarah Krueger
Eleanor Crabtree Tamila Kerimova
+44 20 7318 4040 +44 20 7318 4085
+44 20 7318 4095 PRIVATE SALES LONDON Matt Langton +44 20 7318 4074
+44 20 7318 4021
MODERN AND CONTEMPORARY EDITIONS NEW YORK Cary Leibowitz, Worldwide Co-Director +1 212 940 1222 Kelly Troester, Worldwide Co-Director +1 212 940 1221 Audrey Lindsey Jannah Greenblatt
+1 212 940 1333 +1 212 940 1332
PRIVATE CLIENT SERVICES Judith Hess, Director, London +44 20 7318 4075 Simon Tovey, Assistant +44 20 7318 4084
MUSEUM SERVICES DEPARTMENT NEW YORK Lauren Shadford +1 212 940 1257 Cecilia Wolfson +1 212 940 1258 OFFICE OF THE CHAIRMAN Anna Furney, New York +1 212 940 1238 Harmony Johnston, London +44 20 7318 4099
ART AND PRODUCTION Mike McClafferty, Consultant Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Steven Mosier, Graphic Designer Fernando Dias de Souza, Graphic Designer Orlann Capazorio, US Production Manager
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LONDON Mark Hudson, Deputy Art Director Andrew Lindesay, Sub-Editor Tom Radcliffe, Production Director
MARKETING & COMMUNICATIONS
NEW YORK Trish Walsh, Marketing Manager
LONDON Giulia Costantini, Head of Communications Fiona McGovern, Communications Assistant
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SALE INFORMATION
AUCTION
CATALOGUES
450 PARK AVENUE NEW YORK 10022
Barbara Escobar +1 212 940 1240
14 December 2011, 2pm
$35/€25/£22 at the gallery catalogues@phillipsdepury.com
VIEWING 450 WEST 15 STREET NEW YORK 10011
ABSENTEE AND TELEPHONE BIDS
Wednesday December 7 – Tuesday December 13
Main +1 212 940 1228 fax +1 212 924 1749 bids@phillipsdepury.com
Monday – Saturday 10am – 6pm
Marissa Piedra, Bid Manager +1 212 940 1304
Sunday 12pm – 6pm
Amanda Mazloom, Bid Clerk +1 212 940 1215
SALE DESIGNATION
CLIENT ACCOUNTING
In sending in written bids or making enquiries please
Sylvia Leitao +1 212 940 1231
refer to this sale as NY050211 or Design.
Buyers Accounts Nicole Rodriguez +1 212 940 1235
WORLDWIDE DIRECTOR
Seller Accounts
Alexander Payne London +44 20 7318 4052
Barbara Doupal +1 212 940 1232
New York +1 212 940 1268 CLIENT SERVICES INTERNATIONAL CONSULTANT
450 Park Avenue +1 212 940 1300
Marcus Tremonto +1 212 940 1268
450 West 15 Street +1 212 940 1200
NEW YORK DIRECTOR
SHIPPING
Alex Heminway +1 212 940 1268
Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372
SPECIALISTS Meaghan Roddy +1 212 940 1266 Ben Williams London +44 20 7318 4027 Domenico Raimondo London +44 20 7318 4026 Marine Hartogs London +44 20 7318 4021 CATALOGUER Alexandra Gilbert +1 212 940 1265 Marcus McDonald London +44 20 7318 4095 ADMINISTRATOR Lauren Sohn +1 212 940 1268 Megan McGee London +44 20 7318 4023 PROPERTY MANAGER Eric Mingus +1 212 940 1364 Oliver Gottschalk London +44 20 7318 4033 PHOTOGRAPHY Richard Goodbody Kent Pell Byron Slater Morten Smidt
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