Important Design including Post War + Contemporary Art 5 June 2019

IMPORTANT D E S I G N

1440 West Hubbard Street Chicago Illinois 312 563 0020

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Auction 5 June 2019 10 am cst

IMPORTANT D E S I G N Including Post War + Contemporary Art & Important Italian Glass

Preview / Chicago 29 May – 5 June 2019 10 am – 5 pm Monday – Friday 12 –4 pm Saturday

Important Italian Glass Preview / New York 24 May – 5 June 2019 10 am – 6 pm Tuesday – Saturday or by appointment

1440 W Hubbard St Chicago IL 60642

507 W 27th St New York NY 10001

100 Vittorio Zecchin Monumental Veronese vase, model 1633 Italy, c. 1925 | Venini soffiato glass 9 dia × 16 ¾ h in (23 × 43 cm) $ 5,000 – 7,000

Literature: Vittorio Zecchin: Transparent Glass for Cappellin and Venini, Barovier and Sonego, ppg. 100–101 illustrate model Vittorio Zecchin 1878–1947: Pittura, Vetro, Arti Decorative, Barovier, Mondi, Sonego, ppg. 162, 207 illustrate similar example Venini Glass: Its History, Artists, Techniques, Deboni, blue catalog, pg. 6 illustrates model Provenance: Private Collection, New York

Detail from The Annunciation by Paolo Veronese, 1578

Designed by Vittorio Zecchin in 1921, the Veronese vase has always been the symbol of Venini. This particular shape was chosen by Zecchin and Paolo Venini for a very specific reason: its pleasing dimensions and simplicity of form express a refined sensibility which the company hoped to achieve and promote. It is also no coincidence that a transparent vase of the same form can be seen quite clearly in Paolo Veronese’s painting, The Annunciation (1578). This shrewd association with Venice of the High Renaissance sends a clear message: Venini is modern design imbued with the power of classical elegance. But beyond Paolo Venini’s genius for promotion, the fact remains that the Veronese vase does possess a timeless and archetypal beauty.

The Veronese vase presented here is the largest version made by Venini, and today only a few period examples are known to exist at this scale.

101 Vittorio Zecchin Brocca Tiziano Italy, c. 1925 | Venini soffiato glass 7 w × 6 ¼ d × 11 ½ h in (18 × 16 × 29 cm) Two-line acid stamp to underside ‘Venini Murano’. $ 3,000 – 5,000

Provenance: Private Collection, New York

Detail from Titian’s painting, The Baccanle of the Andrians, 1518–1519

As with the Veronese vase, Zecchin drew inspiration from a number of old master paintings of the Renaissance which featured elemental glass vessels. In this case, the Brocca Tiziano was inspired

by Titian’s painting The Baccanle of the Andrians (1518-1519) in which a young man with strong arms holds aloft a transparent vessel half full of wine and gazes through it towards the heavens as if it were a celestial lens. The thin, transparent glass favored by Zecchin and Venini is aptly called Soffiato, which translates simply as breath.

102 Vittorio Zecchin Soffiato vase, model 5062 Italy, 1921–25 | MVM Cappellin soffiato glass 6 dia × 5 ½ h in (15 × 14 cm) Three-line acid stamp to underside ‘MVM Cappellin Murano’. $ 2,000 – 3,000

Literature: Vittorio Zecchin: Transparent Glass for Cappellin and Venini, Barovier and Sonego, pg. 318 illustrates model

103 Vittorio Zecchin Soffiato vase, model 1592 B Italy, c. 1925 | Venini ribbed soffiato glass with applied decorations 9 dia × 9 ¼ h in (23 × 23 cm) Two-line acid stamp to underside ‘Venini Murano’. $ 5,000 – 7,000

Literature: Venini Glass: Its History, Artists, Techniques, Deboni, blue catalog, pg. 13 illustrates model Vittorio Zecchin: Transparent Glass for Cappellin and Venini, Barovier and Sonego, pg. 353 illustrates model Vittorio Zecchin 1878–1947: Pittura, Vetro, Arti Decorative, Barovier, Mondi and Sonego, pg. 301 illustrates model

Napoleone Martinuzzi

E S S AY S B Y J I M O L I V E I R A

Napoleone Martinuzzi’s tenure at Venini (1925-31) occurred during a period of cultural, political and economic upheaval. Martinuzzi was, however, the right person for the job. As a sculptor, he lead the way in the use of opaque vitreous materials which gave Murano glass a new plasticity and solidity during this volatile age. As a man with cultural and political connections, Martinuzzi was able to secure valuable government contracts for lighting and decoration in a number of public and private architectural projects. As an artist inspired by classical Italian art, he was able to abstract the most powerful designs from vessels of antiquity and re-cast them in the emerging language of Novecento design. As onetime director of the Murano glass museum, Martinuzzi was familiar with all the ancient techniques of blown glass, from the Venetians of the High Renaissance, to little known techniques from the Roman era.

It is even said that he drew inspiration for his famous Pulegoso glass from an 18th century chandelier hanging in the basement of the Murano museum.

In the vase presented here, we see a number of cultural and historical references. Composed of pale green, semi-opaque Opalino glass with green malachite-like details, this vessel belongs to a small group of experimental works first presented in 1930 at the Venice Biennale, and at the 4th Triennale of Monza later the same year. It is believed that the green, malachite-like glass was inspired by fragments of similar materials from classical antiquity.

Too difficult to achieve with consistency, only a very small number of these pieces were made. It is unique specimens like these which offer rare insight into the creative edges and inner workings at Venini, the moment when designers and master blowers extended their most innovative efforts in order to create a new direction for the material and company.

As a unique piece, this Opalino vase has a long history of publication and exhibition. As previously mentioned, it was first exhibited at the Biennale of Venice and the Triennale of Monza in 1930.

Later in the century, it was featured in Franco Deboni’s seminal work, Murano ‘900 (1996). It was also beautifully documented and displayed in 2013 at the Stanze del Vetro exhibition of Napoleone Martinuzzi’s work for Venini, curated by Marino Barovier. Presented at auction for the first time in many years, it offers a rare opportunity to experience prewar Venini glass at its most daring, rarefied and experimental.

above Period drawing below Detail of base

104 Napoleone Martinuzzi Unique Opalino vase, model 3089 Italy, c. 1930 | Venini opaline glass with malachite-like details 13 dia × 6 ½ h in (33 × 17 cm) $ 20,000 – 30,000

Literature: Murano ‘900, Deboni, pg.

263 illustrates this example Napoleone Martinuzzi: Venini 1925–1931, Barovier, pg. 326 illustrates this example Exhibited: Napoleone Martinuzzi: Venini 1925–1931, 8 September 2013 – 6 January 2014, Le Stanze del Vetro, Venice Provenance: Barry Friedman Ltd., New York | Private Collection, New York

105 Paolo Venini Spherical Diamante vase, model 3638 A Italy, 1934–36 | Venini internally decorated glass 9 ½ dia × 9 ¼ h in (24 × 23 cm) Two-line acid stamp to underside ‘Venini Murano’. $ 5,000 – 7,000

Literature: Paolo Venini and his Furnace, Barovier and Sonego, pg. 107 illustrates model Venini Glass: Its History, Artists, Techniques, Deboni, blue catalog, pg. 37 illustrates model Provenance: Private Collection, New York

Period photograph, c. 1936

106 Tomaso Buzzi Rare Laguna vase with foot, model 3580 Italy, 1932–33 | Venini laguna and lattimo glass with gold leaf 5 dia × 9 h in (13 × 23 cm) Four-line acid stamp to underside ‘Venini Murano Made in Italy’. $ 7,000 – 9,000

Literature: Tomaso Buzzi at Venini, Barovier, pg. 285 illustrates model Venini Glass: Its History, Artists, Techniques, Deboni, blue catalog, pg. 30 illustrates model Provenance: Private Collection, New York

Tomaso Buzzi’s designs for Venini tend to fall into two categories: the surreal and the minimal. Buzzi’s surrealist pieces were largely inspired by the maverick architect, designer and publisher Gio Ponti, a close friend of Buzzi’s, who was a proponent of the surrealist style vis-a-vis Italian cultural and historic motifs. Buzzi’s minimalist work was inspired by Carlo Scarpa who, during Buzzi’s brief tenure, was also employed at Venini. Classical shapes drawn from Chinese ceramics were the inspiration for many of these designs, including the vase presented here. In this piece we see the use of Buzzi’s innovative Laguna glass atop a pale amber Incamiciato foot. This particular vase is one of only two known.

107 Tomaso Buzzi Monumental Alba vase, model 3461 Italy, 1932–33 | Venini lattimo glass with gold leaf and blue interior 7 dia × 16 ¼ h in (18 × 41 cm) $ 10,000 – 15,000

Literature: Tomaso Buzzi at Venini, Barovier, pg. 281 illustrates model Venini Glass: Its History, Artists, Techniques, Deboni, blue catalog, pg. 30 illustrates model Provenance: Private Collection, New York

108 Tomaso Buzzi Laguna vase, model 1340 Italy, c. 1934 | Venini laguna glass with gold leaf 10 ½ dia × 10 ½ h in (27 × 27 cm) Acid stamp to underside ‘Venini Murano ars’. Foil label to underside ‘Venini Murano SA’. $ 10,000 – 15,000

Literature: Tomaso Buzzi at Venini, Barovier, pg. 371 illustrates model Venini: Catalogue Raisonne 1921–1986, Diaz de Santillana, pg. 114, fig. 62 L’ Arte del Vetro a Murano, Dorigato, pg. 281 illustrates model Provenance: Private Collection, New York

Period drawing, c. 1934

Ever willing to experiment and develop new techniques, Carlo Scarpa’s Incisi (incised) series for Venini was among his most innovative. Working with Venini’s master grinders and engravers, Scarpa designed unique artifacts with abstract, geometric motifs.

In this piece we see a deeply cut, abstract wave design enhanced by a Velato finish. Executed in sea-green glass, it conveys the feeling of wave-action and the Venetian lagoon but in a playful, modernist style reminiscent of the Catalan painter Joan Miró or the collages of Henri Matisse.

The imaginative design and beautiful execution of this piece make it a fine example of Scarpa’s best work for Venini. This vase is also extremely rare and the first of its kind to be presented at auction.

Carlo Scarpa

109 Carlo Scarpa Rare Inciso vase, model 3941 Italy, 1940–42 | Venini glass with incised wave pattern and ground wave-shaped ribbons 4 ¼ dia × 9 ¾ h in (11 × 25 cm) Two-line acid stamp to underside ‘Venini Murano’. $ 60,000 – 80,000

Literature: Carlo Scarpa: Venini 1932–1947, Barovier, pg. 341 illustrates model Provenance: Private Collection

Period photograph, 1940-42

110

111

Carlo Scarpa Corroso a Fasce vase, model 4103

Carlo Scarpa Sommerso a Bollicine bowl, model 3522

Italy, c. 1936 | Venini corroso glass with applied coil and iridized surface 7 ¼ dia × 12 ¾ h in (18 × 32 cm)

Italy, c. 1934 | Venini bollicine glass with gold leaf 8 ½ dia × 4 ¼ h in (22 × 11 cm)

Two-line acid stamp to underside ‘Venini Murano’. $ 15,000 – 20,000

Literature: Carlo Scarpa: Venini 1932–1947, Barovier, pg. 210 illustrates model Provenance: Private Collection

Two-line acid stamp to underside ‘Venini Murano’. $ 10,000 – 15,000

Literature: Carlo Scarpa: Venini 1932–1947, Barovier, pg. 136 illustrates model Carlo Scarpa: I Vetri di un Architetto, Barovier, pg. 205 illustrates model Provenance: Private Collection

112 Carlo Scarpa Bollicine vase, model 3540 Italy, c. 1934–36 | Venini greenish-white bollicine glass 7 ¼ dia × 10 ¾ h in (18 × 27 cm) Acid stamp to underside ‘Venini Murano ars’. $ 8,000 – 10,000

Literature: Carlo Scarpa: Venini 1932–1947, Barovier, pg. 136 illustrates model Provenance: Private Collection, New York

Period photo by F. Leiss, 1936

113 Carlo Scarpa Bollicine perfume bottles, model 651 Italy, 1932–33 | Venini bollicine glass with gold leaf 4 dia × 4 ¾ h in (10 × 12 cm) Two-line acid stamp to underside ‘Venini Murano’. $ 3,000 – 5,000

Literature: Carlo Scarpa: Venini 1932–1947, Barovier, pg. 118 illustrates model Carlo Scarpa: I Vetri di un Architetto, Barovier, pg. 204, no. 18 illustrates variation Provenance: Private Collection, New York

Along with vases, bowls and lighting, Carlo Scarpa designed a wide variety of other objects for Venini. In keeping with Scarpa’s interest in ancient glass and glassmaking, perfume, or scent bottles, have a long history and fine examples were made by the Romans, Phoenicians, Egyptians and Mesopotamians. Scarpa was well aware of this tradition and designed scent bottles for Venini which are subtle, intimate, and express a quiet reference to the ancient world.

114 Carlo Scarpa Bollicine vase, model 1886 Italy, c. 1932 | Venini bollicine glass 6 ½ dia × 8 h in (17 × 20 cm) Two-line acid stamp to underside ‘Venini Murano’. $ 5,000 – 7,000

Literature: Venini Glass: Its History, Artists, Techniques, Deboni, blue catalog, pg. 5 illustrates model Provenance: Private Collection, New York

115 Carlo Scarpa A Bugne vase Italy, c. 1935 | Venini iridized corroso glass 6 ¾ dia × 7 ¾ h in (17 × 20 cm) Partial four-line acid stamp to underside ‘Venini Murano Made in Italy’. $ 10,000 – 15,000

Literature: Carlo Scarpa: I Vetri di un Architetto, Barovier, ppg. 124–125 illustrate similar example Venini Glass: Catalogue 1921–2007, Deboni, pl. 74 illustrates similar example Venini Glass: Its History, Artists, Techniques, Deboni, blue catalog, pg. 40 illustrates model

116 Carlo Scarpa Reticello chandelier, model 5417 Italy, c. 1931 | Venini reticello glass, brass 15 ½ dia × 32 h in (39 × 81 cm) $ 20,000 – 30,000

Literature: Venini Glass: Its History, Artists and Techniques, Deboni, blue catalog, pg. 138 illustrates model Provenance: Private Collection Wright, Design, 10 December 2015, Lot 184 | Private Collection

Lighting fixtures designed by Carlo Scarpa were a mainstay at Venini in the 1930s. In this case, the Reticello technique, first developed on Murano in the sixteenth century, is used to great effect while the sphere and cone forms reference modernism.

Scarpa’s mastery at combining historical stylistic conventions is a tribute to the depth of his knowledge as a scholar and vision as a designer.

Drawing from Venini Blue Pages, 1931-1935

117 Carlo Scarpa Mezza Diamante vase, model 3951 Italy, c. 1942 | Venini internally decorated glass 5 ¾ dia × 9 ¾ h in (15 × 25 cm) Four-line acid stamp to underside ‘Venini Murano Made in Italy’. $ 5,000 – 7,000

Literature: Venini Glass: Its History, Artists, Techniques, Deboni, blue catalog, pg. 56 illustrates model Provenance: Private Collection, New York

This vase is a rare example of a model designed by Carlo Scarpa in 1942, and executed in clear glass canes. One might call it Mezza Diamante, as it is similar to the technique developed by Paolo Venini in 1938 (Diamante) in which two layers of spiraling, clear canes are blown crisscross in order to create the optical effect of a cut and faceted diamond. In the present vase, a single layer of clear, spiraling glass is used to enhance the sensual form of the vase. This reductive approach to design is a hallmark of Scarpa’s work at Venini, and a testament to the visual power of well executed minimalist design.

Drawing from Venini Blue Pages, 1942

118 Vetreria Artistica Barovier A Murrine Floreali vase Italy, c. 1920 internally decorated glass with floral murrine and green threads, cristallo handles 8 w × 7 d × 13 ¾ h in (20 × 18 × 35 cm) $ 10,000 – 15,000

Literature: Venetian Art Glass: An American Collection 1840–1970, Barovier, pg. 84 illustrates this example Provenance: Private Collection, New York

Artistica Barovier

Ercole Barovier Mosaico

Mosaico vase c. 1925

In recent years, Ercole Barovier’s long career as a prolific designer has become very well known, and his Mosaico vessels in particular are now recognized as masterworks of 20th century design.

The Mosaico vase presented here is a unique and masterful work from 1925. The technique employed is the earliest incarnation of a Examples from the Rotellati series, 1969 inspired by the early Mosaico vase to right

visual idea which Ercole would fully explore much later in his career.

The spherical form of this vase, along with the applied lip and ring foot, are stylistic conventions which Ercole would often employ in mosaic vases. However, the green-blue-clear tesserae used here have a very particular gear-like structure which creates the striking visual effect of polychromatic machine parts frozen in time.

As mentioned, these gear-shaped tesserae would later form the basis of the well-known Rotellati series designed by Ercole in 1970.

One of his last designs, Rotellati is also one of his most dynamic.

It is interesting to note that the method of construction used for these early tesserae is different—more complex, with a central bubble in each “gear” and interlocking gear edges that absorb negative space—from those used later in the Rotelatti series. This makes sense on a number of levels; early Mosiaco vases were, more or less, individual works of art not intended to be put into production, therefore individual elements like the gear tesserae would need to be simplified in order to be executed in greater numbers.

Beyond the raw technical aspects of its production, the fact that this vase would serve as inspiration for its creator, decades later, is a testament to its lasting power.

119 Ercole Barovier Mosaico vase Italy, c. 1925 | Vetreria Artistica Barovier clear glass murrines edged with cobalt and emerald 10 dia × 9 ½ h in (25 × 24 cm) $ 100,000 – 150,000

Literature: Venetian Art Glass: An American Collection 1840–1970, Barovier, pg. 88 illustrates similar example Provenance: Private Collection, New York

120 Ercole Barovier Monumental A Mugnoni vase Italy, 1938 | Ferro Toso Barovier internally decorated glass 11 ½ dia × 13 ¾ h in (29 × 35 cm) $ 10,000 – 15,000

Literature: Venetian Art Glass: An American Collection 1840–1970, Barovier, pg. 125 illustrates this example Art of the Barovier: Glassmakers in Murano 1866–1972, Barovier, pg. 136 illustrates technique Provenance: Private Collection, New York

121 Ercole Barovier Spuma di mare vase Italy, 1938–40 | Ferro Toso Barovier glass with unmelted pigment, metallic inclusions and cristallo applications 5 dia × 10 ½ h in (13 × 27 cm) $ 8,000 – 10,000

Literature: Venetian Art Glass: An American Collection 1840–1970, Barovier, pg. 114 illustrates this example Provenance: Private Collection, New York

122 Ercole Barovier Rostrato vase Italy, 1938 | Ferro Toso Barovier glass with applications and interior with unmelted pigment and metallic inclusions 6 ¼ dia × 9 ¾ h in (16 × 25 cm) $ 5,000 – 7,000

Literature: Venetian Art Glass: An American Collection 1840–1970, Barovier, pg. 121 illustrates series Art of the Barovier: Glassmakers in Murano 1866–1972, Barovier, pg. 135 illustrates technique

123 Ercole Barovier Rostrato vase Italy, 1938 | Ferro Toso Barovier glass with applications 7 ¾ dia × 9 ½ h in (20 × 24 cm) $ 7,000 – 9,000

Literature: Venetian Art Glass: An American Collection 1840–1970, Barovier, pg. 123 illustrates this example Provenance: Private Collection, New York

Venini Postwar Glass

124 Fulvio Bianconi Monumental Fasce Orizzontale vase, model 1522 Italy, c. 1953 | Venini glass with polychrome bands 8 ¾ dia × 17 ¼ h in (22 × 44 cm) Three-line acid stamp to underside ‘Venini Murano Italia’. $ 10,000 – 15,000

Literature: Fulvio Bianconi at Venini, Barovier and Sonego, pg. 261 illustrates model Venini Glass: Catalogue 1921–2007, Deboni, fig. 199 illustrates similar example I Vetri di Fulvio Bianconi, Bossaglia, fig. 65 illustrates similar example Provenance: Private Collection, New York

Period photograph, 1960s

125 Paolo Venini Murrine plate Italy, 1957 fused glass S-type murrine with wheel-carved surface 8 ¼ dia × 1 ½ h in (21 × 4 cm) Paper label to underside ‘Venini Murano Venezia N. 4885 Made in Italy’. $ 15,000 – 20,000

Literature: Paolo Venini and his Furnace, Barovier and Sonego, pg. 203 illustrates similar example

Designed by Paolo Venini just before his untimely death in 1959, this series of semi-transparent Murrine chargers and shallow bowls represent some of his most accomplished work. In this case, a field of red S-type murrines are interrupted by a circular core of clear murrines, which produce the visual effect of negative space. This level of sensitivity towards color and composition demonstrates Paolo Venini’s awareness of abstract painting during the postwar years. His refined knowledge of materials is also evident, especially the potential of murrines as abstract subject matter.

Pushing the boundary between art and design, these shallow Murrine vessels represent a high point in postwar Murano glassmaking.

Period photograph, 1950s

126 Fulvio Bianconi Rare candlesticks model 2745, pair Italy, c. 1952 | Venini lattimo glass 5 ¼ dia × 11 ¾ h in (13 × 30 cm) Three-line acid stamp to underside of one example ‘Venini Murano Italia’. Paper label to underside of one example ‘Venini Venezia Murano N L16800 Made in Italy’. $ 5,000 – 7,000

Literature: Venini: Catalogue Raisonné 1921–1986, Diaz de Santillana, pg. 271 illustrates model Provenance: Private Collection, New York

These rare, all-white Lattimo candlesticks correspond to Venini drawing # 2745, and we can attribute the design to Fulvio Bianconi as they are of a 1950s production, and the Lattimo material is the same used by Bianconi in his famous series of Commedia dell’Arte figures.

As with many of Venini’s artistic directors, Bianconi worked on innovative designs for lighting and tableware. Indeed, these candlesticks are closer in spirit to sculpture than utilitarian objects, but such was Bianconi’s temperament and sensibility as a designer.

Catalog for a Bianconi exhibition of sculpture at the Galleria del Cavalino, 1949

Period photograph, March 1954

127 Fulvio Bianconi Fazzoletto vase, model 4240 Italy, 1948 | Venini alternating glass rods 17 ½ w × 9 d × 8 ¼ h in (44 × 23 × 21 cm) Partial two-line acid stamp to underside ‘Venini Murano’. $ 3,000 – 5,000

Literature: Fulvio Bianconi at Venini, Barovier and Sonego, pg. 104 illustrates model Venini Glass: Catalogue 1921–2007, Deboni, figs. 177–178 Venini: Catalogue Raisonné 1921–1986, Diaz de Santillana, pg. 297

128

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Paolo Venini Monumental Opalino vase, model 3556

Fulvio Bianconi Pezzato vase, model 4912

Italy, 1950 | Venini opaline glass 7 dia × 21 h in (18 × 53 cm)

Italy, c. 1951 | Venini polychrome patchwork glass 3 ¾ w × 3 ½ d × 4 ½ h in (10 × 9 × 11 cm)

Three-line acid stamp to underside ‘Venini Murano Italia’. Foil label to underside ‘Venini Murano’.

Three-line acid stamp to underside ‘Venini Murano Italia’. Paper label to underside ‘Venini Murano Venezia New York 125 E. 55th N. 4912 Made in Italy’.

$ 3,000 – 5,000

Literature: Paolo Venini and his Furnace, Barovier and Sonego, ppg. 144–145 illustrate model Il Vetro Di Murano Alle Biennali 1895–1972, Barovier, Barovier Mentasti, and Dorigato, pg. 78 illustrates series Provenance: Private Collection, New York

$ 4,000 – 6,000

Literature: Fulvio Bianconi at Venini, Barovier and Sonego, pg. 186 illustrates model Provenance: Private Collection, New York

130 Paolo Venini Opalino plates, set of six Italy, c. 1950 | Venini opaline glass 10 w × 1 h in (25 × 3 cm) Three-line acid stamp to underside of each example ‘Venini Murano Italia’. $ 3,000 – 5,000

Provenance: Private Collection, New York

These Opalino plates, designed by Paolo Venini in the 1950s, are seldom seen: first, because very few were produced, and second, as utilitarian objects made of a refined material, very few survived. The present set of six plates is an anomaly, more sculptural than utilitarian, and each piece is signed in acid, “Venini Murano Italia.”

Paolo Venini Mosaico Tessuto

131 Paolo Venini Rare Mosaico Tessuto vase, model 3850 Italy, 1954 | Venini alternating glass canes 4 ½ w × 3 ¼ d × 6 ¾ h in (11 × 8 × 17 cm) Three-line acid stamp to underside ‘Venini Murano Italia’. $ 15,000 – 20,000

Literature: Paolo Venini and his Furnace, Barovier and Sonego, pg. 231 illustrates model Art Glass from Murano: 1910–1970, Heiremans, pg. 279 illustrates technique I Vetri Venini, Deboni, pl. 129 illustrates technique

Among the most rare and complex techniques designed by Paolo Venini in the 1950s, Mosaico Tessuto vessels have become some of the most desirable. Inspired by fabric design, the Mosaico Tessuti (literally, mosaic of fabric) demonstrate Paolo Venini’s ability to achieve dynamic visual effects by reimagining earlier Venetian stylistic conventions.

Venini’s choice to construct vessels in minimal forms composed of glass tesserae arranged in crisscross patterns speaks to his knowledge of contemporary art and design. It should also be noted that these Mosaico Tessuto vessels would not have been possible without the highest level of technical craftsmanship. Paolo Venini’s unique relationship with his designers and master craftsmen created an environment in which new glass forms and techniques seemed to evolve and appear almost organically from the Venini furnaces.

Designed at the height of his creative powers, the Mosaico Tessuto vases can rightly be considered among the greatest achievements in Paolo Venini’s fertile life as a glass designer.

Period photograph from the Venice Biennale, 1954

132 Paolo Venini Monumental Zanfirico Mosaico vase Italy, 1954 | Venini internally decorated glass with alternating glass canes 6 ¾ w × 5 ¼ d × 15 ¼ h in (17 × 13 × 39 cm) Three-line acid stamp to underside ‘Venini Murano Italia’. $ 7,000 – 9,000

Literature: Paolo Venini and his Furnace, Barovier and Sonego, pg. 207–221 illustrate series

Detail of present lot

133 Paolo Venini Zanfirico vase, model 4701 Italy, 1955 | Venini zanfirico glass with Type M ciclamino canes 6 ¼ dia × 7 ½ h in (16 × 19 cm) $ 5,000 – 7,000

Literature: Gli Artisti Di Venini Per Una Storia Del Vetro D’Arte Veneziano, Bettagno, pg. 130, fig. 176 Paolo Venini and his Furnace, Barovier and Sonego, pg. 460 illustrates model Provenance: Private Collection, New York

Period phoptograph, 1950s

134

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Paolo Venini Monumental Zanfirico bottle with stopper, model 4579

Gio Ponti Monumental Canne bottle with stopper, model 4498

Italy, 1956 | Venini zanfirico glass with twisted lattimo canes 4 ¾ dia × 20 h in (12 × 51 cm)

Italy, 1956 | Venini glass with polychrome canes 3 ¼ dia × 18 ½ h in (8 × 47 cm)

Three-line acid stamp to underside ‘Venini Murano Italia’.

Partial paper label to underside ‘Venini Murano Venezia Made in Italy’.

$ 6,000 – 8,000

$ 3,000 – 5,000

Literature: Gli Artisti Di Venini Per Una Storia Del Vetro D’Arte Veneziano, Bettagno, pg. 129, fig. 175 illustrates this example Paolo Venini and his Furnace, Barovier and Sonego, pg. 279 illustrates model

Literature: Paolo Venini and his Furnace, Barovier and Sonego, pg. 280 illustrates model Provenance: Private Collection, New York

Provenance: Private Collection, New York

Gio Ponti was a constant influence at Venini, especially in the postwar years.

His strong sense of graphic design can be felt everywhere in the production, especially in the use of brightly colored stripes—Fulvio Bianconi, Ludvico Diaz de Santillana and Massimo Vignelli would all contribute striped designs informed

by Ponti’s sensibilities. In this decanter, we see stripes used very effectively to ascribe a kind of vertical, architectural ascension. This particular decanter is the tallest, most elongated version of the design, and is quite rare.

136 Paolo Venini Apothecary vessels, set of three Italy, 1959 | Venini transparent glass 4 ¼ dia × 19 ¼ h in (11 × 49 cm) Set includes model 4742, model 4744 and model 4741. Three-line acid stamp to underside of red example ‘Venini Murano Italia’. Three-line acid stamp ‘Venini Italy Murano’ with decal label to underside of purple example ‘Venini Murano Venezia Made in Italy’. Round acid stamp to underside of green example ‘Venini Italy Murano’. $ 3,000 – 5,000

Literature: Paolo Venini and his Furnace, Barovier and Sonego, ppg. 291, 293 illustrate models Provenance: Private Collection, New York

This group of three vessels with lids are from a series designed by Paolo Venini in 1959 inspired by apothecary jars from the 19th century. They express a playful, almost child-like interpretation of late Victorian style, which was popular in graphic design, fashion and film during the late 50s and early 60s. They also possess a touch of the Kremlin Domes.

Period photograph, 1960s

137 Tyra Lundgren Fenicio vase Italy, 1948 | Venini internally decorated glass 9 w × 7 ¼ d × 11 ½ h in (23 × 18 × 29 cm) Three-line acid stamp to underside ‘Venini Murano Italia’. This model was produced for the Swedish department store, Nordiska Kompaniet. $ 4,000 – 6,000

Literature: Paolo Venini and his Furnace, Barovier and Sonego, pg. 383 illustrates model Decorative Art: 1951–2, Holme and Frost, pg. 25 illustrates model

Period photograph in Decorative Art 1951–52, pg. 25

Toni Zuccheri’s work for Venini was intensely sculptural. This Scolpito vase makes the point dramatically: dense, heavy, blue-black glass over thick clear crystal, its undulating form and transparent creased centerline create the visual sensation of a living organic form.

This level of abstract artistic creativity is usually not present in a vase, but it was exactly why Zuccheri was hired at Venini— to push boundaries and create a new vision for Venini glass. This he certainly did.

Even today, collectors and institutions are just beginning to recognize the importance of his work. It should also be mentioned that despite Venini’s great commercial success in the 1960s, the experimental glass designed by Zuccheri was produced in very limited numbers.

138 Toni Zuccheri Scolpito vase, model 717 Italy, c. 1965 | Venini sculpted incamiciato glass with crystal glass interior 6 dia × 15 ¼ h in (15 × 39 cm) Incised mark to underside ‘Venini Italia’. $ 7,000 – 9,000

Literature: Venini: Catalogue Raisonné 1921–1986, Diaz de Santillana, pg. 228 illustrates model Venini Glass: Its History, Artists, Techniques, Deboni, green catalog, pg. 24 illustrates model Provenance: Private Collection, New York

139 Ludovico Diaz de Santillana Cannette vase Italy, c. 1965 | Venini transparent glass with lattimo canes 9 ¾ w × 8 ¾ d × 9 ¾ h in (25 × 22 × 25 cm) Incised to underside ‘Venini Italia’. $ 3,000 – 5,000

Literature: Venini Glass: Its History, Artists, Techniques, Deboni, green catalog, pg. 23 illustrates model Le Verre Venini, Deboni, pl. 169 illustrates technique Provenance: Private Collection, New York

The Cannette series, designed by Ludovico Diaz de Santillana, is in many ways emblematic of the culture present at Venini during the 1960s. Inspired by the stripes of Gio Ponti and the reduced shapes of Vittorio Zecchin and Carlo Scarpa, Cannette pieces possess the playful vitality of the sixties. Nearly psychedelic in intensity, the colorful and elongated drips seem frozen in time.

This dynamic optical effect is further enhanced by juxtaposition, as the bright drips are suspended in moody, semitransparent colors.

In the 1960s Venini was, for all practical purposes, run as a collective. After Paolo’s death, his son-in-law Ludivico was named artistic director and began to invite numerous young designers to work simultaneously at Venini, including Tobia Scarpa and Toni Zuccheri. This atmosphere of openness, creativity and collaboration would presage the worldwide studio art glass movement, and many of its progenitors would come to study at Venini in the 1970s.

140

141

Ludovico Diaz de Santillana Cannette vase

Ludovico Diaz de Santillana Cannette vase

Italy, c. 1965 | Venini transparent glass with lattimo canes 6 ¾ dia × 7 ¾ h in (17 × 20 cm)

Italy, c. 1965 | Venini transparent glass with lattimo canes 11 ¾ dia × 9 h in (30 × 23 cm)

Three-line acid stamp to underside ‘Venini Murano Italia’. Paper label to underside ‘Venini Murano Venezia Made in Italy’.

Incised mark to underside ‘Venini Italia’.

$ 2,000 – 3,000

Literature: Venini Glass: Its History, Artists, Techniques, Deboni, green catalog, pg. 23 illustrates model Le Verre Venini, Deboni, pl. 169 illustrates technique Provenance: Private Collection, New York

$ 3,000 – 5,000

Literature: Venini Glass: Its History, Artists, Techniques, Deboni, green catalog, pg. 23 illustrates model Le Verre Venini, Deboni, pl. 169 illustrates technique Provenance: Private Collection, New York

142 James Carpenter Tessuto vase Italy, c. 1979 | Venini glass with vertical rods 5 ½ dia × 15 ¼ h in (14 × 39 cm) $ 7,000 – 9,000

Literature: Venetian Art Glass: An American Collection 1840–1970, Barovier, pg. 249 illustrates this example Venetian Glass: The Nancy Olnick and Giorgio Spanu Collection, Olnick and Spanu, ppg. 180–181 illustrates technique Provenance: Private Collection, New York

143

144

Tobia Scarpa Occhi vase, model 8532

Toni Zuccheri Crepuscolo vase with stopper

Italy, c. 1965 | Venini transparent glass with light blue murrine 4 ½ dia × 4 ¾ h in (11 × 12 cm)

Italy, c. 1965 | Venini vacuum blown glass 8 ½ dia × 12 h in (22 × 30 cm)

Incised mark to underside ‘Venini Italia’.

Incised mark to underside ‘Venini Italia’.

$ 3,000 – 5,000

$ 5,000 – 7,000

Literature: Paolo Venini and his Furnace, Barovier and Sonego, pg. 514 illustrates model

Literature: Venini Glass: Its History, Artists, Techniques, Deboni, green catalog, pg. 25 illustrates model

Provenance: Private Collection, New York

Provenance: Private Collection, New York

145 Ercole Barovier Ambrati vase Italy, c. 1956 | Barovier & Toso internally decorated glass 6 ½ dia × 6 ¼ h in (17 × 16 cm) $ 3,000 – 5,000

Literature: Murano Glass: Themes and Variations 1910–1970, Heiremans, pg. 142 illustrates this example Provenance: Galerie Plaisance, Paris Private Collection

146

147

Ercole Barovier Argo vase

Ercole Barovier Argo vase

Italy, 1959 | Barovier & Toso glass with overlapping canes 6 dia × 15 ½ h in (15 × 39 cm)

Italy, 1959 | Barovier & Toso glass with overlapping canes 5 ¼ w × 3 ¾ d × 8 ¼ h in (13 × 10 × 21 cm)

$ 7,000 – 9,000

$ 3,000 – 5,000

Literature: Venetian Art Glass: An American Collection 1840–1970, Barovier, pg. 160 illustrates this example Ercole Barovier 1889–1974: Vetraio Muranese, Dorigato, pg. 106 illustrates technique

Literature: Ercole Barovier 1889–1974: Vetraio Muranese, Dorigato, pg. 106 illustrates technique Il Vetro di Murano alle Biennali 1895–1972, Barovier, Barovier Mentasti and Dorigato, pg. 91 illustrates series

Provenance: Private Collection, New York

148

149

Ercole Barovier Intarsio bowl

Ercole Barovier Monumental Intarsio vase

Italy, c. 1961 | Barovier & Toso fused glass tesserae 6 dia × 4 ¾ h in (15 × 12 cm)

Italy, c. 1961 | Barovier & Toso fused glass tesserae with controlled air bubbles 8 ½ w × 5 ½ d × 15 h in (22 × 14 × 38 cm)

$ 3,000 – 5,000

Literature: Art of the Barovier: Glassmakers in Murano 1866–1972, Barovier, ppg.

191–193 illustrate series Ercole Barovier 1889–1974: Vetraio Muranese, Dorigato, pg. 113 illustrates series Provenance: Private Collection, New York

$ 5,000 – 7,000

Literature: Art of the Barovier: Glassmakers in Murano 1866–1972, Barovier, ppg.

191–193 illustrate series Ercole Barovier 1889–1974: Vetraio Muranese, Dorigato, pg. 113 illustrates series Provenance: Private Collection, New York

150 Ercole Barovier Monumental Intarsio vase Italy, c. 1975 | Barovier & Toso fused glass tesserae with controlled air bubbles 6 w × 4 ½ d × 14 ¼ h in (15 × 11 × 36 cm) Incised to underside ‘Barovier & Toso Murano’. $ 7,000 – 9,000

Literature: Art of the Barovier: Glassmakers in Murano 1866–1972, Barovier, ppg.

191–193 illustrate series Ercole Barovier 1889–1974: Vetraio Muranese, Dorigato, pg. 113 illustrates series Provenance: Private Collection, New York

Period drawing, model 6380, Collection Monetti, Murano

151 Dino Martens Grillo, model 6380 Italy, c. 1956 internally decorated glass with applied decoration 12 ¼ w × 4 ¾ d × 4 ½ h in (31 × 12 × 11 cm) $ 10,000 – 15,000

Literature: Dino Martens: Muranese Glass Designer, Heiremans, pg. 122 illustrates model Provenance: Private Collection, New York

152 Alexander Calder 1898–1976 The Hand of Fatima 1969 gouache and ink on paper 22 ¾ h × 30 ½ w in (58 × 77 cm) Signed and dated to lower right ‘Calder 69’. Titled to verso ‘The Hand of Fatima’.

This work is registered in the archives of the Calder Foundation under application number A06200. $ 30,000 – 50,000

Provenance: Perls Galleries, New York Private Collection | Gift from the previous to the present owner, circa 2004

Siro kuin kukkasarja...

Slender like a flower Period advertisement, 1958

153 Paavo Tynell Rare and Important chandelier Finland, c. 1950 | Taito OY brass, perforated brass 44 dia × 61 h in (112 × 155 cm) $ 100,000 – 150,000

Literature: Idman, 1958 catalog, unpaginated Provenance: Private Collection

154 Mark di Suvero b. 1933 Untitled 1981 steel 19 ½ h × 18 w × 24 d in (50 × 46 × 61 cm) Signed ‘di Suvero’. $ 50,000 – 70,000

Provenance: Oil & Steel Gallery, New York Janie C. Lee Gallery, Houston | Acquired from the previous in 1983, Mrs. Clare Kelley McKinney, Dallas | Thence by descent

155 Keith Haring 1958–1990 Plate 4 (from Icons portfolio) 1990 screenprint with embossing on Arches cover 21 h × 25 w in (53 × 64 cm) Dated and numbered to verso by Julia Green (executor for the Keith Haring Estate) ‘174/250 Julia Green 6/28/90’ with estate stamp. This work is number 174 from the edition of 250 printed by Studio Heinrichi, Ltd., New York and published

by Tony Shafrazi Editions, New York. $ 7,000 – 9,000

Provenance: Acquired in 1999 by the present owner

156 Keith Haring 1958–1990 Plate 3 (from Icons portfolio) 1990 screenprint with embossing on Arches cover 21 h × 25 w in (53 × 64 cm) Dated and numbered to verso by Julia Green (executor for the Keith Haring Estate) ‘174/250 Julia Green 6/28/90’ with estate stamp. This work is number 174 from the edition of 250 printed by Studio Heinrichi, Ltd., New York and published

by Tony Shafrazi Editions, New York. $ 7,000 – 9,000

Provenance: Acquired in 1999 by the present owner

157 Shiro Kuramata How High the Moon double-seater Japan, 1986/2007 | Ishimaru Co., Ltd. epoxy coated nickel-plated steel 58 ¾ w × 32 ¼ d × 27 ½ h in (149 × 82 × 70 cm) This work is number 24 from the edition of 30. Sold with a digital copy of the original certificate. $ 20,000 – 30,000

Literature: Shiro Kuramata 1934– 1991, Hara et al., ppg. 21, 56–57, 59, 177, 181 Shiro Kuramata, Sudjic, pg. 340 Provenance: Private Collection, London Wright, Important Design, 2 June 2009, Lot 115 | Private Collection, Paris

158 Lee Mullican 1919–1998 Untitled 1965 spray paint, oil and acrylic on board 20 h × 15 w in (51 × 38 cm) Signed and dated to lower right ‘Lee Mullican 1965’. $ 7,000 – 9,000

159 Ettore Sottsass Rare floor lamp, model 12731 Italy, c. 1958 | Arredoluce enameled aluminum 9 ½ dia × 70 ½ h in (24 × 179 cm) $ 10,000 – 15,000

Literature: Arredoluce Catalogue Raisonne 1943–1987, Pansera, Padoan and Palmaghini, ppg. 206, 320 illustrate similar works

160 Ettore Sottsass Omaggio 4 desk Italy/Netherlands, 2007 Gallery Mourmans Corian, lacquered wood 64 w × 25 ¼ d × 41 ¼ h in (163 × 64 × 105 cm) This work is from the edition of 6 published

by The Gallery Mourmans, Maastricht. $ 25,000 – 35,000

Exhibited: Ettore Sottsass: A Survey 1992–2007, 18 June – 10 August 2012, Friedman Benda, New York Provenance: Friedman Benda, New York Collection of Reed and Delphine Krakoff

161 Yoshitomo Nara b. 1959 On Trial 1997 graphite and colored pencil on paper 11 h × 8 ½ w in (28 × 22 cm) Signed and dated to lower right ‘Nara 97’. $ 30,000 – 50,000

Provenance: Blum & Poe, Los Angeles Private Collection, Hawaii

162 Yoshitomo Nara b. 1959 Only Faces Appear in My Mind 2001 pencil and acrylic on paper 23 ¼ h × 18 w in (59 × 46 cm) Signed, titled and dated to lower edge ‘Nara 2001 Only Faces Appear in My Mind’. $ 50,000 – 70,000

Provenance: Blum & Poe, Los Angeles Private Collection, Hawaii

163 François Morellet b. 1926 Sphère-trames 1962 stainless steel 23 ½ h × 23 ½ dia in (60 × 60 cm) This work is from the edition of 50 published by Galerie Denise René, Paris. It is registered in the Archive Morellet under number 62001e and sold with a certificate of authenticity issued by Danielle Morellet. $ 30,000 – 50,000

Provenance: Private Collection Thence by descent

164 Maarten van Severen LK 94 low cabinet on wheels Belgium, 1994–1995/2011 Top-Mouton / Aiki anodized aluminum 141 w × 16 ½ d × 19 ¼ h in (358 × 42 × 49 cm) Cabinet features three sliding doors and four storage compartments. $ 20,000 – 30,000

Literature: Maarten van Severen Werken | Work, van Severen, ppg. 87, 246–47, 252 Provenance: Acquired from Aiki in 2011 by the present owner

165 Sherrie Levine b. 1947 After Man Ray: Man and Woman (two works) 2005 giclée inkjet print 19 h × 13 w in (48 × 33 cm) Each sheet is signed, titled and dated to verso ‘Sherrie Levine 2005 After Man Ray: Man 5/12’ and ‘Sherrie Levine 2005 After Man Ray: Woman 5/12’. Each work is number 5 from the edition of 12. $ 20,000 – 30,000

Provenance: Acquired directly from the artist by the present owner

166 Hervé van der Straeten Passage console, no. 315 France, 2006 mirror-polished stainless steel 49 ½ w × 19 d × 33 ¼ h in (126 × 48 × 84 cm) This work is from the edition of 20. $ 10,000 – 15,000

Provenance: Acquired from Ralph Pucci, New York | Private Collection, New York

167 Gertrude Abercrombie 1909–1977 Walls 1964 oil on masonite 3 h × 3 ¾ w in (8 × 10 cm) Signed and dated to lower left ‘Abercrombie 64’. $ 10,000 – 15,000

168 Gertrude Abercrombie 1909–1977 Self-Portrait 1939 oil on masonite 10 h × 13 ½ w in (25 × 34 cm) Signed and dated to lower right ‘Abercrombie 39’. $ 30,000 – 50,000

169 Elizabeth Garouste and Mattia Bonetti KawaKuBo cabinet France/United Kingdom, 1994 David Gill, Ltd. white gold-leaf over wood, silver-plated bronze 49 w × 22 ½ d × 38 ½ h in (124 × 57 × 98 cm) This work is from the edition of eight.

Cabinet features six drawers. $ 30,000 – 50,000

Literature: Elizabeth Garouste & Mattia Bonetti, Staudenmeyer et al., pg. 23 Elizabeth Garouste & Mattia Bonetti: 1981–2001, Vedrenne, pg. 57 Garouste & Bonetti, Buck and Vogt, cover, pg. 37 Provenance: Private Collection, Hawaii

170 Burton Kopelow 1924–2015 Untitled c. 1965 hand-woven wool 71 h × 44 w in (180 × 112 cm) Woven signature to lower right ‘BK’. $ 2,000 – 3,000

Exhibited: Burton Kopelow, December 1967– January 1968, Art Gallery of the New York Hilton, New York Provenance: Allan Stone Gallery, New York

171 Dimitri Hadzi 1921–2006 Levitation 1961 bronze 9 ¾ h × 4 ¾ w × 3 d in (25 × 12 × 8 cm) $ 5,000 – 7,000

Provenance: Wingspread Gallery, Maine Allan Stone Gallery, New York

172 Kenneth Noland 1924–2010 Outlying 1979–1980 acrylic on canvas 65 ¼ h × 188 w in (166 × 478 cm) Signed, titled and dated to verso ‘Outlying Kenneth Noland 1980’. $ 70,000 – 90,000

Literature: Living with Art, Two: The Collection of Walter and Dawn Clark Netsch, Miami University Art Museum, pg. 40 Exhibited: Living with Art, Two: The Collection of Walter and Dawn Clark Netsch, 10 September – 16 December 1983, Miami University Art Museum, Oxford, OH, 22 January – 25 March 1984, Snite Museum of Art, University of Notre Dame, Notre Dame, IN Provenance: André Emmerich Gallery, New York | Walter and Dawn Clark Netsch, Chicago | Wright, Art + Design, 26 February 2015, Lot 107 | Private Collection

173 Eben W. Haskell, Lynn McLarty and Michael Kirchner desk for California Design 11 USA, 1971 | Haskell Design Furniture walnut 69 ¼ w × 56 d × 31 ¾ h in (176 × 142 × 81 cm) Desk features two small drawers and one large file drawer. $ 10,000 – 15,000

Literature: California Design Eleven, Pasadena Art Museum, pg. 39 California Design: The Legacy of West Coast Craft and Style, Lauria, pg. 78 Exhibited: California Design 11, 14 March – 25 April 1971, Pasadena Art Museum, Pasadena

This exceptional multi-tiered desk was included in California Design 11, the eleventh in a series of state-sponsered and juried exhibitions dedicated to functional and decorative works made in the Golden State and to creating “awareness in the public of fine design, and hopefully to have some influence on the general taste level.”

174 Tilsa Tsuchiya Mujer con papaya Peru, c. 1957/59 oil on canvas 24 h × 19 ¼ w in (61 × 49 cm) Signed to top left ‘Tilsa’. Sold with a digital copy of a letter of expertise issued by Dr. Luis Eduardo Wuffarden. $ 20,000 – 30,000

Provenance: Private Collection, Latin America

Design for International Peacekeeping

Vladimir Bodiansky and Le Corbusier reviewing a preliminary drawing for the United Nations headquarters, 26 March 1947 UN Photo #36627

A Rare Scale Model of the United Nations General Assembly Building

Two years after its formation, the United Nations finally settled

Of this change, Niemeyer stated: ‘I felt he would like to do his

on a seventeen-acre plot, donated by John D. Rockefeller,

project, and he was the master. I do not regret my decision.”

in New York City for its location. In lieu of a competition, the United Nations decided to invite prominent architects to work in a collaborative, peaceful manner on the design of their headquarters. Wallace Harrison was hired to lead a team of architects and engineers elected by member governments; in addition to Harrison, the United Nations Headquarters Board of Design was comprised of N.D. Bassov of the Soviet Union, Gaston Brunfaut of Belgium, Ernest Cormier of Canada, Le Corbusier of France, Liang Seu-cheng of China, Sven Markelius of Sweden, Oscar Niemeyer of Brazil, Howard Robertson of the United Kingdom, G.A. Soilleux of Australia and Julio Vilamajó of Uruguay.

Over the course of four months in 1947, the team met and worked on several ideas for the headquarter buildings and layout. In total the team would review fifty design schemes that were developed collaboratively as well as individually. The selection came down to two, Le Corbusier’s scheme 23 and Oscar Niemeyer’s scheme 32, and it was Niemeyer’s design for two towers and a large civic plaza that was finally selected. Le Corbusier, however, appealed to the young architect and in the end the design and composition was a combination of their two designs: Niemeyer’s Secretariat building, a 39-floor tower built in the International Style and Le Corbusier’s monolithic General Assembly Hall with a circular dome that allows natural light into the great hall that seats 1,800.

The present lot is a scale model presented by the United Nations Headquarters Board of Design for the final design of the General Assembly Hall. It is the only known original model of the building that still survives. The model remained in the collection of Wallace Harrison and was acquired from his estate by Alastair Gordon in 1984.

This rare model was on extended loan to The Museum of Modern Art in New York and part of two noteworthy exhibitions: 194X-9/11 American Architects and the City (2011) and Le Corbusier: An Atlas of Modern Landscapes (2013). The work was also included in two exhibitions in Spain in 2014, Caixa Forum Barcelona and Caixa Forum Madrid.

Le Corbusier’s scheme 23A and Oscar Niemeyer’s scheme 32, working models for the United Nations headquarters in Manhattan, 3 May 1947 UN Photos #102877 and #37183

175 Le Corbusier, Oscar Niemeyer, Wallace K. Harrison, et. al. scale model for the UN Headquarters 1947–1953 cast plaster 22 w × 13 ¾ d × 5 ½ h in (56 × 35 × 14 cm) $ 30,000 – 50,000

Exhibited: 194X-9/11: American Architects and the City, 1 July 2011 – 2 January 2012, The Museum of Modern Art, New York Le Corbusier: An Atlas of Modern Landscapes, 15 June – 23 September 2013, The Musuem of Modern Art, New York Caixa Forum, 6 February Provenance: Estate of Wallace Harrison Alastair Gordon, Milford, PA

176 Louise Nevelson 1899–1988 Untitled (to Anita Berliawsky) 1951 cast and painted aluminum 25 h × 7 w × 7 d in (64 × 18 × 18 cm) Impressed signature and date to lower edge ‘Nevelson 51’. $ 15,000 – 20,000

Literature: Louise Nevelson, Glimcher, figs. 30–31, pg. 200 Provenance: Collection of the artist Collection of Anita Berliawsky, the artist’s sister | Thence by descent Private Collection

Louise Nevelson stands as one of the most important figures in 20th century American sculpture. Though she is perhaps best known for her monumental and monochromatic sculptural wooden constructions, Nevelson devoted her life to the arts creating an impressive body of work in a variety of mediums that reveals a distinctly personal and essential expression of modern.

The following four works span Nevelson’s early career and have never before been offered at auction. These important pieces remained in the family collection, originating with Nevelson’s sister, Anita Berliawsky, thence by descent.

The present form in Nevelson’s living room of her house on East Thirtieth Street. Archives of American Art, Smithsonian Institution, Louise Nevelson Papers © 2019 Estate of Louise Nevelson / Artists Rights Society (ARS), New York

177 Louise Nevelson 1899–1988 Two Figures 1933 cast Tattistone 15 h × 16 ½ w × 11 d in (38 × 42 × 28 cm) Incised signature to verso ‘Nevelson’. $ 10,000 – 15,000

Literature: Louise Nevelson: Sculptor, Horner, fig. 8 illustrates related work Provenance: Collection of Anita Berliawsky, the artist’s sister Thence by descent | Private Collection

178

179

Louise Nevelson 1899–1988 Untitled

Louise Nevelson 1899–1988 Untitled

c. 1945 oil on canvas 42 h × 28 w in (107 × 71 cm)

c. 1932 ink on paper 12 ½ h × 8 ¾ w in (32 × 22 cm)

$ 3,000 – 5,000

Signed to front ‘Nevelson’.

Provenance: Collection of Anita Berliawsky, the artist’s sister Thence by descent | Private Collection

$ 2,000 – 3,000

Provenance: Collection of Anita Berliawsky, the artist’s sister Thence by descent | Private Collection

180 Roy Superior 1934–2013 The Oracle 1983 cedar, walnut, tiger maple 34 h × 9 ½ w × 25 ½ d in (86 × 24 × 65 cm) Incised signature and date to base ‘R. Superior 1983’. $ 3,000 – 5,000

Exhibited: Roy Superior: Patent Models for a Good Life, 7 February – 19 April 2014, The Center for Art in Wood, Philadelphia Sorcery & Craft, 10 January – 18 February 2017, Allan Stone Projects, New York Provenance: Allan Stone Gallery, New York

181 M.F. Husain 1913–2011 Wounded Shadows 1981 watercolor and ink on paper 14 ¼ h × 22 w in (36 × 56 cm) Signed, titled, and dated twice to lower edge ‘Wounded Shadows Hussain 81’. $ 10,000 – 15,000

Provenance: Acquired in 2008 from Bodhi Art Gallery, New York | Private Collection New, York

182 Sylvia Plimack Mangold b. 1938 October 15, 1984 1984 oil pastel on paper 29 ¾ h × 22 ½ w in (76 × 57 cm) Signed, titled and dated to verso ‘Sylvia Plimack Mangold October 15, 1984’. $ 10,000 – 15,000

Provenance: Rhona Hoffman Gallery, Chicago | Private Collection

183 Gaetano Pesce vases, set of four Italy, c. 1995, 2006, 2007 | Fish Design resin 9 dia × 13 h in (23 × 33 cm) Signed with stamped manufacturer’s mark to underside of one example ‘Fish Design 224’. Signed with impressed manufacturer’s mark to three examples ‘Fish Design Gaetano Pesce’. $ 3,000 – 5,000

Exhibited: Galerie Factory, Geneva (blue example) Provenance: Wright, Modern + Contemporary Design, 25 March 2007, Lot 144 (blue example) | Private Collection

184 After Alexander Calder tapestry 1975 | CAC Publication/Bon Art hand-woven maguey fiber 73 h × 96 w in (185 × 244 cm) Woven signature, number and date to lower edge ‘71/100 Calder 75’. This work is number 71 from the edition of 100 published by C.A.C. Publications and Bon Art, Guatemala. $ 5,000 – 7,000

185

186

Ettore Sottsass Ringhiera Rossa vase from Bharata series

Marina Apollonio b. 1940 Dinamica Circolare Cratere N

Italy, 1985 | Design Gallery Milano marble, copper, mahogany 11 dia × 21 h in (28 × 53 cm)

1968/1999 enamel on wood with rotating mechanism 33 ¾ h × 33 ¾ w × 1 ½ d in (86 × 86 × 4 cm)

This work is from the edition of 36.

Signed, titled and dated to verso ‘Dinamica Circolare Cratere N 066 1968/1999 Smalto su Legno & Meccanismo Rotante M. Apollonio’.

$ 3,000 – 5,000

Literature: Bharata: Ettore Sottsass, Design Gallery Milano manufacturer’s catalog, 1988, fig. 23

$ 5,000 – 7,000

Provenance: Acquired directly from the artist | Private Collection, Milan

187

188

Angelo Mangiarotti Idlor armchair, set of six

Jerry McLaughlin 1925–2002 Untitled

Italy, 1968 | Lorenzon rosewood, linen 26 ½ w × 17 ¾ d × 26 ½ h in (67 × 45 × 67 cm)

1990 oil on masonite 40 h × 84 w in (102 × 213 cm)

$ 5,000 – 7,000

Initialed and dated to lower right ‘McL 90’. Signed and dated to verso ‘McLaughlin 1990’.

Literature: Design Italiano Mobili: Furniture, Ritter, ppg. 68–69

$ 7,000 – 9,000

Exhibited: Jerry McLaughlin, March 1991, Allan Stone Gallery, New York Provenance: Acquired directly from the artist | Allan Stone Gallery, New York

189

190

Diana Moore b. 1946 Small Grey Head

Pablo Picasso 1881–1973 Famille de Saltimbanques (from the Vollard Suite)

1989 cast concrete, steel 24 ½ h × 9 w × 11 d in (62 × 23 × 28 cm)

1933 etching on paper 7 ½ h × 10 ¼ w in (19 × 26 cm)

$ 2,000 – 3,000

Exhibited: 37 Painters & Sculptors On View, May 1990, Capital Cities / ABC Inc., New York Diana Moore: Classical Continuum, 23 June – 10 August 2018, Allan Stone Projects, New York Provenance: Acquired directly from the artist | Allan Stone Gallery, New York

Sheet measures: 13.25 h × 17.25 w inches. Signed to lower right ‘Picasso’.

This work is from the edition of 250 published by Ambroise Vollard. $ 6,000 – 8,000

Literature: Bloch 163

191 Fernando and Humberto Campana Rare chair Brazil, c. 2007 leather 30 w × 22 d × 34 h in (76 × 56 × 86 cm) $ 7,000 – 9,000

Provenance: Acquired directly from the artists | Private Collection

192 Olivier Gagnère desk France, 1993 | Néotù oak, leather, gilt aluminum 84 ½ w × 24 d × 32 ¾ h in (215 × 61 × 83 cm) This work is unique. $ 8,000 – 10,000

Literature: Les années Staudenmeyer, Braunstein-Kriegel, pg. 417 illustrates drawing Provenance: Comissioned from the artist by Marithé + François Girbaud, France | Philolux, Chicago

193 Lorraine Shemesh b. 1949 Shoebag 1987 oil on canvas 36 h × 26 w in (91 × 66 cm) Signed to lower left ‘Shemesh’.

Signed, titled and dated to verso ‘Shemesh Shoebag 1987’. $ 5,000 – 7,000

Exhibited: Lorraine Shemesh, 5 – 30 March 1988, Allan Stone Gallery, New York Provenance: Acquired directly from the artist | Allan Stone Gallery, New York

194 Angelo Mangiarotti Chicago chair Italy, 1983 | Skipper lacquered fiberglass 19 ¾ w × 28 ¼ d × 35 ½ h in (50 × 72 × 90 cm) $ 2,000 – 3,000

Literature: Angelo Mangiarotti: Matter and Sense, Casati, unpaginated Provenance: Phillips, Saturday @ Phillips, 2 December 2006, Lot 33 | Important Private Collection

195

196

R. Buckminster Fuller 1895–1983 30 Strut, 3 Frequency (3v) Geodesic Tensegrity Sculpture Dome

R. Buckminster Fuller 1895–1983 30 Strut, 3 Frequency (3v) Geodesic Tensegrity Sculpture Dome

1980 wood dowels with C 60 Carbon finish, plastic coated wire 15 h × 15 dia in (38 × 38 cm)

1980 wood dowels with C 60 Carbon finish, plastic coated wire 10 h × 10 dia in (25 × 25 cm)

Engraved signature to one strut ‘R Buckminster Fuller’. This work is number 4 from the edition of 10.

Sold with a certificate of authenticity issued by the R. Buckminster Fuller Partners Foundation.

Engraved signature to one strut ‘R Buckminster Fuller’. This work is number 7 from the edition of 10.

Sold with a certificate of authenticity issued by the R. Buckminster Fuller Partners Foundation.

$ 7,000 – 9,000

$ 5,000 – 7,000

Provenance: Acquired directly from the artist by the present owner

Provenance: Acquired directly from the artist by the present owner

197 Patrik Fredrickson and Ian Stallard Pyrenees sofa United Kingdom, 2007 | David Gill, Ltd. polyurethane foam, flocked fibers, enameled steel 86 ½ w × 39 ¾ d × 32 h in (220 × 101 × 81 cm) This work is number 5 from the edition of 8. Signed and numbered to the underside on an applied metal label ‘Fredrickson Stallard David Gill 5/8’. $ 10,000 – 15,000

Provenance: David Gill Gallery, London Important Private Collection

198

199

Piero Fornasetti Architettura trumeau

Ole Evinrude Elto outboard motor

Italy, 1952–58/1993 | Fornasetti Milano screen print on lacquered wood, enameled steel, brass 31 ½ w × 16 d × 86 h in (80 × 41 × 218 cm)

USA, c. 1930 | Elto cast aluminum, steel, brass, rubber 18 w × 8 d × 29 ½ h in (46 × 20 × 75 cm)

Trumeau features two doors concealing six glass shelves, one drop-front writing surface, three drawers and an illuminated display. Manufacturer’s mark to lower edge ‘Fornasetti Milano Made in Italy 3 di 6/93’. This work has been reviewed

by Barnaba Fornasetti. $ 10,000 – 15,000

Literature: Fornasetti: The Complete Universe, Fornasetti et. al, pg. 348–356 for a discussion of the Trumeau series Fornasetti: Designer of Dreams, Mauries, ppg. 179–181 Provenance: Private Collection, Hawaii

Cast manufacturer’s mark to head ‘Evinrude Elto Made in Milwaukee USA Outboard Motors’. $ 3,000 – 5,000

200

201

Vladimir Kagan Tri-symmetric wing armchairs model 503 and ottoman, model 504

Randall Deihl b. 1946 Nick’s Nest

USA, 1958 | Vladimir Kagan Designs, Inc. vinyl, aluminum 31 w × 34 ½ d × 39 ¾ h in (79 × 88 × 101 cm) Ottoman measures: 22.75 w × 23.5 d × 14.25 h inches. $ 10,000 – 15,000

Literature: The Complete Kagan: A Lifetime of Avant-Garde, Kagan, pg 264

1981 oil on board 33 ½ h × 54 ½ w in (85 × 138 cm) Signed and titled to verso ‘Randall Deihl Nick’s Nest’. $ 2,000 – 3,000

Exhibited: Randall Deihl: Recent Paintings, May – June 1983, Allan Stone Gallery, New York Diner: An American Art Form, 23 November 1986 – 25 January 1987, Castle Gallery, College of New Rochelle Farm-to-Table: Epicurean Works from the Allan Stone Collection, 22 June – 11 August 2017, Allan Stone Projects, New York Provenance: Acquired directly from the artist | Allan Stone Gallery, New York

202 Paul Evans Cityscape bar cabinet from the PE 200 series USA, c. 1975 Paul Evans Studio for Directional chrome and brass-plated steel 72 w × 22 ½ d × 34 ¼ h in (183 × 57 × 87 cm) Bar cabinet features one flip-top compartment concealing storage above four doors concealing two adjustable shelves. Impressed signature to base ‘An Original Paul Evans’. $ 7,000 – 9,000

Provenance: Collection of Reed and Delphine Krakoff

203 Leon Polk Smith 1906–1996 Quadrat im Kreis 1946–1976 1987 serigraph on paper 40 h × 32 w in (102 × 81 cm) Signed, dated and numbered to lower edge of each ‘86/90 LPS’. This complete portfolio is number 86 from the edition of 90 published Edition Hoffmann, Friedberg, Germany. $ 7,000 – 9,000

204 Francois Arnal T9 coffee table France, c. 1970 | Atelier A chrome-plated steel, glass 35 ¾ w × 35 ¾ d × 16 h in (91 × 91 × 41 cm) The legs of this table can adjust to accommodate various sized tops. $ 2,000 – 3,000

205 Vasa (Velizar Mihich) b. 1933 Untitled c. 1985 acrylic 9 h × 9 dia in (23 × 23 cm) Incised signature ‘Vasa’. Wright would like to thank the artist for his assistance in cataloging this work. $ 3,000 – 5,000

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207

Giacomo Balla Balla screen

Frank Gehry Easy Edges chair and ottoman

Italy, 1918/1971 | Gavina lacquered wood, chrome-plated steel 71 ¾ w × 1 ¼ d × 79 ¼ h in (182 × 3 × 201 cm)

Canada/USA, 1972 | Easy Edges, Inc. laminated cardboard, masonite 22 ¼ w × 39 ½ d × 29 ½ h in (57 × 100 × 75 cm)

$ 7,000 – 9,000

Ottoman measures: 17.25 w × 30 d × 15 h inches.

Literature: Dino Gavina: Collezioni Emblematiche del Moderno dal 1950 al 1992, Fondazione Scientifica Querini Stampalia, pg. 107 The Adventure of Design: Gavina, Vercelloni, pg. 137

$ 5,000 – 7,000

Literature: Frank O. Gehry: Design & Architecture, Vitra, pg. 13 illustrates variation

208 Augusto Savini Pamplona dining chairs, set of eight Italy, 1965 | Pozzi lacquered wood, upholstery, stainless steel 23 w × 20 d × 28 h in (58 × 51 × 71 cm) $ 7,000 – 9,000

Literature: Domus, June 1968, unpaginated Domus, February 1970, unpaginated

209 Richard Haden b. 1958 “Heavy” (Bathroom Scale) 1989 carved and painted wood 5 ½ h × 14 w × 9 d in (14 × 36 × 23 cm) $ 1,000 – 1,500

Exhibited: Richard Haden: Wood Sculpture, March 1989, Allan Stone Gallery, New York Provenance: Acquired directly from the artist | Allan Stone Gallery, New York

210 Vladimir Kagan Multi-position lounge chair, model VK100 USA, 1956/c. 1967 | Vladimir Kagan Designs, Inc. walnut, upholstery 27 w × 40 d × 33 h in (69 × 102 × 84 cm) $ 5,000 – 7,000

Literature: The Complete Kagan: A Lifetime of Avant-Garde Design, Kagan, pg. 127

The Multi-position lounge chair was originally designed in 1956. This example is a later adaptation (found in the 1967 catalog) that incorporates a pull-out foot rest. The mechanism for this feature was complex and in the end only 50 examples were made.

211 Chris Martin b. 1954 Double Orange Coney Island Vodou Painting 1999–2000 oil on canvas 118 h × 143 w in (300 × 363 cm) Signed, titled and dated to verso ‘CM Double Orange Coney Island Vodou Painting 1999-2000’. $ 10,000 – 15,000

Provenance: Fontainebleau Resort, Las Vegas | Private Collection

212 Edward Wormley chaise lounge, model no. 46903 USA, 1946 | Dunbar bleeched mahogany, cane, upholstery, leather 26 ¾ w × 58 ½ d × 28 ½ h in (68 × 149 × 72 cm) $ 7,000 – 9,000

Provenance: WYETH, New York Sotheby’s, WYETH: The Art of Timeless Design, 7 June 2016, Lot 458 Private Collection

Isamu Noguchi had two permanent homes before his death in 1988 although he rarely spent more than four months at a stretch at either of them. His home in New York was a small penthouse apartment on East 69th Street, and his other was a reconstructed Samurai house on the Island of Shikoku in Japan next to the stone carving facility where he produced most of his hard stone sculptures. The 69th Street apartment in Manhattan was convenient for him as his studio in Long Island City, Queens was a short Volkswagen Rabbit ride across the 59th Street bridge.

By the time Noguchi died, I had worked for him for eight years as a studio assistant and studio manager. After his death, I continued to work for his foundation and subsequently The Noguchi Museum for a total of thirty years in the capacities of collections manager, registrar, foundation liaison to the board of trustees, and eventually chief curator for his museum. His executors distributed some of what was considered then the less valuable contents of his apartment. They offered me, and I eagerly accepted, Noguchi’s custom Issey Miyake tuxedo that was designed for him when he received the National Medal of the Arts Award from President Reagan. The executors also gave me his Eames Aluminum Group Side Chair, a dresser, and a two-part shelving unit, furniture items situated in his bedroom.

Isamu Noguchi. Sketch of cabinet from sketchbook, c.1970-75. Pencil on paper. 10 5/16 x 7 1/8in. ©The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York

His one-bedroom apartment on 69th Street, which he acquired in the late 1960s, was modern and modest. The living room area had tatami, but the rest of the apartment was in a conventionally western style. This shelving unit in birch veneer is tall with long clean lines, almost 95 inches high. The two units are modular and perhaps because of their simplicity and common materials, could easily be overlooked as something Noguchi designed.

He made a drawing for this shelving unit for his cabinet maker, Erwin J. Fehrenbach, who also worked out of Long Island City.

The drawing is by Noguchi’s hand and in the archives of the Noguchi Museum.

B O N N I E R Y C H L A K Chief Curator of The Noguchi Museum

213 Isamu Noguchi custom shelving units from Isamu Noguchi’s East 69th Street Apartment, New York USA, c. 1970 | Erwin J. Fehrenbach birch plywood, brass 40 w × 17 d × 96 h in (102 × 43 × 244 cm) Additional unit measures: 24 w × 96 h × 17 d inches. $ 10,000 – 15,000

Provenance: Isamu Noguchi, New York Bonnie Rychlak, New York

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215

Gertrud and Otto Natzler bottle

Otto Natzler vase

USA, 1963 wheel-thrown and glazed earthenware 3 w × 2 ½ d × 9 ½ h in (8 × 6 × 24 cm)

USA, 1986 earthenware with crater glaze 6 ½ w × 2 d × 11 ¼ h in (17 × 5 × 29 cm)

Slip signature to underside ‘Natzler’ with studio label ‘M643’.

Slip signature and artist cypher to underside ‘Otto Natzler 1986 N’ with studio label ‘X463’.

$ 5,000 – 7,000

Provenance: Acquired directly from the artists | Mr. and Mrs. William Kugel, Beverly Hills | Private Collection, Santa Monica

$ 1,500 – 2,000

Provenance: Acquired directly from the artists | Mr. and Mrs. William Kugel, Beverly Hills | Private Collection, Santa Monica

216 Gertrud and Otto Natzler bottle USA, c. 1965 wheel-thrown and glazed earthenware 4 ¾ dia × 7 h in (12 × 18 cm) Slip signature to underside ‘Natzler’. $ 2,000 – 3,000

Provenance: Acquired directly from the artists | Mr. and Mrs. William Kugel, Beverly Hills | Private Collection, Santa Monica

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218

219

Gertrud and Otto Natzler closed form

Gertrud and Otto Natzler teardrop bottle

Gertrud and Otto Natzler bowl

USA, 1969 wheel-thrown and glazed earthenware 6 ¾ dia × 4 h in (17 × 10 cm)

USA, 1963 wheel-thrown and glazed earthenware 6 ½ dia × 8 ½ h in (17 × 22 cm)

USA, 1964 wheel-thrown and glazed earthenware 4 ½ dia × 2 h in (11 × 5 cm)

Slip signature to underside ‘Natzler’ with studio label ‘O345’.

Slip signature to underside ‘Natzler’ with studio label ‘M921’.

Slip signature to underside ‘Natzler’ with studio label ‘N209’.

$ 2,000 – 3,000

$ 3,000 – 5,000

$ 1,000 – 1,500

Provenance: Acquired directly from the artists | Mr. and Mrs. William Kugel, Beverly Hills | Private Collection, Santa Monica

Provenance: Acquired directly from the artists | Mr. and Mrs. William Kugel, Beverly Hills | Private Collection, Santa Monica

Provenance: Acquired directly from the artists | Mr. and Mrs. William Kugel, Beverly Hills | Private Collection, Santa Monica

220 Gertrud and Otto Natzler Nocturne teardrop bottle USA, 1959 wheel-thrown earthenware with Nocturne reduction glaze, crystals and melt fissures 3 ¼ dia × 9 h in (8 × 23 cm) Slip signature to underside ‘Natzler’ with studio label ‘K281’. $ 3,000 – 5,000

Provenance: Acquired directly from the artists | Mr. and Mrs. William Kugel, Beverly Hills | Private Collection, Santa Monica

Jon Brooks creates very personal, optimistic works that accord with his immediate surroundings. Brooks studied under Wendell Castle, serving as his first apprentice. Under Castle’s guidance and driven by a deep connection with the forests of New Hampshire where he grew up, Brooks developed an expressive sculptural style where function is a chosen limitation.

His impressive, early works were made over several years, first roughly carved with a chainsaw, left to air dry for two years, and then thoughtfully shaped, sanded and coated. Materials were sourced from felled trees on his wooded property in New Hampshire, where the landscape, his studio and his home seem to blur into one encompassing vision.

The following two works are seminal examples of Brooks’ art.

Unique and expressive, these pieces effortlessly blend sculpture and function, unite natural and interior environments, and embody Brooks’ intention to make works “you can dance with.” They were acquired directly from the artist by neighbors of Susan Franklin Brooks, Jon’s sister and the original owner of The Franklin Chair which now resides in the Museum of Fine Arts in Boston. They have remained in the original collection until now.

221 Jon Brooks Important and Unique chair USA, 1974 carved elm 41 w × 43 d × 32 h in (104 × 109 × 81 cm) Carved signature and date to base ‘Jon Brooks 1974’. $ 40,000 – 60,000

Provenance: Acquired directly from the artist | Thence by descent

222 Jon Brooks Important and Unique chair USA, 1974 carved elm 41 w × 43 d × 32 h in (104 × 109 × 81 cm) Carved signature and date to base ‘Jon Brooks 1974’. $ 40,000 – 60,000

Provenance: Acquired directly from the artist | Thence by descent

223 Harry Bertoia 1915–1978 Untitled (Gong) c. 1975 silicon bronze with applied patina 49 ½ h × 34 w × ¼ d in (126 × 86 × 1 cm) Sold with a certificate of authenticity from the Harry Bertoia Foundation. $ 30,000 – 50,000

Provenance: Collection of the artist Estate of Harry Bertoia

224

225

Harry Bertoia 1915–1978 Untitled (Melt Pressed Bronze)

Harry Bertoia 1915–1978 Untitled (Melt Pressed Bronze)

c. 1963 melt pressed bronze 2 ¼ h × 3 dia in (6 × 8 cm)

c. 1963 melt pressed bronze ½ h × 2 ½ dia in (1 × 6 cm)

Sold with a certificate of authenticity from the Harry Bertoia Foundation.

Sold with a certificate of authenticity from the Harry Bertoia Foundation.

$ 1,500 – 2,000

$ 1,500 – 2,000

Provenance: Collection of the artist Estate of Harry Bertoia

Provenance: Collection of the artist Estate of Harry Bertoia

226 Harry Bertoia 1915–1978 Untitled (Sonambient) c. 1975 beryllium copper and brass 39 h × 26 ¾ w × 3 d in (99 × 68 × 8 cm) This work features fifty-eight rods in a two by twenty-nine configuration. Sold with a certificate of authenticity issued by the Harry Bertoia Foundation. $ 25,000 – 35,000

Provenance: Private Collection, Florida

227

228

Harry Bertoia 1915–1978 Untitled (Directly Formed Bronze)

Harry Bertoia 1915–1978 Untitled (Directly Formed Bronze)

c. 1963 cast bronze with applied patina 9 h × 2 dia in (23 × 5 cm)

c. 1963 cast bronze with applied patina 8 ¾ h × 3 dia in (22 × 8 cm)

Sold with a certificate of authenticity from the Harry Bertoia Foundation.

Sold with a certificate of authenticity from the Harry Bertoia Foundation.

$ 5,000 – 7,000

$ 5,000 – 7,000

Provenance: Collection of the artist Estate of Harry Bertoia

Literature: The World of Bertoia, Schiffer and Bertoia, pg. 134 illustrates this work Exhibited: Harry Bertoia, 14 December 1975 – 8 February 1976, Allentown Art Museum, Allentown, PA Provenance: Collection of the artist Estate of Harry Bertoia

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229 Harry Bertoia 1915–1978 Untitled (Welded Form) c. 1965 welded copper with applied patina 61 h × 28 dia in (155 × 71 cm) This sculpture was prominently situated at the Bertoia studio just outside the barn containing the famous Sonambient installation. Sold with a certificate of authenticity from the Harry Bertoia Foundation. $ 50,000 – 70,000

Provenance: Collection of the artist Estate of Harry Bertoia

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231

Harry Bertoia 1915–1978 Untitled (Monotype)

Harry Bertoia 1915–1978 Untitled (Wire Form)

c. 1970 ink on rice paper 9 h × 20 ½ w in (23 × 52 cm)

1968 stainless steel and steel wire, aluminum 82 h × 40 w × 9 ¾ d in (208 × 102 × 25 cm)

Sheet measures: 12.75 h × 24.25 w inches.

Initialed to verso ‘HB’. Numbered to lower right ‘1797’. Sold with a certificate of authenticity from the Harry Bertoia Foundation.

Sold with a certificate of authenticity issued by the Harry Bertoia Foundation.

$ 1,500 – 2,000

Provenance: Collection of the artist Estate of Harry Bertoia

$ 30,000 – 50,000

Provenance: Hokin Gallery Inc., Bay Harbor Islands | Private Collection Christie’s, London, 50 Years of Connoisseurship – Property from a Distinguished Private Collection, 30 June 2016, Lot 183 | Private Collection, New York | Wright, 20th Century Art, 27 April 2017, Lot 8 | Private Collection

232 Harry Bertoia 1915–1978 Untitled (Monotype) c. 1970 ink on rice paper 24 h × 39 w in (61 × 99 cm) Sold with a certificate of authenticity from the Harry Bertoia Foundation. $ 3,000 – 5,000

Provenance: Collection of the artist Estate of Harry Bertoia

233 Paul Evans and Phillip Lloyd Powell occasional table USA, c. 1960 | Paul Evans Studio gilt and enameled steel, slate, gilt wood 24 dia × 16 h in (61 × 41 cm) $ 7,000 – 9,000

Provenance: Mrs. Harold Charles Price, Jr.

234 George Nakashima Custom cabinet USA, 1957 American black walnut 42 ½ w × 26 d × 78 h in (108 × 66 × 198 cm) Cabinet features two doors concealing three adjustable shelves and one fixed shelf above a pull-out laminate desktop, two small storage compartments and turn table shelf with a custom base, added later and designed by Mira Nakashima, to make it a free-standing unit. Sold with a digital copy of the original order card. $ 40,000 – 60,000

Provenance: Commissioned directly from the artist | Thence by descent

235 George Nakashima Milk House table USA, 1944/c. 1950 cherry, walnut 38 w × 34 d × 16 ¼ h in (97 × 86 × 41 cm) $ 10,000 – 15,000

Provenance: Accquired directly from the artist | Thence by descent

236 George Nakashima Double Pedestal desk USA, 1966 American black walnut 60 w × 29 ½ d × 28 h in (152 × 75 × 71 cm) Desk features six drawers. Sold with a digital copy of the original order card. $ 15,000 – 20,000

Provenance: Acquired directly from the artist by Dr. Julina Gylfe, Philadelphia Thence by descent

237 George Nakashima Wepman occasional table USA, c. 1960 walnut 23 w × 23 d × 17 ¼ h in (58 × 58 × 44 cm) Highly figured single-slab top with free edge. $ 2,000 – 3,000

Literature: George Nakashima Woodworker, studio catalog, unpaginated Provenance: Cristina Grajales, New York Acquired from the previous by the present owner

238 George Nakashima Captain’s chairs, pair USA, 1956 American black walnut 24 ¼ w × 20 d × 28 ½ h in (62 × 51 × 72 cm) Sold with a digital copy of the original order card. $ 2,000 – 3,000

Literature: George Nakashima, Woodworkers, studio catalog, unpaginated George Nakashima: Full Circle, Ostergard, ppg. 144–145 Provenance: Acquired directly from the artist by Dr. Julina Gylfe, Philadelphia Thence by descent

239 George Nakashima Custom cabinet USA, 1957 American black walnut 42 ½ w × 26 d × 78 h in (108 × 66 × 198 cm) Cabinet features two doors concealing a hanging rod beneath a single shelf with a custom base, added later and designed

by Mira Nakashima to make it a freestanding unit. Sold with a digital copy of the original order card. $ 40,000 – 60,000

Provenance: Commissioned directly from the artist | Thence by descent

240 George Nakashima Cushion Chairs with Arms, pair USA, 1952 walnut, upholstery 29 ¼ w × 34 d × 30 ½ h in (74 × 86 × 77 cm) Sold with a digital copy of the original order list from Nakashima Woodworkers. $ 10,000 – 15,000

Literature: George Nakashima, Woodworker, studio catalog, unpaginated Provenance: Accquired directly from the artist | Thence by descent

241 George Nakashima cabinet, OH-207-L USA, c. 1950 | Widdicomb East Indian laurel wood, walnut, brass 60 w × 22 d × 32 h in (152 × 56 × 81 cm) Branded manufacturer’s mark to drawer ‘George Nakashima’. $ 5,000 – 7,000

Literature: Widdicomb, manufacturer’s catalog, pg. 15

242 George Nakashima cabinet with bookshelf USA, 1967 American black walnut 36 w × 20 d × 32 h in (91 × 51 × 81 cm) Sold with a bookshelf (not pictured) designed by George Nakashima in 1974 that sets atop cabinet. Bookshelf features three fixed shelves and measures: 36 w × 12d × 48 h inches. Signed with client name to reverse of bookshelf ‘Gylfe’.

Sold with a digital copy of the original order card. $ 7,000 – 9,000

Provenance: Acquired directly from the artist by Dr. Julina Gylfe, Philadelphia Thence by descent

243 George Nakashima Single-Pedestal desk and New chair USA, 1956 American black walnut, hickory 45 w × 26 d × 28 h in (114 × 66 × 71 cm) Chair measures: 18.5 w × 22 d × 36 h inches. Desk features three drawers.

Sold with a digital copy of the original order card. $ 7,000 – 9,000

Literature: George Nakashima Woodworker, studio catalog, unpaginated Provenance: Acquired directly from the artist by Dr. Julina Gylfe, Philadelphia Thence by descent

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245

George Nakashima New chairs, pair

George Nakashima Plank stool

USA, 1966 American black walnut, hickory 18 ½ w × 22 d × 36 h in (47 × 56 × 91 cm)

USA, c. 1950 walnut 20 ½ w × 14 ½ d × 12 ¼ h in (52 × 37 × 31 cm)

Signed with partial client name to underside of each example ‘Gylfe’.

Sold with a digital copy of the original order card.

$ 1,000 – 1,500

$ 3,000 – 5,000

Literature: George Nakashima Woodworker, studio catalog, unpaginated Provenance: Acquired directly from the artist by Dr. Julina Gylfe, Philadelphia Thence by descent

Literature: George Nakashima, Woodworkers, studio catalog, unpaginated Provenance: Accquired directly from the artist | Thence by descent

246 George Nakashima Early and Rare cabinet USA, c. 1950 cherry, walnut 72 w × 20 d × 36 h in (183 × 51 × 91 cm) Cabinet features two doors concealing two adjustable shelves and eight drawers.

Sold with a digital copy of the original order card. $ 15,000 – 20,000

Provenance: Accquired directly from the artist | Thence by descent

247 George Nelson & Associates Marshmallow sofa USA, 1956 | Herman Miller upholstery, enameled steel, chrome-plated steel 51 ½ w × 31 d × 31 h in (131 × 79 × 79 cm) $ 7,000 – 9,000

Literature: George Nelson: Architect, Writer, Designer, Teacher, von Vegesack and Eisenbrand, pg. 267

Isamu Noguchi and Isamu Kenmochi sitting in Bamboo Basket Chair. Japan, c.1950. ©The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York. Photo

by Michio Noguchi.

The first Bamboo Basket Chair was a collaborative effort by Isamu Noguchi and Isamu Kenmochi in Japan in 1950. They made only one Bamboo Basket Chair then at the Kenmochi studios in Tokyo.

It turned out to be a complicated design and far too involved for mass manufacturing purposes. This first chair has not been found nor are there any related drawings. Nevertheless, as early as 2006 when I was planning the exhibition, Design: Isamu Noguchi and Isamu Kenmochi at The Noguchi Museum for 2008, I decided I wanted to recreate the Bamboo Basket Chair for this exhibition.

With Larry List, a model maker extraordinaire, and Douglas DeNicola, head of merchandising for the museum, we decided to attempt the recreation using only the high resolution black and white photographs that were available in the museum’s archives. Calibrations were made based on enlarging the images and approximating body sizes of the known seated persons in the photographs. We also located traditional bamboo and rattan weavers in Japan as well as consultants for the chair’s iron frame.

The information gathered, along with the collective knowledge of employees from the first Kenmochi Design firm, supported the arduous process of building the Bamboo Basket Chair.

In the end, however, the chair was too expensive to mass-produce, and its impression and reality of fragility made it more an objet d’art rather than a comfortable, functional piece of furniture.

These were probably the same characteristics and problems Noguchi and Kenmochi recognized in 1950. Nevertheless, the chair’s craftsmanship, intricate beauty, complicated weaving and engineering illustrate that functional design does not come easily, but it is always worth the attempt. Since the Bamboo Basket Chair could not be mass produced, the museum decided in 2007 to make an edition of fifty. Number ten from the edition was gifted to me by the Isamu Noguchi Museum for my thirty years of service to Noguchi’s legacy.

B O N N I E R Y C H L A K Chief Curator of The Noguchi Museum

248 Isamu Noguchi and Isamu Kenmochi Bamboo Basket Chair USA, 1950/2010 Shioju wood, bamboo, iron 33 ½ w × 30 d × 28 ¼ h in (85 × 76 × 72 cm) Branded manufacturer’s mark to underside ‘INFGM 2010 10/50’. Paper label applied to underside ‘Bamboo Basket Chair #10 Bonnie Rychlak 35 Neck Path East Hampton NY 11937’. $ 3,000 – 5,000

Literature: Design: Isamu Noguchi and Isamu Kenmochi, Rychlak, Mori, Murayama, and Matsumoto, ppg. 36, 39, 53, 110, 129 Provenance: Gift from The Noguchi Museum to Bonnie Rychlak, New York

The Bamboo Basket Chair was a collaborative design by Isamu Noguchi and Isamu Kenmochi created in 1950.

Together at Kenmochi’s studio, they made one example, its whereabouts now unknown. Ultimately, the design was found to be too complicated and it was never put into production. In 2007, The Noguchi Museum and Kenmochi Design Associates collaborated on a limited production of the Bamboo Basket Chair with an edition of 50 examples; as of today, only thirteen of the fifty have been realized.

249 Zahara Schatz table lamps, pair USA, c. 1948 Plexiglas, brass, copper, silver wire, paper 17 dia × 28 h in (43 × 71 cm) $ 3,000 – 5,000

250 Charles and Ray Eames La Chaise USA/Germany, 1948/2002 | Vitra lacquered fiberglass, oak, chrome-plated steel 58 w × 34 d × 33 ½ h in (147 × 86 × 85 cm) Though first introduced at the Museum of Modern Art, New York in 1948, La Chaise was not produced until 1993.

Partial decal manufacturer’s label to underside ‘Vitra 17 Okt 2002’. $ 2,000 – 3,000

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252

George Nelson & Associates Miniature cabinet, model 5217

Greta Magnusson Grossman cabinet

USA, 1952/c. 1955 | Herman Miller walnut, enameled steel, porcelain 14 w × 14 d × 44 ½ h in (36 × 36 × 113 cm)

Sweden/USA, c. 1952 | Glenn of California walnut, laminate, enameled steel, lacquered wood 32 w × 18 ¾ d × 35 ½ h in (81 × 48 × 90 cm)

Disc manufacturer’s label to drawer ‘Designed by George Nelson Herman Miller Zeeland, Mich’. $ 9,000 – 12,000

Literature: George Nelson: Architect, Writer, Designer, Teacher, von Vegesack and Eisenbrand, pg. 245 The Herman Miller Collection, manufacturer’s catalog, 1955, unpaginated

Cabinet features four drawers. Branded manufacturer’s mark to drawer ‘Glenn of California’. $ 5,000 – 7,000

Literature: Greta Magnusson Grossman: Designer, Kane, pg. 6 Provenance: Acquired from the original owner by the present owner

253 Greta Magnusson Grossman nightstands, pair Sweden/USA, c. 1952 | Glenn of California walnut, enameled steel, lacquered wood 15 ¾ w × 19 ½ d × 23 ½ h in (40 × 50 × 60 cm) Each nightstand features one drawer. $ 5,000 – 7,000

Provenance: Acquired from the original owner by the present owner

254 Greta Magnusson Grossman cabinet Sweden/USA, c. 1952 | Glenn of California walnut, lacquered wood, enameled steel 46 ¾ w × 18 ¾ d × 28 ½ h in (119 × 48 × 72 cm) Cabinet features three drawers and one door concealing one shelf. $ 5,000 – 7,000

Literature: Greta Magnusson Grossman: Designer, Kane, pg. 6 Provenance: Acquired from the original owner by the present owner

255 Alexander Girard settee for Braniff Airlines USA, 1967 | Herman Miller upholstery, cast aluminum, rubber 71 ½ w × 28 d × 26 h in (182 × 71 × 66 cm) $ 8,000 – 10,000

Literature: Alexander Girard Designs for Herman Miller, Piña, ppg. 131–134 illustrate variation Provenance: Braniff International Airways Private Collection

256 Alexander Girard lounge chairs model 66311, pair USA, 1967 | Herman Miller naugahyde, Girard upholstery, upholstery, cast aluminum 28 w × 29 d × 25 ¾ h in (71 × 74 × 65 cm) These chairs feature Girard’s Checkers upholstery. Manufacturer’s label to underside of each example ‘Herman Miller Zeeland, Michigan’. $ 7,000 – 9,000

Literature: Alexander Girard Designs for Herman Miller, Piña, pg. 136 Provenance: Wright, Modern Design, 7 October 2008, Lot 165 | Private Collection

257 Alexander Girard table for Braniff Airlines USA, 1965 | Herman Miller cast aluminum, Corian 80 w × 32 d × 30 h in (203 × 81 × 76 cm) The designs Girard created for Braniff lead to the Girard Group Furniture for Herman Miller three years later.

This example comes from the Braniff Lounge at Love Field Airport in Dallas and features a later, Corian top. $ 3,000 – 5,000

Provenance: Braniff Lounge, Love Field Airport, Dallas | Private Collection

258 Alexander Girard coffee table, model 66350 USA, 1967 | Herman Miller aluminum, glass 34 w × 34 d × 16 h in (86 × 86 × 41 cm) $ 2,000 – 3,000

Literature: Alexander Girard Designs for Herman Miller, Piña, ppg. 131–132, 137, 139 Provenance: Collection of Alexander and Susan Girard, Santa Fe | Thence by descent | Private Collection, New York

259 Alexander Girard Prototype table USA, c. 1967 aluminum 30 w × 26 d × 16 ¾ h in (76 × 66 × 43 cm) $ 5,000 – 7,000

Literature: Alexander Girard Designs for Herman Miller, Piña, ppg. 131–132, 137, 139 illustrate variations Provenance: Collection of Alexander and Susan Girard, Santa Fe | Thence by descent | Private Collection, New York

This prototype table features a large top with a small triangle pattern, details that do not appear on production examples.

It was acquired in the late 1990s through Marshall Girard, Alexander and Susan’s son. The present owner, who was living in Santa Fe at the time, was invited to purchase the works after Susan’s death in 1996. Until then, this prototype table and lots 172 and 174 had remained in the Girard’s personal collection at their home and studio on Calle Loma Norte in Santa Fe.

260 Alexander Girard armchair, model 66307 USA, 1967 | Herman Miller lacquered wood, cast aluminum, upholstery, rubber 23 ½ w × 21 d × 28 h in (60 × 53 × 71 cm) $ 2,000 – 3,000

Literature: Alexander Girard Designs for Herman Miller, Piña, ppg. 133, 135

261 Alexander Girard occasional table, model 66352 USA, 1967 | Herman Miller aluminum, granite 20 w × 20 d × 20 ¼ h in (51 × 51 × 51 cm) $ 2,000 – 3,000

Literature: Alexander Girard Designs for Herman Miller, Piña, ppg. 131–132, 137, 139 Provenance: Collection of Alexander and Susan Girard, Santa Fe | Thence by descent | Private Collection, New York

262 Alexander Girard Prototype cabinet USA, c. 1965 | Herman Miller laminate, cast aluminum 71 ½ w × 19 ½ d × 29 h in (182 × 50 × 74 cm) The cabinet was a prototype model for The Girard Group created for the Herman Miller showroom; the present lot is one of only two known examples. Cabinet features four doors concealing one shelf, two drawers and one compartment for storage. $ 7,000 – 9,000

Exhibited: An Uncommon Vision, 2012, Herman Miller Showroom, Chicago Provenance: Wright, Modern Design, 29 March 2012, Lot 127 | Bright Lyons, Brooklyn | Private Collection

263 Alexander Girard dining table from Dragon Peak House USA, c. 1964 | Herman Miller laminate, enameled steel 49 w × 49 d × 27 ½ h in (124 × 124 × 70 cm) This table is one of six examples created for the Dragon Peak House. Table features four folding leaves; table measures 34 w × 34 d inches when folded. $ 2,000 – 3,000

Literature: House & Garden, February 1968, illustrates this example in situ Provenance: Dragon Peak House, MN Christie’s, New York, 6–7 April 2010, Sale 2301, Lot 584 | Private Collection Wright, Modern Design, 12 October 2010, Lot 462 | Private Collection, New York Wright, Modern Design, 28 March 2013, Lot 140 | Private Collection

264 Florence Knoll hanging cabinet, model 121 W-1 USA, 1947 | Knoll Associates walnut, lacquered wood, leather 72 w × 15 ¼ d × 17 ¾ h in (183 × 39 × 45 cm) Cabinet features two drop-front doors concealing four shelves. $ 2,000 – 3,000

Literature: Knoll Furniture: 1938–1960, Rouland and Rouland, pg. 132

265 George Nelson & Associates Catenary chairs model 6380, pair and ottoman USA, 1962 | Herman Miller leather, chrome-plated steel 30 w × 28 ½ d × 29 h in (76 × 72 × 74 cm) Ottoman measures: 30 w × 22.75 d × 16 h inches. $ 5,000 – 7,000

Literature: George Nelson: Architect, Writer, Designer, Teacher, von Vegesack and Eisenbrand, pg. 251

266 Jean Prouvé bed from l’Unité d’Habitation Air France, Brazzaville France, 1942/1951 | Ateliers Jean Prouvé enameled steel, canvas, oak 80 w × 32 d × 23 h in (203 × 81 × 58 cm) $ 15,000 – 20,000

Literature: Jean Prouvé Complete Works Volume 2: 1934–1944, Sulzer, ppg. 296–297 Jean Prouvé, Galerie Patrick Seguin and Sonnabend Gallery, ppg. 368–369 Provenance: l’Unité d’Habitation Air France, Brazzaville, Congo Private Collection, Paris | Wright, Important Design, 8 June 2010, Lot 555 | Private Collection

267 Pierre Jeanneret desk and chair from Chandigarh France/India, c. 1960 teak, leather, caning, linen, aluminum 54 w × 27 ¼ d × 29 h in (137 × 69 × 74 cm) Chair measures: 18 w × 21.5 d × 33.25 h inches.

Desk features two drawers. $ 10,000 – 15,000

Literature: Le Corbusier Pierre Jeanneret: The Indian Adventure, Design-ArtArchitecture, Touchaleaume and Moreau, ppg. 561, 574 Provenance: Chandigarh, India Private Collection

268 Jean Prouvé bed from l’Unité d’Habitation Air France, Brazzaville France, 1942/1951 | Ateliers Jean Prouvé enameled steel, upholstery, oak 80 w × 32 d × 23 h in (203 × 81 × 58 cm) $ 15,000 – 20,000

Literature: Jean Prouvé Complete Works Volume 2: 1934–1944, Sulzer, ppg. 296–297 Jean Prouvé, Galerie Patrick Seguin and Sonnabend Gallery, ppg. 368–369 Provenance: l’Unité d’Habitation Air France, Brazzaville, Congo Private Collection, Paris | Wright, Important Design, 8 June 2010, Lot 555 | Private Collection

269 Pierre Guariche Cerf Volant adjustable wall light France, c. 1983 | Disderot enameled and perforated steel, brass 15 w × 52 d × 33 h in (38 × 132 × 84 cm) $ 7,000 – 9,000

Literature: Les Décorateurs des Années 50, Favardin, pg. 166 Provenance: Private Collection, Paris

270 Alexandre Noll Untitled France, c. 1950 carved ebony 9 ¼ h × 6 ¼ w × 5 ½ d in (23 × 16 × 14 cm) Incised signature to side ‘ANoll’. $ 20,000 – 30,000

Literature: Alexandre Noll, Jean-Elie and Passebon, ppg. 86, 114 illustrate related work Provenance: Olivier Jean-Elie, Paris Private Collection, Paris

271 Jean Prouvé ‘Semi-Metal’ chairs no. 305, set of eight France, 1950 | Ateliers Jean Prouvé enameled steel, beech plywood, aluminum 16 ½ w × 19 d × 32 h in (42 × 48 × 81 cm) Sold with digital copies of invoices from DeLorenzo 1950, New York. $ 60,000 – 80,000

Literature: Jean Prouvé Complete Works, Volume 3: 1944–1954, Sulzer, ppg. 35, 208–211 Jean Prouvé, Galerie Patrick Seguin and Sonnabend Gallery, ppg. 234, 266–269 Provenance: DeLorenzo 1950, New York Acquired from the previous in 1998 and 1999 by the present owner

272

273

Georges Jouve coupe

Alexandre Noll bowl

France, c. 1955 glazed stoneware 3 ½ w × 3 ¼ d × 2 ¼ h in (9 × 8 × 6 cm)

France, c. 1950 carved walnut 13 w × 12 d × 2 ½ h in (33 × 30 × 6 cm)

Incised signature to underside ‘Jouve’.

Incised signature to underside ‘A Noll’.

$ 2,000 – 3,000

$ 5,000 – 7,000

Literature: Georges Jouve, Jousse, ppg. 62–65, 171 illustrate related forms Georges Jouve Céramiste, Faré, pg. 71 illustrates similar example

Provenance: Private Collection, France | Chastel Marechal, Paris Private Collection, Paris

274 Pierre Jeanneret bench from the M.L.A. Flats building, Chandigarh France/India, c. 1955 teak, linen 52 ¾ w × 16 d × 20 ½ h in (134 × 41 × 52 cm) $ 7,000 – 9,000

Literature: Le Corbusier Pierre Jeanneret: The Indian Adventure, Design-ArtArchitecture, Touchaleaume and Moreau, pg. 565 Provenance: M.L.A. Flats building, Chandigarh, India | Private Collection

275 Pierre Jeanneret sofa from Chandigarh France/India, c. 1958–59 upholstery, teak 65 w × 32 d × 30 h in (165 × 81 × 76 cm) $ 30,000 – 50,000

Literature: Le Corbusier Pierre Jeanneret: The Indian Adventure, Design-ArtArchitecture, Touchaleaume and Moreau, pg. 564 Le Corbusier Pierre Jeanneret, Chandigarh, India, Galerie Patrick Seguin, pg. 282 Provenance: Chandigarh, India Private Collection, New York

276 Pierre Jeanneret lounge chairs from Chandigarh, pair France/India, c. 1958–59 upholstery, teak 27 ½ w × 33 d × 30 h in (70 × 84 × 76 cm) $ 30,000 – 50,000

Literature: Le Corbusier Pierre Jeanneret: The Indian Adventure, Design-ArtArchitecture, Touchaleaume and Moreau, pg. 564 Provenance: Chandigarh, India Private Collection, New York

277 Charlotte Perriand bench from Cité Cansado, Mauritania France, 1958 Négroni and Métal Meuble for Galerie Steph Simon lacquered pine, enameled steel 74 ¾ w × 27 ¼ d × 10 ½ h in (190 × 69 × 27 cm) $ 7,000 – 9,000

Literature: Charlotte Perriand: Complete Works Volume 3, 1956–1968, Barsac, pg. 119 Provenance: Cité Cansado, Mauritania Private Collection

278 Jean Prouvé Tout Bois chair France, 1941/c. 1945 | Vauconsant Company for Ateliers Jean Prouvé stained oak 16 w × 20 d × 32 ½ h in (41 × 51 × 83 cm) $ 7,000 – 9,000

Provenance: Collection Jean-Claude Kraftchik, Paris | Acquired from the previous in 1990 by the present owner

The earliest Standard chair was made of metal in 1934 and Prouvé adapted this popular form many times throughout his career. During World War II Prouvé worked with the Vauconsant Company to produce this form in wood due to the scarcity of metal. The earliest examples feature a frame of solid wood with side tenons passing through the back frame, though variants suggest fluctuations in the supply of materials and adjustments to the design.

Following the war, the Tout Bois chair continued to be produced with or without the tenons visible at the back of the frame.

279

280

Charlotte Perriand wall sconces, set of twelve

Pierre Jeanneret Easy armchairs from Punjab Engineering College, Chandigarh, set of four

France, 1963 | Galerie Steph Simon enameled steel 5 w × 2 ¾ d × 7 h in (13 × 7 × 18 cm)

France/India, c. 1955 teak, cane, linen 20 ½ w × 25 ½ d × 30 ¼ h in (52 × 65 × 77 cm)

Applied foil manufacturer’s label to each example ‘SCE E14 Made in France Classe 1’.

Stenciled marks to reverse of each example ‘P.E.C.’.

$ 5,000 – 7,000

$ 20,000 – 30,000

Literature: Charlotte Perriand Complete Works Volume 3: 191956–1968, Barsac, ppg. 106–107 Charlotte Perriand: Un Art de Vivre, Flammarion, pg. 52

Literature: Le Corbusier Pierre Jeanneret, Chandigarh, India, Galerie Patrick Seguin, ppg. 176, 283 Le Corbusier Pierre Jeanneret: The Indian Adventure, DesignArt-Architecture, Touchaleaume and Moreau, pg. 563 Provenance: Punjab Engineering College, Chandigarh, India | Private Collection

281

282

Georges Jouve vessel

André Borderie, Pierre Szekely and Véra Szekely vessel

France, c. 1950 glazed stoneware 8 ¼ dia × 3 h in (21 × 8 cm)

France/Hungary, c. 1960 glazed earthenware 18 ¾ w × 6 ¼ d × 2 h in (48 × 16 × 5 cm)

Incised signature and artist’s cipher to underside ‘Jouve’.

Incised artist’s cipher to underside.

$ 7,000 – 9,000

$ 5,000 – 7,000

Literature: Georges Jouve, Jousse, pg. 264 illustrates model

Provenance: Private Collection, Paris

283 Mathieu Matégot Kyoto chairs, pair France, 1954 | Atelier Matégot enameled steel 21 w × 21 d × 29 ¾ h in (53 × 53 × 76 cm) $ 8,000 – 10,000

Literature: Mathieu Matégot, Favardin, ppg. 152–155 Mathieu Matégot, Jousse and Mondineu, ppg. 25–27, 29 fig. 129 Provenance: Private Collection, Paris

284 Pierre Guariche Volante occasional tables, set of eight France/Germany, c. 1955 | Steiner laminate, enameled steel, walnut 15 ½ w × 15 ½ d × 13 ¾ h in (39 × 39 × 35 cm) Applied metal manufacturer’s label to underside of six examples ‘Siege Steiner’. $ 4,000 – 6,000

285 Charlotte Perriand wall sconces, set of nine France, 1963 | Galerie Steph Simon enameled steel 5 w × 2 ¾ d × 7 h in (13 × 7 × 18 cm) Applied foil manufacturer’s label to each example ‘SCE E14 Made in France Classe 1’. $ 5,000 – 7,000

Literature: Charlotte Perriand Complete Works Volume 3: 191956–1968, Barsac, ppg. 106–107 Charlotte Perriand: Un Art de Vivre, Flammarion, pg. 52

286

287

Georges Jouve sconces, pair

Jean Royère occasional tables, pair

France, c. 1950 glazed earthenware 12 w × 4 ¾ d × 12 ½ h in (30 × 12 × 32 cm)

France, c. 1950 brass, Vitrolite 20 ½ w × 19 ½ d × 21 ½ h in (52 × 50 × 55 cm)

$ 10,000 – 15,000

$ 20,000 – 30,000

Literature: Georges Jouve, Jousse, pg. 305 illustrates sketch of model

Literature: Jean Royère, vol. 2, Galerie Jacques Lacoste and Galerie Patrick Seguin, pg. 183 illustrates related forms

Provenance: Private Collection, Paris

Provenance: Private Collection

288 Joseph-André Motte table mirror France, c. 1960 | Charron mahogany, mirrored glass, bronze 22 w × 12 d × 25 ½ h in (56 × 30 × 65 cm) $ 5,000 – 7,000

Provenance: Private Collection, France

289 Pierre Jeanneret stools from Chandigarh, set of five France/India, c. 1960 teak, caning, linen 18 ½ w × 12 ¼ d × 17 ¼ h in (47 × 31 × 44 cm) $ 7,000 – 9,000

Literature: Le Corbusier Pierre Jeanneret: The Indian Adventure, Design-ArtArchitecture, Touchaleaume and Moreau, pg. 560 Provenance: Chandigarh, India Private Collection

290

291

André Borderie, Pierre Szekely and Véra Szekely vessel

André Borderie, Pierre Szekely and Véra Szekely vessel

France, c. 1960 glazed earthenware 19 w × 8 d × 5 ¾ h in (48 × 20 × 15 cm)

France/Hungary, c. 1960 glazed earthenware 9 w × 6 d × 3 h in (23 × 15 × 8 cm)

Incised partial signature to underside ‘Szekely Borderie’.

Incised signature to underside ‘V Szekely’.

$ 3,000 – 5,000

Provenance: Private Collection, Paris

$ 1,500 – 2,000

Provenance: Private Collection, Paris

292 Le Corbusier and Pierre Jeanneret Bridge armchairs from the High Court, Chandigarh, pair France/India, c. 1955 teak, suede, linen 26 ½ w × 28 d × 35 ½ h in (67 × 71 × 90 cm) $ 10,000 – 15,000

Literature: Le Corbusier Pierre Jeanneret, Chandigarh, India, Galerie Patrick Seguin, ppg. 136, 139, 282 Le Corbusier Pierre Jeanneret: The Indian Adventure, DesignArt-Architecture, Touchaleaume and Moreau, ppg. 169, 174, 567–568 Exhibited: The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June – 12 July 2009, Ambika P3, University of Westminster, London Provenance: High Court, Chandigarh, India Private Collection, London | Wright, Le Corbusier + Jeanneret, 29 October 2015, Lot 100 | Private Collection

293 Hermès Pippa folding desk France, 1991 pearwood, leather, brass 33 ¾ w × 28 d × 31 ¾ h in (86 × 71 × 81 cm) This desk was designed by Rena Dumas for Hermès. Impressed manufacturer’s mark to closure ‘Hermès’. Impressed manufacturer’s mark to interior ‘Hermès Paris 435 Diamond touch mark’. $ 9,000 – 12,000

Literature: Le Mobilier Français 1960–1998, Brunhammer and Perrin, pg. 230

294 Hermès table mirror France, c. 1975 mirrored glass, chrome-plated and enameled brass, cherry 11 w × 8 d × 16 h in (28 × 20 × 41 cm) Impressed manufacturer’s mark to stand ‘Hermès Paris’. $ 3,000 – 5,000

295

296

Jules Leleu cabinet

Arman 1928–2005 Wall of Violins

France, c. 1935 lacquered wood, brass, gold leaf 104 w × 21 ¼ d × 37 ½ h in (264 × 54 × 95 cm)

1984 die-cut brass 57 ¾ h × 45 w × 1 ½ d in (147 × 114 × 4 cm)

Cabinet features five doors concealing a finished interior with five adjustable shelves and five drawers. Impressed signature to reverse ‘J. Leleu’.

Signed and numbered to lower right ‘A.P. Arman’. This work is an artist’s proof aside from the edition of 50. It is recorded in the Arman Studio Archives, New York under number: APA# 8400.84.061.

$ 15,000 – 20,000

$ 7,000 – 9,000

Provenance: Private Collection, New York

Exhibited: Arman: Musical Instruments, Sculpture and Works on Paper, 21 May – 25 June 1988, Princeton Gallery of Fine Art, Princeton, New Jersey Provenance: Allan Stone Gallery, New York

297 Jules Leleu dining table France, c. 1935 lacquered wood, brass 78 ¾ w × 43 ¼ d × 29 ¼ h in (200 × 110 × 74 cm) Impressed signature to the underside ‘J. Leleu’. $ 10,000 – 15,000

Provenance: Private Collection, New York

298 Gianfranco Fini Programma wall light Italy, c. 1970 | New Lamp stainless steel, methacrylate 41 w × 8 d × 41 h in (104 × 20 × 104 cm) $ 10,000 – 15,000

Literature: Light, Lamps 1968–1973: New Italian Design, Ferrari and Ferrari, fig. 102 Provenance: Acquired circa 1970 in Milan, Private Collection | Thence by descent Private Collection

299 Don Nice 1932–2019 Pig 1969 oil on canvas 48 h × 72 w in (122 × 183 cm) Signed, titled and dated to verso ‘Pig 1969 Don Nice’. $ 3,000 – 5,000

Exhibited: The Peaceable Kingdom and ‘Beasts and Demons’, September – October 1979, Rose Art Museum, Brandeis University, Waltham, MA Animals, 22 May – 15 July 2003, Allan Stone Gallery, New York Two Views of Pop: Don Nice and Dorothy Grebenak, 23 February – 22 April 2017, Allan Stone Projects, New York Farm-to-Table: Epicurean Works from the Allan Stone Collection, 22 June – 11 August 2017, Allan Stone Projects, New York Grand Salon: The Visionary Eye of Allan Stone, 13 September – 10 November 2018, Allan Stone Projects, New York Provenance: Acquired directly from the artist | Allan Stone Gallery, New York

300 Gianni Vallino Industrial Reliquary table lamps, pair Italy/USA, 2019 brass, bronze, silk 15 w × 8 d × 26 h in (38 × 20 × 66 cm) Incised signature, date and number to underside of each example ‘GV 2019 1 of 2 and 2 of 2’. $ 3,000 – 5,000

301 Jules Leleu console France, c. 1935 brass, lacquered wood 73 w × 13 ¾ d × 35 ¾ h in (185 × 35 × 91 cm) Impressed signature to reverse ‘J. Leleu’. $ 5,000 – 7,000

Provenance: Private Collection, New York

302 Piero Fornasetti Sole chairs, pair Italy, c. 1952/1995 | Fornasetti Milano hand-painted and lithographic transferprinted wood, lacquered wood 16 w × 20 ½ d × 37 h in (41 × 52 × 94 cm) Printed manufacturer’s mark to reverse of each example ‘Fornasetti Milano Made in Italy No. 12 di 40/95- L.C.’ with decal manufacturer’s label to underside of one example ‘Fornasetti Milano Made in Italy’.

These works have been reviewed by Barnaba Fornasetti. $ 5,000 – 7,000

Literature: Fornasetti: The Complete Universe, Fornasetti et al., ppg. 398–399 Provenance: Private Collection, Hawaii

303 Sophie Calle b. 1953 Les Tombes (Mother/Father) 1990 gelatin silver print in artist’s frame 23 h × 15 ½ w in (58 × 39 cm) This work is from the edition of 7. $ 5,000 – 7,000

Provenance: Galerie Crousel-Robelin, Paris | Barbara Krakow Gallery, Boston Private Collection, New York

304 Philip and Kelvin LaVerne Rare Chi Liang coffee table USA, c. 1965 acid-etched brass, enameled and patinated brass 50 ½ w × 22 d × 18 ½ h in (128 × 56 × 47 cm) $ 20,000 – 30,000

Provenance: Private Collection

305 Paul Frankl Rare coffee table with planter USA, c. 1948 Johnson Furniture Company cork, stained mahogany, chrome-plated steel 54 w × 35 ½ d × 13 ¼ h in (137 × 90 × 34 cm) $ 10,000 – 15,000

Literature: Ultramodern Sam Marx: Architect, Designer, Art Collector, O’Brien, ppg. 122–123

306 Paul Dupré-Lafon valet France, c. 1935 | Hermès rosewood, brass, leather 17 ½ w × 21 ¾ d × 53 ½ h in (44 × 55 × 136 cm)

$ 10,000 – 15,000

Literature: Dupré-Lafon: Decorateur des Millionnaires, Richer, ppg. 204–205 Provenance: Galerie Marcilhac, Paris Private Collection, New York

307 Modern flatweave carpet c. 2000 hand-woven wool 119 w × 184 l in (302 × 467 cm) $ 5,000 – 7,000

308 Bernard Langlais 1921–1977 Winter Mood 1959 wood construction 48 h × 96 w in (122 × 244 cm) Signed to verso ‘Langlais’. $ 5,000 – 7,000

Provenance: Acquired directly from the artist | Allan Stone Gallery, New York

309 Sergio Rodrigues Vronka chair, pair Brazil, 1962 Imbuia, leather, chrome-plated steel 30 w × 34 d × 34 ¾ h in (76 × 86 × 88 cm) $ 7,000 – 9,000

Literature: Sergio Rodrigues, Borges, pg. 70 Sergio Rodrigues, Cals, ppg. 57, 260

310 Lina Bo Bardi chairs, pair Italy, c. 1960 peroba rosa, leather 22 ¾ w × 28 d × 32 h in (58 × 71 × 81 cm) These chairs have been reviewed by the Bo Bardi Foundation. $ 7,000 – 9,000

Literature: Brazil Modern: The Rediscovery of Twentieh-Century Brazilian Furniture, Chen, ppg. 132–133 Provenance: R and Company, New York Private Collection

311 T.H. Robsjohn-Gibbings occasional table, model no. 110 United Kingdom/Greece, c. 1969 Saridis of Athens carved walnut 25 dia × 23 h in (64 × 58 cm) Signed with applied metal manufacturer’s label to underside ‘Designed by – T.H. Robsjohn Gibbings Manufactured by Saridis of Athens’. Signed with impressed manufacturer’s mark to underside ‘57491’. $ 5,000 – 7,000

Literature: Contemporary Furniture of Greece: Furniture and Fabrics Designed

by T.H. Robsjohn-Gibbings for Saridis of Athens, manufacturer’s catalog, unpaginated

312 Edward Wormley sofa with two ottomans USA, c. 1950 | Dunbar upholstery, aluminum 118 w × 40 d × 30 h in (300 × 102 × 76 cm) Ottomans measure: 28 w × 28 d × 16 h inches. $ 7,000 – 9,000

Literature: Dunbar: Fine Furniture of the 1950s, Piña, ppg. 38–39 illustrate similar forms Provenance: Wyeth, New York Irv Stenn, Chicago

313 Gabriella Crespi coffee table Italy, c. 1970 brass 27 ¼ w × 19 ½ d × 16 h in (69 × 50 × 41 cm) The top element of this table slides to expand the surface area; depth measures twenty-eight inches when fully extended.

Signed with applied studio label to base ‘Gabriella Crespi Brev.’. $ 10,000 – 15,000

314 Gio Ponti Diamond silverware Italy/USA, 1958 | Reed & Barton sterling silver, stainless steel Complete six-piece service for eighteen with eighty-three additional utensils; 191 pieces total. Signed with impressed manufacturer’s mark to each element ‘Reed & Barton Sterling’. $ 10,000 – 15,000

Literature: Modernism in American Silver: 20th Century Design, Stern, pg. 245 Provenance: Collection of Dennis Boyd and Jim McDonald, Richmond, VA

315 Shara Hughes b. 1981 Split Ends 2016 archival pigment print 23 ¾ h × 21 w in (60 × 53 cm) Signed, titled, dated and numbered to certificate of authenticity ‘Shara Hughes Split Ends 2016 44/50’. This work is number 44 from the edition of 50 published

by Exhibition A, New York. Sold with a certificate of authenticity signed and numbered by the artist. $ 1,000 – 1,500

316 Eugene Printz armchairs, set of three France, c. 1935 Loro Piana upholstery, lacquered wood 24 w × 24 d × 32 ½ h in (61 × 61 × 83 cm) $ 3,000 – 5,000

Literature: E. Printz, Bujon and Dutko, pg. 290

317 André Arbus andirons from Palais des Consuls, Rouen France, c. 1953 steel, crystal 4 ½ w × 21 d × 11 ¾ h in (11 × 53 × 30 cm) $ 10,000 – 15,000

Provenance: Palais des Consuls, Rouen Private Collection, Paris

318

319

Ado Chale coffee table

Ado Chale coffee table

Belgium, c. 1970 cast resin, hematite, enameled steel, gold-mounted Ceylon ruby 23 ½ w × 19 ½ d × 13 ¾ h in (60 × 50 × 35 cm)

Belgium, c. 1970 cast resin, hematite, enameled steel, gold-mounted Ceylon ruby 23 ½ w × 19 ½ d × 13 ¾ h in (60 × 50 × 35 cm)

Inlaid brass signature with custom inset gold-mounted Ceylon ruby to edge ‘Chale’.

Inlaid brass signature with custom inset gold-mounted Ceylon ruby to edge ‘Chale’.

$ 7,000 – 9,000

$ 7,000 – 9,000

Provenance: Private Collection, Paris Wright, Living Contemporary: A Private Paris Collection, 24 June 2010, Lot 109 Private Collection

Provenance: Private Collection, Paris Wright, Living Contemporary: A Private Paris Collection, 24 June 2010, Lot 109 Private Collection

320

321

Edward Wormley Oasis sofa, model 5200

Edward Wormley Janus occasional table, model 6047

USA, 1952 | Dunbar upholstery, mahogany 104 w × 60 d × 29 h in (264 × 152 × 74 cm)

USA, 1960 | Dunbar lacquered mahogany, Tiffany glass tiles, brass 15 w × 13 d inches

$ 7,000 – 9,000

Literature: Dunbar: Fine Furniture of the 1950s, Piña, ppg. 27, 175 Edward Wormley: The Other Face of Modernism, Gura, Kennedy and Weinberg, pg. 63 Provenance: Wyeth, New York Irv Stenn, Chicago

Gold rectangular manufacturer’s label to underside ‘Dunbar Berne, Indiana’. $ 7,000 – 9,000

Literature: Edward Wormley: The Other Face of Modernism, Gura, Kennedy and Weinberg, pg. 47 Exhibited: Modern in Your Life: The Good Design Phenomenon 1934 – 1959, 6 November 2018 – 3 January 2019, R & Company, New York

322 Sergio Rodrigues Diz lounge chairs, pair Brazil, 2002 | Lin Brasil imbuia 28 ¼ w × 35 d × 28 ¼ h in (72 × 89 × 72 cm) Manufacturer’s label to each example ‘Sergio Rodrigues Arquiteto Brasil’. $ 10,000 – 15,000

Literature: Sergio Rodrigues, Borges, ppg. 114–115 Provenance: R and Company, New York Private Collection

323 Piero Fornasetti Leopardo cabinet Italy, 1953/1991 | Fornasetti Milano hand-painted and lithographic transfer-printed wood, brass 40 w × 22 ½ d × 32 ¾ h in (102 × 57 × 83 cm) Disc manufacturer’s label to drawer ‘Fornasetti Milano’. Manufacturer’s mark to lower edge ‘Fornasetti Milano Made in Italy No 4-014-91 S.S.’. This work has been reviewed by Barnaba Fornasetti. $ 20,000 – 30,000

Literature: Fornasetti: The Complete Universe, Fornasetti et al., ppg. 370–371 Fornasetti: Designer of Dreams, Mauries, pg. 256 Provenance: Private Collection, Hawaii

324 Angelo Testa 1918–1984 The Ladders 1946 screenprint on acrylic, lacquered wood, aluminum 31 ½ h × 24 w × 4 ½ d in (80 × 61 × 11 cm) $ 3,000 – 5,000

Provenance: Collection of Edgar Bartolucci

325 Jules Leleu coffee table France, c. 1935 rosewood, nickel-plated brass 33 ¼ dia × 19 ½ h in (84 × 50 cm) Impressed manufacturer’s mark to underside ‘P 8074’. $ 3,000 – 5,000

326 James Wenkle 1936–2002 Field Sculpture #18 c. 1966 brass, terazzo 34 h × 20 w × 34 d in (86 × 51 × 86 cm) $ 1,000 – 1,500

Exhibited: Bronze Sculptures by James Wenkle, 9 – 27 May 1967, Allan Stone Gallery, New York Provenance: Acquired directly from the artist | Allan Stone Gallery, New York

327 Dorothy Draper trompe l’oeil occasional table USA, c. 1950 lacquered and hand-painted vellum over wood 34 dia × 26 ½ h in (86 × 67 cm) $ 5,000 – 7,000

328 Gabriella Crespi table lamp Italy, c. 1970 crystal, brass, lacquered wood, linen 14 dia × 26 ½ h in (36 × 67 cm) Impressed signature to lower edge of base ‘Gabriella Crespi’. $ 2,000 – 3,000

329 Jules Leleu dining chairs, set of ten France, c. 1935 upholstery, patinated brass 20 w × 25 d × 33 ½ h in (51 × 64 × 85 cm) $ 15,000 – 20,000

Provenance: Private Collection, New York

330 Paul Frankl console, model 5035 USA, c. 1948 Johnson Furniture Company cork, lacquered mahogany 71 ¼ w × 21 ¾ d × 27 h in (181 × 55 × 69 cm) Stenciled manufacturer’s mark to underside ‘#5035 -306’. $ 5,000 – 7,000

331 Burton Kopelow 1924–2015 Untitled (After Jules Olitski, Cleopatra Flesh) c. 1965 hand-woven wool 58 h × 49 w in (147 × 124 cm) $ 2,000 – 3,000

Exhibited: Burton Kopelow, December 1967 – January 1968, Art Gallery of the New York Hilton, New York Provenance: Allan Stone Gallery, New York

332

333

Derrick Guild b. 1963 Bread No. 25

Christian Dior folding tables, pair

2001 oil on canvas 13 h × 43 w in (33 × 109 cm)

France, c. 1975 enameled steel 17 dia × 18 ½ h in (43 × 47 cm)

$ 1,000 – 1,500

Stamped manufacturer’s mark to underside of each example ‘Christian Dior’.

Exhibited: Derrick Guild: Pre-Ascension, 8 March – 28 April 2007, Allan Stone Gallery, New York Culinary Arts, 3 – 26 May 2007, Bernarducci Meisel Gallery, New York Provenance: Acquired directly from the artist | Allan Stone Gallery, New York

$ 2,000 – 3,000

334 20th Century cabinet walnut, gilt wood 51 w × 24 d × 41 ¾ h in (130 × 61 × 106 cm) $ 5,000 – 7,000

Provenance: Private Collection, Hawaii

335 Paavo Tynell Rare chandelier Finland, c. 1948 | Taito OY silver-plated brass, silver 38 dia × 51 h in (97 × 130 cm) This exceptional example is unique for its material and is the only known example of this design to be made in silver. $ 50,000 – 70,000

Literature: Paavo Tynell ja Taito Oy, Aav, pg. 103 Paavo Tynell, Eric Philippe exhibition catalog, ppg. 25–26 illustrates form Provenance: Private Collection

336 Finn Juhl Rare armchairs with adjustable backs, pair Denmark, 1955 | Niels Vodder teak, cane, upholstery, brass, leather 29 w × 28 d × 31 ½ h in (74 × 71 × 80 cm) Branded manufacturer’s mark to underside of each example ‘Cabinetmaker Niels Vodder Copenhagen Denmark Design Finn Juhl’. $ 40,000 – 60,000

Literature: Finn Juhl: Furniture, Architecture, Applied Art, Hiort, ppg. 48–49 Dansk Møbelkunst Gennem 40 Aar: 1947–1956, Jalk, ppg. 354–355 Provenance: Private Collection

337 Hans J. Wegner drop-leaf dining table Denmark, c. 1960 | Johannes Hansen teak, oak, brass 76 ½ w × 41 ½ d × 28 h in (194 × 105 × 71 cm) Table features two 23.5-inch dropleaves and measures 121.5 inches when fully extended. Signed with branded manufacturer’s mark to underside ‘Furnituremakers Danish Control’. $ 10,000 – 15,000

Literature: Georg Jensen, distributor’s catalog, unpaginated Provenance: Wyeth, New York Irving Stenn, Jr., Chicago

338 Hans J. Wegner Papa Bear chair and ottoman Denmark, 1950 | A.P. Stolen upholstery, teak 35 ½ w × 36 d × 39 h in (90 × 91 × 99 cm) Ottoman measures: 27.5 w × 16 d × 16 h inches. Disc distributor’s label to underside of each element ‘Furnituremakers Danish Control’. Stamped distributor’s mark to underside of ottoman ‘Poul Dinesen Cabinet-maker 1 Madvigs Alle-Copenhagen V. Denmark’. $ 7,000 – 9,000

Literature: Hans J. Wegner’s 100 Chairs, Oda, pg. 49 Wegner: Sitting Pretty, Nielsen, pg. 70 Provenance: Acquired from the original owners by the present owner

339 Hans J. Wegner Cow Horn chairs, set of six Denmark, 1952 | Johannes Hansen teak, vinyl, rosewood 23 ¼ w × 17 ¼ d × 29 h in (59 × 44 × 74 cm) Brass manufacturer’s label to underside of four examples ‘Johannes Hansen Cabinet Maker Copenhagen Denmark Design: H.J. Wegner’. $ 20,000 – 30,000

Literature: Hans J. Wegner, Bernsen, pg. 75 Hans J. Wegner’s 100 Chairs, Oda, ppg. 60–61

340 Finn Juhl desk Denmark, 1953 | Bovirke teak, lacquered wood, enameled steel 68 w × 33 ½ d × 29 ½ h in (173 × 85 × 75 cm) Desk features one 20.25-inch drop leaf; table measures 88.25 inches when fully extended. $ 10,000 – 15,000

Literature: Finn Juhl and His House, Hansen, pg. 111 illustrates variation

341 Finn Juhl bench Denmark, 1959 | Bovirke rosewood, enameled steel, brass, teak 72 w × 18 d × 16 ¼ h in (183 × 46 × 41 cm) Signed with branded manufacturer’s mark to underside ‘Bovirke Copenhagen Made in Denmark’. $ 7,000 – 9,000

Literature: Finn Juhl: Furniture, Architecture, Applied Art, Hiort, pg. 57 Danish Chairs, Oda, pg. 95

342 Axel Einar Hjorth Lovö dining chairs, set of eight Sweden, c. 1930 Nordiska Kompaniets Verkstäder pine, cotton upholstery, ebonized wood 18 ¾ w × 20 ½ d × 37 ¾ h in (48 × 52 × 96 cm) $ 20,000 – 30,000

Literature: Axel Einar Hjorth: Sportstugemöbler, Eric Philippe exhibition catalog, ppg. 31–32 Provenance: Acquired in 2012 from H.M. Luther, New York | Private Collection

343 Paavo Tynell table lamp, model 5066 Finland, c. 1945 | Taito OY brass, walnut, silk 12 ½ w × 12 ½ d × 16 ½ h in (32 × 32 × 42 cm) $ 2,000 – 3,000

Literature: Paavo Tynell, Eric Philippe exhibition catalog, ppg. 27–28

344 Bodil Kjaer office suite Denmark, 1959 E. Pederson and Sons A/S rosewood, chrome-plated steel, lacquered wood 72 ½ w × 36 ¼ d × 28 ½ h in (184 × 92 × 72 cm) Suite is comprised of desk with four locking drawers, one cabinet measuring 17.25 w × 24 d × 19.25 h inches and one rolling cabinet measuring 17.25 × 24 d × 18.75 h inches; each cabinet features two drawers.

Manufacturer’s labels to the underside of each element. $ 20,000 – 30,000

Provenance: Acquired in 1964 by the present owner

345 Gio Ponti display cabinet, model 2140 Italy/USA, 1957 | Singer & Sons Italian walnut, lacquered wood, brass 68 w × 19 d × 80 ½ h in (173 × 48 × 204 cm) Cabinet features two doors concealing one adjustable shelf, three drawers and one drop-front cabinet concealing a single shelf. Decal manufacturer’s label to drawer ‘M. Singer & Sons New York Chicago’. $ 15,000 – 20,000

Literature: Singer & Sons, manufacturer’s catalog, unpaginated Provenance: Singer & Sons Showroom, Merchandise Mart, Chicago | Private Collection

346 Max Ingrand and Dubé chandelier, model 1748 Italy, 1957 | Fontana Arte hand-chiseled crystal, brass 21 ¾ dia × 15 ¾ h in (55 × 40 cm) $ 7,000 – 9,000

Literature: Max Ingrand, du verre à la lumière, Martin-Vivier, pg. 198 Domus, No. 328, March 1958, advertisement

347 Max Ingrand Rare console Italy, c. 1930 mirrored glass, lacquered wood 37 ¼ w × 21 ½ d × 28 ½ h in (95 × 55 × 72 cm) $ 15,000 – 20,000

Literature: Max Ingrand, du verre à la lumière, Martin-Vivier, pg. 239 illustrates similar form Provenance: Private Collection, Paris

348 Massimo Vignelli Fasce Orizzontale pendant lamps, model 4034 and model 4035 Italy, 1954–55 | Venini opalino glass with colored glass bands 6 dia × 14 h in (15 × 36 cm) Partial paper label to one example. $ 3,000 – 5,000

Literature: Paolo Venini and his Furnace, Barovier and Sonego, ppg. 477–478 illustrate model Provenance: Private Collection, New York

349 Pietro Chiesa table lamps, pair Italy, c. 1940 | Fontana Arte crystal, aluminum, brass, cut glass, enameled aluminum 14 ½ dia × 18 ¾ h in (37 × 48 cm) $ 20,000 – 30,000

Literature: Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Deboni, fig. 88

350

351

Arredoluce ceiling light

Arredoluce ceiling light

Italy, c. 1958 brass, frosted glass 52 ½ w × 15 d × 4 h in (133 × 38 × 10 cm)

Italy, c. 1958 brass, frosted glass 52 ½ w × 15 d × 4 h in (133 × 38 × 10 cm)

Sold with a certificate of expertise from the Gio Ponti Archives.

Sold with a certificate of expertise from the Gio Ponti Archives.

$ 30,000 – 40,000

$ 30,000 – 40,000

Literature: Arredoluce Catalogue Raisonne 1943–1987, Pansera, Padoan and Palmaghini, pg. 331

Literature: Arredoluce Catalogue Raisonne 1943–1987, Pansera, Padoan and Palmaghini, pg. 331

Provenance: London Hotel, Milan Private Collection

Provenance: London Hotel, Milan Private Collection

352 Franco Campo and Carlo Graffi lounge chair Italy, 1951/2nd half of the 20th century Apelli, Varesio & Co. acero, upholstery, brass 30 w × 39 d × 43 ½ h in (76 × 99 × 110 cm) $ 30,000 – 50,000

Literature: Il Mobile Italiano Degli Anni ‘40 e ‘50, de Guttry and Maino, cover and pg. 127 illustrate variation Domus 1950–1954, Vol. III, Fiell, pg. 410 illustrates variation Provenance: Private Collection, Turin Acquired from the previous circa 2000 by the present owner

353 Franco Campo and Carlo Graffi dining chairs, set of four Italy, c. 1953/2nd half of the 20th century Apelli, Varesio & Co. acero, upholstery, brass 15 ½ w × 22 d × 39 ½ h in (39 × 56 × 100 cm) $ 30,000 – 50,000

Literature: Domus 1950–1954, Vol. III, Fiell, pg. 410 Provenance: Private Collection, Turin Acquired from the previous circa 2000 by the present owner

354 Pietro Chiesa mirror, model 1929 Italy, 1940 | Fontana Arte mirrored glass, enameled brass, glass 18 w × 2 d × 35 ½ h in (46 × 5 × 90 cm) Signed with decal manufacturer’s label to reverse ‘Fontanit Luigi Fontana & C.S.Pa Milano Italy Protezione Termoplastica’. $ 3,000 – 5,000

Literature: Fontana Arte, manufacturer’s catalog, unpaginated

355 Guido Gambone table lamp Italy, c. 1955 glazed stoneware 16 dia × 19 h in (41 × 48 cm) Glazed marks to underside. Partial distributor’s label to underside ‘Illums Bolighus’. $ 3,000 – 5,000

356 Gio Ponti sofa for the Hotel Parco dei Principi, Rome Italy, 1964 | Cassina skai, upholstery, lacquered wood, brass 52 w × 31 d × 27 ½ h in (132 × 79 × 70 cm) $ 8,000 – 10,000

Literature: Gio Ponti: L’Arte Si Innamora Dell’Industria, La Pietra, pg. 372 Provenance: Hotel Parco dei Principi, Rome | Private Collection

357 Fontana Arte Dalia chandelier, model 1563A Italy, 1954 glass, brass 49 ½ dia × 20 h in (126 × 51 cm) $ 20,000 – 30,000

Literature: Fontana Arte 6, manufacturer’s catalog, unpaginated Fontana Arte: Una Storia Transparente, Falconi, pg. 212 illustrates variation Il Design Italiano Degli Anni ‘50, Branzi and De Lucchi, pg. 231

358 Angelo Lelii Triennale floor lamp, model 12128 Italy, 1947 | Arredoluce brass, enameled aluminum 35 w × 35 d × 65 h in (89 × 89 × 165 cm) Impressed manufacturer’s mark to underside ‘Made in Italy Arredoluce Monza’. $ 5,000 – 7,000

Literature: Arredoluce Catalogue Raisonné: 1943–1987, Pansera, Padoan and Palmaghini, ppg. 114, 277, no. 7

359 Melchiorre Bega dining table Italy, c. 1953 | Altamira walnut, brass, reverse-enameled and gold-leafed glass, glazed ceramic 46 ¾ dia × 29 ¾ h in (119 × 76 cm) Sold with four 15-inch leaves; table measures 70 inches diameter when fully extended. Table features a sculptural base in ceramic by Pietro Melandri and inset glass panel with reverse-gold-leaf

by Angelo Bragalini. Incised signature to gold leaf ‘A. Bragalini’. $ 10,000 – 15,000

360 Gio Ponti set of six dining chairs from the Augustus ocean liner Italy, c. 1950 | Cassina Italian walnut, upholstery 21 w × 21 d × 31 ½ h in (53 × 53 × 80 cm) Sold with a digital copy of the certificate of expertise issues by the Gio Ponti Archives. $ 15,000 – 20,000

Provenance: Augustus ocean liner, Italy | Private Collection, Italy | Wright, Important Design, 13 December 2012, Lot 379 | Private Collection

361 Ico Parisi Two-tier occasional table Italy, 1951 | Fratelli Rizzi Italian walnut 23 w × 18 d × 25 ¾ h in (58 × 46 × 65 cm) Impressed manufacturer’s mark to underside ‘Made in Italy’. $ 3,000 – 5,000

Literature: Ico Parisi Design Catalogue Raisonné 1936–1960, Lietti, ppg. 136–137

362 Angelo Brotto floor lamp Italy, c. 1970 enameled steel and aluminum, brass, frosted glass, rubber 15 dia × 70 h in (38 × 178 cm) $ 3,000 – 5,000

The Collection of Reed & Delphine Krakoff

363 Christian Astuguevieille Afribaka tables, pair France, 2013 lacquered rope 19¾ w × 19½ d × 24½ h in (50 × 50 × 62 cm) Applied brass manufacturer’s label to the underside of each example ‘C. Astuguevieille 2013’. $ 5,000 – 7,000

Literature: Houses That We Dreamt Of: The Interiors of Delphine & Reed Krakoff, Krakoff, pg. 128 Provenance: Collection of Reed and Delphine Krakoff

364 Vladimir Kagan VK chaise USA, 1999 | Vladimir Kagan Design Group upholstery, aluminum 60 ½ w × 28 ½ d × 33 ¾ h in (154 × 72 × 86 cm) $ 3,000 – 5,000

Literature: The Complete Kagan: A Lifetime of Avant-Garde Design, Kagan, ppg. 204–205 Provenance: Collection of Reed and Delphine Krakoff

365 Ilya Bolotowsky 1907–1981 Large White on White Tondo 1975 acrylic on canvas 47 ½ dia × 1 d in (121 × 3 cm) Signed and dated to right edge ‘Ilya Bolotowsky 75’. $ 30,000 – 50,000

Provenance: Grace Borgenicht Gallery Inc., New York | Gary Snyder/Project Space, New York | Collection of Reed and Delphine Krakoff

366

367

Elizabeth Garouste and Mattia Bonetti table lamp

Elizabeth Garouste and Mattia Bonetti wall sconces, pair

France, c. 1999 | Baguès silver-plated brass, crystal, paper 8 dia × 18 ½ h in (20 × 47 cm)

France, 1999 | Baguès silver-plated brass, crystal 15 ½ dia × 4 ½ d in (39 × 11 cm)

$ 3,000 – 5,000

$ 12,000 – 18,000

Provenance: Collection of Reed and Delphine Krakoff

Provenance: Collection of Reed and Delphine Krakoff

368 Samuel Marx desk from the Block residence, Chicago USA, 1948 | Quigley crackle-lacquered wood 48 w × 24 ½ d × 29 ½ h in (122 × 62 × 75 cm) Stamped manufacturer’s mark to the underside ‘Quigley’ $ 25,000 – 35,000

Literature: Ultramodern Samuel Marx: Architect, Designer, Art Collector, O’Brien, ppg 186–209 discuss Block commissions Houses That We Dreamt Of: The Interiors of Delphine & Reed Krakoff, Krakoff, ppg. 60–61 Provenance: The Estate of Mr. and Mrs. Joseph L. Block | Mary Lu Roffe, Winnetka, Illinois | Wright, Modernist 20th Century, 6 June 2004, Lot 148 Liz O’Brien, New York | Collection of Reed and Dephine Krakoff

369

370

Maison Jansen folding chairs, pair

In the manner of Karl Springer coffee table

France, 1972 chrome plated steel, leather, vinyl, brass 24 ¼ w × 34 ½ d × 37 ¼ h in (62 × 88 × 95 cm)

USA, c. 1970 chrome-plated brass, glass 84 ½ w × 48 ¼ d × 17 h in (215 × 123 × 43 cm)

$ 4,000 – 6,000

$ 3,000 – 5,000

Literature: Jansen Decoration, Léveque, ppg. 132–133 Les Décorateurs des Années 60–70, Favardin and Bloch-Champfort, pg. 223

Provenance: Collection of Reed and Delphine Krakoff

Provenance: Collection of Reed and Delphine Krakoff

371 Christian Astuguevieille Mira mirror France, c. 2004 lacquered rope 32 ½ w × 1 ½ d × 47 h in (83 × 4 × 119 cm) $ 7,000 – 9,000

Provenance: Collection of Reed and Delphine Krakoff

372

373

Philippe Starck vase

Christian Astuguevieille chandelier

France/Italy, 1992 | Driade glass 9 dia × 16 ¼ h in (23 × 41 cm)

France, c. 2004 lacquered, linen 25 ½ dia × 35 ¾ h in (65 × 91 cm)

$ 1,000 – 1,500

$ 7,000 – 9,000

Provenance: Collection of Reed and Delphine Krakoff

Provenance: Collection of Reed and Delphine Krakoff

374

375

Raymond Loewy DF 2000 cabinet

François Monnet, attribution lounge chairs, pair

USA/France, c. 1965 | Compagnie d’Esthetique Industrielle (C.E.I.) lacquered wood, aluminum, plastic 61 w × 21 ¼ d × 29 ¾ h in (155 × 54 × 76 cm)

France, c. 1970 brushed stainless steel, upholstery 32 ¾ w × 34 d × 32 ¼ h in (83 × 86 × 82 cm) $ 4,000 – 6,000

Cabinet features eight drawers and one door concealing storage. Decal manufacturer’s label to drawer ‘DF2000’ $ 3,000 – 5,000

Provenance: Collection of Reed and Delphine Krakoff

Provenance: Collection of Reed and Delphine Krakoff

376

377

Reed and Delphine Krakoff Prototype Felt armchair

Reed and Delphine Krakoff Prototype Felt stool

USA, 2014 felt 26 w × 26 d × 30 ½ h in (66 × 66 × 77 cm)

USA, 2014 felt 24 ½ w × 14 ½ d × 18 ½ h in (62 × 37 × 47 cm)

This work is a unique prototype.

This work is a unique prototype.

$ 3,000 – 5,000

$ 2,000 – 3,000

Provenance: Collection of Reed and Dephine Krakoff

Provenance: Collection of Reed and Delphine Krakoff

378

379

Reed and Delphine Krakoff Prototype Felt console

Reed and Delphine Krakoff Prototype Felt armchair

USA, 2014 felt 40 ½ w × 19 ¼ d × 29 ½ h in (103 × 49 × 75 cm)

USA, 2014 felt 25 ¼ w × 25 ¼ d × 26 h in (64 × 64 × 66 cm)

This work is a unique prototype.

This work is a unique prototype.

$ 3,000 – 5,000

$ 3,000 – 5,000

Provenance: Collection of Reed and Delphine Krakoff

Provenance: Collection of Reed and Delphine Krakoff

380

381

Olivier Gagnère Triton chandeliers, pair

Axel Vervoordt Sofa Brian Max

France, c. 1990 cast plaster, nylon 24 dia × 30 h in (61 × 76 cm)

Belgium, c. 2010 cotton upholstery, wood 109 w × 50 d × 46 ½ h in (277 × 127 × 118 cm)

$ 6,000 – 8,000

$ 5,000 – 7,000

Provenance: Collection of Reed and Delphine Krakoff

Provenance: Collection of Reed and Delphine Krakoff

382 Mattia Bonetti Polyhedral tables, set of three Switzerland/United Kingdom, 2004 David Gill, Ltd. lacquered wood, mirror-polished stainless steel 44 w × 38 d × 23 ½ h in (112 × 97 × 60 cm) Signed, and numbered to applied metal label to underside of each element ‘Bonetti David Gill London 7/8’. This work is number 7 from the edition of 8 in the respective colors aside from the edition of 24. $ 10,000 – 15,000

Provenance: David Gill Gallery, London Acquired from the previous by Reed and Delphine Krakoff

383

384

385

Piero Fornasetti cabinet from the Villa Varenna

Piero Fornasetti mirror from the Villa Varenna

Piero Fornasetti nightstands and linens from the Villa Varenna

Italy, 1955 fabric over wood, lacquered brass, brass 31 ½ w × 24 d × 78 ½ h in (80 × 61 × 199 cm)

Italy, 1955 fabric over wood, mirrored glass 34 w × 1 ½ d × 57 h in (86 × 4 × 145 cm)

Italy, 1955 nickel-plated steel, brass, cotton upholstery 11 ½ w × 7 ¾ d × 11 ¼ h in (29 × 20 × 29 cm)

Cabinet features two doors concealing two drawers and storage.

$ 10,000 – 15,000

Together with a daybed designed

by Maison Jansen measuring: 87 w × 38.25 d × 40.25 h inches.

$ 10,000 – 15,000

Literature: Fornasetti: The Complete Universe, Fornasetti et al., pg. 271 illustrates this work in situ Provenance: Collection of the artist, Varenna | Thence by descent to Barnaba Fornasetti | Wright, Modernist 20th Century, 22 May 2005, lot 114 | Collection of Reed and Delphine Krakoff

Literature: Fornasetti: Designer of Dreams, Mauries, pg. 135 illustrates this work in situ Fornasetti: The Complete Universe, Fornasetti et al., ppg. 270–271 illustrate this work in situ Provenance: Collection of the artist, Varenna | Thence by descent to Barnaba Fornasetti | Wright, Modernist 20th Century, 22 May 2005, lot 114 | Collection of Reed and Delphine Krakoff

$ 8,000 – 10,000

Literature: Fornasetti: Designer of Dreams, Mauries, pg. 135 illustrates these works in situ Fornasetti: The Complete Universe, Fornasetti et al., pg. 270 illustrates these works in situ Provenance: Collection of the artist, Varenna | Thence by descent to Barnaba Fornasetti | Wright, Modernist 20th Century, 22 May 2005, Lot 114 | Collection of Reed and Delphine Krakoff

386 Philippe Starck vase France/Italy, 1992 | Driade glass 13 ¼ dia × 21 ½ h in (34 × 55 cm) $ 1,000 – 1,500

Provenance: Collection of Reed and Delphine Krakoff

387 French occasional table c. 1850 lacquered mahogany, marble, brass 25 ½ dia × 28 ¾ h in (65 × 73 cm) $ 2,000 – 3,000

Provenance: Collection of Reed and Delphine Krakoff

388 Chanel × Medicom Chanel 1000% Be@rbrick 2006 lacquered PVC 14 w × 9 d × 28 ¼ h in (36 × 23 × 72 cm) Printed manufacturer’s mark to reverse ‘Chanel No 1221’. This example is from the edition of 1000. $ 10,000 – 15,000

Literature: Houses That We Dreamt Of: The Interiors of Delphine & Reed Krakoff, Krakoff, ppg. 30–31 Provenance: Collection of Reed and Dephine Krakoff

The Chanel 1000% Be@brick’s were created for display in Chanel stores worldwide. The toy, wearing a timeless black jacket with pearl necklace, is modeled after fashion icon and founder, Coco Chanel.

389 Jacques Adnet, attribution full-size bed France, c. 1950 leather over steel frame, bamboo 61 ¼ w × 77 ½ d × 33 ¾ h in (156 × 197 × 86 cm) $ 7,000 – 9,000

Provenance: Collection of Reed and Delphine Krakoff

390 Fernando and Humberto Campana Sushi mirror Brazil, 2011 | Estudio Campana Ethylene vinyl acetate, bronze mirror, carpet, rubber, fabric 33 w × 1 d × 23 h in (84 × 3 × 58 cm) Stamped manufacturer’s mark to verso ‘Campana’. This work is from the edition of 150. $ 8,000 – 10,000

Provenance: Collection of Reed and Delphine Krakoff

391

392

T.H. Robsjohn-Gibbings Diphros stools, pair

Literature: The Furniture of Classical Greece, Robsjohn-Gibbings and Pullin, ppg. 84–87

Jean Charles Moreux sofa

United Kingdom/Greece, 1961 Saridis of Athens walnut, leather 21 ¼ w × 21 ¼ d × 17 ½ h in (54 × 54 × 45 cm)

Provenance: Collection of Reed and Delphine Krakoff

France, c. 1940 upholstery, bronze, walnut 76 ½ w × 38 d × 33 ½ h in (194 × 97 × 85 cm) $ 5,000 – 7,000

Signed with brass manufacturer’s label to underside of each example ‘Designed

by T.H. Robsjohn-Gibbings Manufactured

by Saridis of Athens’. $ 10,000 – 15,000

Provenance: Barry Friedman, New York Collection of Reed and Delphine Krakoff

393 Jacques Quinet lounge chairs, pair France, c. 1940 mohair, oak 26 ¼ w × 23 ¼ d × 25 ¾ h in (67 × 59 × 65 cm) $ 10,000 – 15,000

Provenance: Collection of Reed and Delphine Krakoff

394 British Campaign chest c. 1840 walnut, brass 42 w × 15 ¼ d × 44 h in (107 × 39 × 112 cm) Chest is composed of two separate units with five drawers total. $ 3,000 – 5,000

Provenance: Collection of Reed and Delphine Krakoff

395 20th Century mink throw mink, leather, cashmere 110 w × 53 h in (279 × 135 cm) $ 5,000 – 7,000

Provenance: Collection of Reed and Delphine Krakoff

396 Axel Vervoordt Sofa Brian Max Belgium, c. 2010 cotton upholstery, wood 109 w × 50 d × 46 ½ h in (277 × 127 × 118 cm) $ 5,000 – 7,000

Provenance: Collection of Reed and Delphine Krakoff

397 Saunders Corporation Silver Streak irons model 1038, set of four USA, c. 1942 Pyrex glass, chrome-plated steel, Bakelite, enameled aluminum, rubber 9 w × 3 ½ d × 5 ½ h in (23 × 9 × 14 cm) Impressed manufacturer’s mark to underside of each example ‘Silver Streak Saunders Since 1858 Model 1038’. $ 7,000 – 9,000

Provenance: Collection of Dennis Boyd and Jim McDonald, Richmond, VA

398 Marcel Breuer chairs model WB301, pair Hungary/France, c. 1933 Meubles Stylclair chrome-plated steel, molded and lacquered plywood 16 w × 20 d × 30 ¼ h in (41 × 51 × 77 cm) Brass manufacturer’s label to frame of each example ‘Meubles Stylclair Lyon Paris’. $ 5,000 – 7,000

Literature: Marcel Breuer: Furniture and Interiors, Wilk, ppg. 115–123 discuss the development of this chair; pg. 120 illustrates similar example Bent Wood and Metal Furniture 1850–1946, Ostergard, pg. 300

399 Walter Dorwin Teague Nocturne radio, model 1186 USA, 1935 | Sparton Corporation midnight blue Tufflex mirrored glass, satin chrome steel, painted wood 43 ¼ w × 15 ¼ d × 47 ¼ h in (110 × 39 × 120 cm) Printed manufacturer’s mark to glass dial ‘Sparton Jackson Michigan Made in U.S.A.’. Applied manufacturer’s label to the interior ‘Sparton Made in the USA A.C, Receiver Model 1186 Type 1-66 Chassis 115 volts 60 cycles 200 watts The Sparks Withington Co. Jackson, Michigan, USA’. $ 30,000 – 50,000

Literature: The Machine Age in America 1918–1941, Brooklyn Museum, pg. 26 Modernism: Modernist Design 1880–1940, Duncan, pg. 216

400 Paul Lobel collection of tabletop accessories USA, c. 1935 glass, chrome-plated brass, leather, acrylic, nickel-plated brass 18 dia × 3 h in (46 × 8 cm) Lot includes one clock, one tray and one rotating tray. Printed manufacturer’s mark to clock face ‘Mercury Lobel Design Made in USA by Mercury Clock Co.’ and ‘Mercury Lobel Design’. Impressed manufacturer’s mark to tray and rotating tray ‘Benduro Lobel Design’. $ 3,000 – 5,000

401 Bruno Weil desk France/Austria, c. 1930 | Thonet Saint-Gobain glass, enameled steel, chrome-plated steel 59 w × 27 ¼ d × 29 h in (150 × 69 × 74 cm) Desk features three drawers. $ 5,000 – 7,000

Literature: Le Mobilier du XXe Siecle: Dictionnaire des Createurs, Kjellberg, pg. 641 Provenance: Mr. and Mrs. William Kugel, Beverly Hills | Private Collection

402 Marcel Breuer desk and chair from Bryn Mawr College Hungary, 1938 birch 50 w × 24 ¾ d × 29 h in (127 × 63 × 74 cm) Chair measures: 18.25 w × 19 d × 33.25 h inches. Desk features three drawers.

Stenciled marks to underside of chair and reverse of desk ‘Rhoads’. $ 4,000 – 6,000

Literature: Marcel Breuer: Furniture and Interiors, Wilk, ppg. 148–151 discuss the commission, fig. 155 illustrates designs Provenance: Bryn Mawr College, Pennsylvania | Private Collection

Shortly after Marcel Breuer moved to the United States in the fall of 1937, he was commissioned by Bryn Mawr College to design furnishings for the rooms of the new Rhoads Residence Hall. The college wanted modern pieces for the interior of the Gothic building and Breuer’s designs for a desk, chair, bookshelves, dresser and mirror were chosen to outfit the rooms.

403 Gerrit Rietveld lounge chairs, pair The Netherlands, c. 1960 | Metz & Co. upholstery over wood 28 ¾ w × 33 d × 27 ¾ h in (73 × 84 × 70 cm) $ 5,000 – 7,000

Literature: Gerrit Th. Rietveld: The Complete Works, Kuper and van Zijl, pg. 175The Complete Rietveld Furniture, Voge, ppg. 96, 97 Provenance: Metz & Co., Amsterdam Joan van Dillen, Amsterdam | Private Collection | Wright, Important 20th Century Design, 22 May 2007, Lot 640 (acquired post auction) | Private Collection

This was Rietveld’s first fully upholstered furniture design, originally manufactured in the late 1930s by Metz & Co. and reintroduced in the early 1960s. This pair was acquired directly from Metz & Co.

by Joan van Dillen, partner in the firm Van Dillen, Van Tricht, Rietveld.

404 Adolf Loos stool Austria, c. 1905 carved and stained oak 17 w × 14 d × 17 ¾ h in (43 × 36 × 45 cm) $ 3,000 – 5,000

405 Marcel Breuer desk for Rufus Stillman Hungary, 1958/c. 1975 | James Evangelisti walnut 72 w × 24 d × 30 ½ h in (183 × 61 × 77 cm) Stamped maker’s mark to underside ‘James Evangelisti Woodworking’. $ 7,000 – 9,000

Provenance: Acquired from Marcel Breuer

by Rufus Stillman | Thence by descent to Katherine Stillman (daughter) | Gift from the previous to the present owner in 2013

The present lot comes from one of Rufus Stillman’s many interiors designed

by Breuer. Stillman, Breuer’s greatest patron, commissioned more than twenty architectural projects as well as numerous furnishings — both professionally and personally — from the architect over the course of three decades. This desk was locally crafted by James Evangelisti in the 1970s and made to Breuer’s original specifications.

406 Marcel Breuer dining table, model B18 Hungary/Austria, 1928 | Thonet chrome-plated steel, Saint-Gobain glass 34 dia × 24 ½ h in (86 × 62 cm) Signed with partial applied manufacturer’s mark to base ‘Thonet’. $ 3,000 – 5,000

Literature: Marcel Breuer: Furniture and Interiors, Wilk, ppg. 79, 81 Provenance: Mr. and Mrs. William Kugel, Beverly Hills | Private Collection

The present lot originally furnished the Paris apartment of Mr. and Mrs. William Kugel in the early 1930s. Acquiring works directly from Thonet and DIM, the Kugel’s decorated their apartment in avantgarde style. During World War II, the Kugel’s relocated and the contents of the apartment were shipped to Quebec and then finally to Beverly Hills. In Los Angeles, William Kugel continued to patronize artists including Gertrud and Otto Natzler, amassing one of the largest private collections of their work. Lots 214–220 are from their collection.

407 Pierre Dariel armchairs, pair France, c. 1927 lacquered wood, canvas 29 ½ w × 33 d × 35 ½ h in (75 × 84 × 90 cm) This design has often been miss-attributed to Robert Mallet-Stevens. While MalletStevens did include this chair form in some of his interiors, he was not the designer of the form. Distributor’s label to each example ‘Pierre Dariel 5 Rue De Penthievre Paris’. $ 5,000 – 7,000

408

409

Gustav Stickley settle, model no. 286

Harvey Ellis bookcase, model 701

USA, 1905–1909 | Craftsman Workshops of Gustav Stickley lacquered oak, upholstery 47 ½ w × 24 d × 49 h in (121 × 61 × 124 cm)

USA, c. 1904 | Craftsman Workshops of Gustav Stickley lacquered oak, leaded glass 48 w × 14 d × 58 h in (122 × 36 × 147 cm)

Red stamped manufacturer’s mark to stretcher. This is the mark Stickley used in his workshops from 1904-1912.

Bookcase features two doors concealing eight adjustable shelves.

$ 5,000 – 7,000

Literature: American Arts and Crafts: Virtue in Design, Greene Bowman, pg. 76 illustrates this example Exhibited: American Arts and Crafts: Virtue in Design, 23 September – 6 Jan 1991, Los Angeles County Museum of Art, Los Angeles Provenance: Max Palevsky and Jodie Evans, Los Angeles | Los Angeles County Museum of Art (deaccessioned 2012) Private Collection

$ 10,000 – 15,000

Literature: Treasures of the American Arts and Crafts Movement: 1890–1920, Volpe and Cathers, pg. 34 American Arts & Crafts: Virtue in Design, Greene Bowman, pg. 84 Provenance: Cathers & Dembrosky, New York | Private Collection

Detail of Price Tower Presentation Drawing, Lot 411

Frank Lloyd Wright designed many radical buildings that changed the course of architectural history, and the Price Tower in Bartlesville, Oklahoma, one of only three skyscrapers completed

by Wright, remains one his greatest masterworks. The organic references in the bold angular geometry and the dialogue of the materials of the Price Tower, re-interpret the earlier principles of Wright’s Arts and Crafts structures.

Revolutionary moments in the history of architecture are often credited to artistic partnerships between forward-thinking clients and architects. As the Price family began to envision a modern corporate headquarters, Harold Price, Sr. first contacted Cliff May, the California based architect of his residence in Bartlesville.

The family also reached out to noted modernist architect Bruce Goff, who recommended “if you really wanted the best architect, get Frank Lloyd Wright.” Goff knew the family and their modern spirit would find a kindship in Wright’s designs.

Price Tower Frank Lloyd Wright’s Skyscraper As early as 1912, the concept of the skyscrapers emerged in Wright’s sketches, and Price Tower gave the architect the opportunity to revisit the Utopian designs begun for the towers at St. Mark’s-in-the-Bouwerie in 1927. Completed in 1956, the Price Tower epitomizes Frank Lloyd Wright’s deconstructed Prairie aesthetic and the stylized organic elements he championed. The floor plates are rotated on axis to provide the building with strict geometric structure, yet unexpected foundation. In writing about the tower in its planning stages, Wright states, ”its upper floors will command an unbroken view of all directions over eight hundred square miles of prairie and foothills.” Not only the sighting, but the richly patinated copper panels that dominate the exterior construction, synthesize the built environment with the natural surroundings.

Plan for a New York apartment complex

by Frank Lloyd Wright, 1929. The skyscraper, never realized, is adapted for the Price Tower.

Designed to “transcend function and be touched with poetic imagination,” Price Tower stands as Wright’s unique answer to tall building architecture and interior design. The radical rhythmic linear motifs in the paneling and dramatic exterior louvers were further reflected in the bespoke furniture designed for the interior and, in typical Wright fashion, transcend any particular style.

They are purely the unique artistic vision of their maker.

The following lots include rare works and related ephemera directly from the Price family collection alongside original architectural renderings of the Price Tower from the collection of architect, Roy K. Varenhorst who apprenticed with Frank Lloyd Wright at Taliesin Studios in the 1950s.

410 Frank Lloyd Wright Presentation drawing for Price Tower, Bartlesville, Oklahoma USA, 1952 ink and colored pencil on paper 27 ¼ h × 35 ½ w in (69 × 90 cm) Signed and dated ‘FLW Sept 30 52’.

Signed and identified ‘SkyGarden View From The South Building For The H.C. Price Co. Bartlesville, Oklahoma, Frank Lloyd Wright Architect’. $ 20,000 – 30,000

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, illustrates and discusses the building The Frank Lloyd Wright Companion, Storrer, ppg. 378–379, S.355 discuss the building Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

411 Frank Lloyd Wright Presentation drawing for Price Tower, Bartlesville, Oklahoma USA, 1952 ink and colored pencil on paper 35 ½ h × 27 w in (90 × 69 cm) Signed and dated ‘FLW Sept 30 52’.

Signed and identified ‘SkyGarden View From The West Building For The H.C. Price Co. Bartlesville, Oklahoma, Frank Lloyd Wright Architect’. $ 20,000 – 3,000

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, illustrates and discusses the building The Frank Lloyd Wright Companion, Storrer, ppg. 378–379, S.355 discuss the building Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

412

413

414

Frank Lloyd Wright coffee table from Price Tower, Bartlesville, Oklahoma

Frank Lloyd Wright Plan for Price Tower, Bartlesville, Oklahoma

Frank Lloyd Wright Plan for Price Tower, Bartlesville, Oklahoma

USA, 1956 mahogany, slate 38 w × 38 d × 15 ¾ h in (97 × 97 × 40 cm)

USA, 1952 ink and colored pencil on paper 27 ¼ h × 35 ¼ w in (69 × 90 cm)

USA, 1952 ink and colored pencil on paper 27 ¼ h × 35 ¼ w in (69 × 90 cm)

$ 7,000 – 9,000

Signed and dated ‘FLW Sept 30 52’.

Signed and identified ‘Typical Floor Plan of Tower Building for the H.C. Price Co. Bartlesville Oklahoma Frank Lloyd Wright Architect’.

Signed and dated ‘FLW Sept 30 52’.

Signed and identified ‘Plan at Roof Garden Level Building for the H.C. Price Co. Bartlesville Oklahoma Frank Lloyd Wright Architect’.

$ 5,000 – 7,000

$ 5,000 – 7,000

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, illustrates and discusses the building The Frank Lloyd Wright Companion, Storrer, ppg. 378–379, S.355 discuss the building Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, illustrates and discusses the building The Frank Lloyd Wright Companion, Storrer, ppg. 378–379, S.355 discuss the building Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission

Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

Literature: Frank Lloyd Wright: Interiors and Furniture, Heinz, pg. 212 illustrates variation Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, ppg. 91, 154 illustrate variation Provenance: Price Tower, Bartlesville Mrs. Harold Charles Price, Jr.

415 Frank Lloyd Wright Southern Elevation drawing for Price Tower, Bartlesville, Oklahoma USA, 1952 ink and colored pencil on paper 27 ¼ h × 35 ¼ w in (69 × 90 cm) Signed and dated ‘FLW Sept 30 52’.

Signed and identified ‘South East Elevation Building for the H.C. Price Co. Bartlesville Oklahoma Frank Lloyd Wright Architect’. $ 20,000 – 30,000

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, illustrates and discusses the building The Frank Lloyd Wright Companion, Storrer, ppg. 378–379, S.355 discuss the building Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

416 Frank Lloyd Wright Northwestern Elevation drawing for Price Tower, Bartlesville, Oklahoma USA, 1952 ink and colored pencil on paper 26 h × 35 ¼ w in (66 × 90 cm) Signed and dated ‘FLW Sept 30 52’.

Signed and identified ‘Northwestern Elevation Building for the H.C. Price Co. Bartlesville Oklahoma Frank Lloyd Wright Architect’. $ 20,000 – 30,000

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, illustrates and discusses the building The Frank Lloyd Wright Companion, Storrer, ppg. 378–379, S.355 discuss the building Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

417

418

Frank Lloyd Wright corner cabinet from Price Tower, Bartlesville, Oklahoma

American bookends from Hillside House, Bartlesville

USA, 1956 mahogany, brass, glass 22 ½ w × 31 ½ d × 27 h in (57 × 80 × 69 cm) $ 5,000 – 7,000 Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, discusses commission Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg.

64–71 illustrate and discuss commission Provenance: Price Tower, Bartlesville, OK | Mrs. Harold Charles Price, Jr.

c. 1956 copper, sterling silver, stained beech 5 w × 2 ¾ d × 4 h in (13 × 7 × 10 cm) Monogrammed to the side of each example ‘HCP’ and ‘CSP’. $ 1,000 – 1,500 Provenance: Mrs. Harold Charles Price, Jr.

419 Frank Lloyd Wright desk extension from Price Tower, Bartlesville, Oklahoma USA, 1956 mahogany, copper, anodized aluminum, slate 42 ½ w × 17 ½ d × 23 ¾ h in (108 × 44 × 60 cm) Sold with a slate top, not shown. $ 7,000 – 9,000

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, ppg. 145, 147 Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission Provenance: Price Tower, Bartlesville, OK | Mrs. Harold Charles Price, Jr.

421

422

420

Frank Lloyd Wright Plan for Price Tower, Bartlesville, Oklahoma

Frank Lloyd Wright Plan for Price Tower, Bartlesville, Oklahoma

Frank Lloyd Wright table from Price Tower, Bartlesville, Oklahoma

USA, 1952 ink and colored pencil on paper 27 ¼ h × 35 ¼ w in (69 × 90 cm)

USA, 1952 ink and colored pencil on paper 27 ¼ h × 35 ¼ w in (69 × 90 cm)

USA, 1956 copper 40 w × 26 ¾ d × 21 h in (102 × 68 × 53 cm)

Signed and dated ‘FLW Sept 30 52.’

Signed and Identified ‘Plan At Ground Level Building For The H.C. Price Co. Bartlesville Oklahoma Frank Lloyd Wright Architect’.

Signed and dated ‘FLW Sept 30 52’.

Signed and identified ‘Main Floor Plan Building for the H.C. Price Co. Bartlesville Oklahoma Frank Lloyd Wright Architect’.

This copper clad table was made for the 16th-floor commissary dining area and terraces. According to correspondence from Harold C. Price to Frank Lloyd Wright in 1956, only 20 examples were produced.

$ 5,000 – 7,000

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, illustrates and discusses the building The Frank Lloyd Wright Companion, Storrer, ppg. 378–379, S.355 discuss the building Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

$ 3,000 – 5,000 Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, illustrates and discusses the building The Frank Lloyd Wright Companion, Storrer, ppg. 378–379, S.355 discuss the building Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

$ 8,000 – 10,000 Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, pg. 152 The Decorative Designs of Frank Lloyd Wright, Hanks, pg. 167 Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission Provenance: Price Tower, Bartlesville, OK | Mrs. Harold Charles Price, Jr.

Model for the Price Tower

423 collection of Price Tower ephemera USA, 1956 printed paper Lot includes Price Tower Opening Day Press Packet, several magazines featuring the tower and a selection of postcards and photographs of the tower; a complete list can be found online. $ 500 – 700

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, discusses commission, pg. 162 for details on the press packets Provenance: Price Tower, Bartlesville, OK | Mrs. Harold Charles Price, Jr.

424

425

426

Frank Lloyd Wright Elevation and Plan for the Chahroudi Cottage, Mahopac, New York

Frank Lloyd Wright stool from Price Tower, Bartlesville, Oklahoma

Frank Lloyd Wright stool from Price Tower, Bartlesville, Oklahoma

USA, 1951 pencil and colored pencil on paper 16 h × 23 ½ w in (41 × 60 cm)

USA, 1956 copper 20 w × 17 d × 15 h in (51 × 43 × 38 cm)

USA, 1956 copper 20 w × 17 d × 15 h in (51 × 43 × 38 cm)

Signed and dated ‘FLW Feb 51’. Signed and identified ‘Cottage for Mr. & Mrs. A.K. Chahroudi Mahopac NY Frank Lloyd Wright Architect’.

This copper clad stool was made for the 16th-floor commissary dining area and terraces. According to correspondence from Harold C. Price to Frank Lloyd Wright in 1956, only 40 examples were produced.

This copper clad stool was made for the 16th-floor commissary dining area and terraces. According to correspondence from Harold C. Price to Frank Lloyd Wright in 1956, only 40 examples were produced.

$ 7,000 – 9,000

$ 7,000 – 9,000

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, pg. 153 The Decorative Designs of Frank Lloyd Wright, Hanks, pg. 167 Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, pg. 153 The Decorative Designs of Frank Lloyd Wright, Hanks, pg. 167 Frank Lloyd Wright Monograph 1951–1959, Pfeiffer and Futagawa, ppg. 64–71 illustrate and discuss commission

Provenance: Price Tower, Bartlesville, OK | Mrs. Harold Charles Price, Jr.

Provenance: Price Tower, Bartlesville, OK | Mrs. Harold Charles Price, Jr.

$ 3,000 – 5,000

Literature: The Frank Lloyd Wright Companion, Storrer, pg. 368, S.346 illustrates and discusses cottage Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

427

428

Frank Lloyd Wright collection of ephemera from Hillside House, Bartlesville, Oklahoma

Literature: Frank Lloyd Wright Monographs 1951–1959, Pfeiffer and Futagawa, ppg. 88–91 illustrates and discusses Hillside House

Frank Lloyd Wright signage from Price Tower, Bartlesville, Oklahoma

USA, 1978 printed paper 36 w × 24 h in (91 × 61 cm)

Provenance: Mrs. Harold Charles Price, Jr.

USA, 1956 bronze coated steel 6 w × 6 d × 8 h in (15 × 15 × 20 cm)

Lot includes seven copies of blueprints for Hillside house, two copies of Specifications for the Harold C. Price Jr. Residence, correspondence from Taliesin and two stamps with the Price monogram. $ 5,000 – 7,000

$ 1,000 – 1,500

Provenance: Price Tower, Bartlesville, OK | Mrs. Harold Charles Price, Jr.

429 Frank Lloyd Wright case element from Price Tower, Bartlesville, Oklahoma USA, 1956 mahogany, anodized aluminum, brass 15 ½ w × 24 ¼ d × 23 ¼ h in (39 × 62 × 59 cm) Case features three drawers. $ 1,000 – 1,500

Provenance: Price Tower, Bartlesville, OK | Mrs. Harold Charles Price, Jr.

Hillside House

Frank Lloyd Wright would design not only the soaring Price Tower, but a number of homes for the Price family, including the home of Harold Charles Price, Jr., and his wife Carolyn, also in Bartlesville. Constructed at the same time as the Price Tower, the home embodied a similar architectural approach in its inclusion of cantilevered terraces, and abstracted organic references throughout. Wright placed the home as if it was emerging from one of the land’s rolling hills, thusly earning the home its nickname Hillside, and making the connection between building and site even more evident. Like the Price Tower, a rich red color palette dominated the interior elements designed by Wright, including the dramatic wall divider. The Price family surrounded themselves with iconic designs of other modernist architects and furthered the connection to Wright and the southwest with the inclusion collection of pottery by noted Hope potters, Charles and Otellie Loloma.

left Portrait of Frank Lloyd Wright (Lot 439) above Hillside House, Bartlesville, Oklahoma

430 collection of printed materials relating to Frank Lloyd Wright USA printed paper, gelatin silver print Complete lot listing can be found online. $ 1,000 – 1,500

Provenance: Mrs. Harold Charles Price, Jr.

431 Jules Heumann armchair from Hillside House, Bartlesville, Oklahoma USA, c. 1953 | Metropolitan Furniture leather, bronze coated steel 25 ½ w × 24 d × 27 ½ h in (65 × 61 × 70 cm) Fabric manufacturer’s label to underside ‘M Metropolitan Imported from San Francisco’. $ 2,000 – 3,000

Provenance: Mrs. Harold Charles Price, Jr.

432

433

Charles and Otellie Loloma collection of five vessels

Charles Loloma bowl

USA, c. 1954 | Loloma Pottery glazed earthenware 3 ½ dia × 8 ¾ h in (9 × 22 cm)

USA, c. 1954 | Loloma Pottery glazed earthenware 4 ½ dia × 2 ½ h in (11 × 6 cm)

Incised signature to underside of four examples ‘Loloma’. Incised signature to underside of one example ‘Otellie Loloma’.

Incised signature to underside ‘Charles Loloma’.

$ 4,000 – 6,000

Provenance: Mrs. Harold Charles Price, Jr.

$ 1,000 – 1,500

Provenance: Mrs. Harold Charles Price, Jr.

434 Federico Armijo bookstand USA, 1975 carved and laminated walnut 35 ½ w × 25 ½ d × 44 h in (90 × 65 × 112 cm) Bookstand features an adjustable tabletop and two drawers. Signed and dated to top ‘Federico Armijo 75’. Sold with correspondence with the artist and original blueprints. $ 2,000 – 3,000

Provenance: Commissioned directly from the artist | Mrs. Harold Charles Price, Jr.

435 Frank Lloyd Wright room divider fragment from Hillside House, Bartlesville USA, 1953 hand-painted and stencil on mahogany 10 ½ h × 20 w in (27 × 51 cm) $ 5,000 – 7,000

Literature: Frank Lloyd Wright Monographs 1951–1959, Pfeiffer and Futagawa, ppg. 88–91 illustrates and discusses Hillside House Provenance: Mrs. Harold Charles Price, Jr.

436

437

Frank Lloyd Wright rendering for room divider at Hillside House, Bartlesville, Oklahoma

Jerome Kirk b. 1923 Untitled (kinetic sculpture)

USA, c. 1953 pencil and colored pencil on paper 23 w × 14 ½ h in (58 × 37 cm)

c. 1970 enameled aluminum, aluminum, steel 31 h × 22 ½ w × 8 d in (79 × 57 × 20 cm) Incised signature to base ‘Kirk’.

$ 3,000 – 5,000

Literature: Frank Lloyd Wright Monographs 1951–1959, Pfeiffer and Futagawa, ppg. 88–91 illustrates and discusses Hillside House Provenance: Mrs. Harold Charles Price, Jr.

$ 4,000 – 6,000

Provenance: Mrs. Harold Charles Price, Jr.

438 Frank Lloyd Wright Imperial Hotel dinnerware USA, 1922/1963–1968 | Noritake transfer-printed porcelain 10 ½ dia × 1 h in (27 × 3 cm) This design was originally created for the Imperial Hotel, Tokyo designed by Frank Lloyd Wright in 1922. Service includes twenty-one dinner plates, twenty-two salad plates, twenty-three dessert plates, twenty-two bowls, twenty-one teacups with saucers. Printed manufacturer’s mark to underside of each element ‘Noritake Nippon Toki Kaisha Japan’. $ 15,000 – 20,000

Provenance: Mrs. Harold Charles Price, Jr.

439

440

Frank Lloyd Wright The Life-Work of the American Architect Frank Lloyd Wright

collection of Frank Lloyd Wright photographs

USA, 1925/1965 printed paper 13 w × 13 ½ h in (33 × 34 cm) Lot includes two copies of the title, both the 1925 edition and the 1965 edition. $ 1,000 – 1,500

Provenance: Mrs. Harold Charles Price, Jr.

USA, 1953 gelatin silver print, offset color lithograph, platinum/palladium print 14 h × 11 w in (36 × 28 cm) Lot includes two portraits of Frank Lloyd Wright, one of which is by John Engstead, one photograph of Taliesin West and one photograph/souvenir of The Usonian House. $ 1,000 – 1,500

Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

441 Hans J. Wegner Peacock chair Denmark, 1947/c. 1954 | Johannes Hansen ash, teak, paper cord 30 w × 28 d × 42 ½ h in (76 × 71 × 108 cm) Signed with branded manufacturer’s mark to underside ‘Johannes Hansen Copenhagen Denmark’. $ 1,500 – 2,000

Literature: Hans J. Wegner’s 100 Chairs, Oda, pg. 32 Hans J. Wegner, Bernsen, ppg.

34–35 Danish Chairs, Oda, ppg. 106–107 Provenance: Mrs. Harold Charles Price, Jr.

442 Cliff May Foilo of the Harold Charles Price, Sr. Residence, Bartlesville, Oklahoma USA, c. 1947 printed paper, gelatin silver print and bound printed booklet 11 w × 13 ¾ h in (28 × 35 cm) Cliff May was the architect who designed the home of Harold Charles Price, Sr. Residence; this folio details the home with photographs by Maynard L. Parker. Stamped to each image ‘Maynard L. Parker Modern Photography’. $ 1,000 – 1,500

Provenance: Mrs. Harold Charles Price, Jr.

443 Loloma Pottery stoppered bottle and cup USA, 1949 glazed earthenware, mahogany, cork 4 ½ dia × 10 ¾ h in (11 × 27 cm) Incised signature and date to underside of bottle ‘Loloma 49’. $ 700 – 900

Provenance: Mrs. Harold Charles Price, Jr.

444 Ephemera from the Imperial Hotel, Tokyo c. 1950 offset color lithograph 9 ½ h × 7 ¾ w in (24 × 20 cm) Lot includes hotel brochure with price insert. $ 700 – 900

Literature: The Imperial Hotel: Frank Lloyd Wright and the Architecture of Unity, discusses and illustrates the hotel Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

445 Frank Lloyd Wright desk from Hillside House, Bartlesville, Oklahoma USA, 1953 mahogany, enameled steel, anodized aluminum 37 h × 20 ½ w × 25 ½ d in (94 × 52 × 65 cm) $ 5,000 – 7,000

Literature: Frank Lloyd Wright Monographs 1951–1959, Pfeiffer and Futagawa, ppg. 88–91 illustrates and discusses Hillside House Provenance: Mrs. Harold Charles Price, Jr.

446

447

Loloma Pottery collection of eight vessels

Loloma Pottery bowls, collection of three

USA, c. 1954 glazed earthenware 4 ¾ w × 4 ½ d × 10 h in (12 × 11 × 25 cm)

USA, c. 1955 glazed earthenware 11 ¾ dia × 2 ½ h in (30 × 6 cm)

Incised signature to underside of each example ‘Loloma’.

Incised signature to underside of each example ‘Loloma’.

$ 1,500 – 2,000

$ 1,000 – 1,500

Provenance: Mrs. Harold Charles Price, Jr.

Provenance: Mrs. Harold Charles Price, Jr.

448 William Channing Gannett and Frank Lloyd Wright The House Beautiful USA, 1896–98/1963 printed paper 11 ½ w × 14 h in (29 × 36 cm) $ 400 – 600

Provenance: Mrs. Harold Charles Price, Jr.

This example is number 1 from the edition of 90 issued by Wilbert and Marilyn Hasbrouck in 1963. This edition is a facsimilie of the 1896-98 edition of The House Beautiful authored by William Channing Gannett, published by The Auvergne Press (established by William H. Winslow and Chauncey L. Williams, both clients of Wright) and designed and handprinted by Frank Lloyd Wright.

Stamped signatures, number and date to verso ‘One W H Winslow Frank L Wright 1963’.

449

450

Frank Lloyd Wright monographs and other titles

Frank Lloyd Wright wastepaper baskets from Price Tower, Bartlesville, Oklahoma, set of three

1943–1977 printed pages Lot includes Frank Lloyd Wright: Selected Drawings Portfolio and Frank Lloyd Wright: Buildings, Plans & Designs Portfolio among other notable titles; complete list available online. $ 3,000 – 5,000

Provenance: Mrs. Harold Charles Price, Jr.

USA, 1956 stainless steel 16 ¼ w × 6 d × 12 h in (41 × 15 × 30 cm) $ 1,500 – 2,000

Literature: Prairie Skyscraper: Frank Lloyd Wright’s Price Tower, Alofsin, ppg. 146–147 Provenance: Price Tower, Bartlesville, OK | Carolyn and Harold Charles Price, Jr. | Thence by descent

451 Eero Saarinen desk chair from Hillside House, Bartlesville, Oklahoma USA, c. 1954/c. 1965 | Knoll International vinyl, chrome-plated steel, enameled steel, rubber 22 w × 22 d × 33 ¼ h in (56 × 56 × 84 cm) Paper manufacturer’s label to underside ‘Knoll international Inc.’. $ 500 – 700

Literature: Knoll Furniture: 1938–1960, Rouland and Rouland, pg. 50 Provenance: Mrs. Harold Charles Price, Jr.

452

453

454

Frank Lloyd Wright Elevation for the John D. Haynes House, Fort Wayne, Indiana

Frank Lloyd Wright Perspective drawings for the John L. Rayward House, New Canaan, Connecticut

Frank Lloyd Wright Plan for the John L. Rayward House, New Canaan, Connecticut

USA, 1950 pencil and colored pencil on tracing paper 17 ¾ h × 25 ¾ w in (45 × 65 cm)

USA, c. 1955 pencil and colored pencil on paper 16 ½ h × 16 ½ w in (42 × 42 cm)

USA, 1955 ink and colored pencil on paper 31 h × 34 w in (79 × 86 cm)

Signed and dated ‘FLW Nov 15 50’.

Signed and identified ‘View From Southwest House For Mr. and Mrs. John D. Haynes Fort Wayne Indiana Frank Lloyd Wright Architect’.

$ 3,000 – 5,000

Signed and dated ‘FLW April 55’.

Signed and identified ‘House For Mr. and Mrs. John L. Rayward New Canaan Connecticut Frank Lloyd Wright Architect’.

$ 3,000 – 5,000

Literature: The Frank Lloyd Wright Companion, Storrer, pg. 341, S.323 illustrates and discusses house Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

Literature: The Frank Lloyd Wright Companion, Storrer, ppg. 410–411, S.383 illustrate and discuss house Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

$ 3,000 – 5,000

Literature: The Frank Lloyd Wright Companion, Storrer, ppg. 410–411, S.383 illustrate and discuss house Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

455

456

457

Frank Lloyd Wright Presentation drawing for the Chahroudi Cottage, Mahopac, New York

Frank Lloyd Wright Presentation drawing for the John L. Rayward House, New Canaan, Connecticut

Frank Lloyd Wright Presentation drawing for the John D. Haynes House, Fort Wayne, Indiana

USA, 1951 pencil and colored pencil on paper 15 ¾ h × 23 ¼ w in (40 × 59 cm)

USA, 1955 ink and colored pencil on paper 24 ½ h × 34 w in (62 × 86 cm)

USA, 1950 ink and colored pencil on paper 18 h × 25 ¾ w in (46 × 65 cm)

Signed and dated ‘FLW Feb 51’.

Signed and identified ‘Cottage for Mr. & Mrs. A.K. Chahroudi Mahopac NY Frank Lloyd Wright Architect’.

Signed and dated ‘FLW April 55’.

Signed and identified ‘House For Mr. and Mrs. John L. Rayward New Canaan Connecticut Frank Lloyd Wright Architect’.

$ 5,000 – 7,000

$ 5,000 – 7,000

Signed and dated ‘FLW Nov 15 50’.

Signed and identified ‘View From Southwest House For Mr. and Mrs. John D. Haynes Fort Wayne Indiana Frank Lloyd Wright Architect’.

Literature: The Frank Lloyd Wright Companion, Storrer, pg. 368, S.346 illustrates and discusses cottage

Literature: The Frank Lloyd Wright Companion, Storrer, ppg. 410–411, S.383 illustrate and discuss house

Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

$ 5,000 – 7,000

Literature: The Frank Lloyd Wright Companion, Storrer, pg. 341, S.323 illustrates and discusses house Provenance: Collection of Roy K. Varenhorst, an architect who apprenticed with Frank Lloyd Wright at Taliesin Studios Thence by descent to Erich Jon Dunwell, Lawrence, KS | Sherry Laden, Girard, KS

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Auctioneer Discretion The auctioneer has the right, in his absolute discretion, to determine the conduct of any Wright Auction sale, including, without limitation, to advance the bidding, to reject any Bid offered, to withdraw any lot, to reoffer and resell any lot, and to resolve any dispute in connection with such sale.

In any such case, the judgment of the auctioneer is final, and shall be binding upon you and all other participants in such sale.

Bidding Increments All Wright Auction sales will be conducted in the following increments, and nonconforming Bids will not be executed, honored or accepted:

$ 25 to 500 $ 500 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+

$ 25 increment $ 50 increment $ 100 increment $ 200 increment $ 250 increment $ 500 increment $ 1,000 increment or auctioneer’s discretion

Reserve All Lots may be offered subject to a confidential minimum price below which the Lot will not be sold (the “Reserve”). The auctioneer may open the bidding on any lot below the Reserve by placing a Bid on behalf of the Seller. The auctioneer may continue to Bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive Bids or by placing Bids in response to other bidders.

Remote Bidding As a convenience to buyers who cannot be present on the day of a Wright Auction and have Registered to Bid, we will use reasonable efforts to execute (i) written, properly completed absentee Bids described on Wright bid forms delivered to us prior to that sale; or (ii) Bids delivered to us via the Internet, whether by properly completed Wright absentee bid forms or, if available, a live bidding service authorized

by Wright. We assume no responsibility for a failure to execute any such Bid, or for errors or omissions made in connection with the execution of any such Bid. If requested prior to a Wright Auction in writing, we will use reasonable efforts to contact the buyer by telephone to enable the buyer to Bid by telephone on the day of the sale, but we assume no responsibility for errors or omissions made in connection with any such arrangement (including without limitation miscommunication of instructions given over the phone or failure to establish a connection prior to a sale).

You acknowledge that there may be additional terms and conditions governing the use of any third-party service in connection with Bidding on the Internet, including, but not limited to, those providing for additional charges and fees relating to the execution of such Bids. Wright has no control over, and assumes no responsibility for, the content, privacy policies, or practices of any third party websites or services.

You expressly release Wright from any and all liability arising from your use of any third-party website or services. Additionally, your dealings with such third party sites, including payment and delivery of goods, and any other terms (such as warranties) are solely between you and such third parties. We encourage you to be aware of, and to read, the terms and conditions and privacy policy of any third-party website or service that you visit.

2 Payment and Collection of Purchases You Pay Buyer Costs If your Bid results in a Purchase Price Bid (or you agree to pay the purchase price for a Lot as a part of a Wright Now Sale or Private Sale), you agree to pay the following charges associated with the purchase of such Lot: i. Hammer Price (for Auction Sales) or Lot purchase Price (for Wright Now Sales and Private Sales); ii.

Buyer’s Premium (for Auction Sales) which is 25 % of the Hammer Price (or part thereof) up to and including $ 100,000; 20 % of the Hammer Price (or part thereof) in excess of $ 250,000. An additional premium will be added to any successful bid accepted through a third-party site. iii. any applicable sales tax, late payment charges, storage fees, Enforcement Costs or other costs, damages or charges assessed in accordance with these Terms (for all sales) ((i) – (iii) any applicable sales tax, late payment charges, storage fees, Enforcement Costs or other costs, damages or charges assessed in accordance with these Terms (for all sales) ((i) – (iii) collectively, the “Buyer Costs”). All purchases will be subject to state sales tax unless the buyer has provided us with a valid certificate of exemption from such tax.

Payment Procedure You agree to pay all Buyer Costs immediately following Wright’s acceptance of the Purchase Price Bid unless other arrangements have been approved by Wright in advance. If Wright approves of such other arrangement for payment, Wright may at its discretion require you to make a nonrefundable down payment on Buyer Costs. All payments must be made in US Dollars, in any of the following acceptable forms of payment: – Cash – Check, with acceptable identification – Visa, MasterCard or American Express Wright reserves the right to charge and collect an additional 2% of payments made by credit card.

Title and Risk of Loss Title to a Lot purchased in accordance with these Terms shall not pass to the buyer until Wright has received the Buyer Costs (including clearance of checks and wire transfers). We reserve the right to delay delivery of or otherwise prevent access to any purchased Lot until Wright has received all Buyer Costs. Notwithstanding passage of title, risk of loss to a Lot passes immediately to buyer upon Wright’s acceptance of a Purchase Price Bid. All sales are final.

Security As security for full payment to us of all amounts due from the buyer and prompt collection of your purchased Lots in accordance with these Terms, we retain, and the buyer grants to us, a security interest in any Lot purchased by the buyer in accordance with these Terms (and any proceeds thereof), and in any other property or money of the buyer in our possession or coming into our possession subsequently (“Security Interest”). We may apply any such money or treat any such property in any manner permitted under the Uniform Commercial Code and/or any other applicable law. You hereby grant us the right to prepare and file, any documents sought by us to protect and confirm our security interests including but, not limited to a UCC-1 Financing Statement.

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, Brazilian rosewood, 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. As a courtesy to clients, Wright will advise clients who inquire about lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to advise on lots containing protected or regulated species.

Delivery Buyer is solely responsible for collection of purchased Lots from Wright facilities, including making arrangements and paying all costs associated with packing and delivery. We may, as a courtesy to the buyer, provide or arrange packing, shipping or similar logistical services, or refer the buyer to third parties who specialize in these services. Any such services referred, provided or arranged by us are at the buyer’s sole risk and expense, we assume no responsibility for any act or omission of any party in connection with any such service or reference, and we make no representations or warranties regarding such parties or their services.

You expressly release Wright from any and all liability arising from your use of any third-party website or services.

Storage, Abandonment and Related Charges All purchased Lots not collected from Wright’s facilities by buyer or buyer’s authorized agents within thirty (30) days following the Sale Date will become subject to storage fees of not less than $ 5 per day. A late payment fee equal to 1.5 % per month may be assessed on any Buyer Costs remainingx unpaid thirty (30) days following the Sale Date. If a purchased Lot has not been collected from us within sixty (60) days after the Sale Date, and Wright has not consented to continue to store the Lot, the buyer will be deemed to have defaulted under these Terms, and, in addition to any other remedies we may have at law or equity, we shall be entitled to foreclose on the Security Interest by selling such Lots and using the proceeds from such sale for any purpose (including payment of storage fees and administrative expenses of handling such matter), without any further liability to the buyer. You agree that this remedy is reasonable in light of the costs Wright would have to incur to continue to store and process purchased Lots after sale.

Breach If a buyer fails to make timely payment as required in these Terms, or breaches any other covenant, representation or warranty in this Agreement, we shall be entitled, in our discretion, to exercise any remedies legally available to us, including, but not limited to, the following: i. cancellation of the sale of the Lot to the non-paying buyer, including the sale of any other Lot to the same buyer (whether or not paid); ii. reselling the Lot, at public or private sale, with or without reserve; iii. retention of all amounts already paid by the buyer to Wright, which shall constitute a processing and restocking fee (which you acknowledge would be reasonable in light of the costs Wright would have to incur to process your breach and attempt to re-auction or resell the Lot); iv. rejection of any Bids by the buyer at future auctions; v. setting-off any amounts owed by Wright to the buyer in satisfaction of unpaid amounts; and/or vi. taking any other action we deem necessary or appropriate under the circumstances.

Confession of Judgment If you default on payment of one or more Purchase Price Bids under this Agreement, you hereby authorize any attorney to appear in a court of record and confess judgment against you in favor of Wright for the payment of such Purchase Price Bids and all related Buyer Costs. Accordingly, the confession of judgment may be without process and for any amount due on this Note including collection costs and reasonable attorneys’ fees. This authorization is in addition to all other remedies available to Wright.

3 Limited Warranty “As Is”, “Where Is”. Except as expressly stated below, each Lot is sold “as is” “where is”, with no representation or warranty of any kind from any party (including Wright or the consignors of the Lots), express or implied, including warranties of merchantability, fitness for a particular purpose and non-infringement.

Because you are responsible for satisfying yourself as to condition or any other matter concerning each purchased Lot, you are advised to personally examine any Lot on which you intend to bid prior to the auction and/or sale. As a courtesy, condition reports for any Lot are available from Wright prior to the sale, but Wright assumes no responsibility for errors and omissions contained in any such report, a Wright Catalog or other description of a Lot that may be available on the Wright website. Any statements made by Wright with respect to a Lot (whether in a condition report, a Wright Catalog or on the Wright website), whether orally or in writing, are intended as statements of opinion only, are not to be relied upon as statements of fact and do not constitute representations or warranties of any kind.

Authorship Warranty Subject to the following terms and conditions, Wright warrants, for a period of two (2) years following the date of sale, the information presented in a Wright Catalog with respect to Authorship of any Lot is true and correct, so long as the name of the Author is set forth unqualifiedly in a heading in Bold type in the applicable and most current Wright Catalog. The term “Author” or “Authorship” means the creator, designer, culture or source of origin of the property, as the case may be, as specifically identified in Bold type in the applicable and most current Wright Catalog, and shall not include any supplemental text or information included in any other descriptions (whether or not in the Wright Catalog).

Exclusions from and Conditions to the Authorship Warranty Notwithstanding, this warranty is subject to the following: i. The benefits of this warranty are only available to the original buyer of a Lot from Wright, and not to any subsequent purchasers, transferees, successors, heirs, beneficiaries or assigns of the original buyer. ii. This warranty shall not apply to any Lot for which a Wright Catalog description states that there is a conflict of opinion among specialists as to Authorship. iii. This warranty shall not apply to any Lot for which, at the time of sale, the statements regarding Authorship made by Wright conformed with the generally accepted opinion of scholars, specialists or other experts, despite the subsequent discovery of information that modifies such generally accepted opinions. iv. The buyer must provide written notice of any claim under this warranty to Wright (validated by no fewer than two (2) written opinions of experts whose principal line of business is the appraisal and authentication of art, antiquities, design objects or other valuable objects similar to the Lot) not later than thirty (30) days after becoming aware of the existence of such a claim, an in any event no later than two (2) years following the date of sale, and must return the Lot subject to such claim to Wright in the same condition as at the time of the original sale. Wright reserves the right to appoint two independent specialists to examine the Lot and evaluate the buyer’s claim prior to buyer’s receipt of any remedy pursuant to this warranty.

Buyer’s Only Remedy for Authorship Warranty Breach The buyer’s sole remedy, and Wright’s sole liability, under this warranty shall be the cancellation of the sale of the Lot in question, or (if the sale has already concluded) the refund of the purchase price originally paid by such buyer for the Lot in question (not including any late fees, taxes, shipping, storage or other amounts paid to Wright in accordance with these Terms). Buyer hereby waives any and all other remedies at law or equity with respect to breaches of this warranty.

Limit of Liability In no event shall wright be liable to you or any third party for any consequential, exemplary, indirect, special, punitive, incidental or similar damages, whether foreseeable or unforeseeable, regardless of the cause of action on which they are based, even if advised of the possibility of such damages occurring. With respect to any sale of a lot, in no event shall wright be liable to you or any third party for losses in excess of the purchase price paid by you to wright for such lot to which the claim relates.

4 Rescission or Voiding of Sale by Wright If we become aware of an adverse claim of a third party relating to a Lot purchased by you, we may, in our discretion, rescind the sale. Upon notice of our election to rescind a sale, you will promptly return such Lot to us, at which time we will refund to you the Hammer Price and Buyer’s Premium paid to us by you for such Lot. This refund will represent your sole remedy against us and/or the consignor in case of a rescission of sale under this paragraph, and you agree to waive all other remedies at law or equity with respect to the same.

If you do not return such Lot to us in accordance with this paragraph, you agree to indemnify, defend and hold Wright, its officers, directors, employees, agents and their successors and assigns, harmless from any damages, costs, liabilities or other losses (including attorney’s fees) arising as a result of such third party claim.

5 Copyright Notice Wright and its licensors will retain ownership of our intellectual property rights, including, without limitation, rights to the copyrights and trademarks and other images, logos, text, graphics, icons, audio clips, video clips, digital downloads in, and the “look and feel” of, the Wright website and each Wright Catalog. You may not obtain any rights of ownership, use, reproduction or any other therein by virtue of these Terms or purchasing a Lot. You may not use any of our trademarks or service marks in any way.

6 Severability If any provision of these Terms is held by any court to be invalid, illegal or unenforceable, the invalid/ illegal/unenforceable aspect of such provision shall be disregarded and the remaining Terms enforced in accordance with the original document and in accordance with applicable law.

7 Governing Law These Terms shall be governed by and interpreted in accordance with the law of the State of Illinois and,

by Registering to Bid or Bidding in the Wright Auction (whether personally, by telephone or by agent), the you agree to submit to the exclusive jurisdiction of the state and federal courts located in Cook County, Illinois in connection with any matter related to these Terms, the Wright Auction or other sale of a Lot to you by Wright.

8 Expenses In addition to the foregoing, you agree to pay to Wright or Seller on demand the amount of all expenses paid or incurred by Wright and Seller, including attorneys’ fees and court costs paid or incurred by Wright or Seller in exercising or enforcing any of its rights hereunder or under applicable law, together with interest on all such amounts at 1.5 % per month (the “Enforcement Costs”) within thirty (30) days of the buyer’s receipt of Wright’s invoice for such Enforcement Costs.

9 Definitions The following terms have the following meanings: Author and Authorship have the meanings given in Section 3. Bidding, Bid or place a Bid means a prospective buyer’s indication or offer of a price he or she will pay to purchase a Lot at a Wright Auction which conforms with the provisions of Section 1. Buyer Costs has the meaning given in Section 2. Buyer’s Premium means the following for any Lot: (i) 25 % of the Hammer Price (or part thereof) up to and including $ 100,000; (ii) 20 % of the Hammer Price (or part thereof) in excess of $ 100,000 up to and including $ 1,000,000; and (iii) 12 % of the Hammer Price (or part thereof) in excess of $ 1,000,000.

An additional premium will be added to any successful bid accepted through a third-party site.

Hammer Price means the price for a Lot established by the last bidder and acknowledged by the auctioneer before dropping the hammer or gavel or otherwise indicating the bidding on such Lot has closed. Lot means the personal property offered for sale by Wright, whether at a Wright Auction, Private Sale, Wright Now Sale or otherwise. Passed Lot is a Lot which does not reach its reserve or otherwise fails to sell at a Wright Auction. Private Sale is a non-public, discrete sale of a Lot (such Lot typically not being exhibited by Wright).

Purchase Price Bid means the bid submitted by a Buyer for a Lot which is accepted as the Hammer Price, or in the case of Private Sales or Wright Now Sales, the price accepted by Wright for the sale of such Lot.

Register to Bid or Registering to Bid means providing Wright with your complete, accurate contact information (including address, phone and email) and a current, valid credit card number (including security code), and (i) in the case of phone or absentee bidders, a properly completed Wright bid form and (ii) in the case of online bidders, registration with such authorized third-party online auctioneer service providers described on our website on the How to Bid page. Reserve has the meaning given in Section 1. Sale Date means, in the case of Wright Auctions, the date of the closing of bidding for a particular Lot and acceptance of the Purchase Price Bid for such Lot; in the case of all other sales by Wright, the date Wright agrees in writing to sell a Lot to a buyer.

Security Interest has the meaning given in Section 2.

Seller means the owner of a Lot offered for sale at a Wright Auction, Private Sale, Wright Now Sale or other sale administered by Wright.

Terms has the meaning given in the Introduction to this Agreement. Wright Auction means the sale of Lots to the public through competitive bidding administered

by Wright (including sales administered through a third-party Internet auctioneer authorized by Wright).

Wright Catalog means the design catalogs published

by Wright which features Lots available at particular Wright Auctions. Wright Now Sale is a sale of a Lot consigned to Wright by a third party, either posted on Wright’s website directly or solicited after a Lot fails to sell at auction.

A

H

Abercrombie, Gertrude 167 – 168 Adnet, Jacques 389 Apollonio, Marina 186 Arbus, André 317 Arman 296 Armijo, Federico 434 Arnal, Francois 204 Arredoluce 350 – 351 Astuguevieille, Christian 363, 371, 373

Haden, Richard 209 Hadzi, Dimitri 171 Haring, Keith 155 – 156 Harrison, Wallace K. 175 Haskell, Eben W., Lynn McLarty and Michael Kirchner, 173 Hermès 293 – 294 Heumann, Jules 431 Hjorth, Axel Einar 342 Hughes, Shara 315 Husain, M.F. 181

B Balla, Giacomo 206 Barovier, Ercole 119 – 123, 145 – 150 Bega, Melchiorre 359 Bertoia, Harry 223 – 232 Bianconi, Fulvio 124, 126 – 127, 129 Bo Bardi, Lina 310 Bolotowsky, Ilya 365 Bonetti, Mattia 382 Borderie, André 282, 290, 291 Breuer, Marcel 398, 402, 405 – 406 Brooks, Jon 221 – 222 Brotto, Angelo 362 Buzzi, Tomaso 106 – 108 C Calder, Alexander 152, 184 Calle, Sophie 303 Campana, Fernando and Humberto 191, 390 Campo, Franco and Carlo Graffi 352 – 353 Carpenter, James 142 Chale, Ado 318 – 319 Chanel X Medicom 388 Channing Gannett, William 448 Chiesa, Pietro 349, 354 Crespi, Gabriella 313, 328 D Dariel, Pierre 407 Deihl, Randall 201 di Suvero, Mark 154 Diaz de Santillana, Ludovico 139 – 141 Dior, Christian 333 Draper, Dorothy 327 Dubé 346 Dupré – Lafon, Paul 306 E Eames, Charles and Ray 250 Ellis, Harvey 409 Evans, Paul 202, 233 Evinrude, Ole 199 F Fini, Gianfranco 298 Fontana Arte 357 Fornasetti, Piero 198, 302, 323, 383 – 385 Frankl, Paul 305, 330 Fredrickson, Patrik and Ian Stallard 197 Fuller, R. Buckminster 195 – 196 G Gagnère, Olivier 192, 380 Gambone, Guido 355 Garouste, Elizabeth and Mattia Bonetti 169, 366 – 367 Gehry, Frank 207 Girard, Alexander 255 – 263 Guariche, Pierre 269, 284 Guild, Derrick 332

I Ingrand, Max 346 – 347

Noguchi, Isamu 213, 248 Noland, Kenneth 172 Noll, Alexandre 270, 273 P Parisi, Ico 361 Perriand, Charlotte 277, 279, 285 Pesce, Gaetano 183 Picasso, Pablo 190 Plimack Mangold, Sylvia 182 Polk Smith, Leon 203 Ponti, Gio 135, 314, 345, 356, 360 Powell, Phillip Lloyd 233 Printz, Eugene 316 Prouvé, Jean 266, 268, 271, 278 Q

J Quinet, Jacques 393 Jeanneret, Pierre 267, 274 – 276, 280, 289, 292 Jouve, Georges 272, 281, 286 Juhl, Finn 336, 340 – 341 K Kagan, Vladimir 200, 210, 364 Kenmochi, Isamu 248 Kirk, Jerome 437 Kjaer, Bodil 344 Knoll, Florence 264 Kopelow, Burton 170, 331 Krakoff, Reed and Delphine 376 – 379 Kuramata, Shiro 157 L Langlais, Bernard 308 LaVerne, Philip and Kelvin 304 Le Corbusier, 175, 292 Leleu, Jules 295, 297, 301, 325, 329 Lelii, Angelo 358 Levine, Sherrie 165 Lobel, Paul 400 Loewy, Raymond 374 Loloma, Charles 433 Loloma Pottery 432, 443, 446 – 447 Loos, Adolf 404 Lundgren, Tyra 137 M Magnusson Grossman, Greta 252 – 254 Maison Jansen 369 Mangiarotti, Angelo 187, 194 Martens, Dino 151 Martin, Chris 211 Martinuzzi, Napoleone 104 Marx, Samuel 368 Matégot, Mathieu 283 May, Cliff 442 McLaughlin, Jerry 188 Modern 307 Monnet, attribution, François 375 Moore, Diana 189 Morellet, François 163 Moreux, Jean Charles 392 Motte, Joseph –André 288 Mullican, Lee 158

R Rietveld, Gerrit 403 Robsjohn – Gibbings, T.H. 311, 391 Rodrigues, Sergio 309, 322 Royère, Jean 287 S Saarinen, Eero 451 Saunders Corporation 397 Savini, Augusto 208 Scarpa, Carlo 109 – 117 Scarpa, Tobia 143 Schatz, Zahara 249 Shemesh, Lorraine 193 Sottsass, Ettore 159, 160, 185 Springer, Karl 370 Starck, Philippe 372, 386 Stickley, Gustav 408 Superior, Roy 180 Szekely, Pierre and Véra 282, 290, 291 T Teague, Walter Dorwin 399 Testa, Angelo 324 Tsuchiya, Tilsa 174 Tynell, Paavo 153, 335, 343 V Vallino, Gianni 300 van der Straeten, Hervé 166 van Severen, Maarten 164 Vasa (Velizar Mihich) 205 Venini, Paolo 105, 125, 128, 130 – 134, 136 Vervoordt, Axel 381, 396 Vetreria Artistica Barovier 118 Vignelli, Massimo 348 W Wegner, Hans J. 337 – 339, 441 Weil, Bruno 401 Wenkle, James 326 Wormley, Edward 212, 312, 320 – 321 Wright, Frank Lloyd 410 – 417, 419 – 422, 424 – 429, 435 – 436, 438 – 439, 445, 448, 450, 452 – 457

N

Z

Nakashima, George 234 – 246 Nara, Yoshitomo 161, 162 Natzler, Gertrud and Otto 214, 216 – 220 Natzler, Otto 215 Nelson & Associates, George 247, 251, 265 Nevelson, Louise 176 – 179 Nice, Don 299 Niemeyer, Oscar 175

Zecchin, Vittorio 100 – 103 Zuccheri, Toni 138, 144

Toute chose appartient Ă qui sait en jouir.

Objet auction 6 June 2019

auction 6 June 2019

L’œuvre d’art, c’est une idée qu’on exagère.

Objet

auction 6 June 2019

Il est difficle de vaincre ses passions, et impossible de les satisfaire.

Objet

Contact

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