NY050219 Catalog

Design
New York, 17 December 2019

177. Gilbert Poillerat
72. Hiroshi Suzuki
66. Jeroen Verhoeven
24. Paolo Venini
Design
New York, 17 December 2019
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Our team is comprised of experts from auction houses, museums, galleries and other leading arts
institutions. In addition to auctions in our New York, London, Hong Kong and Geneva salerooms, Phillips
holds private sales and curated selling exhibitions across all of our categories around the world. Our range
of services includes appraisals for private clients, advisors, attorneys and other key fduciaries, and our
dedicated Trusts, Estates and Valuations team provides complimentary reviews of collections.
1. Jean Royère 1902-1981
Pair of “Mirabeau” stools

circa 1957
Painted steel, brass, fabric upholstery.
Each: 17 3/4 x 27 x 15 in. (45.1 x 68.6 x 38.1 cm)
Estimate
$30,000-40,000
Provenance
Nadim Majdalani, Beirut
Laurice Daou, Beirut, 1957
Acquired from the above by the present owner
Literature
Jean Royère, décorateur à Paris, exh. cat., Musée
des Arts Décoratifs, Paris, 1999, p. 20
Pierre-Emmanuel Martin-Vivier, Jean Royère,
Paris, 2002, p. 130
Galerie Jacques Lacoste and Galerie Patrick
Seguin, Jean Royère, Volume 2, Paris, 2012, p. 56
Paris, 2017, p. 146
2. Claude Lalanne 1925-2019
“Collier l’Amour en cage”

2018
Brass.
8 3/8 x 6 1/4 in. (21.3 x 15.9 cm), 14 1/4 in.
(36.2 cm) circumference
Number 1 from the edition of 8. Reverse
impressed with the artist’s monogram
CL and LALANNE/1 / 8.
Estimate
$4,000-6,000
3. Myrbor
“Le Drapeau” carpet Provenance
circa 1932 Fashion Institute of Technology, New York, 1988
Hand-dyed and hand-knotted wool. Charles A. Whitaker Auction Co., Philadelphia, “Fall
74 x 56 in. (188 x 142.2 cm) Couture and Textiles,” October 28-29, 2016, lot 519
Afer a design by Joan Miró. Woven by Acquired from the above by the present owner
Maison Myrbor, Sétif, Algeria. Reverse
embroidered MYR/BOR. Literature
an exhibition of contemporary french tapestries, exh.
Estimate cat., Charles E. Slatkin Galleries, New York, 1965, p. 35
$4,000-6,000 Jacques Dupin and Ariane Lelong-Mainaud, Joan Miró,
Catalogue raisonné. Paintings, Volume I: 1908–1930,
Paris, 1999, no. 314 for the oil on canvas
Property from an Important Private Collection
Rare “Œuf” chest of drawers

circa 1956
Ash, ash-veneered wood, fabric, brass.
37 7/8 x 59 3/4 x 20 in. (96.2 x 151.8 x 50.8 cm)
Estimate
$100,000-150,000
Provenance
Madame Lebon
Galerie Jacques Lacoste and Galerie Patrick Seguin, Paris
Private collection, New York
Phillips de Pury & Company, New York, “Design
Masters,” December 13, 2011, lot 24
Literature
Mobilier et Décoration, no. 4, May 1961, p. 27
for a drawing
Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris,
2002, illustrated p. 258
Galerie Jacques Lacoste and Galerie Patrick Seguin,
Jean Royère, Volume 1, Paris, 2012, illustrated p. 119
Jean Royère, Volume 2, Paris, 2012, illustrated p. 74
Taking the Œuf chair as a point of departure, Jean

Royère created a range of related Œuf furniture
that included the present lot as well as a sofa, a
tabouret, a bed, bedside tables, and a coifeuse. In
each example a sof upholstered shell envelops the
inner structure, in this case, a chest of six drawers.
Royère designed the Œuf chair in 1954 and it
became a regular fxture in his interiors. The other
Œuf furniture, however, is much less ubiquitous,
documented in only a few places. The November
1958 issue of Mobilier et Décoration illustrated the
bedroom suite, noting the “voluptuous rotundity”
of the armchairs and bed and the “energetic
contrast” of the two-toned upholstery.
5. Attributed to Jean Royère 1902-1981
Pair of side tables

circa 1957
Oak, oak-veneered wood.
Each: 15 3/4 x 19 3/4 x 11 3/4 in. (40 x 50.2 x 29.8 cm)
Estimate
$8,000-12,000
Provenance
6. Jean Royère 1902-1981 7. Jean Royère 1902-1981
Side chair Desk

circa 1956 circa 1957
Oak, vinyl upholstery. Oak, oak-veneered wood, glass.
38 3/4 x 17 1/2 x 20 in. (98.4 x 44.5 x 50.8 cm) 29 3/4 x 51 x 20 1/4 in. (75.6 x 129.5 x 51.4 cm)
Estimate Estimate
$7,000-9,000 $18,000-24,000
Provenance Provenance
Nadim Majdalani, Beirut Nadim Majdalani, Beirut
Laurice Daou, Beirut, 1957 George Fayad, Beruit, 1957
Acquired from the above by the present owner Acquired from the above by the present owner
Literature
René Chavance, “Les aménagements nouveaux
de Jean Royère et les réfexions qu’ils inspirent,”
Mobilier et Décoration, no. 8, November 1956, p. 15
for a similar example
Catherine and Stéphane de Beyrie and Jacques
Ouaiss, Jean Royere, New York, 2000, pp. 113, 158
Paris, 2002, p. 180 for a similar example
“Boule” armchair
circa 1957
Fabric upholstery, oak.
27 1/2 x 38 1/2 x 37 1/2 in. (69.9 x 97.8 x 95.3 cm)
Estimate
$120,000-180,000
Provenance
Literature
des Arts Décoratifs, Paris, 1999, pp. 28, 120
2002, pp. 231, 284
Jean Royère, Volume 1, Paris, 2012, p. 75
Jean Royère, Volume 2, Paris, 2012, pp. 46, 274
2017, pp. 238, 299
The present Boule armchair was acquired in 1957 from Royère and Majdalani would go on to collaborate on a
the architect Nadim Majdalani in Beirut. Majdalani large number of both residential and commercial interiors
had met Jean Royère in Paris and subsequently, in throughout Lebanon, which at the time was experiencing
the late 1940s, the two opened an ofce of decoration a great deal of growth and new construction. These
and architecture together under both their names interiors appeared in French publications throughout the
on avenue des Français in Beirut. The collaboration period, with Nadim Majdalani noted as a collaborator
would continue into the 1960s. Majdalani also owned in the captions. For his part, Royère loved to travel
a furniture workshop and began to execute Royère’s and throughout his career sought out new markets
designs according to the detailed plans he had sent over across the world. As he recounted in 1963, “What you
from Paris. Nadine Begdache, the daughter of Majdalani, have to remember is that in these new and developing
recounted that Royère’s furniture was “distinguished countries, cooperation between architect and decorator
by their originality and their audacity…Everything is facilitated by the fact that, unlike in France, people
he imagined was of great freshness and above all don’t spend their time patching up and modernizing old
great comfort (Fif Abou Dib, “En tandem avec Nadim buildings (Revue de l’Ameublement, December 1963).”
Majdalani,” L’Orient-Le Jour, May 5, 2000).”
The form of the present armchair, a variation of the
lower-back version now commonly referred to as the
Ours Polaire armchair, had been exhibited by Royère as
early as 1942 in the Salon des artistes décorateurs.
○ 9. Jean Royère 1902-1981
“Persane” foor lamp Jean Royère featured his Persane foor lamp in the
circa 1954 1954 Salon des arts ménagers as part of a bedroom
Gilt steel, fabric shades.
setting alongside an Œuf chair in fuzzy gray and red
72 3/8 in. (183.8 cm) high
upholstery and a Flaque cofee table in black straw
Estimate marquetry with a constellation of golden straw stars.
$60,000-80,000 Against a large light green curtain in the background,
the long graceful arms of the Persane stood “gushing
Provenance
like meteors to carry of the light,” in the words of
Galerie Neo Senso, Paris
Acquired from the above by the present owner, René Chavance, who reviewed the Salon for the April
circa 1990 1954 issue of Mobilier et Décoration.
Literature In the same article Chavance praised Royère for

“Pour grouper la famille: Le Foyer d’aujourd’hui,”
having a refned taste that “blends…with a spiritually
Le Décor d’aujourd’hui, no. 86, June 1954, p. 187
René Chavance, “Le Salon des Arts Ménagers,” fanciful invention.” One of the key characteristics
Mobilier et Décoration, April 1954, p. 102 of this fanciful inventiveness was Royère’s use of
Christine Grange-Bary, “Un Dialogue Inspiré,” shaped metal rods, which he explored throughout
Maison & Jardin, no. 406, September 1994, his lighting repertoire. Sometimes they appear, like
pp. 52, 54
in the Persane, as a tidy bundle of branches, while in
des Arts Décoratifs, Paris, 1999, pp. 70, 164 other instances they undulate across the wall, or, in
Galerie Jacques Lacoste and Galerie Patrick the case of the Liane, sprawl like an unkempt vine or
Seguin, Jean Royère, Volume 1 and 2, a hand-drawn line.
Paris, 2012, throughout
Paris, 2017, p. 202
Property from a Private Miami Beach Collection
10. Jean Royère 1902-1981 Jean Royère frst designed the Ours Polaire sofa for
the rooms he occupied in his mother’s apartment at
“Ours Polaire” sofa 234 rue du Faubourg-Saint-Honoré on the occasion
1950s of re-decorating her residence in 1947. This example
Original fabric upholstery, cherry wood feet,
now resides in the collection of the Musée des Arts
ash internal frame.
30 x 94 x 46 1/2 in. (76.2 x 238.8 x 118.1 cm) Décoratifs, Paris. Later that year he presented the sofa
at La Résidence française, an exhibition organized
Estimate by the publication Art et Industrie. The sofa became
$300,000-500,000 ubiquitous in Royère’s interiors of the late 1950s and
early 1960s. Today it is recognized as one of his most
Provenance
Galerie Patrick Seguin, Paris iconic and sought-afer designs.
The sof round form of the Ours, which practically
Literature eliminates the typical parts and structure of most
“La Résidence Française,” Art et Industrie, no. 8, seating in favor of one continuous curve, is in keeping
June 1947, p. 20
with Royère’s whimsical aesthetic as well as the
René Chavance, “Les aménagements nouveaux de
Jean Royère et les réfexions qu’ils inspirent,” Mobilier biomorphic style already in full force in the 1950s.
et Décoration, no. 8, November 1956, p. 21 Yet while other designers worked with new materials
Jean Royère, décorateur à Paris, exh. cat., Musée des and techniques to achieve their organic forms—Eero
Arts Décoratifs, Paris, 1999, throughout Saarinen’s fberglass Womb chair and the Eameses’ use
of molded plywood come to mind—the Ours relied on
Jean Royère, Volumes 1 and 2, Paris, 2012, throughout
Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, traditional cabinetmaking methods to achieve its novel
2017, throughout shape. Photographs of an Ours frame, likely taken in
the courtyard of an artisan in the Faubourg Saint-
Antoine, show the complex wooden understructure
that served as the initial armature. To this carcass a
metal frame padded with horsehair further defned
the form, which was fnally covered by the fabric
upholstery, typically a plush velvet sourced from Italy.
The present lot retains the original thick red upholstery,

a color which Royère particularly favored for this
design. He used it for the Ours sofas he created for the
French legation in Helsinki, depicted in a beautifully
rendered gouache in the collection of the Musée des
Arts Décoratifs (1950), as well as for the salon at the
Maison de France in Rio de Janeiro (1955-1960).
Jean Royère, Projet pour le grand
salon de la Légation de France à
Helsinki en Finlande, 1950. Paris,
musée des Arts décoratifs. Image ©
MAD, Paris. Artwork © 2019 Artists
Rights Society (ARS), New York/
ADAGP, Paris.
Property from a Private Collection, New York
11. Guy de Rougemont b. 1935 Provenance

Artcurial, Paris, circa 1985
Three totems Acquired from the above by the present owner
1976
Painted PVC, painted metal. Literature
Each: 76 in. (193 cm) high Renée Beslon, Marie-Odile Briot, and Françoise
Interior of each tube with label signed in marker Thieck, Rougemont 1955/1972, Paris, 1973, pp. 46,
Rougemont, impressed colonne P.S., printed société 49-52, 56-57, 59-60 for similar examples
branger lajoix/23130 peyrat la nonière/france/ Bernard Chapuis, Rougemont: Espaces publics et
rougemont 1976 and further impressed n° 14/23, arts décoratifs, 1965-1990, exh. cat., Musée des
n° A 15/23, and n° B 15/23, respectively. Art Décoratifs, Paris, 1990, pp. 48-51, 56-58, 68,
73 for similar examples
Estimate
$8,000-12,000
Property from an Important Collection
12. Pierre Paulin b. 1927 Provenance

Galerie kreo, Paris
Pair of low chairs, model no. CM 190 Acquired from the above by the
circa 1954 present owner, 2012
Painted steel, fabric upholstery, rubber.
Each: 29 x 22 5/8 x 24 1/4 in. (73.7 x 57.5 x 61.6 cm) Literature
Élizabeth Védrenne, Pierre Paulin, New York,
Estimate 2004, pp. 52, 75, 78
$6,000-8,000 Catherine Geel, Pierre Paulin, Designer, Paris,
2008, pp. 160-61, 164-65
Nadine Descendre, Pierre Paulin: Life and Work,
Paris, 2014, pp. 39, 62
13. Georges Jouve 1910-1964
Table lamp
circa 1959
Glazed stoneware, brass, fabric shade.
31 in. (78.7 cm) high
Underside signed with artist’s cipher and FRANCE.
Estimate
$6,000-8,000
Provenance
Private collection, Massachusetts
Literature
Philippe Jousse and Galerie Jousse Entreprise,
Georges Jouve, Paris, 2005, pp. 201, 289
Property of a Private Collector, New York
14. Georges Jouve 1910-1964
“Oiseau 4 pattes”
circa 1951
Glazed stoneware, painted metal.
14 1/2 x 7 1/2 x 9 in. (36.8 x 19.1 x 22.9 cm)
Estimate
$8,000-12,000
Literature
Michel Faré, Georges Jouve, Paris, 1965, pp. 19, 69
Philippe Jousse and Galerie Jousse Entreprise,
Georges Jouve, Paris, 2005, pp. 285, 308
15. Charlotte Perriand 1903-1999
Daybed, designed for a “chambre d’étudiant,” Maison

du Brésil, Cité Internationale Universitaire de Paris
circa 1959
Oak, fabric upholstery.
23 1/2 x 74 5/8 x 31 1/4 in. (59.7 x 189.5 x 79.4 cm)
Issued by Galerie Steph Simon, Paris, France.
Estimate
$7,000-9,000
Provenance
Magen H Gallery, New York
Acquired from the above by the present owner, circa 2010
Literature
Marie Laure Jousset, Charlotte Perriand, exh. cat.,
Centre Pompidou, Paris, 2005, p. 153
Jacques Barsac, Charlotte Perriand Un art d’habiter
1903-1959, Paris, 2005, p. 470
Jacques Barsac, Charlotte Perriand: Complete Works
Volume 3, 1956-1968, Paris, 2017, pp. 369, 373
Property from an Important New York Collection
16. Serge Mouille 1922-1988
Two-arm angled wall light with one “Lampadaire”

and one “Casquette” shade
circa 1954
Painted aluminum, painted steel, brass.
As shown: 26 3/4 x 58 x 62 in. (67.9 x 147.3 x 157.5 cm)
Manufactured by Atelier Serge Mouille, Paris, France.
Estimate
$10,000-15,000
Provenance
Galerie de Beyrie, New York
Private Collection, New York, 1995
Sotheby’s, New York, “20th Century Design,”
June 9, 2015, lot 62
Literature
Boris J. Lacroix, “Ensemble de Décorateurs au Salon des
Arts Ménagers,” Art & Décoration, no. 39, 1954, p. 2
Alan and Christine Counord, Serge Mouille: Luminaires,
1953-1962, Paris, 1983, p. 28
Pierre Émile Pralus, Serge Mouille: A French Classic, Saint
Cyr au Mont d’Or, 2006, pp. 66, 122, 166-67, 171, 176
17. Pierre Chapo 1927-1986
Table, model no. T21, and pair of benches,

model no. S38
1970s
Elm.
Table: 28 1/4 in. (71.8 cm) high, 55 in.
(139.7 cm) diameter
Each bench: 17 1/4 x 56 3/4 x 20 1/2 in.
(43.8 x 144.1 x 52.1 cm)
Estimate
$10,000-15,000
18. Pierre Jeanneret 1896-1967
Pair of chairs Provenance

circa 1956 Sotheby’s, Paris, “Arts Décoratifs du XXe Siècle,”
Oak, cane. May 26, 2005, lot 142
Each: 35 3/4 x 26 1/2 x 27 1/2 in. (90.8 x 67.3 x 69.9 cm) Acquired from the above by the present owner
Estimate Literature
$10,000-15,000 Michel Weill, “L’appartement subtil,” Maison
Française, no. 103, December 1956-January 1957,
pp. 44-45
“Agrafée” desk lamp

circa 1957
Painted aluminum, painted steel, brass.
33 3/4 x 11 5/8 x 18 3/4 in. (85.7 x 29.5 x 47.6 cm)
Estimate
$3,000-5,000
Provenance
Private collection, Austria
Literature
Alan and Christine Counord, Serge Mouille:
Luminaires, 1953-1962, Paris, 1983, p. 28
Pierre Émile Pralus, Serge Mouille: A French Classic,
Saint Cyr au Mont d’Or, 2006, pp. 66, 76, 207
20. Pierre Jeanneret 1896-1967
Pair of “Advocate and Press” armchairs, model no. LC/ Provenance

PJ-SI-41-A, designed for the High Court, Chandigarh High Court, Chandigarh
circa 1955 Galerie Downtown, Paris
Teak, hide upholstery. Acquired from the above by the present owner, 2011
Each: 35 3/4 x 26 1/2 x 27 1/2 in. (90.8 x 67.3 x 69.9 cm)
Literature
Estimate Eric Touchaleaume and Gerald Moreau, Le Corbusier,
$30,000-50,000 Pierre Jeanneret, The Indian Adventure: Design-Art-
Architecture, Paris, 2010, pp. 168-69, 567
Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret:
Chandigarh, India, Paris, 2014, pp. 136-39, 282, 323
Pair of “Cachan” wall lights

circa 1957
Painted aluminum, painted steel.
Each: 10 3/4 x 11 3/8 x 11 3/8 in. (27.3 x 28.9 x 28.9 cm)
Manufactured by Atelier Serge Mouille, Paris, France.
Estimate
$5,000-7,000
Literature
Pierre Émile Pralus, Serge Mouille: A French Classic,
Saint Cyr au Mont d’Or, 2006, p. 181
Serge Mouille designed the present model

wall lights for the bedrooms of a housing unit
intended for young workers in Cachan, France.
Mouille produced these lights for only a brief
period and never marketed them, making
them a rare model.
22. Jacques Ruelland and

Dani Ruelland 1926-2008
and 1933-2010
Four bottles
1960s
Glazed earthenware.
Tallest: 15 1/8 in. (38.4 cm) high
Underside of each incised Ruelland.
Estimate
$5,000-7,000
Provenance
Thomas Fritsch, Paris
Acquired from the above by the present
owner, 2005
Literature
Pierre Staudenmeyer, La Céramique Française
des Années 50, Paris, 2001, pp. 45, 89, 100-1,
282-85 for similar examples
23. Paolo Bufa 1903-1970
Low table
circa 1940
Chestnut.
21 in. (53.3 cm) high, 27 5/8 in. (70.2 cm) diameter
Executed by Mario Quarti, Milan, Italy.
Together with a certifcate of expertise from
the Paolo Bufa Archive.
Estimate
$5,000-7,000
Provenance
Private collection, Biella
Literature
Guglielmo Ulrich, Arredamento: Mobili e oggetti
d’arte decorativa, Milan, 1950s, fg. 48
24. Paolo Venini 1895-1959
Rare table lamp

circa 1950
Zanfrico glass, brass, paper shade.
19 7/8 in. (50.5 cm) high
Produced by Venini & C., Murano, Italy.
Underside acid-etched venini/murano/
ITALIA and with paper label printed VENINI
S.A. MURANO.
Estimate
$5,000-7,000
Literature
Franco Deboni, Venini Glass: Catalogue
1921-2007, Volume II, Turin, 2007, fg. 150
25. Stilnovo
Ceiling light, model no. 1126
circa 1959
Painted steel, brass, glass.
68 1/2 in. (174 cm) drop, 37 1/4 in. (94.6 cm) diameter
Manufactured by Stilnovo, Milan, Italy.
Estimate
$5,000-7,000
Provenance
Private collection, Milan
Literature
Stilnovo: apparecchi per l’illuminazione, sales
catalogue, Milan, 1963, p. 21
Stilnovo, exh. cat., Luminaires-Moderniste,
Berlin, 2016, p. 128
26. Gio Ponti 1891-1979
Pair of sofas
circa 1938
Walnut, fabric upholstery.
Each: 33 1/4 x 63 x 27 1/2 in. (84.5 x 160 x 69.9 cm)
Together with a certifcate of expertise from the
Gio Ponti Archives.
Estimate
$18,000-24,000
Provenance
Private collection, Genoa
Literature
“Tre divani per voi,” Domus, no. 125, May 1938,
p. 40 for a drawing
27. Max Ingrand 1908-1969

circa 1960
Glass, nickel-plated brass.
39 1/2 in. (100.3 cm) drop, 22 1/4 x 10 3/4 in.
(56.5 x 27.3 cm)
Manufactured by Fontana Arte, Milan, Italy.
Estimate
$5,000-7,000
Provenance
Literature
Quaderni Fontana Arte 5, sales catalogue,
Milan, 1963, p. 51
Franco Deboni, Fontana Arte: Gio Ponti, Pietro
Chiesa, Max Ingrand, Turin, 2012, fg. 314
Pair of table lamps, model no. 2228 Literature

circa 1963 Quaderni Fontana Arte 5, sales catalogue,
Crystal-cut glass, colored glass, nickel-plated brass. Milan, 1963, p. 69
Each: 7 3/4 in. (19.7 cm) high Domus, no. 424, March 1965, Milan, n.p. for an
Manufactured by Fontana Arte, Milan, Italy. advertisement
Laura Falconi, Fontana Arte: Una Storia
Estimate Trasparente, Milan, 1998, p. 216
$10,000-15,000 Franco Deboni, Fontana Arte: Gio Ponti, Pietro
Provenance
29. Gino Sarfatti 1912-1985
Rare ceiling light, model no. 2041

circa 1946
Painted aluminum, brass, painted brass, painted steel.
49 in. (124.5 cm) drop, 43 1/4 in. (109.9 cm) diameter
Manufactured by Arteluce, Milan, Italy.
Estimate
$30,000-40,000
Provenance
Private collection, Turin
Literature
“Consigli per la casa,” Domus, no. 213, September
1946, p. 38
Marco Romanelli and Sandra Severi, Gino Sarfatti:
Selected Works 1938-1973, Milan, 2012, pp. 148, 465
30. Max Ingrand 1908-1969 31. Fontana Arte
Set of fve “Micro” wall lights, model no. 2093 Low table, model no. 2013
circa 1962 circa 1961
Glass, nickel-plated brass. Glass, mirrored glass, painted metal, brass.
Each: 8 1/4 x 4 3/8 x 5 3/8 in. (21 x 11.1 x 13.7 cm) 15 1/2 x 42 x 22 in. (39.4 x 106.7 x 55.9 cm)
Manufactured by Fontana Arte, Milan, Italy. Manufactured by Fontana Arte, Milan, Italy.
Estimate Estimate
$10,000-15,000 $5,000-7,000
Private collection, Voghera Private collection, Rome
Literature Literature
Quaderni Fontana Arte 1, sales catalogue, Milan, Quaderni Fontana Arte 2, sales catalogue,
1960s, p. 62 Milan, 1960s, p. 15
Edoardo Paoli, “Specchi nell’arredamento,” Vitrum,
no. 151, September-October 1965, pp. 45-46
Pierre-Emmanuel Martin-Vivier, Max Ingrand, du
verre à la lumière, Paris, 2009, p. 203
32. Angelo Lelii 1911-1979
Pair of ceiling lights, model no. 12697

circa 1958
Glass, Moplen, brass, brass-plated metal.
Each: 24 1/2 in. (62.2 cm) drop, 23 5/8 in. (60 cm) diameter
Manufactured by Arredoluce, Monza, Italy.
Estimate
$18,000-24,000
Provenance
Literature
Anty Pansera et. al., Arredoluce: Catalogo Ragionato
1943-1987, Milan, 2018, pp. 200, 317
The present lot has been registered in the

Arredoluce Archives, Italy, as numbers
7538913 and 8460014.
33. Paolo de Poli 1905-1996
Set of fourteen door handles

circa 1956
Enameled copper, brass.
Each: 4 7/8 in. (12.4 cm) diameter
Estimate
$8,000-12,000
Provenance
Private collection, Como
Literature
L’Arte dello Smalto Paolo De Poli, exh. cat., Palazzo
Della Ragione, Padua, 1984, p. 92
Alberto Bassi and Serena Mafoletti, ed., Paolo De
Poli: artigiano, imprenditore, designer, Padua, 2017,
pp. 167, 210, 216-218, 237, 422
34. Toni Zuccheri 1937-2008
Pair of “Tacchino” fgures, model no. 412.0

designed circa 1964
Murrina lattimo glass, bronze.
Each: 18 1/2 x 17 x 7 3/4 in. (47 x 43.2 x 19.7 cm)
Produced by Venini & C., Murano, Italy. Underside of
one impressed VENINI.
Estimate
$8,000-12,000
Literature
la Biennale di Venezia: catalogo della XXXII
esposizione biennale internazionale d’arte, Venice,
1964, n.p. for an advertisement
Arno Hammacher, “Gli uccelli in vetro e bronzo di
Venini,” Domus, no. 423, February 1965, p. 54
Marina Barovier, Rosa Barovier Mentasti and Attilia
Dorigato, Il Vetro Di Murano Alle Biennali 1895-1972,
Milan, 1995, p. 203
Anna Venini Diaz de Santillana, Venini Catalogue
Raisonné 1921-1986, Milan, 2000, pp. 181, 228
Franco Deboni, Venini Glass: Its History, Artists and
Techniques, Catalogue 1921-2007, Volume 1, Turin,
2007, p. 231, The Green Catalogue (appendix), pl. 6
The present model was included in the

XXXII Esposizione Biennale Internazionale
d’Arte, Venice, 1964.
35. Guglielmo Pecorini
Lounge chair
circa 1937
Painted wood, painted metal, cotton
webbing, rubber.
29 1/2 x 28 x 66 in. (74.9 x 71.1 x 167.6 cm)
Together with a fabric cushion, not illustrated.
Estimate
$4,000-6,000
Provenance
Private collection, Forlì
Literature
“Treccia di paglia,” Domus, no. 115, July 1937, p. 29
“Per il giardino e la campagna,” Domus, no. 188,
August 1943, p. 384 for a similar example
36. Gio Ponti and Paolo de Poli
1891-1979 and 1905-1996
“Maschera” statuette Provenance

circa 1956 Private collection, Milan
Enameled copper.
3 3/4 x 6 x 4 in. (9.5 x 15.2 x 10.2 cm) Literature
Reverse signed De Poli and with paper label printed “Nella mostra ‘Formes Idées d’Italie,’” Domus,
SMALTI/DE POLI/35139 PADOVA/VIA S.PIETRO, no. 329, April 1957, p. 25 for similar examples
43/ITALIA and MASCHERA in pen. Alberto Bassi and Serena Mafoletti, ed., Paolo
De Poli: artigiano, imprenditore, designer,
Estimate Padua, 2017, p. 228
$2,000-3,000
37. Gio Ponti and Paolo de Poli
1891-1979 and 1905-1996
Pair of “Gatto” statuettes, model no. 1012 Literature

circa 1956 “Nella mostra ‘Formes Idées d’Italie,’” Domus,
Enameled copper. no. 329, April 1957, p. 25
Each: 2 3/4 x 13 1/2 x 3 1/2 in. (7 x 34.3 x 8.9 cm) Gio Ponti, De Poli: Smalti, Enamels, Émaux, Emaile,
Underside of each signed De Poli and with paper Esmaltes, Milan, 1958, fg. 36
label printed SMALTI/DE POLI/35139 PADOVA and Roberto Aloi, L’Arredamento moderno, settima serie,
“GATTO” dis. Gio Ponti/smalto-su-rame in pen. Milan, 1964, p. 53
Andrea Branzi and Michele De Lucchi, eds., Il Design
Estimate Italiano Degli Anni ’50, Milan, 1985, p. 192
$5,000-7,000 Ugo La Pietra, ed., Gio Ponti, New York, 2009,
pp. 312, 315
Provenance Alberto Bassi and Serena Mafoletti, ed., Paolo
Private collection, Milan De Poli: artigiano, imprenditore, designer, Padua,
2017, throughout
Exhibited
“Tutto Ponti, Gio Ponti Archi-Designer,”
Musée des Arts Décoratifs, Paris, October 18, Gio Ponti designed a series of animal fgurines
2018-May 5, 2019 and masks with Paolo de Poli. Ponti designed
the forms while de Poli perfected the enamel
glaze on the copper fgures. The present lot is
wonderful example of this collaboration and
is particularly noteworthy as it was recently
chosen for the Gio Ponti exhibition at the
Musée des Arts Décoratifs, Paris.
38. Fontana Arte
Two lidded boxes
circa 1939, circa 1960
Glass, walnut, enamel, brass.
Larger: 3 1/2 in. (8.9 cm) high, 7 3/4 in. (19.7 cm) diameter
Estimate
$4,000-6,000
Provenance
Private collection, Pavia
Literature
“Documenti delle Produzioni Italiane,” Domus, no. 136,
April 1939, p. 75 for a similar example of the larger box
Cristalli d’Arte, Quaderni Fontana Arte 3, sales
catalogue, Milan, 1960s, p. 39 for the smaller box
39. Melchiorre Bega 1898-1976
Low table
circa 1952
Limed oak, glass, brass.
14 3/4 in. (37.5 cm) high, 24 5/8 in. (62.5 cm) diameter
Estimate
$4,000-6,000
Literature
Roberto Aloi, L’Arredamento moderno,
quinta serie, Milan, 1952, fg. 464
40. Stilnovo
Rare nine-arm ceiling light
1950s
Brass, painted aluminum.
25 1/2 in. (64.8 cm) drop, 38 3/4 in. (98.4 cm) diameter
Estimate
$8,000-12,000
Provenance
Private collection, Rome
Literature
Gerhard Krohn and Fritz Hierl, Formschöne Lampen
und Beleuchtungsanlagen, Munich, 1952, p. 89 for
a similar example
Stilnovo, exh. cat., Luminaires-Moderniste, Berlin,
2016, p. 32 for a similar example
41. Stilnovo
Set of four wall lights, model no. 2128
circa 1959
Glass, brass.
Each: 23 5/8 x 11 1/2 x 8 in. (60 x 29.2 x 20.3 cm)
Estimate
$8,000-12,000
Provenance
Literature
Stilnovo: apparecchi per l’illuminazione,
sales catalogue, Milan, 1963, p. 43
Berlin, 2016, p. 129
42. Gio Ponti 1891-1979
Low table
circa 1955
Ash, glass, brass.
20 1/8 in. (51.1 cm) high, 31 7/8 in. (81 cm) diameter
Manufactured by Industria Salotti e Arredamenti,
Bergamo, Italy. Together with a certifcate of
expertise from the Gio Ponti Archives.
Estimate
$6,000-8,000
Provenance
Fondazione Livio e Maria Garzanti, Forlì
Literature
Franco Bertoni, Gio Ponti: “Idee” d’arte e di
architettura a Imola e in Romagna, exh. cat.,
Centro Polivalente Gianni Isola, Imola, 2012, p. 197
Illustration of a bedroom with
Carlo Ratti daybed, circa 1955.
43. Carlo Ratti 1890-1960
Daybed
circa 1955
Birch plywood, fabric upholstery, brass.
19 1/8 x 82 1/4 x 32 1/2 in. (48.6 x 208.9 x 82.6 cm)
Manufactured by Industria Legni Curvati,
Lissone, Italy.
Estimate
$5,000-7,000
Provenance
Private collection, Monza
Literature
Domus, no. 317, April 1956, n.p. for an
advertisement
Irene de Guttry and Maria Paola Maino,
Il Mobile Italiano Degli Anni ‘40 e ‘50, Bari,
1992, p. 248 for a drawing
44. Franco Albini 1905-1977
Early “Fiorenza” armchair

circa 1954
41 1/2 x 27 3/8 x 35 3/4 in. (105.4 x 69.5 x 90.8 cm)
Manufactured by Arfex, Milan, Italy.
Estimate
$8,000-12,000
Provenance
Private collection, Rimini
Literature
“Per un collezionista,” Domus, no. 338,
January 1958, p. 31 for a similar example
Franco Albini & Franca Helg Design,
Milan, 2009, n.p.
45. Stilnovo
Floor lamp
1950s
Acrylic, painted aluminum, nickel-plated
brass, painted brass, painted steel, marble.
25 1/2 in. (64.8 cm) high
Interior of each shade with manufacturer’s
label printed MILANO/STILNOVO/ITALY.
Estimate
$5,000-7,000
Provenance
46. Stilnovo
Pair of ceiling lights, model no. 1158
circa 1955
Painted aluminum, brass, painted metal, glass.
Each: 56 in. (142.2 cm) drop, 23 5/8 in. (60 cm) diameter
Estimate
$5,000-7,000
Provenance
Literature
Domus, no. 374, January 1961, n.p. for an
advertisement
Clémence and Didier Krzentowski, eds., The
Complete Designers’ Lights II: 35 Years of Collecting,
Paris, 2014, p. 70
Berlin, 2016, pp. 124, 153
47. Gio Ponti 1891-1979
Wall-mounted magazine rack

circa 1938
Walnut, walnut-veneered wood, brass.
55 1/2 x 74 x 6 1/4 in. (141 x 188 x 15.9 cm)
Gio Ponti Archives.
Likely executed by Sala di Milano, Italy.
Estimate
$10,000-15,000
Provenance
Literature
“Un Appartamento Risistemato a Milano,” Domus,
no. 131, November 1938, p. 18 for a similar example
Vito Latis, I Libri Nella Casa, Milan, 1945, p. 19
Interior of an apartment,
Milan, circa 1938. Image
© Editoriale Domus S.p.A.
48. Ignazio Gardella 1905-1999
Pair of adjustable games tables

circa 1949
Painted iron, brass, baize-covered wood,
ash-veneered plywood.
Each: 30 1/4 in. (76.8 cm) high, fully extended
Tray: 3 1/8 x 31 5/8 x 31 5/8 in. (7.9 x 80.3 x 80.3 cm)
Together with one ftted and removeable tray tabletop.
Manufactured by Azucena, Milan, Italy.
Estimate
$6,000-8,000
Provenance
Literature
Roberto Aloi, Esempi di arredamento moderno di tutto il
mondo: Tavoli, tavolini, carrelli, Milano, 1950, fgs. 36, 57
“Spedizione per Stoccolma N.4,” Domus, no. 282,
May 1953, p. 34
Giulio Carlo Argan, Ignazio Gardella, Milan, 1959, p. 198
Irene de Guttry and Maria Paola Maino, Il Mobile Italiano
Degli Anni ‘40 e ‘50, Bari, 1992, p. 33
49. Stilnovo
Floor lamp, model no. 4076
circa 1963
Glass, brass, painted steel.
67 3/4 in. (172.1 cm) high
Manufactured by Stilnovo, Milan, Italy. Interior
of shade with manufacturer’s label printed
MILANO/STILNOVO/ITALY.
Estimate
$5,000-7,000
Provenance
Literature
50. Stilnovo
Ceiling light
circa 1960
Brass, painted steel, painted metal, glass.
32 3/4 in. (83.2 cm) drop, 30 1/2 x 22 1/8 in. (77.5 x 56.2 cm)
Estimate
$6,000-8,000
Provenance
51. Angelo Lelii 1911-1979
Adjustable foor lamp

circa 1952
Painted aluminum, brass, brass-plated iron,
painted brass.
63 in. (160 cm) high
Underside of lamp marked ARREDOLUCE-
MONZA/ITALY 13000 in raised lettering.
Estimate
$5,000-7,000
Provenance
Literature
Alexander Koch, Modern Lighting of the ‘50s,
Stuttgart, 2012, p. 47
Anty Pansera et. al., Arredoluce: Catalogo
Ragionato 1943-1987, Milan, 2018, pp. 144, 289
The present lot has been registered in the

Arredoluce Archives, Italy, as number 5319342.
52. Gio Ponti 1891-1979
Desk and side table

circa 1950
Beech-veneered wood, beech, brass.
Desk: 30 3/4 x 62 7/8 x 31 3/8 in. (78.1 x 159.7 x 79.7 cm)
Side table: 19 3/4 x 19 1/2 x 13 1/2 in. (50.2 x 49.5 x 34.3 cm)
Possibly produced by Schirolli, Mantua, Italy. Together
with a certifcate of expertise from the Gio Ponti Archives.
Estimate
$12,000-18,000
Provenance
Banca Nazionale del Lavoro, Italy
54. Elio Monesi 1927-1994

circa 1961
Glass, brass, painted brass.
53. Vittorio Gregotti b. 1927 26 in. (66 cm) drop, 553/ 4 x 113/ 4 in. (141.6 x 29.8 cm)
Bookcase
circa 1953 Estimate
Oak, maple-veneered wood, walnut, painted steel. $8,000-12,000
110 x 98 1/2 x 23 in. (279.4 x 250.2 x 58.4 cm)
Provenance
Estimate Private collection, Bari
$10,000-15,000
Literature
Provenance Anty Pansera et. al., Arredoluce: Catalogo
Bossi textile company, Cameri, Italy Ragionato 1943-1987, Milan, 2018, p. 339
The present lot is documented in the Archivio The present lot has been registered in the
Gregotti under photo negative number 1/10/4. Arredoluce Archives, Italy, as number 8929165.
55. Angelo Ostuni and Roberto Forti
Unknown and 1923-2015
Adjustable foor lamp, model no. 399

circa 1960
Brass, painted metal, Perspex.
55 1/8 in. (140 cm) high
Manufactured by O-Luce, Milan, Italy.
Estimate
$4,000-6,000
Provenance
Private collection, Varese
Literature
Thomas Bräuniger, Giuseppe Ostuni: O-Luce,
apparecchi per illuminazione, Berlin, 2015, p. 116
Low table, model no. 2012 Literature

circa 1960 Quaderni Fontana Arte 2, sales catalogue,
Glass, brass. Milan, 1960s, p. 18
14 x 29 1/2 x 29 1/2 in. (35.6 x 74.9 x 74.9 cm) Domus, no. 388, March 1962, n.p. for
Manufactured by Fontana Arte, Milan, Italy. an advertisement
Edoardo Paoli, Specchiere e specchi: appesi,
Estimate nel mobile e tecnici, Milan, 1966, p. 157
$5,000-7,000 Laura Falconi, Fontana Arte: Una Storia
Trasparente, Milan, 1998, p. 120
Provenance Pierre-Emmanuel Martin-Vivier, Max Ingrand,
Private collection, Voghera du verre à la lumière, Paris, 2009, p. 147
57. Ico Parisi 1916-1996
Chest of drawers
circa 1962
Wenge-veneered wood, plastic laminate-
covered wood.
29 5/8 x 58 3/4 x 19 3/4 in. (75.2 x 149.2 x 50.2 cm)
Manufactured by Brugnoli Mobili, Cantù, Italy.
Estimate
$18,000-24,000
Provenance
Phillips, New York, “Design,” June 12, 2008, lot 203
Literature
Esperienze di design in Cantù, exh. cat.,
Centrostampa Banco Lariano, Cantù, 1986, n.p.
Phillips would like to thank Roberta Lietti of

the Archivio del Design di Ico Parisi for her
assistance cataloguing the present lot.
58. Giulio Ponti b. 1937
Rare sofa Giulio Ponti, the son of Gio Ponti, designed

circa 1966 the present lot in 1966 for the Italian furniture
Painted wood, fabric upholstery.
manufacturer Italbed. This early design demonstrates
32 7/8 x 77 1/4 x 32 5/8 in. (83.5 x 196.2 x 82.9 cm)
Manufactured by Italbed, Pistoia, Italy. Giulio Ponti’s afnity for bold colors and forms as
well as for modular furniture. The present lot can
Estimate function as a sofa with either a high or low seat based
$12,000-18,000 on its orientation and as a bunk bed when stacked.
This design, as with many of the works by Giulio and
Provenance
Private collection, Rome Gio Ponti for Italbed, allowed the user to adapt the
furniture to diferent spatial arrangements. Giulio
Exhibited showed this piece alongside his father’s work at the
“Eurodomus,” Genoa, April 30-May 15, 1966 inaugural Eurodomus, an international exhibition of
domestic furniture organized by Gio Ponti himself.
Literature
“Italbed,” Domus, no. 440, July 1966, p. 42 Just as Gio Ponti promoted modern design through
“A Parigi ‘Domus Formes Italiennes,’” Domus, his magazine Domus, he hoped that this fair would
no. 450, May 1967, p. 25 persuade consumers to fll their homes with good
Laura Falconi, ed., Gio Ponti: Interiors, Objects, design. All of the works were already in production or
Drawings, 1920-1976, Milan, 2010, p. 254
in prototype phases in an efort to show consumers
the options that existed in the marketplace. As Giulio
Ponti was not as prolifc as his father, this is a very
rare example of his work.
59. Luigi Caccia Dominioni 1913-2016
“Mikado” table lamp

circa 1962
Glass, painted brass, brass, painted metal, marble.
43 in. (109.2 cm) high, 23 1/8 in. (58.7 cm) diameter
Manufactured by Azucena, Milan, Italy.
Estimate
$10,000-15,000
Provenance
Private collection, Bologna
Literature
Giuliana Gramigna, Repertorio 1950/1980,
Milan, 1985, p. 189
60. Alessandro Mendini and
Giorgio Gregori 1931-2019 and 1957-1995
Unique cabinet
1985
Macassar ebony, walnut burl, and
sycamore-veneered wood, plastic laminate inlay,
chromium-plated metal.
33 3/4 x 68 x 23 3/4 in. (85.7 x 172.7 x 60.3 cm)
Produced by Mariani Armadi, Lissone, Italy for
Studio Alchimia, Milan, Italy. Underside incised
Alessandro Mendini/GIORGIO GREGORI/1985.
Estimate
$12,000-18,000
Provenance
Adriana Guerriero and Studio Alchimia, Milan
Private collection, Virginia, acquired from
the above, 1985
Exhibited
“Le Afnità Elettive,” XVII Triennale, Milan, 1985
Literature
Carlo Guenzi, Le Afnità Elettive, Milan, 1985,
illustrated pp. 105, 109
Pierre Restany, “Il Parnaso del design,” Domus,
no. 660, April 1985, illustrated p. 82
Annetta Hanna, “Psychodrama in Milan,” ID,
May/June 1985, illustrated p. 17
Kazuko Sato, Alchimia: Never-Ending Italian
Design, Tokyo, 1985, illustrated pp. 42, 44-45
The XVII Milan Triennale included a special exhibition sat in one of his chairs and acted as a tongue-in-cheek
titled “Le Afnità Elettive” (“The Elective Afnities”) criticism of the “deifcation of design…and designers”
which presented twenty-one displays by Italian and (Annetta Hanna, “Psychodrama in Milan,” ID, p. 76).
foreign designers such as Ettore Sottsass, Robert The lower component, called “Out,” featured a small
Venturi, and Michael Graves. The aim of the exhibition opening in the platform through which visitors viewed
was twofold: to support the region’s furniture industry, a mirror-lined room created by Anna Gili that included a
historically known for its high level of crafsmanship, fashion design for a human from the future. According
and to allow the “twenty-one designers [to] research to Mendini, the entire display was meant to question
their afnities,” as the exhibition catalogue explained. “the paradox of mass avant-garde.”
This open-ended prompt resulted in experimental
tableaux that explored themes of psychoanalysis Though the present cabinet is a unique piece rather
and proposed new, radical ways of living. The Italian than an object of mass production, it still addresses this
postmodernist designer Alessandro Mendini presented “paradox.” The pixelated motif made in inlaid woods on
a range of household furniture, including the present the top and sides appears throughout Mendini’s work,
cabinet that he designed with Studio Alchimia co- including the rug in his display. These patterns come
founder Giorgio Gregori. from what the designer called his “Mendinigraph.” As an
ironic gesture, it was meant to be used as a stencil that
Mendini called his exhibition “Black-Out” and divided designers could use and re-use to construct avant-garde
his display into two levels. The top of the display, forms, further poking fun at what Mendini perceived to
called “Black,” contained various pieces of furniture—a be an emptiness in the avant-garde of the mid-1980s.
table, bar cart, chairs, lamps, and a rug—that Mendini Despite this pessimism, this one-of-a-kind piece of
designed with other Studio Alchimia associates. Central furniture is truly a pinnacle expression of Italian design
to the display was a hyper-realistic wax sculpture of from the second half of the twentieth century.
Mendini (what he called a “counter-monument”) that
“Black-Out” display at the

XVII Triennale di Milano,
including the present lot and
a hyper-realistic sculpture
of the designer in wax, 1985.
Image courtesy of Alessandro
Mendini Archive.
61. Ettore Sottsass, Jr. 1917-2007
“Alessandria d’Egitto” bookcase from the In 1980, the Italian radical design collective Studio
“Bau.Haus II” collection Alchimia released their “Bau.Haus II” furniture
circa 1980
collection, which included the present model. Art et
Plastic laminate-covered wood, chiseled aluminum.
67 1/4 x 84 5/8 x 19 3/4 in. (170.8 x 214.9 x 50.2 cm)
Industrie, a former gallery in New York, introduced
Produced by Studio Alchimia, Milan, Italy. Studio Alchimia’s furniture to U.S. audiences and
included the present lot in their frst American
Estimate exhibition of the group’s work. The furniture line’s
$12,000-18,000
name ironically references the modernist Bauhaus
Provenance
school of design that promoted minimalist forms
Art et Industrie, New York and functionalism. Sottsass, who worked both
Rick Kaufmann, New York independently as well as in collaboration with Studio
Acquired from the above by the present owner, 2002 Alchimia, vehemently rejected this philosophy in favor
of design that exhibited elements of pastiche, humor,
Literature
Kazuko Sato, Alchimia: Never-Ending Italian Design,
and play. The title of the present lot, “Alessandria
Tokyo, 1985, p. 17 for a drawing d’Egitto,” (Alexandria, Egypt) is an example of
Hans Höger, Ettore Sottsass, jun.: Designer, Artist, this whimsical approach to design, recalling the
Architect, Berlin, 1993, p. 94 city’s famous ancient library—an apt reference for
Ronald T. Labaco, Ettore Sottsass: Architect and
a bookshelf. This allusion, paired with Sottsass’s
Designer, exh. cat., Los Angeles County Museum of
Art, Los Angeles, 2006, p. 123
irreverent use of everyday materials and bright colors,
Peter Weiß, Ettore Sottsass: Bau.Haus I, II, Bönen, makes the present lot a now-classic example of
2009, pp. 12, 58 for drawings and p. 59 postmodern Italian design.
62. Yoichi Ohira b. 1946
Unique “Composizione a Canne e Polvere” vase

2004
Hand-blown glass canes with murrine and
powder inserts, polished and ground.
12 5/8 in. (32.1 cm) high
Executed by Livio Serena, master glassblower, and
Giacomo Barbini, master cutter and grinder, Murano,
Italy. Underside incised with artist’s cipher and Yoichi
Yoichi Ohira
Ohira m° L. Serena m° G. Barbini 1 / 1 unico Friday
13 -2-2004 murano.
Estimate
$10,000-15,000
Glass art – hard, fragile, cold, and ofen heavy – is not
usually designed to be handled. Yoichi Ohira’s luminous Provenance
blown glass vessels, however, ofer an exception. They Acquired directly from the artist by the present owner
are small and light enough to be turned in one’s hands
like a Wunderkammer specimen, inviting the viewer to
admire his abstracted design vocabulary of gemstones,
polished ivory, veined rocks, shimmering water, agate, 63. Yoichi Ohira b. 1946
moss, and lichens.
Unique “Finestre” vase
Yoichi Ohira graduated from the Kuwasawa Design 1997
Hand-blown glass canes with murrine and
School, Tokyo, in 1969. Shortly thereafer he took up
powder inserts, ground surface.
a glassblowing apprenticeship at the Kagami Crystal 6 1/2 in. (16.5 cm) high
Company, Ltd. In 1973 Ohira moved to Venice to study Executed by Livio Serena, master glassblower, Murano,
at the Accademia di Belle Arti; he graduated in 1978, Italy. Underside incised with artist’s cipher and Yoichi
earning the highest possible grade for his thesis, “The Ohira m° L. Serena 1 / 1 unico 5-11-1997 murano.
Aesthetics of Glass.” In the late 1980s Ohira began
Estimate
collaborating with Murano glassmakers, earning the $5,000-7,000
“Premio Selezione” of the Premio Murano in 1987.
Provenance
Collaboration has always been central to Ohira’s Acquired directly from the artist by the present owner
practice; he has written, “If I might compare myself to a
composer...I could then compare Murano glassmakers
to singers or instrumentalists. Who in the music world
would erase the performers’ names? Thus, my pieces
in all fairness bear, in addition to my signature, the
64. Yoichi Ohira b. 1946
names of those who carried out my instructions: the Unique “Mosaico a Polvere” vase
glassblower and glasscarver, with the date and the 2003
place the piece was made.” Hand-blown glass canes with murrine and
powder inserts.
11 1/2 in. (29.2 cm) high
Executed by Livio Serena, master glassblower,
and Giacomo Barbini, master cutter and grinder,
Murano, Italy. Underside incised with artist’s
cipher and Yoichi Ohira/m° L. Serena/m° G.
Barbini/1 / 1 unico/Friday 04-7-2003/murano.
Estimate
$8,000-12,000
Provenance
Private collection, United States
62.
63.
64.
Property from the Collection of Trudie Styler & Sting
65. Eva Hild b. 1966
“Single-Track”
2008
Stoneware, white pigmented paint.
30 x 31 1/2 x 19 1/2 in. (76.2 x 80 x 49.5 cm)
Base signed and dated EVA HILD 2008.
Estimate
$30,000-40,000
Provenance
Acquired directly from the artist
Sotheby’s, New York, “Fusion: Contemporary Art and
Design,” December 14, 2010, lot 108
Acquired from the above by the present owners
Literature
Love Jönsson and Petter Eklund, Eva Hild,
Stockholm, 2009, illustrated p. 2
Single-Track: An Interview with Eva Hild
Why is clay one of your preferred mediums and how Many collectors may be familiar with your organic
does it enhance your overall design concept? forms in which thin layers of clay delicately envelope
Clay is sticky, heavy, plastic, and multifaceted— and fold onto each other. How has this practice
a wonderful material in every aspect. Clay has been my evolved over the last two decades? And where does
main material since I started my artistic education and Single-Track fall within this trajectory?
career. It has been the prerequisite for my exploration My work is very much connected to my life—the
of themes ending up in sculptural shapes. I like how the everyday practice and overall happenings. It
material can be used in diferent ways and transformed is a constant and slow change and an ongoing
into something totally new and unexpected. I like development. I am continuously exploring my themes
the bodily connection—working with my body, in diferent materials. My starting points could vary,
working with abstract bodies—and the long-term but I do have a red thread in my storytelling. I work
relation during the process, from the frst clay-lump with the material in a close, intimate, planned, and still
to the ready-made sculpture. My shapes have strong intuitive way. It is an interaction between brain, body
spatial and architectural qualities; from smaller clay and material. Single-Track is a sculpture from an early
models I develop my large scale outdoor sculptures stage of the “Loop” series of work, where one line is
in metal materials. moving around in the piece. The structure is open and
airy with a strong and clear movement.
You have described your sculptures as expressive of
both “strength and fragility” as well as “presence and How did you decide on the title Single-Track?
absence.” How does Single-Track represent these I strive for titles that are easy to perceive and that
seemingly contradictory ideas? describe something in the actual sculpture, both
I am fascinated by the relation between inner and outer visually and in content. Preferably I fnd diferent
reality and the dualism between inside and outside. meanings in one word. Single-Track has a strong,
The actual sculpture is the membrane, the in-between. circular movement kept together without deviations.
I use my own life, experiences, and emotions and
describe this relation. On one hand, it is the mass in
thin layers, running in a meandering movement. On
the other hand it is the empty space, air and light
forming the volumes. The construction is really made
of the absent. The clay material also contributes to this
duality. The actual wall of the sculpture is strong and
fragile like an eggshell.
A Symphony of Curves
by Glenn Adamson
“It’s hard to amaze people.” I had to laugh when

Jeroen Verhoeven said that to me, back in 2013, because
amazement is his stock in trade. I was interviewing
the designer and his twin brother Joep about Lectori
Salutem, then on its way to a triumphant unveiling at
Blain/Southern Gallery.1 The point that Verhoeven was
making to me—and it’s a good one—is that technology is
now whipping along so fast that we are becoming inured
to it. It’s a textbook case of diminishing returns: the latest
digital wonder comes along, and is met by a collective
Property of an American Collector shrug. Achieving escape velocity from this dynamic,
as Verhoeven so clearly has done over the course of
66. Jeroen Verhoeven b. 1976 his career, requires more than just technical genius. It
demands true creativity.
“Lectori Salutem”
2010
Lectori Salutem exemplifes this future-facing instinct,
Polished stainless steel.
30 x 94 x 43 in. (76.2 x 238.8 x 109.2 cm) but to understand the work, it’s necessary to take a
Produced by DEMAKERSVAN, the Netherlands. step back. Jeroen Verhoeven made his name several
Number 12 from the edition of 20 plus 1 artist’s proof. years earlier with the Cinderella Table, frst realized in
Underside of desk’s interior with metal label signed 2005-2006. Though a bellwether in the then-nascent
Jeroen Verhoeven and printed DEMAKERSVAN/Jeroen
feld of digital design, it began its life in an old-fashioned
Verhoeven/Lectori Salutem Desk/No. 12 of 20.
library, at the Stedelijk Museum. While researching
Estimate there, Verhoeven became interested in the silhouettes
$120,000-180,000 of antique furniture. From this starting point, he
created an object of disarming conceptual simplicity.
Provenance
Working in virtual space, he simply placed two diferent
Blain Southern, London
Acquired from the above by the present owner, 2011 profles—those of a commode and a dressing table—at
a 90-degree angle. Then he charted point-to-point
Literature paths between them. This produced a set of gorgeous,
Jessica Watts and Louis Shadwick, eds., Jeroen rippling curves, far more complex than anything he
Verhoeven, Lectori Salutem, London, 2013, pp. 22-38 for
could have drawn. Once the shape was fully rendered, it
sketches, models, and process images and pp. 41-56
was executed in plywood with a CNC-controlled robotic
carving arm, and then hand-fnished. As its title implied,
a workaday robot had been liberated into an aesthetic
tool, like a humble servant brought to the ball.
Lectori Salutem is the successor to the Cinderella Table, respect, the design is a thoughtful response to Marc
and like many Hollywood sequels, involves higher Newson’s Lockheed Lounge, which was so important in
production values brought to the same basic premise. establishing an ambitious, atelier-led model for design
Working with Joep’s collaborative support (the twins practice. Both objects partake equally of the antique
have since become a formal design partnership), Jeroen and the futuristic.
conceived a desk which would again be based on an
historic silhouette, in this case taken from a drawing Another level of meaning in the desk is more personal.
by the fn-de-siècle ébeniste François Linke. The shape When Jeroen and Joep graduated from the Design
sweeps outward from a single contour line at one end, Academy Eindhoven in 2004, they set up a design
curving in a wide arc to full three-dimensionality at studio called Demakersvan together with a third
the other. This makes for an even more voluptuous student, Judith de Grauuw. As a tribute to his two
volume than that of the Cinderella Table, but the more creative partners, Jeroen confgured Lectori Salutem
important diference is in the process and materials. to incorporate the contours of their faces, in the two
Instead of being carved subtractively out of a solid moldings that bookend the desk’s top. “It is almost like
material, the piece was built of many individually formed freezing a moment where everything was perfect and
parts, in recalcitrant stainless steel. polished,” he has said. “For me it symbolizes a moment
in life where the perfect balance between myself, Joep
This ambitious plan required tooling far beyond that and Judith existed.”2 This touching feature is further
available to an independent designer. What Verhoeven extended by an inscription, visible in the desk’s interior,
needed was a cutting-edge factory, with the capability giving credit to all the other people who helped realize
to achieve extremely precise results in several diferent the project—a gesture that calls to mind the way that
processes (laser-cutting, stamping, and welding). builders will sign their names on the inside of a wall
Taking advantage of the economic downturn—which before sealing it up.
made companies much more open to extracurricular
activities—he persuaded an automotive factory to take Such personalization is extremely uncommon in
it on. As he told me in our 2013 interview, “a process design. One of the few things that still distinguishes
normally used to make ten thousand of the same the feld from contemporary fne art is the studious
thing [was] now used to make only one. We wanted to separation that designers tend to maintain between
compress all this attention and put it into one thing.” their private lives and their public projects. This
perhaps refects an inheritance from the profession’s
When fnally completed, Lectori Salutem included formative years. Back then, it was expected that
no less than 150 separate panels of steel, assembled industrial designers would subsume their own
using 2,300 bolts. Like the Cinderella Table, it also identities under that of their corporate clients. Then
required extensive hand fnishing, in this case to polish too, there is the modernist argument that good design
the surface to a state of high refectivity. It has an should not even be noticed, but should instead provide
extraordinary intensity, which is partly (as Verhoeven silent service, giving rational shape to experience
suggests) the result of a whole factory’s worth of without bringing undue attention to its own narratives.
capacity being concentrated into a domestically-
scaled object. The incredible intricacy of the object is These notions have of course been thoroughly
emphasized by the open back, exposing a complex demolished in recent years. Curator Gareth Williams’
interior scafolding that contrasts with the seamless exhibition Telling Tales at the Victoria and Albert
fuidity of the outer surface. Museum, which included Verhoeven’s work, focused
particularly on story-telling in contemporary design.3
It would be wrong, however, to see Lectori Salutem Even so, it’s rare that a designer brings much of their
only as a feat of production. The title provides a clue own life into a project, perhaps for fear of interfering
to the work’s deeper meaning. Latin for “greetings, with the associations of a future prospective owner.
1. Jessica Watts and Louis Shadwick, reader,” the phrase (ofen abbreviated to L.S.) was Verhoeven realized, though, that there was another
eds., Jeroen Verhoeven: Lectori Salutem once commonly used to begin correspondence. It way of thinking. Right from the start, Lectori Salutem
(London: Blain/Southern, 2013). is now archaic, and Verhoeven’s use of it here is was conceived a conversation. It began with Linke’s
2. Interview with Jeroen Verhoeven,
consistent with his interest in historicism. He is, afer drawing, and continued throughout the design and
Design: Living in a Material World
all, making furniture; so his practice has as much production process. By the time it was fnished, the
(London: Sotheby’s, 2017).
3. Gareth Williams, Telling Tales:
to do with that of Linke, or the great Art Nouveau object already contained many stories; its ideal use
Narrative in Design Art (London: V&A maker Hector Guimard, as it does with an aircraf would be to write letters to families and friends, and so
Publishing, 2009). or racecar, which it superfcially resembles. In this generate many more. Scriptori salutem.
67. nendo est. 2002
“5000mm-table,” from the “thin black lines” series

2010
Painted steel, glass.
8 7/8 x 20 x 20 in. (22.5 x 50.8 x 50.8 cm)
Estimate
$1,500-2,500
Provenance
Tomio Koyama Gallery, Tokyo
Literature
Floyd E. Schulze and Robert Klanten, ed., nendo
10/10, Berlin, 2013, n.p.
68. Max Lamb b. 1980
“Bronze Poly Chair”

designed 2006
Silicon bronze.
28 1/2 x 12 x 15 in. (72.4 x 30.5 x 38.1 cm)
Produced for Johnson Trading Gallery, New York.
From the edition of 10 unique examples.
Estimate
$8,000-12,000
Provenance
Johnson Trading Gallery, New York
Acquired from the above by the present owner, 2007
Literature
Zoë Ryan, Max Lamb, and Ryan Gander, Max Lamb:
Exercises in Seating, exh. cat., Art Institute of Chicago,
2018, pp. 82, 84, 86-87, 117
In his seating designs—of which there are over

400—Max Lamb ofen experiments with new
forms, materials, and techniques. Lamb made
the present lot, for example, using the lost-
foam casting process, a highly unconventional
production method for furniture making. In this
process, a polystyrene foam model of the chair is
submerged into sand and then poured over with
molten bronze, melting the foam and giving the
chair its unique, beady surface. Lamb’s novel use
of materials results in a surprising experience
with the work: the lightness of foam, from
which the chair takes its form, contradicts the
heaviness of the bronze and provides the user
with an unexpectedly engaging experience. Lamb
described his process saying, “The high fuid rate
of molten bronze allows a perfectly exact replica
of the polystyrene ‘master’ to be cast. Because
the master is sacrifced during the casting process,
each subsequent bronze stool or chair…is unique.”
In this regard, the chair is both original and part
of a larger editioned series. An example from the
edition belongs to the permanent collection of the
San Francisco Museum of Modern Art.
69. Ron Arad b. 1951
“Afer Spring”
designed 1992, executed 1996
Mirror-polished stainless steel.
41 1/2 x 15 x 79 1/4 in. (105.4 x 38.1 x 201.3 cm)
Number 4 from the edition of 5 plus 3 artist’s proofs.
Base incised Ron Arad 4 / 5.
Estimate
$50,000-70,000
Provenance
Private collection, New Jersey
Literature
Deyan Sudjic, Ron Arad, London, 1999, p. 60
Matthew Collings, Ron Arad Talks to Matthew Collings,
London, 2004, pp. 222-23
Ron Arad: A Retrospective Exhibition, 1981-2001, exh. cat.,
Barry Friedman Ltd., New York, 2005, pp. 54, 101
Paola Antonelli, Jonathan Safran Foer, Marie-Laure Jousset,
Ingeborg de Roode, Ron Arad: No Discipline, exh. cat.,
The Museum of Modern Art, New York, 2009, pp. 54-55
Christian Galli, Ron Arad, Milan, 2011, pp. 43-44, 54-55
Phillips would like to thank Caroline Thorman

from Ron Arad Associates for her assistance
cataloguing the present lot.
70. Tetsuya Yamada b. 1968
Unique cofee table

2017
Patinated steel, tempered glass.
17 1/2 x 62 x 20 in. (44.5 x 157.5 x 50.8 cm)
Estimate
$6,000-8,000
Phillips would like to thank the artist for his

assistance cataloguing the present lot.
71. Hiroshi Suzuki b. 1961
“Miyabi-Fire V”
2006
Hammer-raised and chased fne silver.
10 3/4 in. (27.3 cm) high
Underside impressed with artist’s
monogram HS, purity mark 999, London
town mark, and London date mark g.
Estimate
$20,000-30,000
Provenance
Adrian Sassoon, London
owner, 2006
Literature
Timothy Schroder, Hiroshi Suzuki,
London, 2005, pp. 60-61
72. Hiroshi Suzuki b. 1961
“Aqua-Poesy VII”
2004
Hammer-raised and chased fne silver.
11 7/8 in. (30.2 cm) high
Underside impressed with artist’s
monogram HS, purity mark 999, London
town mark, and London date mark e.
Estimate
$20,000-30,000
Provenance
Contemporary Applied Arts, London
owner, 2004
Literature
Timothy Schroder, Hiroshi Suzuki,
London, 2005, p. 25
73. Alexander Calder 1898-1976
Cape clasp Exhibited

circa 1936 “Alexander Calder,” Akademie der Kunst,
Hammered silver. Berlin, May 21-July 16, 1967
3 1/2 x 11 x 3/4 in. (8.9 x 27.9 x 1.9 cm)
Literature
Estimate Herta Elisabeth Killy, Alexander Calder,
$30,000-50,000 exh. cat., Akademie der Künst, Berlin, 1967,
illustrated p. 98
Provenance
Perls Galleries, New York
Nelson A. Rockefeller, New York, 1968 The present lot is registered in the archives
Mary Rockefeller Morgan, New York, 1970s of the Calder Foundation, New York, under
application number A16326.
Born in 1898 to the painter Nanette Lederer Calder
and the sculptor Alexander Stirling Calder, the young
Calder used beads and lef over copper wire to create
jewelry for his sister’s dolls. As he grew, Calder nurtured
his interests in physics and construction, graduating
from Stevens Institute of Technology with a degree in
mechanical engineering in 1919. He combined these skills
with his creative impulses upon moving to New York, frst
enrolling in drawing classes at New York Public School
1922 and then at the Art Students League. Throughout
his career, making jewelry provided Calder the perfect
confuence of mechanics and artistic experimentation.
Precious Metalwork: His tactile appreciation of metal work progressed into
Alexander Calder’s Jewelry a refned understanding of compositional balance and

geometric harmony. Afer frst leaving to study in Paris in
1926, Calder’s continued contact with the French capital,
Created at the height of Alexander Calder’s recognition, and the relationships he built with seminal Surrealists
when his designs adorned the fashionable intelligentsia and Abstractionists such as Joan Miró made him a crucial
of Europe and the United States, Calder’s delicate Cape bridge between Abstract Expressionism in New York and
Clasp and Six Circles brooch are paradigmatic of the European Modernism.
artist’s ability to yield a universal, abstract lexicon within
intimate objects of wearable art. Delicately hand crafed,
each unique piece adds another dimension to the cerebral
experience of Calder’s work, allowing for a tangible,
portable, and highly personal level of engagement. It
is in these exquisite works, where the artist delicately
hammered radiant planes of silver and brass into elegantly
undulating forms, that we see Calder forming a direct
relationship with his patrons, both past and present.
Calder’s sustained practice of delicately manipulating the renowned collector, philanthropist, and 41st Vice
metals into evocative forms marks him as a pioneer of President of the United States who also served a as
studio jewelry. Inspired by his milieu, his pieces were Trustee, Treasurer, and President of the Museum of
ofen personal gifs to friends, family, and patrons. In Modern Art, New York at a time when the museum
1931, he made a triple banded ring with a spiral plaque as began to draw an equivalence between jewelry and
an engagement ring for his wife Louisa. The spiral motif contemporary art. An early work crafed in silver—
would remain an enduring formal trope that he would which became scarcer in Calder’s œuvre as the war
reimagine in copper, brass, silver, and gold. Created circa progressed—the elegant clasp plays with sculptural
1940, Six Circles is emblematic of the artist’s technical possibilities within the realm of functional attire. A
capability. Elegance and order is maintained while the seemingly infnite loop of glistening silver speaks to the
minute indentations of Calder’s hammer caress the conceptual rigor of geometry while the asymmetrical
surface, enabling it to shimmer with the record of his futed ends and hand-formed rivets recall the
hand. The piece once belonged to artist Aviva Baal- endearing whimsy of Calder’s early representational
Teshuva and her husband Jacob—a renowned critic wire sculptures. Here, Calder manipulates an ancient,
of modern and contemporary art who later authored precious metal, inviting the collector to revel in the
a publication on Calder. Tracing a single line of thinly free abandon of consciously naive forms and “join with
hammered brass that aligns and overlaps to compose an him in eschewing the facile and pretentious.” As noted
eloquently gathered pyramid of loops, the piece speaks to by Calder’s grandson Alexander S. C. Rower, “In my
the artist’s overriding concerns regarding movement and grandfather’s day and today, when his jewelry owners
geometry, as expressed in the interlocking patterns of his wear his pieces, it sets them apart and they make
lithographs and the motion of his mobiles. unspoken recognition as members of the Calder clan.”
As a statement of allegiance to avant-garde artistic

practice, Calder’s jewelry was collected avidly by
infuential contemporaries such as Peggy Guggenheim,
Millicent Rogers, and Mary Rockefeller, each beguiled
by its enigmatic efect. Created in 1936 and boasting
outstanding provenance, Cape Clasp once formed
part of Mary Rockefeller Morgan’s collection, having
been originally acquired by Nelson A. Rockefeller—
74. Alexander Calder 1898-1976
“Six Circles” brooch

circa 1940
Hammered brass, steel wire.
5 3/4 x 6 3/8 in. (14.6 x 16.2 cm)
Estimate
$45,000-65,000
Provenance
Perls Galleries, New York
Sculpture to Wear, New York, 1973
William Ehrlich Gallery, New York, 1978
Aviva and Jacob Baal-Teshuva, New York
Sotheby’s, New York, “An Artistic Home:
The Collection of Aviva & Jacob Baal-Teshuva,”
December 13, 2016, lot 1
The present lot is registered in the archives

of the Calder Foundation, New York, under
application number A16926.
Property from the Collection of Diane and
Marc Grainer
75. Edmund de Waal b. 1964
Teapot Exhibited
circa 1995 “Contemporary British Studio Ceramics:
Porcelain, celadon glaze, galvanized metal. The Grainer Collection,” The Mint Museum
8 1/4 in. (21 cm) high, including handle of Craf + Design, Charlotte, North
Side impressed with inventory mark Carolina, October 1, 2010-March 13, 2011
under the glaze.
Literature
Estimate Annie Carlano, ed., Contemporary British
$3,000-4,000 Studio Ceramics, exh. cat., Mint Museum
of Craf + Design, New Haven, 2010,
Provenance illustrated p. 165
owners, 1995
Marc Grainer
76. Edmund de Waal b. 1964
Lidded jar and two vessels Two vessels:

1996 Egg, London
Porcelain, celadon glaze. Acquired from the above by the present
Tallest: 8 in. (20.3 cm) high owners, 1996
Underside of each vessel impressed with
inventory mark under the glaze. Exhibited
“Contemporary British Studio Ceramics: The
Estimate Grainer Collection,” The Mint Museum of Craf
$10,000-15,000 + Design, Charlotte, North Carolina, October 1,
2010-March 13, 2011 for the two vessels
Provenance
Lidded jar: Literature
New Ashgate Gallery, Farnham Annie Carlano, ed., Contemporary British
Acquired from the above by the present Studio Ceramics, exh. cat., Mint Museum of
owners, 1998 Craf + Design, New Haven, 2010, illustrated
p. 165 for the two vessels
77. Taro Tabuchi b. 1977
“Untitled”
2015
Wood-fred porcelain.
12 1/2 in. (31.8 cm) high
Estimate
$2,000-3,000
Provenance
Whereas many contemporary ceramists rely on gas or 78. Taro Tabuchi b. 1977
electric-powered kilns, Japanese artist Taro Tabuchi
builds his own furnaces and uses local woods to fre “Barbaric White”
his pottery over a three-day period. Though this 2015
Wood-fred porcelain.
traditional fring method dates back to the 5th century,
10 5/8 in. (27 cm) high
the results are far from traditional. Historically, many
Japanese ceramists have created wares that feature Estimate
planes of solid color. In Tabuchi’s work, though, he $2,000-3,000
prefers to rely on chance to create beautiful abstract
Provenance
patterns. The ashes and the fre from the kiln create
varied arrangements of pastel hues on the pottery’s Acquired from the above by the
surface. His forms range from traditional, as seen present owner
in the “Untitled” vase, to more sculptural, inventive
forms, such as the conical “Barbaric White.” Tabuchi
has received critical acclaim throughout his native
Japan and has been featured in both solo and group
exhibitions across Asia, though this is the frst ofering
of his work on the secondary market.
79. Wendell Castle 1932-2018
Pair of “three-legged” chairs

1981
Stack-laminated cherry wood, leather upholstery.
Each: 30 x 24 1/4 x 26 1/2 in. (76.2 x 61.6 x 67.3 cm)
Leg of each incised W. Castle 81.
Estimate
$25,000-35,000
Provenance
Private Collection, Rochester, New York
Moderne Gallery, Philadelphia
Literature
Emily Evans Eerdmans, Wendell Castle: A
Catalogue Raisonné, 1958-2012, New York, 2014,
pp. 178-79 for similar examples
Property from a Private Collection, Texas
80. June Schwarcz 1918-2015
Small vessel
circa 1977
Hammered, enameled, and patinated copper with
electroplated texture.
4 7/8 in. (12.4 cm) high, 8 in. (20.3 cm) diameter
Side of vessel incised Schwarcz/735 and the
underside with 735/Schwarcz in pen on paper label.
Estimate
$2,000-3,000
Provenance
Private collection, Miami, acquired directly from
the artist, 1980s
Thence by descent to the present owner, 2018
Literature
Bernard N. Jazzar and Harold B. Nelson, June
Schwarcz: Invention & Variation, Washington, D.C.,

Marc Grainer
81. Jim Partridge b. 1953
“Black Bowl”
circa 1985
Scorched and painted oak burl.
6 3/4 in. (17.1 cm) high
Underside impressed J.B. PARTRIDGE.
Estimate
$1,500-2,500
Provenance
owners, 1991
Literature
Alison Britton and Katherine Swif, Jim
Partridge, Manchester, 2003, pp. 20, 68, 80
for similar examples
Marc Grainer
82. Colin Pearson 1923-2007
“Winged Form” Exhibited

1994 “Contemporary British Studio Ceramics: The
Glazed stoneware. Grainer Collection,” The Mint Museum of Craf
12 1/4 in. (31.1 cm) high + Design, Charlotte, North Carolina, October 1,
Side impressed with artist’s seal. 2010-March 13, 2011
Estimate Literature
$2,000-3,000 Ceramic Pieces by Colin Pearson, exh. cat.,
Fine Arts Gallery, University Centre, Sandy
Provenance Bay, 1981, n.p. for a similar example
Galerie Besson, London “British Ceramics in Boston,” Ceramics
Acquired from the above by the present Monthly, December 1984, p. 29 for a
owners, 1995 similar example
Oliver Watson, Studio Pottery: Twentieth
Century British Ceramics in the Victoria and
Albert Museum Collection, London, 1993,
pp. 11, 225 for a similar example
Marc Grainer
83. Nicholas Homoky b. 1950
“Essential Vase” and “Six-way teapot” Provenance

1992, 1997 “Essential Vase”:
Porcelain, inlaid decoration. Crafs Council Shop at the V&A
Taller: 7 in. (17.8 cm) Museum, London
Underside of vase incised with artist’s cipher Acquired from the above by the present
and 1992, underside of teapot impressed owners, 1993
with artist’s seal.
“Six-way teapot”:
Estimate Anthony Hepworth, London
$1,500-2,000 Acquired from the above by the present
owners, 1997
Literature
Nicholas Homoky, Nicholas Homoky, Somerset,
1997, teapot illustrated p. 37
Emmanuel Cooper, “Nicholas Homoky,”
Ceramic Review, no. 170, April 1998, teapot
illustrated p. 45
Marc Grainer
84. Gordon Baldwin b. 1932
“Untitled Vessel (Black with White Signs)”

1999
Earthenware, painted slip.
15 in. (38.1 cm) high
Underside incised GB/98, dated in glaze 99,
and inscribed in pencil 5-99.
Estimate
$3,000-4,000
Provenance
Barrett Marsden Gallery, London
owners, 1999
Literature
Twenty-fve Years: Crafs Council Shop at the
Victoria & Albert Museum, exh. cat., Victoria &
Albert Museum, London, 1999, illustrated p. 12
Gordon Baldwin, exh. pamphlet, Barrett
Marsden Gallery, London, 1999, illustrated n.p.

Marc Grainer
85. Gordon Baldwin b. 1932
“Cloudscape”
1998
Earthenware, painted slip.
13 3/8 in. (34 cm) high
Underside signed in glaze GB/98.
Estimate
$3,000-4,000
Provenance
Barrett Marsden Gallery, London
owners, 1998
Exhibited
Grainer Collection,” The Mint Museum of Craf
+ Design, Charlotte, North Carolina, October 1,
2010-March 13, 2011
Literature
Peter Saunders, “Gordon Baldwin’s Silent
Clay,” Ceramics: Art & Perception, no. 39,
2000, illustrated p. 40
Michael Hardy, Handbuilding, London, 2000,
illustrated p. 53
Σ 86. Joaquim Tenreiro 1906-1992
Settee
circa 1958
Brazilian rosewood, cane.
26 1/4 x 70 x 23 1/2 in. (66.7 x 177.8 x 59.7 cm)
Estimate
$20,000-30,000
Provenance
Private collection, Rio de Janeiro
Literature
Ronaldo do Rego Macedo, Joaquim Tenreiro:
Madeira/Arte e Design, Rio de Janeiro, 1985, p. 40
Soraia Cals, Tenreiro, Rio de Janeiro, 1998, p. 114
Aric Chen, Brazil Modern: The Rediscovery
of Twentieth-Century Brazilian Furniture,
New York, 2016, p. 63
Maria Cecília Loschiavo dos Santos and Tatiana
Sakurai, Móvel Moderno Brasileiro, São Paulo,
2017, pp. 70-71
87. Joaquim Tenreiro 1906-1992
A trained painter and son of a cabinetmaker, Rare daybed

Joaquim Tenreiro began designing furniture in the 1960s
Cumaru-veneered plywood, cumaru,
1940s. By 1943 he had started his own furniture
fabric upholstery.
design company, opening ofces in Rio de Janeiro 18 1/8 x 80 3/4 x 35 3/8 in. (46 x 205.1 x 89.9 cm)
and Copacabana, and, due to the increasing success Underside with two paper labels printed
of his designs, he opened another shop in 1953 Tenreiro Móveis e Decorações/Rue 7
in São Paolo. By the end of the 1950s, Tenreiro de Março, 30 / 80 - A/Fab. N.°/Enc.
N.°/Pianta N.°/Valor:/INDUSTRIA
was employing approximately 100 crafsmen to
BRASILEIRA, each with penciled numbers.
construct his designs. The success of the business One label is partially obscured.
was evident among Brazilians, but the recognition
and growing size of the company led to turmoil, Estimate
resulting in its closing in the 1960s. Among the $5,000-7,000
greatest of the Brazilian modernist designers,
Provenance
his work was defned by the structural simplicity Private collection, Rio de Janeiro
and brilliant engineering evidenced in the present
daybed. Though characteristic of his work, the
present lot is a rare form for Tenriero with only a few
other known examples, including one from a private
estate from a family in Rio de Janiero.
Property from the Collection of Diane and Property from the Collection of Diane and
Marc Grainer Marc Grainer
88. John Ward b. 1938 89. John Ward b. 1938
Vase “Black and White Vessel”

1990s 1990s
Hand-built glazed stoneware. Hand-built glazed stoneware.
10 1/4 in. (26 cm) high 8 in. (20.3 cm) high
Underside impressed with artist’s seal. Underside impressed with artist’s seal.
Estimate Estimate
$4,000-6,000 $4,000-6,000
New Crafsman Gallery, St. Ives New Crafsman Gallery, St. Ives
Acquired from the above by the present Acquired from the above by the present
owners, circa 1996 owners, circa 1996
Exhibited Exhibited
“Contemporary British Studio Ceramics: The “Contemporary British Studio Ceramics: The
Grainer Collection,” The Mint Museum of Craf Grainer Collection,” The Mint Museum of Craf
+ Design, Charlotte, North Carolina, October 1, + Design, Charlotte, North Carolina, October 1,
2010-March 13, 2011 2010-March 13, 2011

Marc Grainer
90. John Ward b. 1938
“Large Brown Jug”

1980s
Hand-built glazed stoneware.
14 3/4 in. (37.5 cm) high
Underside impressed with artist’s seal.
Estimate
$8,000-12,000
Provenance
New Crafsman Gallery, St. Ives
owners, 1988
Exhibited
Grainer Collection,” The Mint Museum of Craf
+ Design, Charlotte, North Carolina, October 1,
2010-March 13, 2011
90.
88.
89.
Property from a Private Collection, New Jersey
Σ 91. George Nakashima 1905-1990
“Minguren I” table
1985
American black walnut, East Indian rosewood.
29 1/2 x 72 1/2 x 43 in. (74.9 x 184.2 x 109.2 cm)
Underside signed in marker George Nakashima
June 6 1985 and Fenimore. Together with a drawing
of the table by George Nakashima, a copy of the
original order card, and a certifcate of authenticity
from Mira Nakashima.
Estimate
$40,000-60,000
Provenance
Dr. James A. Fenimore, Houston
Private collection
Wright, Chicago, “Important Design,”
June 6, 2013, lot 113
Literature
George Nakashima, The Soul of a Tree, A
Woodworker’s Refections, Tokyo, 1981, pp. 156,
173, 182 for similar examples
Mira Nakashima, Nature, Form & Spirit: The Life
and Legacy of George Nakashima, New York, 2003,
pp. 200, 202 for similar examples
92. Isamu Noguchi 1904-1988
Pair of “Three-Legged Cylinder” table lamps, model no. 9 Literature

designed 1944, manufactured 1947-1954 “Lamps and Lighting,” Everyday Art Quarterly, no. 12,
Cherry wood, fberglass-reinforced polyvinyl chloride, steel. Autumn 1949, p. 6
Each: 15 3/4 in. (40 cm) high, 7 1/4 in. (18.4 cm) diameter Isamu Noguchi, Isamu Noguchi: A Sculptor’s World,
Manufactured by Knoll Associates, New York, New York. New York, 1968, p. 190
Nancy Grove and Diane Botnick, The Sculpture of
Estimate Isamu Noguchi, 1924-1979: A Catalogue, New York,
$4,000-6,000 1980, fg. 805
Kathryn B. Hiesinger and George H. Marcus, eds.,
Provenance Design Since 1945, exh. cat., Philadelphia Museum of
Private collection, Maryland Art, Philadelphia, 1983, p. 148
Acquired from the above by the present owner Alexander von Vegesack, et al., eds., Isamu Noguchi,
Sculptural Design, exh. cat., Vitra Design Museum,
Weil am Rhein, 2001, pp. 130, 274, 276
93. Frank Lloyd Wright 1867-1959
Side chair, designed for Taliesin West

circa 1937
Birch plywood, fabric upholstery.
28 x 14 1/2 x 21 1/4 in. (71.1 x 36.8 x 54 cm)
Estimate
$4,000-6,000
Provenance
Piasa, Paris, “American Design,” May 30, 2018, lot 57
Literature
Frank Lloyd Wright, The Natural House, New York,
1954, p. 173
94. José Zanine Caldas 1919-2001
Console table
1970s
Cerejeira.
31 x 78 1/4 x 21 in. (78.7 x 198.8 x 53.3 cm)
Produced by the Zanine workshop, Nova
Viçosa, Bahia, Brazil. Tabletop with brass plate
marked Zanine.
Estimate
$15,000-20,000
Provenance
Galerie Patrick Fourtin, Paris
owner, 2006
Literature
Amanda Beatriz Palma de Carvalho, José
Zanine Caldas, São Paulo, 2019, p. 274
95. Donald Colfesh b. 1932
Decanter and six cordials, from the “Circa ‘70” line

1960
Sterling silver, Bakelite.
Decanter: 15 3/8 in. (39.1 cm) high
Each cordial: 4 5/8 in. (11.7 cm) high
Produced by Gorham Manufacturing Company,
Providence, RI. Underside of decanter impressed
Gorham/STERLING/1466 and with hallmarks.
Underside of each cordial glass impressed
Gorham STERLING 1467.
Estimate
$6,000-8,000
Literature
Jewel Stern, Modernism in American Silver:
20th Century Design, exh. cat., Dallas Museum of
Art, Da, 2005, pp. 257-63 for a discussion on the
“Circa ‘70” line
Though the present lot belongs to a line of silver 1961 advertisement in The New Yorker predicted: “An
hollowware called “Circa ’70,” Donald Colfesh designed inspiring design, this modern sterling has a timeless
the pieces for Gorham Manufacturing Company more quality that makes it a joy to own today, tomorrow,
than a decade earlier. This title alludes to the futurism forever.” The “Circa ‘70” line also included a tea and
of his forms. The sleek lines of the slender decanter cofee set, but the decanter and cordial glass are rarer
and the attenuated conical cordials almost look like examples of the “Circa ‘70” line. An example of the
spaceships, surely an inspiration for the young designer present model decanter and cordial belong to the
during the “Space Race.” Though the aesthetics permanent collections of the Brooklyn Museum of Art
of the present lot refect a particular zeitgeist, the and the Dallas Museum of Art.
forms have remained strikingly modern. Just as a
96. Gio Ponti 1891-1979
“Diamond” fatware service for 24

circa 1958
Sterling silver, stainless steel.
Largest utensil: 11 in. (27.9 cm)
Manufactured by Reed & Barton, Taunton, MA. Each fork,
spoon, and twelve serving utensils impressed Reed &
Barton/STERLING, each hollow handle piece impressed
REED & BARTON/MIRRORSTELE/STERLING HANDLE.
Comprising 24 dinner forks, 24 salad forks, 24 dinner knives,
24 butter knives, 24 soup spoons, 24 dessert spoons, 24
demitasse spoons, 2 cold meat forks, 1 cheese knife, 1 cake
knife, 1 master butter knife, 2 pierced serving spoons, 2
serving spoons, 2 jelly servers, 1 cream ladle, 1 master sugar
spoon, 1 gravy ladle, and 1 cocktail fork (183).
Estimate
$12,000-18,000
Property from a Private Collection, United States Property from a Private Collection, United States
97. Charles Eames and Ray Eames 98. Isamu Noguchi 1904-1988
1907-1978 and 1912-1988
“Cyclone” dining table, model no. 311
circa 1957
Pair of “DAR” armchairs
Plastic laminate, birch plywood, chrome-plated steel,
circa 1953
enameled steel.
Molded fberglass, painted steel, rubber.
Each: 31 5/8 x 24 3/4 x 23 1/4 in. (80.3 x 62.9 x 59.1 cm)
Manufactured by Knoll Associates, New York, New York.
Manufactured by Herman Miller Furniture
Company, Zeeland, Michigan. Underside of each
Estimate
armchair with manufacturer’s paper label printed
$800-1,200
herman miller/furniture company/zeeland/
michigan and DESIGNED BY/CHARLES EAMES.
Literature
Nancy Grove and Diane Botnick, The Sculpture of
Estimate
Isamu Noguchi, 1924-1979: A Catalogue, New York,
$1,000-1,500
1980, fg. 815A for a similar example
Alexander von Vegesack, et al., eds., Isamu Noguchi,
Literature
Sculptural Design, exh. cat., Vitra Design Museum,
John Neuhart, Marilyn Neuhart and Ray Eames,
Weil am Rhein, 2001, p. 129 for a similar example
Eames Design: The Work of the Ofce of Charles
and Ray Eames, New York, 1989, p. 140
Property from a Private Collection, United States
99. Charles Eames and Ray Eames

1907-1978 and 1912-1988
ESU, model no. 270-C

circa 1953
Birch plywood, painted Masonite, chromium-plated
steel, painted brass, rubber.
32 x 24 x 16 in. (81.3 x 61 x 40.6 cm)
Manufactured by Herman Miller Furniture
Company, Zeeland, Michigan. Inside of drawer
with manufacturer’s paper label printed herman
miller/furniture company/zeeland/michigan and
DESIGNED BY/CHARLES EAMES.
Estimate
$4,000-6,000
Literature
John Neuhart, Marilyn Neuhart and Ray Eames,
Eames Design: The Work of the Ofce of Charles
and Ray Eames, New York, 1989, p. 129
Herbert Bayer Tapestries
by Lissa Ballinger, Curator at the Aspen Institute
Herbert Bayer’s tapestries are arguably the least

researched body of his work, and much of his exploration
of this medium and its production remains unknown.
In the 1960s, as Bayer continued his geometric and
chromatic studies, he began to design and fabricate
tapestries. To assist in realizing his vision, Bayer visited
factories in diferent locations of the world including
Puerto Rico, Morocco, and China. Several of his tapestries
are large-scale versions of works that he had executed
in diferent media. There is no known accurate record of 100. Herbert Bayer 1900-1985
Bayer-approved fabrication locations, and there is little
record of editions. This is particularly curious because of “Chromatic Circles” tapestry, commissioned for
the ARCO ofces, Los Angeles
how fastidiously Bayer annotated and recorded his work.
circa 1967
It is known that many of the tapestries, including the Wool pile.
present lot, were made to fll corporate boardrooms for 107 x 101 3/4 in. (271.8 x 258.4 cm)
the Atlantic Richfeld Company (ARCO). The genius of Manufactured by V’Soske, New York, New York.
utilizing tapestries in these large spaces is that they had Reverse with manufacturer’s fabric label.
the added beneft of helping to absorb sound.

Estimate
$7,000-9,000
The size and the bold, orderly designs of the tapestries
dominate every space they inhabit. The subjects for the Provenance
tapestries are familiar to Bayer; he explores concepts of ARCO, Los Angeles, acquired directly from the
artist, circa 1967
geometry, symmetry and asymmetry, and also integrates
Los Angeles Modern Auctions, “20th Century
mathematical theories (such as the Fibonnaci sequence) Design and Fine Art Auction,” May 6, 2001, lot 465
especially into his later work. He uses a simple and Acquired from the above by the present owner
recognizable vocabulary of geometric forms—circles,
triangles, and rectangles. Also relevant to all of these Literature
“Masters of Arts,” Interior Design, August 1978,
tapestries is Bayer’s masterful use of color and the
pp. 140, 144 for similar examples
interaction and interplay of the color on the wool canvas.
The tapestries are yet another example of Bayer’s
fearlessness and experimentation in a new medium,
enforcing his Bauhaus ethos of equality and lack of
hierarchy in the arts. Working with textiles was practical
and efcient and allowed him yet another way to advance
his understanding of color and form.
Florence Knoll and her dog,
Cartree, at the 575 Madison
Avenue Knoll Associates
Showroom, 1956. Image courtesy
of Knoll Archive. Artwork: © 2019
Calder Foundation, New York/
Artists Rights Society (ARS),
New York.
Florence Knoll Bassett (née Schust), an architect and pioneer of developed her appreciation of Paul Klee from her mentor Mies
modern interior design, passed away earlier this year at age 101. van der Rohe, who at the time had a large collection of Klees, and
A true visionary, “Shu”—as she was afectionately called by those when a group of works from the artist didn’t sell in her showroom,
who knew her well—was one of the most infuential architects she purchased all of them. Shu visited Black Mountain College to
and designers of postwar America, yet her mark on modern see the painter and teacher Josef Albers, from whom she said she
design transcends any one of these felds. Her career is learned about color, and later worked with his wife Anni Albers to
inextricably linked with Knoll, Inc., the furniture company founded develop textiles for the Knoll line.
by Hans Knoll, who later became her husband. During the 1940s,
she worked with designers like Eero Saarinen, Harry Bertoia and Afer Hans Knoll died in a car crash in 1955, Shu became president
George Nakashima to create designs that fulflled a need for of the company and continued to spearhead many innovations
modern interiors, and along the way produced innovative, such as the Saarinen pedestal furniture collection. She completed
high-quality furniture classics that are still relevant today. large-scale interior projects for companies including Connecticut
General Life Insurance, Heinz and CBS, which exemplifed the
Born to a baker in Saginaw, Michigan in 1917, Shu was beset by best in postwar design in the United States.
tragedy throughout her early life afer becoming an orphan at 14.
She ended up at the Cranbrook Academy of Art in Bloomfeld In 1958, Shu—by then the single most powerful fgure in the feld of
Hills, Michigan during the 1930s, where she was taken under the modern design—married bank executive Harry Hood Bassett and
wing of the Saarinen family and was exposed to the importance of eventually settled in Miami, where she would go on to design
the overlapping felds of art, craf and design. Later in Chicago, commercial Miami interiors in addition to several private residences.
she was introduced to a rationalist design approach with Mies van Hood Bassett was an important civic leader in Miami, and the
der Rohe and received her Bachelor of Architecture at the Illinois corporate art collection that was developed for the Southeast First
Institute of Technology in 1941. National Bank became one of the best in the country.
“Being a woman, I was given interiors,” Shu said. She started At the height of her career, and afer designing thousands of ofce
moonlighting for Hans Knoll as a drafsman and eventually joined interiors, she resigned from Knoll in 1965. At only 48 years old, she
his company as the director of the Knoll Planning Unit, later had profoundly infuenced post-World War II design by defning the
becoming partner and co-owner. One of her frst projects was to look for corporate interiors during the 1950s and 1960s and
do the interiors for Secretary of War Henry Stimson—the frst of promoting the “open ofce” workspace. She is one of the most
many government projects. “It was an exciting time, but it was infuential architects and designers of post-war America, and she
mostly hard work. We had to battle the prejudices against made designers like Saarinen and van der Rohe famous for their
contemporary design,” she said. furniture—designs that are today considered classics (along with
her own pieces)—and still being used in contemporary interiors.
Shu transformed the feld of “interior design” from interior She had a curatorial eye for identifying talent and great works of art
decoration to spatial architecture—which in the 1950s was almost that she integrated both in her showrooms and in her homes.
completely dominated by men. She collaborated with the most
important mid-century modern architects, including Philip Shu was of the belief that art was to be lived with and enjoyed on a
Johnson, Gordon Bunshaf and Marcel Breuer, designing their daily basis, rather than something kept hidden away in storage.
interiors which were rooted in practical needs and rigorous spatial Now, Phillips ofers the rare opportunity to share in the joy and
planning. Her showrooms for Knoll became laboratories for memories that Shu experienced over an incredible life of art and
contemporary design on how we could live and work, and came to design. When mid-century modern furniture was having a
represent her signature “Knoll look” that would epitomize the resurgence, Shu ofen came across her own furniture when perusing
style of the 1950s. Her location at 575 Madison Avenue was one of auction catalogues. With her wit and dry sense of humor she would
the frst to incorporate contemporary art and included pieces jokingly say to me: “You know, Paul, I’m an antique now.”
from artists with whom she had personal friendships. She
—Paul Makovsky, Critic and Curator
Paul Makovsky is a writer based in New York City. He is the Editor-in-Chief of Contract
Magazine, a publication dedicated to architecture and design. Makovsky has curated
countless exhibitions about art and design, including “Knoll Textiles: 1945–2010” at
the Bard Graduate Center, and was a contributor to the accompanying catalogue
published by Yale University Press. He was a close friend of Florence Knoll Bassett and
is currently writing a biography of her life and work.
Consider the Weathervane
It may seem surprising that Florence Knoll Bassett, the At the same time, the magazine Art in America, with the
pioneer of the sleek aesthetic that came to defne the dedicated folk art collector Jean Lipman at the helm,
postwar American ofce interior, collected nineteenth- published articles about the leading contemporary artists
century weathervanes. What place, exactly, did these of the time alongside articles on Shaker design and New
trotting horses, glistening gilded fowl, and verdigris- England gravestones. Albert Barnes’s installations of Van
patinated roosters have in the home of one of the leading Goghs and Matisses next to ornamental strap hinges
exponents of modernism? come to mind as a visual of the same approach of
conferring non-traditional art an equal footing with
Though these sculptures may seem incongruous, it’s modern masters.
worth remembering that so-called primitive art and
modernism go way back. Wassily Kandinsky mined Among these writings for Art in America, an article
Russian folk art for inspiration while Picasso and other published by Alice Winchester titled “Antiques for the
artists working in Paris collected African carvings. Avant Garde” (1961) is of particular relevance. “There
Meanwhile in New York, artists such as Elie Nadelman and seems to be today among people of advanced taste,” she
Charles Sheeler, looking to defne a distinctly American wrote, “a considerable interest in antiques. Dwellers in
brand of modernism, found their native artistic roots in glass houses, for instance, will fll them with period
early American folk art. As Helen Appleton Read wrote for furniture.” Listing nineteenth-century American
the Brooklyn Daily Eagle in 1924, “A group of our younger weathervanes among the potential objects for inspiration
artists…have poked about in antique shops, in old saloons she continued, “Such things stir modern taste not because
and chophouses and brought back quaint pictures and of their age but in spite of it, and are appreciated not for
statues. These are now serving as decorations and quality or rarity but because they ‘look modern.’”
inspiration in the studios of many of them. Why bother
about French Gothic or the frescoes of Santa Croce when While Florence Knoll Bassett does not seem to have
we have material primitive at hand that has the humor included weathervanes in any of her ofce interiors, they
and tang of our native soil?” do appear in images of her summer home in Vermont. She
acquired the vanes in Vermont as well as in the many
Into the late 1950s, which is when Florence discovered antiques stores located near the Knoll showroom in
weathervanes “on a whim” while on a trip to Paris with her midtown Manhattan and treasured her collection enough
second husband Harry Hood Bassett, early America to bring it with her when she and Bassett relocated to
continued to serve as inspiration for American artists as Coral Gables, Florida, in 1965 and fnally to her last
well as prominent collectors such as Abby and John residence in Coconut Grove, where she displayed a group
Rockefeller. To name a few, David Smith had drawn on to striking efect in a custom grid-shaped display. “Cocks
farm implements and machinery parts gleaned from his have always been seen, but never as well as in American
upstate New York property for his “Agricola” series of the weathervanes,” Pablo Picasso said, and we might well add
1950s, while Andrew Wyeth represented rural America in that weathervanes have never been as well seen as in the
an entirely diferent manner. home of Florence Knoll Bassett.
○ 101. Possibly by W.A. Snow Iron Works,
Boston, Massachusetts
A large full-bodied molded gilt copper
“Hackney” horse weathervane
late 19th/early 20th century
36 in. (91.4 cm) high
Length hoof to hoof: 48 in. (121.9 cm)
Length of bar: 51 1/2 in. (130.8 cm)
Estimate
$10,000-15,000
○ 102. Attributed to A.L. Jewell,
Waltham, Massachusetts
A full-bodied molded gilt copper
Peacock weathervane
1850-1877
With pressed and gilt sheet copper tail.
22 in. (55.9 cm) high
Length beak to tail: 38 in. (96.5 cm)
Estimate
$5,000-7,000
○ 103. Possibly by J.W. Fiske, ○ 104. In the Manner of
New York, New York Harry Leech, Woburn,
A full-bodied molded copper and zinc
Massachusetts
“Horse and Hoop” weathervane
A carved painted and giltwood dog
circa 1880
weathervane mold
With zinc head and pressed sheet
19th century
mane and tail.
17 1/2 in. (44.5 cm) high
Body: 12 1/4 in. (31.1 cm) high, 28 1/2 in.
Length nose to tail: 36 in. (91.4 cm)
(72.4 cm) long
Hoop: 15 in. (38.1 cm) high, 15 1/2 in.
Estimate
(39.4 cm) wide
$20,000-30,000
Estimate
$3,000-4,000
“I am not a decorator. The only place
I decorate is my own house.”
Florence Knoll Bassett
Opposite/below:
Entryway towards the living
room of Florence Knoll’s home,
Coral Gables, Florida. Image
courtesy of Florence Knoll
Bassett papers, 1932-2000.
Archives of American Art,
Smithsonian Institution.
Living room of Florence Knoll,

Coconut Grove, Florida, 1985.
Image © Christoph Kicherer/
Vogue Décoration.
○ 105. Attributed to J. Howard,
Bridgewater, Massachusetts
A full-bodied molded gilt copper and zinc
“Index” horse weathervane
mid 19th century
With zinc head and pressed sheet copper tail.
Height excluding stand: 17 3/4 in. (45.1 cm)
Length nose to tail: 24 3/4 in. (62.9 cm)
Stand: 2 3/4 x 19 1/2 x 5 in. (7 x 49.5 x 12.7 cm)
Estimate
$8,000-12,000
○ 106. American ○ 107. Attributed to Rochester
A full-bodied molded copper
Iron Works, Rochester,
gamecock weathervane New Hampshire
circa 1875
With pressed sheet copper tail. A large full-bodied molded and cast-iron
18 in. (45.7 cm) high, 17 3/4 in. (45.1 cm) long Rooster weathervane
late 19th century
Estimate With sheet iron tail.
$3,000-5,000 Excluding stand: 30 in. (76.2 cm) high
Beak to tail: 36 in. (91.4 cm)
Estimate
$4,000-6,000
○ 108. American
A primitive sheet iron stag weathervane
Third quarter 19th century
With iron bracing on one side.
31 in. (78.7 cm) high, 22 1/2 in. (57.2 cm) long
Estimate
$5,000-7,000
109. Vilhelm Lauritzen 1894-1984
Floor lamp
circa 1937
Aluminum, nickel-plated brass, steel.
47 1/2 in. (120.7 cm) high
Produced by Louis Poulsen, Copenhagen,
Denmark.
Estimate
$5,000-7,000
Provenance
WYETH, Sagaponack
Sotheby’s, New York, “WYETH: The Art of
Timeless Design,” June 6, 2017, lot 447
Literature
“Den lille lejlighed,” Nyt Tidsskrif For
Kunstindustri, no. 5, May 1937, p. 99
Grete Jalk, Dansk Møbelkunst gennem 40 aar,
vol. 2: 1937-1946, Denmark, 1987, pp. 9, 35
110. Hans J. Wegner 1914-2007
“Ox” lounge chair and ottoman, model nos. AP-46

and AP-49
1960s
Chromium-plated steel, wool upholstery, leather.
Armchair: 35 5/8 x 37 1/2 x 37 3/4 in. (90.5 x 95.3 x 95.9 cm)
Ottoman: 14 1/4 x 29 3/8 x 21 in. (36.2 x 74.6 x 53.3 cm)
Manufactured by AP Stolen, Copenhagen, Denmark.
Underside of armchair with metal roundel impressed
FURNITUREMAKERS/DANISH/CONTROL.
Estimate
$8,000-12,000
Provenance
Private collection, Virginia, 1964
Literature
Af Bent Salicath, “Købestævnet - idé og virkelighed,”
Dansk Kunsthaandværk, no. 34, 1961, p. 67
Johan Møller Nielsen, Wegner: en dansk
møbelkunstner, Copenhagen, 1965, pp. 11, 71-72
Christian Holmsted Olesen, WEGNER: just one
good chair, exh. cat., Design Museum Denmark,
Copenhagen, 2014, pp. 79, 82, 210-11
Property from a Private Manhattan Collection
111. Finn Juhl 1912-1989 Literature The present model was exhibited at the
Erik Wørts, “Den syvogtyvende,” Dansk Copenhagen Cabinetmakers’ Guild Exhibition
Pair of armchairs, model no. FJ 53 Kunsthaandværk, no. 11, November 1953, p. 181
at Design Museum Denmark, 1953.
circa 1953 Esbjørn Hiort, Modern Danish Furniture,
Teak, fabric upholstery, brass. New York, 1956, p. 62
Each: 29 3/4 x 28 1/4 x 30 in. (75.6 x 71.8 x 76.2 cm) Grete Jalk, ed., Dansk Møbelkunst gennem 40
Executed by master cabinetmaker Niels aar, Volume 3: 1947-1956, Copenhagen, 1987,
Vodder, Copenhagen, Denmark. Underside with pp. 271-72, 311
retailer’s brass plaque impressed with ILLUMS Esbjørn Hiort, Finn Juhl: Furniture, Architecture,
BOLIGHUS/KØBENHAVN. Applied Art, Copenhagen, 1990, pp. 58-59
Patricia Yamada, ed., Finn Juhl Memorial
Estimate Exhibition, exh. cat., Gallery “Air Molèk Kota,”
$20,000-30,000 Osaka, 1990, pp. 76-79 and p. 139 for a drawing
Noritsugu Oda, Danish Chairs, San Francisco,
1999, p. 98 and p. 99 for a drawing
112. Finn Juhl 1912-1989
Desk, model no. BO 69 Provenance

circa 1953 Secher Fine Art & Design, Copenhagen
Teak, teak-veneered wood, painted wood, Acquired from the above by the present owner
painted steel, brass.
29 1/2 x 66 7/8 x 33 3/8 in. (74.9 x 169.9 x 84.8 cm) Literature
fully extended Bent Salicath, “Finn Juhl and Danish Furniture,”
Manufactured by Bovirke, Copenhagen, Denmark. Architects’ Year Book 6, London, 1955, pp. 150, 152
Dansk Kunsthåndværk, no. 5, 1956, p. 84 for
Estimate an advertisement
$15,000-20,000 Per H. Hansen, Finn Juhl and His House,
Ostfldern, 2014, pp. 64, 111
Bow Down
First presented at the Copenhagen Cabinetmakers’ Guild
exhibition of 1949, Finn Juhl’s “Chiefain” chair is said to
have earned its name afer King Frederik IX sat in it during
the exhibition, though Juhl also exhibited it alongside tribal
objects that are believed to have inspired the chair’s form.
The “Chiefain” certainly has a throne-like presence, both in
its generous proportions and due to its imposing shield-
shaped back. The design, along with Juhl’s “Egyptian” chair
Property from a Private Collection, Philadelphia
(also exhibited in 1949) was further inspired by furniture
from the tomb of Tutankhamen, specifcally the triangle-
113. Finn Juhl 1912-1989 shaped sides formed by connecting the stiles that hold the
“Chiefain” chair, model no. FJ 49 A
back rest in an elegant step joint with the back legs. Despite
circa 1955 these historical references and the chair’s robust presence,
Teak, leather upholstery. the “Chiefain” nevertheless conveys a sense of lightness
36 3/4 x 40 1/2 x 35 in. (93.3 x 102.9 x 88.9 cm) due to the foating seat and back; all of these characteristics
Executed by master cabinetmaker Niels Vodder,
have contributed to the chair’s recognition as a masterwork
Copenhagen, Denmark. Underside impressed NIELS
VODDER CABINETMAKER/COPENHAGEN DENMARK/
of Danish modern design.
DESIGN: FINN JUHL.
The present example was executed by the master
Estimate cabinetmaker Niels Vodder, dating this chair to the earliest
$40,000-60,000
phase of production before the license was conferred to
Provenance
Ivan Schlechter in 1972 and then to Niels Roth Andersen
Private collection, Philadelphia from 1988 to 2000 (the American furniture manufacturer
Moderne Gallery, Philadelphia Baker also produced a version in the 1950s and the design
Acquired from the above by the present owner, 1998 is now produced by House of Finn Juhl). Fewer than 100
examples are believed to have been executed by Vodder and
Literature
Viggo Sten Møller and Svend Erik Møller, Dansk
the present example bears all the attributes typical of his
Møbelkunst: Københavns Snedkerlaugs Møbeludstilling, mid-1950s production: the classic shape of the horns (which
1927-1951, Copenhagen, 1951, p. 82 would become more elongated in the 1960s); the three
Esbjørn Hiort, Modern Danish Furniture, New York, 1956, die-cut steel seat tabs with smooth rounded corners; the
pp. 54-55
planished steel arms and the sculpted teak back spacer.
Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar,
Volume 3: 1947-1956, Copenhagen, 1987, pp. 124-25,
233, 311
Esbjørn Hiort, Finn Juhl: Furniture, Architecture, Applied
Art, Copenhagen, 1990, front cover, pp. 23, 40-41
Noritsugu Oda, Danish Chairs, San Francisco, 1999,
pp. 92-93
Arne Karlsen, Danish Furniture Design: in the 20th
Century, Volume 2, Copenhagen, 2007, pp. 106, 187-89
Marc Grainer
114. Ursula Morley-Price b. 1936
Two “Bottle Form” vessels Provenance

2010 Galerie Hélène Porée, Paris
Stoneware. Acquired from the above by the present
Taller: 11 1/8 in. (28.3 cm) high owners, 2011
Underside and side of each impressed
with artist’s seal. Literature
Ursula Morley-Price: Mouvements, exh. cat.,
Estimate McKenzie Fine Art, New York, 2008, pp. 49-51,
$3,000-4,000 54-55, 57 for similar examples
115. Finn Juhl 1912-1989
Pair of lounge chairs, model no. FJ 45 Literature

designed 1945 Ebbe Kornerup, “Ægte og uægte Form og
Teak, fabric upholstery, leather. Konstruktion,” Nyt Tidsskrif For Kunstindustri,
Each: 33 3/8 x 27 5/8 x 30 1/2 in. (84.8 x 70.2 x 77.5 cm) no. 12, December 1945, p. 166
Executed by master cabinetmaker Niels Vodder, Niels Vodder Furniture, Copenhagen, 1959, p. 8
Copenhagen, Denmark. Underside of each branded Grete Jalk, ed., Dansk Møbelkunst gennem 40
CABINETMAKER NIELS VODDER/COPENHAGEN aar, Volume 2: 1937-1946, Copenhagen, 1987,
DENMARK/DESIGN: FINN JUHL. pp. 276-77, 321
Esbjørn Hiort, Finn Juhl: Furniture, Architecture,
Estimate Applied Art, Copenhagen, 1990, pp. 20, 25-26,
$15,000-20,000 28, 34-35, 78, 101, 105
Provenance
Private collection, New York The present model was exhibited at the
Acquired from the above by the present “Copenhagen Cabinetmakers’ Guild,”
owner, 2019
Kunstindustrimuseet, Copenhagen,
September 28-October 14, 1945, stand 14.
Property from a Private Manhattan Collection
116. Kaare Klint 1888-1954
Set of six “Red” armchairs, model no. 3758A Literature

designed circa 1927 Nyt Tidsskrif For Kunstindustri, no. 10, October 1942,
Cuban mahogany, leather upholstery, brass nailheads. n.p. for an advertisement
Each: 35 x 24 1/4 x 21 in. (88.9 x 61.6 x 53.3 cm) Noritsugu Oda, Danish Chairs, San Francisco, 1999, p. 22
Executed by cabinetmakers Rud. Rasmussen A/S, Arne Karlsen, Danish Furniture Design in the 20th
Copenhagen, Denmark. Century, Volume 1, Copenhagen, 2007, p. 92
Estimate
$10,000-15,000
Property of a Distinguished Collector
117. In the Manner of

Axel Einar Hjorth 1888-1959
Table
circa 1925
Walnut-veneered wood, brass inlay.
28 1/2 x 53 7/8 x 23 7/8 in. (72.4 x 136.8 x 60.6 cm)
Probably produced by Svenska
Möbelfabrikerna, Bodafors, Sweden.
Estimate
$4,000-6,000
Provenance
Galerie Eric Philippe, Paris
Barry Friedman Ltd., New York
owner, 2002
Property from the Collection of Diane and Marc Grainer
118. Gwyn Hanssen Pigott 1935-2013
“Still Life” In the late 1980s, Australian ceramist Gwyn Hanssen

1998 Pigott began arranging her ceramic bottles, bowls,
Porcelain, celadon glaze.
and cups into groups that she titled Still Life. The
Tallest: 8 1/2 in. (21.6 cm) high
Underside of 7 pieces impressed with artist’s seal.
present lot is an example of one of these works,
now considered her hallmark artistic achievement.
Estimate In both form and color, the pieces resemble and
$4,000-6,000 take inspiration from the works depicted in Giorgio
Morandi’s paintings titled Natura morte or “Still Life.”
Provenance
Garth Clark Gallery, New York The complementary pastel colors of the individual
Acquired from the above by the present owners, 1998 pieces come together to form a cohesive group that is
a work of art rather than an assortment of utilitarian
Literature objects, gracefully merging the boundaries of art and
Gwyn Hanssen Pigott, Caravan: A parade of beakers,
design. The artist described this balance, saying, “I
bottles, bowls, jugs and cups, exh. cat., Tate St Ives,
2004, pp. 5-6, 11, 13, 15, 19, 23, 25, 31 for similar love to tread the fne line between the static and the
examples lively.” Hanssen Pigott’s work is in the permanent
Jason Smith, Gwyn Hanssen Pigott: A Survey collections of multiple institutions, including the
1955-2005, exh. cat., National Gallery of Victoria, Victoria and Albert Museum, London and the Los
Melbourne, 2005, pp. 36, 49, 52, 55-57, 60-61, 63, 68,
Angeles County Museum of Art.
103 for similar examples
Giorgio Morandi, Natura morta

(Still Life), circa 1952. Sold,
Phillips, London, 20th Century &
Contemporary Art Evening Sale,
March 7, 2019, lot 22. Artwork ©
2019 Artists Rights Society (ARS),
New York/SIAE, Rome.
119. Paavo Tynell 1890-1973
Rare ceiling light

1930s
Brass, glass.
47 in. (119.4 cm) drop
Manufactured by Taito Oy, Helsinki, Finland.
Estimate
$8,000-12,000
Provenance
Helsingin Suomalainen Yhteiskoulu, Helsinki
Literature
Kati Salonen and Mona Schalin Architects,
Entinen Helsingin Suomalainen Yhteiskoulu
Rakennushistorian selvitys, Helsinki, 2012,
pp. 28, 40-41, 66, 150
Paavo Tynell designed the present lot for

the banquet hall of Helsingin Suomalainen
Yhteiskoulu (SYK), a free private school and
the frst coeducation school in Finland.
Property from a Private Collection
120. Axel Einar Hjorth 1888-1959
Daybed, from the “Sandhamn” series

designed circa 1929
29 1/2 x 91 1/4 x 28 3/4 in. (74.9 x 231.8 x 73 cm)
Produced by AB Nordiska Kompaniet,
Stockholm, Sweden.
Estimate
$25,000-35,000
Provenance
Hostler Burrows, New York
Literature
Christian Björk, Thomas Ekström and Eric
Ericson, Axel Einar Hjorth: Möbelarkitekt,
Stockholm, 2009, pp. 126-133 for a discussion
of the series
Important Works from the
Ann and Robert
Fromer Collection
Turning the Centuries
The following pages present a selection of works from

the collection of Ann and Robert Fromer. Prescient
collectors with a shared passion, the Fromers began
acquiring decorative arts almost ffy years ago, a fact
that is refected in the knowledgeable scope of their
collection which spans the late 19th through early
20th centuries.
The Fromers’ collection aptly narrates the historicism

and innovative spirit of this period, demonstrating how
naturalism, Japanese infuences, and historic revivals
of the late 19th century gave way to the progressively
graphic and pictorial styles of Art Deco. A predilection
for layered textures and richly evocative color palettes
further unite the collection.
The most active years of the Fromers’ collecting, the

1980s, took place roughly a century afer the major
exhibitions of the late 19th century that introduced
Art Nouveau to the world, a time when this ground-
breaking period of creativity was just beginning to
be re-examined by a new generation of scholars and
collectors. Fify years on, the scholarship has continued
to advance. In these early years of rediscovery, without
the wealth of scholarship and market history now at
our disposal, the Fromers nevertheless assembled
a museum-worthy collection of the fnest and most
representative works of the period. Perhaps most of all,
this collection ofers a fresh glimpse into the artistry of
the period through the eyes of Ann and Robert Fromer.
Ann and Robert
Fromer Collection
Paul Jeanneney
Paul Jeanneney was an avid ceramist as well as a 121. Paul Jeanneney 1861-1920
collector of art and design. Early in his career, he began
to acquire works by his contemporaries such as Pierre- Gourd-form vase
Adrien Dalpayrat and Auguste Delaherche, artists circa 1900
Glazed stoneware with peau de serpent efect.
whose work is also included in the present ofering. To
6 in. (15.2 cm) high
his collection, Jeanneny added objects from countries Underside incised Jeanneney.
such as China, Korea, and Japan. The confuence of
Eastern artifacts with contemporary works (which drew Estimate
from Asian pottery, themselves) greatly infuenced $4,000-6,000
Jeanneney’s production of Art Nouveau ceramics. The

Provenance
artist ofen worked with drip glazes that produced a Alain Cical, Paris
beautiful peau de serpent (or snakeskin) efect, as seen Acquired from the above by the present owner, 1985
in the present lots. The elegance of these forms, paired
with his dynamic use of glaze, result in quietly complex
pieces that continue to delight today just as much
as they did when he revealed them at the turn of the
century in France.
122. Paul Jeanneney 1861-1920
Gourd-form vase
1904
5 3/4 in. (14.6 cm) high
Underside incised Jeanneney/St. Amand/1904.
Estimate
$4,000-6,000
Provenance
Alain Cical, Paris

Ann and Robert
Fromer Collection
Gourd-form vase with elongated neck

circa 1900
7 3/4 in. (19.7 cm) high
Underside incised Jeanneney/PP.
Estimate
$4,000-6,000
Provenance
Alain Cical, Paris

Ann and Robert
Fromer Collection
Ann and Robert
Fromer Collection
Large vase
1903
Glazed stoneware.
9 7/8 in. (25.1 cm) high
Underside incised Jeanneney/1903.
Estimate
$10,000-15,000
Provenance
Alain Cical, Paris
125. Pierre-Adrien Dalpayrat 1844-1910
Inkwell with silver mount

circa 1900
Glazed earthenware, silver.
Silver mount produced by Gustave Keller, Paris,
France. Underside inscribed with the artist’s seal and
silver mount impressed G. KELLER/PARIS and with
head of mercury mark.
Estimate
$5,000-7,000
Provenance
Alain Cical, Paris

Ann and Robert
Fromer Collection
126. Gilbert Méténier 1876-Unknown
Gourd-form vase
circa 1900
Glazed stoneware.
6 7/8 in. (17.5 cm) high
Underside incised G. Méténier.
Estimate
$4,000-6,000
Provenance
Alain Cical, Paris
Acquired from the above by the present owner,
circa 1985
Literature
Paul Arthur, Art Nouveau Ceramics: An Illustrated
Dictionary, Paris, 2015, p. 273 for a similar example

Ann and Robert
Fromer Collection
127. Auguste Delaherche 1857-1940
Vase with four handles

1896-1904
Glazed stoneware.
10 3/4 in. (27.3 cm) high
Impressed with artist’s seal and numbered 6191.
Estimate
$5,000-7,000
Provenance
Alain Cical, Paris
Literature
Auguste Delaherche: Rêves d’argile, secrets d’émail,
exh. cat., Fondation Neumann, Gingins, Switzerland,

Ann and Robert
Fromer Collection
128. Victor Saglier 1809-1894
Vase with decorative mount

circa 1894
Glazed earthenware, silver.
Underside stamped V.S/SEVRES, painted 1-8-
94 and 3-2-95, and incised 333. Silver mount
impressed with French control marks.
Estimate
$2,000-3,000
Provenance
Christie’s, New York, “Important 20th Century
Decorative Arts,” June 6, 1992, lot 134

Ann and Robert
Fromer Collection
129. Pierre-Adrien Dalpayrat and Adrien Pierre Dalpayrat and Alphonse Voisin-
Delacroix signed a working contract in 1892,
Alphonse Voisin-Delacroix
shortly afer which the pair likely produced
1844-1910 and 1857-1893
the present lot. Voisin-Delacroix created the
Gourd-form inkwell with toads form while Dalpayrat perfected the glaze.
1893-1906 The exact date of production is uncertain as
Glazed stoneware. Voisin-Delacroix died in 1893 but his forms
2 7/8 in. (7.3 cm) high may have been posthumously recreated.
Underside signed Dalpayrat.
During their brief collaboration, the pair
Estimate created a range of works that featured motifs
$6,000-8,000 verging on the macabre, such as body parts
and small animals. The gourd-form inkwell
Provenance with the present lot is an example of this type
Alain Cical, Paris
of work which combines a whimsical form
with a mesmerizing glaze. Dalpayrat’s glazes
Literature typically combined multiple colors, most
Arielle and Robert Guillaume, Alphonse Voisin- famously his sang de bœuf glaze—sometimes
Delacroix: Ou quand un sculpteur rencontre un called “Dalpayrat red”—which he used in his
céramiste, 1892-1893, Besançon, 1993, p. 75
inkwell with silver mount (lot 125).
Horst Makus, et al., Adrien Dalpayrat 1844-1910,

Ann and Robert
Fromer Collection
Ann and Robert
Fromer Collection
Taxile Doat
In his treatise on ceramic-making, Taxile Doat wrote

“[in my] experimental laboratory...I win from the fre
the wares which have brought me a gratifying success.”
The following four lots reveal both the experimental
nature of the artist’s work as well as his success
as a ceramist at the turn of the twentieth century.
Whereas other ceramists benefted from a division of
labor, Doat preferred to experiment with every stage
of the production process—from modeling to fring.
He advocated for the use of grand feu ceramics as
well as the pâte-sur-pâte technique, which involves
creating relief designs by applying multiple layers
of slip onto an unfred body. The present works are
marked “Sèvres,” which is an indication of the artist’s
workshop’s location rather than the Manufacture
nationale de Sèvres—though Doat did produce work
for the national manufactory until 1905 as well. The
present lots demonstrate his expert control over
complex techniques and also reveal Doat’s reliance on
motifs from Greek mythology, such as Minerva and the
Amazons, as well as nature, which were both popular
sources of imagery in fn-de-siècle France.
130. Taxile Doat 1851-1939
Vase with applied fowers

circa 1900
Glazed porcelain with pâte-sur-pâte
decoration.
6 1/4 in. (15.9 cm) high
Underside painted T DOAT and Sèvres.
Estimate
$8,000-12,000
Provenance
Macklowe Gallery & Modernism, New York
owner, 1988

Ann and Robert
Fromer Collection
Ann and Robert
Fromer Collection
131. Taxile Doat 1851-1939
“Profls d’Amazones” vase

1901
Glazed porcelain with pâte-sur-pâte decoration.
10 in. (25.4 cm) high
Underside painted T DOAT/1901/Sevres.
Estimate
$12,000-18,000
Provenance
Jason Jacques Gallery, New York
Literature
Taxile Doat, “Les Céramiques de Grand Feu:
La Porcelaine dure et le Grès-Cérame,” Art et
Decoration, Tome XX, July-December 1906, p. 154
Irene Sargent, “Taxile Doat,” Keramic Studio, no. 8,
December 1906, p. 172
Alastair Duncan, The Paris Salons 1895-1914, Volume
IV: Ceramics and Glass, Woodbridge, 1998, p. 190
132. Taxile Doat 1851-1939
“La Dentelle de Minerve” bottle on stand

circa 1904
decoration, silver.
12 1/8 in. (30.8 cm) high, including stand
Underside signed T DOAT/Sèvres.
Estimate
$12,000-18,000
Provenance
Jason Jacques Gallery, New York
owner, 2003
Literature
M.P. Verneuil, “Taxile Doat: Céramiste,” Art
et Décoration, September 1904, p. 85 for a
similar example

Ann and Robert
Fromer Collection
133. Taxile Doat 1851-1939
Plaque
1932
decoration.
6 1/2 in. (16.5 cm) diameter
With artist’s monogram in the
central medallion. Reverse signed
T DOAT/1932/Sèvres.
Estimate
$5,000-7,000
Provenance
Alain Cical, Paris
owner, 1985

Ann and Robert
Fromer Collection
Ann and Robert
Fromer Collection
134. Edmond Lachenal 1855-1948
Vase with lizard handle

circa 1899
Glazed stoneware.
10 1/4 in. (26 cm) high
Underside impressed LACHENAL.
Estimate
$7,000-9,000
Provenance
Alain Cical, Paris
owner, 1980s
Literature
A. Le Chatelier, “Céramique d’Art,” Art et
Décoration, December 1899, p. 188
Paul Arthur, French Art Nouveau Ceramics:
An Illustrated Dictionary, Paris, 2015, p. 223
Illustration of ceramics by
Edmund Lachenal from Art
et DŽcoration, circa 1899.
Large vase
1887-1894
Glazed stoneware.
12 1/4 in. (31.1 cm) high
Underside impressed with artist’s seal and
numbered 1619.
Estimate
$7,000-9,000
Provenance
Alain Cical, Paris
owner, circa 1985
Literature
Émile Molinier, “La Céramique a l’Exposition
Universelle de 1889,” L’Art Revue
Bi-Mensuelle Illustrée, Tome II, 1889,
p. 254 for a similar example

Ann and Robert
Fromer Collection
136. Alexandre Bigot 1862-1927
Dish
circa 1900
Glazed stoneware.
Underside painted Bigot and 340 and
incised with indecipherable number.
Estimate
$3,000-5,000
Provenance
Alain Cical, Paris
owner, 1985
Literature
Jason Jacques, Exotica, Lenox, MA,
2010, p. 261

Ann and Robert
Fromer Collection
Ann and Robert
Fromer Collection
Vase with peacock feather decoration

circa 1889
Glazed stoneware.
15 in. (38.1 cm) high
Underside impressed with artist’s seal and
numbered 2194.
Estimate
$12,000-18,000
Provenance
Macklowe Gallery & Modernism, New York
Literature
François Guillaume Dumas, Revue de l’Exposition
Universelle de 1889, Vol. II, Paris, 1889, p. 259
René Ménard, “Auguste Delaherche,” Art et
Décoration, February 1906, p. 57
Auguste Delaherche: Rêves d’argile, secrets
d’émail, exh. cat., Fondation Neumann, Gingins,
Switzerland, 2001, p. 21
David A. Brenneman, et al., Paris in the Age of
Impressionism: Masterworks from the Musée
d’Orsay, exh. cat., High Museum of Art, Atlanta,
2002, p. 127
In 1889, Auguste Delaherche won a gold medal at the
Exposition Universelle in Paris, where he showcased
ceramic vases with peacock feather decorations,
including the present model. This presentation
established Delaherche as one of preeminent ceramists
of his generation and helped to usher in the Art Nouveau
style. Later in his career, Delaherche preferred to use
drip glazes rather than representational imagery, but
the style of his work remained indebted to Eastern
infuences. These works demonstrate a shif from the
fgural to the abstract in Delaherche’s œuvre, and they
reveal mastery at each iteration of his artistic practice.
An example of the present model is in the permanent

collection of the Musée d’Orsay, Paris.
Ceramics by August Delaherche

from his display at the
Exposition Universelle, Paris,
1889. Illustration by Ch. David.
138. Maurice Gensoli 1892-1972
Bottle
circa 1930
Glazed stoneware.
7 5/8 in. (19.4 cm) high
Underside impressed with artist’s monogram,
fsh stamp, and calligraphic mark.
Estimate
$4,000-6,000
Provenance
Alain Cical, Paris
owner, 1985

Ann and Robert
Fromer Collection
139. Tifany Studios
Phillips would like to thank Dr. Martin Lamp base
1903-1910
Eidelberg for his assistance cataloguing
Glazed earthenware.
the present lot. 6 3/4 in. (17.1 cm) high
Underside inscribed with LCT monogram.
An example of the present model lamp
base is in the permanent collection of Estimate
the Charles Hosmer Morse Museum of $10,000-15,000
American Art, Winter Park, Florida.
Provenance
Sotheby’s, New York, “20th Century Decorative
Arts,” March 21, 1992, lot 204
Literature
Robert Koch, Louis C. Tifany: The Collected
Works of Robert Koch, Atglen, PA, 2001, p. 115
Martin Eidelberg, Tifany Favrile Pottery and the
Quest of Beauty, New York, 2010, p. 23

Ann and Robert
Fromer Collection
140. Tifany Studios
Early and rare “Horse Chestnut” vase
circa 1900
Glazed earthenware.
9 7/8 in. (25.1 cm) high
Designed by Edith Lautrup (1875-1963)
and produced by Tifany Studios, New
York. Underside glazed EL, inscribed with
LCT monogram and B, and etched P1217
L.C.T./L.C. Tifany Favrile Pottery.
Estimate
$20,000-30,000
Provenance
Sotheby’s, New York, “20th Century
Decorative Arts,” March 21, 1992, lot 203
Literature
Martin Eidelberg and Nancy A. McClelland,
Behind the Scenes of Tifany Glassmaking: The
Nash Notebooks, New York, 2000, p. 177
Martin Eidelberg, Tifany Favrile Pottery and
the Quest of Beauty, New York, 2010, p. 94
Phillips would like to thank Dr. Martin

the present lot.
As the EL mark on the underside of the

present lot indicates, this “Horse Chestnut”
vase was executed by Edith Lautrup.
A talented and experienced decorator,
Lautrup served as the director of Tifany
Studios from around 1900 until she
relocated to her native Denmark in 1902.
In the following years, Tifany Studios
created the same form in enameled
copper, which the present lot is perhaps
meant to emulate through its glaze,
making the vase a particularly rare and
important early example of Tifany pottery.

Ann and Robert
Fromer Collection
141. Tifany Studios
Vase with seed pods
circa 1906
Glazed earthenware.
6 1/4 in. (15.9 cm) high
Underside inscribed with LCT monogram.
Estimate
$7,000-9,000
Provenance
Lillian Nassau, New York
owner, 1988
Literature
Martin Eidelberg, Tifany Favrile Pottery
and the Quest of Beauty, New York, 2010,
pp. 40, 85

the present lot.

Ann and Robert
Fromer Collection
Ann and Robert
Fromer Collection
142. Tifany Studios

“Diatreta” vase Louis Comfort Tifany’s career as an artist, designer,
circa 1905 and businessman is perhaps best summarized as an
Favrile glass.
exploration of beauty through innovation and relentless
2 7/8 in. (7.3 cm) high
Underside with Tifany Glass and Decorating experimentation. These four works from the Fromer
Company paper label, likely applied later. Collection speak to the diversity of approaches to
design that Tifany Studios took at the beginning of the
Estimate twentieth century. The Diatreta vase is an example of
$7,000-9,000
Tifany’s groundbreaking invention of Favrile glass, the
Provenance term that he used for his iridescent glassware. Diatreta
The Estate of Aaron Frank refers to the cup’s form, which originates from Ancient
Sotheby’s, New York, “Important Art Nouveau,” Roman glassmaking traditions in which the lace-
March 29, 1979, lot 40 like exterior of the vessel is detached from the inner
Edwin and Mary Triestman
beaker form. Later, Tifany began exploring ceramic
Sotheby’s, New York, “The Edwin & Mary Triestman
Collection of Important Glass,” June 14, 2006, lot 303 making with his lamp bases, such as lot 139, in which he
Acquired from the above by the present owner imitated the appearance of metalsmithing techniques.
Tifany Studio’s later pottery was ofen monochromatic
Literature and relied on motifs from nature, as seen in the vase
Albert Christian Revi, American Art Nouveau Glass,
with seed pods (lot 141).
Camden, NJ, 1968, p. 13 for a similar example

the present lot.
143. André Méthey 1871-1920
Tazza with reindeer decoration

circa 1911
Glazed stoneware.
Underside incised with artist’s cipher.
Estimate
$2,000-3,000
Provenance
Alain Cical, Paris
owner, circa 1985
Literature
Albert Dulac, “Une Visite à André Méthey,”
L’Art et les Artistes, no. 72, March 1911,
p. 260 for similar examples

Ann and Robert
Fromer Collection
144. Jean Mayodon 1893-1967
Vase
1926
Glazed stoneware.
13 5/8 in. (34.6 cm) high
Underside painted 1926, incised with
artist’s cipher, and with remnants of a
period paper label.
Estimate
$5,000-7,000
Provenance
Macklowe Gallery, New York
owner, 2004
Literature
Gérard Landrot, Mayodon, Paris, 2004,
pp. 202-7 for similar examples

Ann and Robert
Fromer Collection
145. Gabriel Argy-Rousseau 1885-1953
“Feuilles de Chardon” vase Provenance

circa 1927 DeLorenzo Gallery, New York
Pâte-de-verre. Acquired from the above by the present owner
9 3/4 in. (24.8 cm) high
Signed in the mold G. ARGY-ROUSSEAU Literature
and FRANCE. Janine Bloch-Dermant, G. Argy-Rousseau:
Glassware as Art, Paris, 1991, pp. 74, 166, 210
Estimate
$6,000-8,000

Ann and Robert
Fromer Collection
“La Danse” vase

circa 1923
Pâte-de-verre.
11 7/8 in. (30.2 cm) high
Signed in the mold G. ARGY-ROUSSEAU.
Estimate
$15,000-20,000
Provenance
DeLorenzo Gallery, New York
owner, 1986
Literature
Janine Bloch-Dermant, G. Argy-Rousseau:
Glassware as Art, Paris, 1991, pp. 59, 191

Ann and Robert
Fromer Collection
“Écureuils dans l’Herbe” vase Provenance

circa 1928 DeLorenzo Gallery, New York
Pâte-de-verre. Acquired from the above by the present owner
7 1/4 in. (18.4 cm) high
Signed in the mold G. ARGY-ROUSSEAU Literature
and FRANCE. Janine Bloch-Dermant, G. Argy-Rousseau:
Glassware as Art, Paris, 1991, pp. 87, 216
Estimate
$8,000-12,000

Ann and Robert
Fromer Collection
“Scènes de Chasse” bowl Provenance

circa 1925 Galerie Impulsion-B, Paris
Pâte-de-verre. Acquired from the above by the present
4 1/4 in. (10.8 cm) high, 6 1/2 in. (16.5 cm) diameter owner, 1984
Signed in the mold G. ARGY-ROUSSEAU.
Literature
Estimate Art et Décoration, December 1926, n.p. for an
$8,000-12,000 advertisement
Janine Bloch-Dermant, G. Argy-Rousseau:
Glassware as Art, Paris, 1991, pp. 67, 168, 204

Ann and Robert
Fromer Collection
149. Burgun Schverer & Cie.
Beaker-form vase with irises
circa 1900
Wheel-carved and martelé cameo glass
with gilt and internal decoration.
12 1/4 in. (31.1 cm) high
Underside printed with frm’s gilt thistle
mark and VERRERIE D’ART/DE LORRAINE/
BS&C./déposé.
Estimate
$7,000-9,000
Provenance
Macklowe Gallery, New York
owner, 1982

Ann and Robert
Fromer Collection
150. Burgun Schverer & Cie.
Baluster-form vase with irises
circa 1900
Wheel-carved and martelé cameo glass
with gilt and internal decoration.
10 1/8 in. (25.7 cm) high
Underside printed with frm’s gilt
thistle mark and VERRERIE D’ART/DE
LORRAINE/BS&C./déposé.
Estimate
$7,000-9,000
Provenance
Mina Rosenblatt Gallery, New York
owner, 1982

Ann and Robert
Fromer Collection
Clagett Wilson: The Lewisohn Commission
The following three lots are from a set of furnishings In 1915 Adolph Lewisohn commissioned C.P.H. Gilbert to
designed by Claggett Wilson (1887-1952) for the renovate his 881 Fifh Avenue residence, and it was on a
dining room of Mr. and Mrs. Sam Lewisohn. Wealthy foor of this mansion that the young Sam and Margaret
and progressive young members of New York society, Lewisohn established their home. They enlisted Claggett
the Lewisohns found in Wilson a creative partner who Wilson to convert a former governess’s room into a dining
conceived a highly original interior scheme. Discovered room that would draw inspiration from and complement
in the 1970s and held in private collections until now, their modern art collection. An article about the dining
this is the frst time the present suite of furniture has room by Wilson’s friend and colleague Augusta Owen
come to public market since 1939. Patterson appeared in the June 15, 1930 issue of Town
and Country and praised its thoughtful and modernist
Sam Lewisohn (1884-1951) was the son of Adolph approach which provided an elegant backdrop to the
Lewisohn (1849-1938), patriarch of the New York Lewisohn’s exceptional paintings and views of Central
branch of the Lewisohn family. Lewisohn senior Park. An article about Claggett Wilson, probably published
arrived in the United States in 1867 to join his brothers circa 1933 in the Boston Evening Transcript (a photocopy
in the New York branch of his family’s business, the survives in the archives of one of Wilson’s heirs), quotes
origins of which dated to 18th century Hamburg. Henri Matisse remarking on the room: “It is perhaps the
The various Lewisohn enterprises dealt primarily in most ideal background for my paintings I have yet seen.”
animal-based products and in New York expanded to
include metals. Within a few decades the brothers had Wilson was a modernist American artist best known for
become extraordinarily successful in copper mining, his work documenting World War I, for which he was
processing, and trading. Adolph Lewisohn established nominated for a Nobel Prize. His paintings are now in the
himself in American society through his advocacy and collections of the Smithsonian American Art Museum
philanthropy, his political afliations, and not least of and The Metropolitan Museum of Art. Like many artists
all, his art collecting. Sam Lewisohn followed in his in New York at this time, Wilson did not discriminate
father’s footsteps as a prominent businessman and among mediums, and in addition to painting and
philanthropist, and together with his wife Margaret illustrating, he also designed costumes and sets. The
Valentine Seligman (1895-1954), an accomplished Lewisohn dining room has been falsely described as
advocate for education and patron of the arts in her his only known residential commission, when in fact he
own right, also amassed a considerable art collection. also worked as an interior decorator, painting murals
Works from the Lewisohn family collections are and selecting interior furnishings for clients such as the
in the permanent collections of a number of New actors Alfred Lunt and Lynn Fontanne. The diversity of
York museums, including the Brooklyn Museum, his projects suggests he may have designed other pieces
The Museum of Modern Art, and The Metropolitan of furniture in addition to those for the Lewisohn dining
Museum of Art. room, now the only known extant examples.
Dining room of Mr. and Mrs.
Sam Lewisohn, New York,
as seen in Town & Country
magazine, June 15th, 1930.
Photograph by Sara Parsons.
Wilson’s theatre design background was apparent in Amidst this glamorous setting, the present dining room
the iridescent walls (silver leaf applied with “transparent suite of sideboard, dining table, and chairs took center
blue green lacquer”), the upper silvered geometric stage. Each displays a motif of interlocking cactus-
molding behind which uplights illuminated a yellow inspired ovals, evocative of the Opuntia (paddle) cacti
ceiling, and window niches containing large cactus situated in the window niches. The motif is expressed
plants framed by silver gauze curtains with appliques in an openwork design on the chair backs and table
in blue, pink and green. A Paul Cézanne still life with base and as satinwood marquetry on the sideboard.
fruit was literally and fguratively refected in a fruit- The metal drawer pulls of the sideboard, which were
flled, mirrored and lacquered glass surtout de table, also used as the door handles, are formed as overlaid
also designed by Wilson. The whereabouts of this ovals framed with the tiny points of cactus needles.
centerpiece as well as a set of chromium-plated and
enameled candlesticks also by Wilson remain unknown.
Detail of dining room table and

chairs from the home of Mr.
and Mrs. Sam Lewisohn, New
York, as seen in Town & Country
magazine, June 15th, 1930.
Georgia O’Keefe, Porcelain
Rooster, 1929, formerly
owned by Mr. and Mrs. Sam
Lewisohn. Artwork © 2019
Georgia O’Keefe Museum/
Artists Rights Society (ARS),
New York.
The stylized design of the cactus motif is reminiscent In 1939 the contents of 881 Fifh Avenue were ofered
of Wiener Wertstätte designs of earlier decades, of at auction by Parke-Bernet Galleries. The dining room
which Wilson would have been familiar. However was illustrated in a full-page photograph, and by this
the motif and color scheme also point in an entirely time it appears that the Cézanne had been replaced
diferent direction: the Southwest, a region that had by a painting by Moise Kisling. The curtains were sold
captured the imagination of American artists and their together with the furniture and the table’s centerpiece
patrons during this period. A 1929 painting by Georgia was ofered but went unsold. The original set of
O’Keefe, Porcelain Rooster, originally belonging to fourteen chairs, of which twelve are now on ofer here,
Alfred Stieglitz, and later owned by Sam Lewisohn— were described as having seats upholstered in “old
and notably completed the same year as the dining rose velours.” The furniture was acquired by William
room, which is also the year O’Keefe began spending Henry Vanderbilt III and was then passed down to his
part of her year in the Southwest—refects the blues, daughter. One of the two chairs now separated from
greens and silver accented by brown and pink of the the set was included in the exhibition The Jazz Age:
Lewisohn dining room. American Style in the 1920s, at the Cooper Hewitt,
Smithsonian Design Museum and the Cleveland
Museum of Art in 2017 and 2018.
Console table from the home of Mr. and
Mrs. Sam Lewisohn, New York, as seen in
Town & Country magazine, June 15th, 1930.
Property from a San Francisco Collection
151. Clagett Wilson 1887-1952
Sideboard
circa 1930
Birds-eye maple and satinwood-veneered
wood, nickel-plated bronze.
39 x 74 3/8 x 17 1/2 in. (99.1 x 188.9 x 44.5 cm)
Estimate
$18,000-24,000
Provenance
Samuel Adolph and Margaret Valentine Lewisohn,
New York, circa 1930
Parke-Bernet Galleries, Inc., New York, May 17, 1939,
lot 426 (partial)
William Henry Vanderbilt III
Thence by descent
Acquired from the above by the present owner, 1970s
Literature
Augusta Owen Patterson, “The Decorative Arts,”
Town & Country, June 15, 1930, illustrated p. 68
Set of twelve dining chairs Provenance

circa 1930 Samuel Adolph and Margaret Valentine Lewisohn,
Birds-eye maple and satinwood-veneered wood, New York, circa 1930
fabric upholstery. Parke-Bernet Galleries, Inc., New York, May 17, 1939,
Each armchair: 39 1/8 x 23 1/4 x 23 1/2 in. (99.4 x 59.1 x 59.7 cm) lot 426 (partial)
Each side chair: 38 7/8 x 19 3/8 x 20 1/8 in. (98.7 x 49.2 x 51.1 cm) William Henry Vanderbilt III
Thence by descent
Estimate Acquired from the above by the present owner, 1970s
$40,000-60,000
Literature
Augusta Owen Patterson, “The Decorative Arts,” Town
& Country, June 15, 1930, illustrated pp. 67, 69
Sarah D. Cofn and Stephen Harrison, The Jazz Age:
American Style in the 1920s, exh. cat., Cooper Hewitt,
Smithsonian Design Museum, New York and Cleveland
Museum of Art, Cleveland, 2017, p. 318
Extendable dining table Provenance

circa 1930 Samuel Adolph and Margaret Valentine Lewisohn,
Birds-eye maple and satinwood-veneered wood. New York, circa 1930
As shown: 29 5/8 x 44 x 100 in. (75.2 x 111.8 x 254 cm) Parke-Bernet Galleries, Inc., New York, May 17, 1939,
Together with three leaves. lot 426 (partial)
William Henry Vanderbilt III
Estimate Thence by descent
$18,000-24,000 Acquired from the above by the present owner, 1970s
Literature
Augusta Owen Patterson, “The Decorative Arts,”
Town & Country, June 15, 1930, illustrated pp. 67, 69
154. Jean Després 1889-1980
Pair of vases
circa 1970
Silver-plated brass.
Each: 18 3/4 x 7 1/2 x 7 1/2 in. (47.6 x 19.1 x 19.1 cm)
Underside of each incised J-Després.
Estimate
$12,000-18,000
Provenance
Private collection, Texas
Literature
Melissa Gabardi, Jean Després: Jeweler, Maker
and Designer of the Machine Age, London, 2009,
p. 136 for a similar example
Phillips would like to thank Philippe Rapin for

his assistance cataloguing the present lot.
155. Paul Lester Wiener 1895-1967
Rare armchair, designed for the apartment

of Dr. Fritz Wittels, New York
circa 1934
Walnut-veneered wood, fabric upholstery.
33 x 29 5/8 x 43 in. (83.8 x 75.2 x 109.2 cm)
Estimate
$7,000-9,000
Provenance
Paul Lester Wiener, living room of
Literature Dr. Fritz Wittels with the present
Gio Ponti, “Cronache Americane,” Domus, model armchair, New York, circa 1934.
no. 95, November 1935, p. 11 Photograph by Fay S. Lincoln. Used
with permission from the Fay S. Lincoln
photograph collection (1628), Eberly
Family Special Collections Library, Penn
State University Libraries.
In 1934, Paul Lester Wiener designed the present
model armchair for Dr. Fritz Wittels’ living room in
New York City. Dr. Wittels, an early proponent of
psychoanalysis and the frst biographer of Sigmund
Freud, commissioned Wiener to design a modern
apartment that would also serve as a reception and
treatment area for his patients. As such, Wiener’s
designs were made with their psychological value and
efect in mind. The apartment was primarily white
with blue and red accents, and much of the furniture
relied on geometric and architectonic forms. The
present model chair, which was originally lacquered
red, ft perfectly within this design scheme. In the
November 1935 issue of Domus, Gio Ponti praised
Wiener’s modern design and described him as a model
for the avant-garde in the United States. Later in his
career, Paul Lester Wiener achieved eminence for his
collaboration with Le Corbusier on urban planning
projects in South America and for redeveloping the
Washington Square Park area of New York City in 1958.
156. Eckart Muthesius 1904-1989
Pair of stools, designed for the Maharaja of Indore’s

Bar, Manik Bagh Palace, Indore
circa 1931
Nickel-plated steel, leather upholstery.
Each: 33 1/4 in. (84.5 cm) high,
Estimate
$30,000-40,000 Eckart Muthesius, bar room of the
Manik Bagh Palace, Indore, circa 1931.
Provenance Artwork © 2019 Artists Rights Society
(ARS), New York/VG Bild Kunst, Bonn.
Maharaja Yeshwant Rao Holkar II of Indore, circa 1931
Bina Kilachand, Mumbai
Literature
Reto Niggl, Eckart Muthesius 1930: The Maharaja’s
Palace in Indore, Architecture and Interior,
Eckart Muthesius was just twenty-fve years old Thonet’s production of certain models for Le Corbusier,
when he met Yeshwant Rao Holkar II at a garden Perriand, and Jeanneret numbered in the mere
party hosted by the Maharaja in Oxford, England and hundreds. Muthesius designed the present pair of
subsequently won the commission to design and bar stools for the palace’s cocktail bar, and while the
decorate his palace. Muthesius recalled years later that manufacturer he worked with in Berlin is no longer
“It was like a fairy tale. Three hours later I had the order known, only a handful of examples were created.
for the entire palace in my pocket.”
In 1989 the design went into production with Vereinigte
This fairy tale palace, known as Manik Bagh, or Garden Werkstätten (ClassiCon taking over the license in
of Precious Stones, would go on to become one of the 1990), which Muthesius personally oversaw, helping
most important expressions of pre-war modern design. to adapt the design to serial production on the kind
Muthesius designed everything from the furniture of scale Perriand had dreamed about all those years
and lighting to the banisters and faucets, while also prior. There are several key diferences between the
incorporating furnishings by contemporaries such present pair, created for the palace in 1931, and the
as Eileen Gray and Émile-Jacques Ruhlmann. Serial later production. First, the seat of the original version
production pieces in tubular metal also fgured into attaches with screws that go directly through the top
the decorative scheme, including seating by Marcel ring of the frame’s base, as opposed to through four
Breuer and the chaise longue designed by Le Corbusier, tabs attached to the base, as seen in the ClassiCon
Charlotte Perriand, and Pierre Jeanneret. version. The dimensions of the frame are also slightly
diferent. While the diameter of the tube is the same,
Though the use of tubular metal furniture had its the original version is taller and wider.
roots in progressive art and architecture—Perriand,
for example, had hoped to make modern furniture The present pair has been reupholstered but retains
more accessible to the public through the use of the remnants of the original red vinyl upholstery, as well
material—these very much remained luxury items, as the original webbing and horsehair padding.
workshop-made and produced in small quantities.
157. Gilbert Rohde 1884-1944
Rare armchair and ottoman

circa 1931
Fabric and vinyl upholstery, chromium-plated steel,
chromium-plated metal, walnut.
Armchair: 29 x 27 x 35 in. (73.7 x 68.6 x 88.9 cm)
Ottoman: 15 1/2 x 23 1/4 x 23 1/4 in. (39.4 x 59.1 x 59.1 cm)
Manufactured by Heywood-Wakefeld, Portland, Oregon.
Estimate
$15,000-20,000
Provenance
Phillips de Pury & Company, New York, “20-21st
Century Design Art,” May 24, 2005, lot 63
Literature
“A new contribution to the art of gracious
living,” Good Housekeeping, October 1931, p. 158
for an advertisement
158. Agnoldomenico Pica 1907-1990
Agnoldomenica Pica was the curator of Desk

the V Milan Triennale in 1933, for which he circa 1933
Walnut-veneered wood, chromium-plated
originally designed the present model desk.
metal, brass.
30 1/8 x 58 7/8 x 27 3/8 in. (76.5 x 149.5 x 69.5 cm)
Estimate
$10,000-15,000
Provenance
Literature
“La casa di un architetto umanista,” Domus,
no. 75, March 1934, illustrated pp. 32-33
159. Jean-Michel Frank 1895-1941
Pair of foor lamps

circa 1940
Painted iron, paper shade.
Each: 65 in. (165.1 cm) high
Produced by Comte, Buenos Aires, Argentina.
Together with a certifcate of authenticity from
the Comité Jean-Michel Frank.
Estimate
$20,000-30,000
Provenance
Marta Madero Unzué, Buenos Aires, circa 1940
Private collection, Mar del Plata, 2002
Literature
Pierre-Emmanuel Martin-Vivier, Jean-Michel
Frank: The Strange and Subtle Luxury of the
Parisian Haute-Monde in the Art Deco Period,
New York, 2006, p. 316
160. Hammond Kroll 1898-1980
Set of four side chairs Provenance

1930s Alice Astor, New York
Lacquered wood, chromium-plated metal, Alan Moss, New York
vinyl upholstery. Private collection, New York
Each: 35 x 20 1/2 x 22 in. (88.9 x 52.1 x 55.9 cm) Phillips de Pury & Company, New York,
“Design,” June 9, 2010, lot 49
Estimate Acquired from the above by the present owner
$12,000-18,000
Literature
Diane Dorrans Saeks, Orlando Diaz-Azcuy,
New York, 2009, illustrated pp. 33-34
161. Paolo Bufa 1903-1970
Pair of wall lights

circa 1930
Silver-plated bronze.
Each: 19 x 5 1/4 x 3 3/8 in. (48.3 x 13.3 x 8.6 cm)
Produced by Achille Donzelli, Milan, Italy.
Estimate
$3,000-5,000
Provenance
Literature
Carlo A. Felice, Arte Decorativa 1930
all’Esposizione di Monza, Milan, 1930, pl. 122
“Nella galleria dell’illuminazione moderna,”
Domus, no. 31, July 1930, p. 51
The present model was exhibited at the

“Gallery of Modern Lights” at the IV
Triennale di Monza, 1930.
162. Paolo Bufa 1903-1970
Daybed
1930s
Ash-veneered wood, ash, fabric upholstery.
30 1/2 x 82 5/8 x 39 1/4 in. (77.5 x 209.9 x 99.7 cm)
Possibly executed by Mosé Turri, Bovisio
Mombello, Italy. Together with a certifcate of
expertise from the Paolo Bufa Archive.
Estimate
$6,000-8,000
Provenance
163. Carlo Scarpa 1906-1978
Monumental chandelier
circa 1927
Blown glass, painted steel, aluminum.
86 in. (218.4 cm) drop, 50 1/2 in. (128.3 cm) diameter
Produced by M.V.M. Cappellin & Co., Murano, Italy.
Estimate
$30,000-40,000
Provenance
Phillips, London, “Design,” September 27, 2011, lot 107
Literature
Marino Barovier and Carlo Sonego, eds., The M.V.M.
Cappellin Glassworks and the Young Carlo Scarpa,
1925-1931, Milan, 2018, p. 464
164. Pietro Chiesa 1892-1948
Table lamp Provenance

circa 1940 Private collection, Monaco
Nickel-plated brass, glass, paper shade.
16 1/2 in. (41.9 cm) high Literature
Manufactured by Fontana Arte, Milan, Italy. “Il Prodotto Italiano Dev’Esser Indice di Alta
Qualità,” Domus, no. 147, March 1940, p. 52
Estimate Sergio Montefusco, Fontana Arte:
$3,000-5,000 repertorio 1933-1943 dalle immagini
dell’epoca, Genoa, 2012, p. 121
Σ 165. Paolo Bufa 1903-1970
Sideboard Provenance
1950s Private collection, Pavia
Brazilian rosewood-veneered wood, rosewood,
cherry wood-veneered wood, mirrored glass, brass. Literature
50 1/2 x 94 1/8 x 18 7/8 in. (128.3 x 239.1 x 47.9 cm) Roberto Aloi, Esempi di arredamento moderno
Together with a certifcate of expertise from the di tutto il mondo: Sale di soggiorno, camini,
Paolo Bufa Archive. Milan, 1954, fg. 196 for a similar example
Roberto Rizzi, I mobile di Paolo Bufa, exh.
Estimate cat., Mostra Internazionale dell’Arredamento,
$12,000-18,000 Cantù, 2002, pp. 33, 35, 37
166. Paolo Bufa 1903-1970
Floor lamp
circa 1940
Brass, painted wood, mirrored glass.
68 1/4 in. (173.4 cm) high
Possibly executed by Mario Quarti, Milan,
Italy. Together with a certifcate of expertise
from the Paolo Bufa Archive.
Estimate
$6,000-8,000
Provenance
Private collection, Varese
167. Seguso 168. Paolo Bufa 1903-1970
Ceiling light Desk

1940s circa 1939
Pulegoso glass, brass, painted metal. Walnut-veneered wood, walnut, brass.
38 1/2 in. (97.8 cm) drop, 11 1/2 in. (29.2 cm) diameter 29 5/8 x 74 1/2 x 35 1/4 in. (75.2 x 189.2 x 89.5 cm)
Produced by Seguso Vetri d’Arte, Murano, Italy. Possibly executed by Serafno Arrighi or Marelli &
Colico, Cantù, Italy. Together with a certifcate of
Estimate expertise from the Paolo Bufa Archive.
$6,000-8,000
Estimate
Provenance $10,000-15,000
Provenance
Private collection, Florence
Literature
Roberto Rizzi, I mobili di Paolo Bufa, exh. cat.,
Mostra Internazionale dell’Arredamento, Cantù,
169. Paolo Bufa 1903-1970 170. In the Manner of Paolo Bufa
1903-1970
Pair of armchairs
circa 1950
Rare sofa
Cherry wood, fabric upholstery.
circa 1950
Each: 32 1/2 x 26 x 30 3/8 in. (82.6 x 66 x 77.2 cm)
Cherry wood, fabric upholstery.
33 3/4 x 79 1/8 x 34 1/4 in. (85.7 x 201 x 87 cm)
Paolo Bufa Archive.
Estimate
Estimate
$7,000-9,000
$10,000-15,000
Provenance
Provenance
Literature
“Alcuni Mobili di Paolo Bufa,” Domus, no. 178,
October 1942, p. 431 for a similar example
Roberto Aloi, L’arredamento moderno, quarta serie,
Milan, 1949, fg. 366 for a similar example
Paolo Bufa rarely made three-seater sofas as
they did not ft within his strictly held ideas about
furniture proportions. The present model was likely
made by the same artisans who worked with Bufa
on his pair of armchairs, as it refects the same
level of crafsmanship, use of materials, and style
as the armchairs. These cabinetmakers had their
own showrooms where they displayed their pieces
as well as works by Bufa, and it is well known that
these designers ofen modifed pieces on view to
their customers’ wishes. The original owners of the
present lot likely commissioned this piece to be
produced in the same manner as the armchairs in
order to have a complete set.
171. Pietro Chiesa 1892-1948
Floor lamp
circa 1937
Glass, painted metal, painted brass.
67 1/8 in. (170.5 cm) high
Estimate
$6,000-8,000
Provenance
Private collection, Monaco
Literature
“Alcuni dei Vetri d’Arte Italiani Presentati a Parigi,”
Domus, no. 114, June 1937, p. 14
Laura Falconi, Fontana Arte: Una Storia
Trasparente, Milan, 1998, p. 206
Franco Deboni, Fontana Arte: Gio Ponti, Pietro
Sergio Montefusco, Fontana Arte: repertorio
1933-1943 dalle immagini dell’epoca, Genoa, 2012,
pp. 168, 229, 263
172. Fontana Arte
Mirror
1930s
Mirrored glass, glass, painted wood, brass.
43 1/4 x 27 1/21 x 1 1/2 in. (109.9 x 68.7 x 3.8 cm)
Manufactured by Fontana Arte, Milan, Italy. Reverse
with remnants of manufacturer’s paper label.
Estimate
$5,000-7,000
Provenance
173. Fontana Arte
Set of three ceiling lights
circa 1955
Acid-etched glass, brass.
Each: 13 1/2 in. (34.3 cm) drop, 23 in. (58.4 cm) diameter
Estimate
$12,000-18,000
Provenance
Literature
Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa,
Max Ingrand, Turin, 2012, fg. 29 for a similar example
Domus, no. 313, December 1955, n.p. for an advertisement
174. Venini
Folding mirror, model no. 21
circa 1939
Treccia glass, mirrored glass, brass.
14 7/8 x 43 1/2 x 14 1/2 in. (37.8 x 110.5 x 36.8 cm),
fully extended
Produced by Venini & C., Murano, Italy. Back
plate impressed VENINI/MURANO.
Estimate
$6,000-8,000
Provenance
Private collection, Buenos Aires
Literature
Franco Deboni, Venini Glass: Its History, Artists and
Techniques, Catalogue 1921-2007, Volume 1, Turin,
2007, The Blue Catalogue (appendix), pl. 44A
175. Gio Ponti 1891-1979
Pair of armchairs
circa 1938
Each: 30 x 32 x 29 in. (76.2 x 81.3 x 73.7 cm)
the Gio Ponti Archives.
Estimate
$10,000-15,000
Provenance
Private collection, Pavia
Literature
“Un Appartamento Risistemato a Milano,”
Domus, no. 131, November 1938, p. 15 for a
similar example
176. Seguso
Four wall lights
circa 1954
Glass, brass.
Largest: 47 1/4 x 28 7/8 x 10 1/4 in. (120 x 73.3 x 26 cm)
Produced by Seguso Vetri d’Arte, Murano, Italy.
Estimate
$10,000-15,000
Provenance
Hotel Bristol, Merano
Property of a Private Collector
177. Gilbert Poillerat 1902-1988
Console table
circa 1940
Gilt wrought iron, marble.
38 1/4 x 42 x 17 1/4 in. (97.2 x 106.7 x 43.8 cm)
Estimate
$12,000-18,000
Provenance
Barry Friedman Ltd., New York
Literature
Pierre Kjellberg, Le Mobilier du XXe Siècle,
Dictionnaire des Créateurs, Paris, 1994, p. 494
François Baudot, Gilbert Poillerat: Maître Ferronnier,
Paris, 1998, pp. 76, 118 for similar examples
178. Gio Ponti 1891-1979
Sofa
circa 1930
Walnut-veneered wood, walnut, brass,
fabric upholstery.
22 7/8 x 90 1/8 x 34 in. (58.1 x 228.9 x 86.4 cm)
the Gio Ponti Archives.
Estimate
$15,000-20,000
Provenance
179. Gio Ponti 1891-1979
Pair of stools and two ottomans

circa 1930
Walnut-veneered wood, walnut, brass,
fabric upholstery.
Each stool: 22 1/2 x 30 1/2 x 17 7/8 in.
(57.2 x 77.5 x 45.4 cm)
Larger ottoman: 14 3/8 x 17 3/4 x 17 3/4 in.
(36.5 x 45.1 x 45.1 cm)
Together with a certifcate of expertise
from the Gio Ponti Archives.
Estimate
$10,000-15,000
Provenance
180. Giovanni Gariboldi 1908-1971
Large vase
circa 1947
Glazed stoneware.
24 3/8 in. (61.9 cm) high
Manufactured by Richard Ginori, San Cristoforo,
Milan, Italy. Underside with manufacturer’s mark in
glaze and RICHARD GINORI/MADE IN ITALY/896.
Estimate
$5,000-7,000
Provenance
Private collection, New York
Literature
Valerio Terraroli, Ceramica italiana d’autore,
1900-1950, Milan, 2007, p. 194
Giacinta Cavagna di Gualdana, Gariboldi,
Mantua, 2010, p. 62
181. Giovanni Gariboldi 1908-1971
Bar cabinet
1950s
Ash-veneered wood, brass inlay, walnut-veneered
wood, glass, mirrored glass, frosted glass.
56 1/8 x 63 1/4 x 17 1/4 in. (142.6 x 160.7 x 43.8 cm)
Manufactured by Arrighi Serafno, Cantù, Italy. Interior
of cabinet with manufacturer’s brass label marked
CAV. ARRIGHI SERAFINO/MOBILI D’ARTE/CANTU.
Estimate
$10,000-15,000
Provenance
Literature
Roberto Aloi, Esempi di arredamento moderno di
tutto il mondo: Sale di soggiorno, camini, Milan, 1954,
fg. 194 for a similar example
Paolo Bufa designer 30 opere dal 1939 al 1968, Cantù,
Roberto Rizzi, I mobili di Paolo Bufa, exh. cat.,
Mostra Internazionale dell’Arredamento, Cantù, 2002,
pp. 45-46 for a similar example
Sale Information
Design Sale Auction License Design Department

2013224
Auction and Viewing Location Head of Design, Europe
450 Park Avenue New York 10022 Auctioneers Senior International Specialist
Hugues Joffre - 2028495 Domenico Raimondo draimondo@phillips.com
Auctions Sarah Krueger - 1460468
17 December, 2pm Henry Highley - 2008889 Senior International Specialist, Americas
Adam Clay - 2039323 Meaghan Roddy mroddy@phillips.com
Viewing Jonathan Crockett - 2056239
13 – 16 December Samuel Mansour - 2059023 Head of Department, New York
Sunday 12pm – 6pm Rebecca Tooby-Desmond - 2058901 Cordelia Lembo clembo@phillips.com
Monday – Thursday 10am – 6pm Susan Abeles - 2074459
Aurel Bacs – 2047217 Interim Head of Sale, London
Sale Designation Blake Koh – 2066237 Antonia King antonia.king@phillips.com
When sending in written bids or Susanna Brockman – 2058779
making enquiries please refer to Rebekah Bowling - 2078967 Head of Sale, London
this sale as NY050219 or Design. Madalena Horta e Costa mhortaecosta@phillips.com
Catalogues
Absentee and Telephone Bids catalogues@phillips.com Senior Specialist
tel +1 212 940 1228 New York +1 212 940 1240 Sofa Sayn-Wittgenstein ssayn-wittgenstein@phillips.com
fax +1 212 924 1749 London +44 20 7318 4024
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$35/€25/£22 at the gallery Kimberly Sørensen ksorensen@phillips.com
Client Accounting Senior Cataloguer

Sylvia Leitao +1 212 940 1231 Nicola Krohman nkrohman@phillips.com
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Buyer Accounts Cataloguers
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Administrator
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450 Park Avenue +1 212 940 1200
International Business Manager
Shipping Adam Clay aclay@phillips.com
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Photographers Property Manager

Kent Pell Jack Ryan jryan2@phillips.com
Matthew Kroening
Jean Bourbon International Ceramics Consultant
Alex Braun Ben Williams bwilliams@phillips.com
Front cover Jean Royère, “Ours Polaire” sofa, 1950s, lot 10 © 2019 Estate
of Jean Royère/Artists Rights Society (ARS), New York/ADAGP, Paris
Spread following index Jean Royère, Rare “Œuf” chest of drawers,
circa 1956, lot 4 (detail) © 2019 Estate of Jean Royère/Artists Rights
Society (ARS), New York/ADAGP, Paris
Back cover Paul Jeanneney, Gourd-form vase, circa 1900, lot 121 (detail)
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NEW YORK AUCTION
MARCH 2020
Enquiries
Sam Mansour
smansour@phillips.com
Visit us at phillips.com
Katharina Grosse
Untitled (detail)
acrylic on paper
39 5/8 x 26 in. (100.6 x 66 cm.)
Executed in 2012.
© 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
450 Park Avenue New York 10022
phillips.com +1 212 940 1200
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Design
Auction 26 March 2020
London
Public viewing 21 - 26 March at

30 Berkeley Square or at phillips.com
Enquiries
antonia.king@phillips.com
Lucie Rie
Swan-necked vase, circa 1960
Index
Albini, F. 44 Ingrand, M. 27, 28, 30, 56 Ratti, C. 43

Arad, R. 69 Rohde, G. 157
Argy-Rousseau, G. 145–148 Jeanneney, P. 121–124 Royère, J. 1, 4–10
Jeanneret, P. 18, 20 Ruelland, D. 22
Baldwin, G. 84, 85 Jouve, G. 13, 14 Ruelland, J. 22
Bayer, H. 100 Juhl, F 111–113, 155
Bega, M. 39 Saglier, V. 128
Bigot, A. 136 Klint, K. 116 Sarfatti, G. 29
Bufa, P. 23, 161, 162, 165, Kroll, H. 160 Scarpa, C. 163
166, 168–170 Schwarcz, J. 80
Burgun Schverer & Cie. 149, 150 Lachenal, E. 134 Seguso 167, 176
Lalanne, C. 2 Sottsass, Jr., E. 61
Caldas, J.Z. 94 Lamb, M. 68 Stilnovo 25, 40, 41, 45,
Calder, A. 73, 74 Lauritzen, V. 109 46, 49, 50
Castle, W. 79 Lelii, A. 32, 51 Suzuki, H. 71, 72
Chapo, P. 17
Chiesa, P. 164, 171 Mayodon, J. 144 Tabuchi, T. 77, 78
Colfesh, D. 95 Mendini, A. 60 Tenreiro, J. 86, 87
Méténier, G. 126 Tifany Studios 139–142
Dalpayrat, P.-A. 125, 129 Méthey, A. 143 Tynell, P. 119
de Poli, P. 33, 36, 37 Monesi, E. 54
de Rougemont, G. 11 Morley-Price, U. 114 Venini 174
de Waal, E. 75, 76 Mouille, S. 16, 19, 21 Venini, P. 24
Delaherche, A 127, 135, 137 Muthesius, E. 156 Verhoeven, J. 66
Després, J. 154 Myrbor 3 Voisin-Delacroix, A. 129
Doat, T. 130–133
Dominioni, L.C. 59 Nakashima, G 91 Ward, J. 88–90
nendo 67 Weathervanes 101–108
Eames, C. 97, 99 Noguchi, I. 92, 98 Wegner, H.J. 110
Eames, R. 97, 99 Wiener, P.L. 155
Ohira, Y. 62–64 Wilson, C. 151–153
Fontana Arte 31, 38, 172, 173 Ostuni, A. 55 Wright, F.L. 93
Forti, R. 55
Frank, J.-M. 159 Parisi, I. 57 Yamada, T. 70
Partridge, J. 81
Gardella, I. 48 Paulin, P. 12 Zuccheri, T. 34
Gariboldi, G. 180, 181 Pearson, C. 82
Gensoli, M. 138 Pecorini, G. 35
Gregori, G. 60 Perriand, C. 15
Gregotti, V. 53 Pica, A. 158
Poillerat, G. 177
Hanssen Pigott, G. 118 Ponti, Gio 26, 36, 37, 42, 47,
Hild, E 65 52, 96, 175, 178, 179
Hjorth, A.E. 117, 120 Ponti, Giulio 58
Homoky, N. 83
Editions
Evening & Day Sales
London, 23 January 2020
2019 has been a record-breaking year for

Phillips Editions, realising over $25 million
by presenting the defning examples of
Modern and Contemporary prints and
multiples. We look forward to continuing
this momentum and welcoming new
collectors with our frst sales of 2020
Public viewing 16–23 January at

30 Berkeley Square or at phillips.com
Enquiries
editionslondon@phillips.com
Keith Haring
Dog, 1986
Keith Haring artwork © Keith Haring Foundation
4. Jean Royère
100. Herbert Bayer
60. Alessandro Mendini and Giorgio Gregori
phillips.com

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Design

New York, 17 December 2019

Auction & Design Department

Absentee and Administrator

Cheyenne Westphal Jamie Niven Arnold Lehman

Deputy Chairmen & Chairwomen.

Trusts, Estates & Valuations.

Cecilia Lafan Maura Smith Silvia Coxe Waltner Sophia Kinell

Maura Marvao Kalista Fenina Kirsten MacDonald Lori Spector

Meiling Lee Christine Fernando Sandy Ma Vivi Yip

Pair of “Mirabeau” stools

“Collier l’Amour en cage”

4. Jean Royère 1902-1981

Rare “Œuf” chest of drawers

Taking the Œuf chair as a point of departure, Jean

Pair of side tables

Side chair Desk

Literature In the same article Chavance praised Royère for

The present lot retains the original thick red upholstery,

11. Guy de Rougemont b. 1935 Provenance

12. Pierre Paulin b. 1927 Provenance

14. Georges Jouve 1910-1964

15. Charlotte Perriand 1903-1999

Daybed, designed for a “chambre d’étudiant,” Maison

16. Serge Mouille 1922-1988

Two-arm angled wall light with one “Lampadaire”

17. Pierre Chapo 1927-1986

Table, model no. T21, and pair of benches,

18. Pierre Jeanneret 1896-1967

Pair of chairs Provenance

“Agrafée” desk lamp

20. Pierre Jeanneret 1896-1967

Pair of “Advocate and Press” armchairs, model no. LC/ Provenance

21. Serge Mouille 1922-1988

Pair of “Cachan” wall lights

Serge Mouille designed the present model

22. Jacques Ruelland and

Rare table lamp

Ceiling light, model no. 2258

Pair of table lamps, model no. 2228 Literature

Rare ceiling light, model no. 2041

Pair of ceiling lights, model no. 12697

The present lot has been registered in the

Set of fourteen door handles

Pair of “Tacchino” fgures, model no. 412.0

The present model was included in the

“Maschera” statuette Provenance

Pair of “Gatto” statuettes, model no. 1012 Literature

43. Carlo Ratti 1890-1960

Early “Fiorenza” armchair

Wall-mounted magazine rack

Pair of adjustable games tables

Adjustable foor lamp

The present lot has been registered in the

Desk and side table

Ceiling light, model no. 12859

Adjustable foor lamp, model no. 399

Low table, model no. 2012 Literature