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Transcript of Design Masters
DE SIGN MASTERS 13 DECEMBER 2 011 NEW YORK
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VARIOUS PROPERTIES
4 TOMASO BUZZI 1900–1981
“Laguna” vase, model no. 3298, ca. 1931–1935
Estimate $20,000–30,000
90 YEARS VENINI 1921–2011
Phillips de Pury & Company wish to thank Franco Deboni for granting
access to his extensive archive and for his kind assistance in the
cataloguing of these lots.
For ninety years, Venini has been passionate about glass. This love
is reflected in the brand through its purest characteristics: research,
innovation, and quality. Over nearly a century, Venini has revealed itself as a
true leader and in the process has rekindled the art of Venetian glassmaking.
Among innumerable colors and the constant evolution of technique, Venini’s
craftsmen have established a heritage of creativity. The company’s design
approach celebrates the past while looking forward into the future and
towards new objectives. This is the vision of Venini.
Dott. Giancarlo Chimento
Chairman, Venini SpA
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PROPERTY FROM THE VENINI ARCHIVES
49 TADAO ANDO b. 1941
Set of three vases, 2011
Estimate $40,000–50,000
PROPERTY FROM
A NORTHERN ITALIAN COLLECTION
32 FULVIO BIANCONI 1915–1996
Rare a macchie vase, model no. 4324, ca. 1955
Estimate $50,000–70,000
PROPERTY FROM THE VENINI ARCHIVES
37 MIROSLAV HRSTKA 1933–1983
“Miros 2” vase, ca. 1968
Estimate $10,000–15,000
PROPERTY FROM
A NORTHERN ITALIAN COLLECTION
41 CARLO SCARPA 1906–1978
“Pennellate” vase, model no. 3911, ca. 1942
Estimate $50,000–70,000
PROPERTY FROM THE VENINI ARCHIVES
22 FERNANDO and HUMBERTO CAMPANA
b. 1961, b. 1953
Unique “Esmeralda” ceiling light, 2010
Estimate $30,000–40,000
PROPERTY FROM THE VENINI ARCHIVES
25 ALESSANDRO MENDINI b. 1931
“Colonna di Venini,” 2011
Estimate $20,000–30,000
VARIOUS PROPERTIES
47 CARLO SCARPA 1906–1978
“Applied bands” plate, model no. 4476, ca. 1940
Estimate $15,000–20,000
PROPERTY FROM THE VENINI ARCHIVES
51 VITTORIO ZECCHIN 1878–1947
Large “soffiato” vase, ca. 1921–1926
Estimate $8,000–12,000
PROPERTY FROM THE VENINI ARCHIVES
59 CARLO SCARPA 1906–1978
“A bollicine” vase, model no. 11020, ca. 1931–1934
Estimate $22,000–28,000
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LOTS 1–75
Viewing
December 7 – 13, 2011
Monday – Saturday, 10am – 6pm
Sunday, 12pm – 6pm
DE SIGN MAS TERS
13 DECEMBER 2 011 4PM
4 5 0 PARK AVENUE NEW YORK
Front and back cover Emile-Jacques Ruhlmann, Pair of ‘Gonse’ armchairs, model no. 278 NR, ca. 1930–1932, lot 53, detail
Inside front cover Tadao Ando, Set of three vases, 2011, lot 49, detail
Previous pages Gio Ponti, Monumental chandelier, for the Hotel Parco dei Principi, Rome, ca. 1964, lot 36, detail;
Scott Burton, Pair of chairs, ca. 1988, lot 46, detail
Opposite Jean Royère, Unique dining table, ca. 1953, lot 30 (detail)
Inside back cover George Nakashima, Custom “Sanso” table, 1987, lot 5, detail; Jean Dunand, Side table, ca. 1925, lot 60,
detail; Pierre Chareau, Important desk, model no. MB 405, ca. 1927, lot 66, detail; Peter Collingwood, Important unique wall
hanging, for Sir Gordon Russell, 1959, lot 31, detail
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1 DAGOBERT PECHE 1887–1923
Rare table lamp, model no. M 3566-M la 15, ca. 1921
Hammered brass, fabric. Executed by the Wiener Werkstätte, Austria.
Base impressed with “WIENER/WERK/STÄTTE” and artist’s mark.
24 in. (61 cm.) high, 13 1/4 in. (33.7 cm.) including shade
Estimate$15,000–20,000
PROVENANCE Private collection, Cambridge, Massachusetts
LITERATURE Max Eisler, Dagobert Peche, Vienna, 1925, p. 22; Peter Noever, ed.,
Dagobert Peche and the Wiener Werkstätte, New York, 2002, pp. 96 and 229
for similar examples
MA
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AK
Dagobert Peche’s preparatory drawing for the present model (MAK K.I. 12115/3)
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2 GIO PONTI1891–1979
Large covered vase, ca. 1928
Gilt glazed porcelain. Manufactured by Richard-Ginori, Italy. Underside of
lid with paper label in ink “dec628e,” underside of vase painted “RICHARD/
GINORI/29 = 7” and with decal with “RICHARD-GINORI/PITTORIA/DI
DOCCIA.”
25 in. (63.5 cm.) high, 4 1/2 in. (36.8 cm.) diameter
Estimate$70,000–90,000
PROVENANCE Private collection, France
LITERATURE Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 26; Ugo La Pietra,
ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 26, fig. 54; Germano
Celant, ed., Espressioni di Gio Ponti, exh. cat., Triennale, Milan, 2011, p. 20, fig. 10
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3 JOSEF HOFFMANN1870–1956
“Gitterwerk” basket, model no. S 509, ca. 1905
Sterling silver, ivory. From the production of 29. Handle impressed
with Diana hallmark, “WW,” rose mark, and “JH.”
6 × 8 3/8 × 6 3/8 in. (15.2 × 21.3 × 16.2 cm.)
Estimate$40,000–60,000 ∑
PROVENANCE Estate of Mildred Burrage, Wiscasset, Maine
LITERATURE Maria F. Rich, Vienna 1900–1930: Art in the Home, exh. cat.,
Historical Design Inc., New York, 1996, p. 33; Renée Price, ed., New Worlds:
German and Austrian Art 1890–1940, exh. cat., Neue Galerie, New York, 2001,
p. 432, cat. no. III.25; Michael Huey, ed., Viennese Silver: Modern Design
1780–1918, Ostfildern-Ruit, 2003, p. 323, fig. 176
Josef Hoffmann’s preparatory drawing for the present lot is
registered at the MAK, Vienna, as “K.I. 12033/42, model no.
S 509 FS.”
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VARIOUS PROPERTIES
4 TOMASO BUZZI1900–1981
“Laguna” vase, model no. 3298, ca. 1931–1935
Pink glass cased in lattimo glass with applied gold leaf. Produced by Venini,
Italy. Underside with partially detached manufacturer’s paper label with
“VENINI S.A.”
10 in. (25.4 cm.) high
Estimate$20,000–30,000
PROVENANCEPrivate collection, Italy
LITERATURE “LATTIMI 1931–1935,” Venini: Catologo Blu, Murano, pl. 29, model
no. 3298; Marc Heiremans, Art Glass From Murano, Stuttgart, 1993, p. 241, fig. 194 for
a similar example; Alessandro Bettagno, Gli Artisti Di Venini: Per Una Storia Del Vetro
D’Arte Veneziano, Milan, 1996, p. 81, fig. 55 for a similar example; Anna Venini Diaz de
Santillana, Venini Catalogue Raisonné 1921–1986, Milan, 2000, p. 238, pl. 29, model no.
3298; Marino Barovier, Venetian Art Glass: 1840–1970: An American Collection, Stuttgart,
2004, p. 232, fig. 160 for a similar example of laguna glass; ; Franco Deboni, Venini
Glass, Its history, artists and techniques, Volume 1, Milan, 2007, pl. 29, model no. 3298
90 YEARS VENINI 1921–2011
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5 GEORGE NAKASHIMA1905–1990
Custom “Sanso” table and set of ten “Conoid” lounge chairs, 1987
Table: single-board claro walnut, American black walnut, seven East Indian
rosewood butterfly keys; chairs: single-board American black walnut, hickory.
Underside of table signed in black marker with “George Nakashima/Nov 12 1987,”
and “Schwab.” Underside of each chair signed in black marker with “George
Nakashima/Nov 12 1987.” Together with the original drawing of the table and
correspondence between George Nakashima and the original owner (11).
Table: 25 1/4 × 101 × 63 3/4 in. (64.1 × 256.5 × 161.9 cm.); each chair: 33 1/4 in.
(84.5 cm.) high
Estimate$300,000–400,000
PROVENANCE Mr. and Mrs. Walter Schwab, Providence, Rhode Island
LITERATURE George Nakashima, The Soul of a Tree, A Woodworker’s Reflections,
Tokyo, 1981, p. 188 for a drawing of a “Minguren II” base; Derek E. Ostergard, George
Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 163 for the
chairs; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima,
New York, 2003, p. 210 for an example of a claro walnut board, and p. 239 for the 1986
“Peace Altar” in claro walnut and of a similar form
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George Nakashima’s “Sanso” tables, similar in design to his monumental
“Altar of Peace” of 1986, typically consist of two matched walnut boards
held together by rosewood butterfly keys. When Mr. and Mrs. Schwab
requested the present table, Nakashima found in his studio two boards for
the project, but he also found a more impressive single board made of claro
walnut. Highly figured with striking grain patterns, claro walnut exemplifies
the richness of materials and impeccable craftsmanship characteristic of
Nakashima’s output in the 1980s. Nakashima wrote to the Schwabs: “I don’t
know whether you are familiar with Claro Walnut or not, but I consider this
wood some of the finest that we have. It runs quite colorfully, from a grey to
dark greys, to dark browns, in variegated shades. This particular piece has a
very fine crotch grain running the whole length of the board.”
Given these factors—a single-board top, the use of claro walnut—the price of
this project would increase considerably. The date for the Schwabs to meet
Nakashima and to view the board was set for August 8, 1987. The studio was
closed at the time for vacation, which Nakashima cut short: “As I am rather
excited about these selections, I can make a special appointment.”
To complement this custom “Sanso” order, the Schwabs requested a set
of ten “Conoid” lounge chairs. The “Conoid”, designed in 1960, is widely
regarded as one of Nakashima’s most successful works due to the chair’s
architectonic shape and its departure from the designer’s typical “Windsor”
adaptations. Twenty years later, Nakashima redesigned the “Conoid” to a
lower height for more comfort. This became known as the “Conoid” lounge
chair, which was only produced for ten years and was crafted in far fewer
quantities. In addition, the chairs in the present lot were designed with single-
board seats, much rarer than this design’s usual construction of multiple
laminated boards.
The present lot represents one of the finest examples of Nakashima’s output
toward the end of his career. In contrast to his earliest works, beautiful simple
designs crafted from locally sourced woods, the present set demonstrates his
growth as a designer and craftsman whose craft had been honed over four
decades in celebration of what he referred to as “the soul of a tree.”
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PROPERTYOFATEXASCOLLECTOR
6 FRITS HENNINGSEN1889–1969
Wingback armchair, ca. 1935
Leather, beech. Produced by Master Cabinetmaker Frits Henningsen.
Two legs numbered in black marker with “212” and one incised with “7567.”
44 1/2 in. (113 cm.) high
Estimate$40,000–60,000
PROVENANCE Christie’s South Kensington, Scandinavian Design, September 15, 1999, lot 19
LITERATURE Bodil Busk Laurse and Christian Holmsed Olesen, eds., Mesterværker: 100 års
dansk mobelsnedkeri, Copenhagen, 2003, p. 39; Diane Dorrans Saeks, Orlando Diaz-Azcuy, New
York, 2009, front cover and p. 19
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7 ISAMU NOGUCHI and ROBERTO MATTA 1904–1988, 1911–2002
Unique handpainted “Akari” hanging light, 1960s
Ink on Japanese mulberry bark paper, copper. Light produced by Ozeki Company, Gifu,
Japan. Top stamped with Noguchi’s ideograph and signed by Matta with his monogram.
61 in. (155 cm.) long
Estimate $8,000–12,000
PROVENANCE Clara Scremini Gallery, Paris
EXHIBITED “Lumières, je pense à vous,” Centre de Création Industrielle (CCI), Centre Pompidou
Musée national d’art moderne, Paris, June 3–August 5, 1985
LITERATURE Lumières, je pense à vous, exh. cat., Centre Pompidou Musée national d’art
moderne, Paris, 1985, illustrated p. 128, fig. 51
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PROPERTYOFAEUROPEANCOLLECTOR
8 DIEGO GIACOMETTI1902–1985
“Berceau” table, first version,ca.1965
Patinatedbronze,glass.TogetherwithaletterofauthenticityfromJamesLord
andacopyoftheoriginalinvoicefromPierreMatisseGallery,NewYork.
151/2×17×453/4in.(39.4×43.2×116.2cm.)
Estimate$80,000–120,000
PROVENANCE PierreMatisseGallery,NewYork,1970;Sr.MoisesStoliar,Buenos
Aires;acquireddirectlyfromtheabovein1988
LITERATURE MichelButor,Diego Giacometti,Paris,1985,p. 143;Daniel
Marchesseau,Diego Giacometti,Paris,1986,pp. 66–67;FrançoisBaudot,Diego
Giacometti,Paris,1998,pp. 58–59forsimilarexamples
DiegoGiacomettidesignedthepresentmodel“table-berceau,
premièreversion”(ca.1965)forfilmmakerRaoulLévy,whoacted
inandproducednotablefilmsbyRogerVadimandJean-Luc
Godard.Giacomettiproducedalaterzoomorphic“secondeversion”
(ca. 1970)notedforitsvarianttablesupportsterminatinginthe
headsofcats,dogs,andfoxes.
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PROPERTYOFAEUROPEANCOLLECTOR
9 DIEGO GIACOMETTI1902–1985
“Berceau” table, first version,ca.1965
Patinatedbronze,glass.TogetherwithaletterofauthenticityfromJamesLord
andacopyoftheoriginalinvoicefromPierreMatisseGallery,NewYork.
151/2×17×453/4in.(39.4×43.2×116.2cm.)
Estimate$80,000–120,000
PROVENANCE PierreMatisseGallery,NewYork,1970;Sr.MoisesStoliar,Buenos
Aires;acquireddirectlyfromtheabovein1988
LITERATURE MichelButor,Diego Giacometti,Paris,1985,p. 143;Daniel
Marchesseau,Diego Giacometti,Paris,1986,pp. 66–67;FrançoisBaudot,Diego
Giacometti,Paris,1998,pp. 58–59forsimilarexamples
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PROPERTYOFAGENTLEMAN
10 EYRE DE LANUX1894–1996
Side table,ca.1935
Strawmarquetry.
151/4×271/2×181/4in.(38.7×69.9×46.4cm.)
Estimate$30,000–50,000
PROVENANCE CollectionofEyredeLanux;Christie’s,Important 20th-Century Decorative Art,
including Arts & Crafts and Architectural Designs,NewYork,December13and14,1996,lot237
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11 JEAN DUNAND1877–1942
Tall “dinanderie” vase,ca.1925
Lacqueredbrass,lacqueredoxidizedcopper.Undersideimpressedwith“4710.”
TogetherwithaletterofauthenticityfromDorothéeDunand.
11in.(27.9cm.)high,7in.(17.8cm.)diameter
Estimate$40,000–50,000
PROVENANCE GalerieGeorgesPetit,Paris,1927;EdgarBrandt,Paris,1928
EXHIBITED GalerieGeorgesPetit,Paris,1927
LITERATURE FelixMarcilhac,Jean Dunand: His Life and Works,NewYork,1991,p. 312,
fig. 1060forasimilarmotif
Intheaccompanyingletterofauthenticity,DorothéeDunandstatesthatthepresentlotwas
purchasedbyEdgarBrandtin1928fromGalerieGeorgesPetit,aprominentParisgallery
whichlaterheldexhibitionsofHenriMatisseandPabloPicasso.
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12 STUDIO JOB
JOB SMEETS and NYNKE TYNAGEL b.1970,b.1977
“Perished” table,2006
Macassarebony,bird’seyemapleinlay.Fromtheeditionofsix.Oneleginlaidwith“Job.”
301/8×881/2×353/8in.(76.5×224.8×89.9cm.)
Estimate$50,000–60,000
LITERATURE WillyvandenBussche,etal.,Studio Job: The Book of Job,NewYork,2010,pp. 104
and106–107foradrawing;AdamLindemann,Collecting Design,Colgne,2010,p.135forthe
“Perished”bench
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13 HANS COPER1920–1981
Rare white “Cycladic” arrow form,ca.1974
Stoneware,layeredwhiteporcelainslipsandengobesoverabodywithtextured
andincisedlineardesigns,thebasewithablackglazeoveratexturedbody.
Impressedwithartist’sseal.
123/4in.(32.4cm.)high
Estimate$40,000–60,000
PROVENANCE Bonhams,Contemporary Ceramics,London,October16,1995,lot111
LITERATURE TonyBirks,Hans Coper,Somerset,2005,p. 195;CyrilFrankel,Hans
Coper,Modern Pots: Lucie Rie & their Contemporaries: The Lisa Sainsbury Collection,
London,2000,p. 56,fig. 40forasimilarexample
14 HANS COPER1920–1981
Rare black “Cycladic” form,ca.1975
Stoneware,blackglazeoverabodywithincisedspiralsandturningmarks.
Impressedwithartist’sseal.
141/2in.(36.8cm.)high
Estimate$40,000–60,000
PROVENANCE LucieRie,AlbionMewsStudio,London,1992;thecollectionof
MichaelandLucyFoster,Portland,Oregon;PhillipsAuctioneers,Lucie Rie/Hans
Coper: Masterworks,June20,2000,lot66
LITERATURE CyrilFrankel,Hans Coper, Modern Pots: Lucie Rie & their Contemporaries:
The Lisa Sainsbury Collection,London,2000,p. 59,figs.47,48and49forthreevariants
ofthisform
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PROPERTYOFAEUROPEANCOLLECTOR
15 DIEGO GIACOMETTI1902–1985
“Lustre aux Acrobates” ceiling fixture,ca.1978
Patinatedbronze.Reverseincisedwith“Diego.”Togetherwithaletterof
authenticityfromJamesLord.
445/8in.(113.3cm.)drop,221/4in.(56.5cm.)diameter
Estimate$80,000–120,000
PROVENANCE PierreMatisseGallery,NewYork;Sr.MoisesStoliar,BuenosAires
LITERATURE MichelButor,Diego Giacometti,Paris,1985,pp. 136–137forasimilar
example;DanielMarchesseau,Diego Giacometti,Paris,1986,p. 117foranearlybronze
sculptureofthecoupleandp. 169forasimilarexample
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16 VIVIANNA TORUN BÜLOW-HÜBBE 1927–1904
Rare table clock, model no. 1188,1970s
Silver,moonstone,silver-platedbrass,teak.ProducedbyGeorgJensen,Denmark.
Reversemarkedwith“DESIGNTORUN,”“GEORGJENSEN,”and“1188.”Interiorofrim
markedwith“2,”and“BRASS.”
4in.(10.2cm.)high,51/2in.(14cm.)diameter
Estimate$10,000–12,000
PROVENANCEGeorgJensenMuseum,Copenhagen
Thepresentlotisoneofthreeextantexamples,oneofwhichisintheestate
ofViviannaTorunBülow-Hübbeandanotherinaprivatecollection.
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17 JAMES TOWER1919–1988
“Waving reeds” vessel, no. 40,1979
Earthenware,layeredblackandwhiteglazes,thedesignetchedthroughthe
unfiredglaze.Undersideincisedwith“JamesTower/79.”
121/2×23×9in.(31.8×58.4×22.9cm.)
Estimate$12,000–18,000
PROVENANCE ArtLatitude,NewYork;Bonhams,Contemporary Ceramics,London,
March21,1991
EXHIBITED “JamesTower,”ArtLatitude,NewYork,January8–February2,1980
Thepresentlotwillbeincludedintheforthcomingcatalogue
raisonnébyTimothyWilcox,The Ceramic Art of James Tower,Lund
Humphries,April2012.
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18 SAM MALOOF1916–2009
Rocking chair,1983
Walnut,ebony.Undersideincisedwith“No.171983/SamMalooffACC.”
44in.(111.8cm.)high
Estimate$30,000–40,000
PROVENANCE Privatecollection,LosAngeles
LITERATURE SamMaloof,Sam Maloof: Woodworker,Tokyo,1983,pp.47,61and118–127;
JeremyAdamson,The Furniture of Sam Maloof,exh.cat.,TheSmithsonianAmericanArt
Museum,WashingtonD.C.,2001,insetandpp. 176,179,190,192–193;ToddMerrilland
JulieV.Iovine,Modern Americana: Studio Furniture from High Craft to High Glam,NewYork,
2008,p. 74;JeannineFalino,ed.,Crafting Modernism: Midcentury American Art and Design,
exh.cat.,MuseumofArtsandDesign,NewYork,2011,p. 240
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PROPERTYFROMANEWYORKCOLLECTION
19 CHARLOTTE PERRIAND1903–1999
Monumental “Bibliothèque murale,”ca.1954
Aluminum,oak.ManufacturedbyLesAteliersJeanProuvé,Franceand
editionedbyGalerieStephSimon,France.
551/4×126×131/4in.(140.3×320×33.6cm.)
Estimate$200,000–300,000
PROVENANCE GaleriesJousseSeguin,Paris;Privatecollection,NewYork;Phillips
dePury&Company,Design,London,October15,2009,lot32
LITERATURE GaleriesJousseSeguinandEnricoNavarra,Jean Prouvé,Paris,1998,
p. 120foraGalerieStephSimonadvertisementandillustratedp. 121
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20 GIO PONTI1891–1979
Unique and monumental pair of wall lights, from the entrance hall of the
Dalmine S.p.A. headquarters, Via Brera, Milan, ca. 1948
Glass, brushed sheet steel, painted steel. Manufactured by Fontana Arte,
Italy. From the set of four. Together with a certificate of authenticity from
the Gio Ponti Archives (2).
Each: 61 1/2 × 17 3/4 × 23 5/8 in. (156.2 × 45.1 × 60 cm.)
Estimate$28,000–34,000
PROVENANCE Dalmine S.p.A. headquarters, Via Brera, Milan
LITERATURE “Lastre di vetro e cristallo,” Vitrum, no. 34, August 1952, pp. 10–12;
Roberto Aloi, “Illuminazione D’oggi,” Esempi, Milan, 1956, p. 237
The present lights are the only surviving examples from the set
of four produced for the Milan headquarters of Dalmine S.p.A.,
a manufacturer of steel products.
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20 GIO PONTI1891–1979
Unique and monumental pair of wall lights, from the entrance hall of the
Dalmine S.p.A. headquarters, Via Brera, Milan, ca. 1948
Glass, brushed sheet steel, painted steel. Manufactured by Fontana Arte,
Italy. From the set of four. Together with a certificate of authenticity from
the Gio Ponti Archives (2).
Each: 61 1/2 × 17 3/4 × 23 5/8 in. (156.2 × 45.1 × 60 cm.)
Estimate$28,000–34,000
PROVENANCE Dalmine S.p.A. headquarters, Via Brera, Milan
LITERATURE “Lastre di vetro e cristallo,” Vitrum, no. 34, August 1952, pp. 10–12;
Roberto Aloi, “Illuminazione D’oggi,” Esempi, Milan, 1956, p. 237
The present lights are the only surviving examples from the set
of four produced for the Milan headquarters of Dalmine S.p.A.,
a manufacturer of steel products.
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21 JEAN PROUVÉ1901–1984
Panel with porthole windows, from the Bouqueval School,ca.1949
Aluminum,paintedaluminum,oak,glass.ManufacturedbyLes
AteliersJeanProuvé,France.
1157/8×355/8×23/4in.(294.6×90.5×7cm.)
Estimate$70,000–110,000
PROVENANCE BouquevalSchool,Bouqueval,France;Galerie
PatrickSeguin,Paris
LITERATURE Jean Prouvé Constructeur 1901–1984,exh.cat.,Musée
desBeaux-Arts,Paris,2001,p. 98forsimilarexamples;PeterSulzer,
Jean Prouvé: Œuvre Complète, Volume 3: 1944–1954,Basel,2005,
pp. 104–105foradiscussionoftheschool;GaleriePatrickSeguin,
Jean Prouvé, Volume 2,Paris,2007,pp. 544–553
Thepresentlotisoneofnineoriginalpanelsfromthe
BouquevalSchool.
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PROPERTYFROMTHEVENINIARCHIVES
22 FERNANDO and HUMBERTO CAMPANAb.1961,b.1953
Unique “Esmeralda” ceiling light,2010
Coloredglass,wicker,rope.ProducedbyVenini,Italy.Togetherwitha
certificateofauthenticityfromVenini.
62in.(157.5cm.)drop
Estimate$30,000–40,000
LITERATURECampanaBrothers,Complete Works (So Far),NewYork,2010,pp. 212–
240foradiscussionoftheirdesignscasedinwicker
“Esmeralda,”auniquehanginglight,comprisinghand-blown
coloredglassencasedinwicker,derivesfromFernandoand
HumbertoCampana’searlierTransPlasticseries(2007)which
combinedrepurposedobjects—plasticchairs,tables,tires—
wrappedinwovennaturalfibers,acommentonthe“invasionof
plastic,”¹andacelebrationofBrazilianweavingtraditions.The
seriesmarkedareturnofsortsforFernando,whohadwovenwicker
basketsaftergraduatingfromlawschool.
1.DarrinAlfredinComplete Works (So Far),2010,pp.214–232
Phillips de Pury & Company wish to thank Estudio Campana for their
assistance in cataloguing this lot.
“We wanted to create a kind of fantasy. We imagined the world being attacked by nature. There would be so many plants that they would gradually engulf all man-made objects, becoming inseparable from them.” FERNANDO CAMPANA
90 YEARS VENINI 1921–2011
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23 JEAN PROUVÉ1901–1984
Bed, model no. 102,ca.1936
Paintedbentsteel,oak,leather.ManufacturedbyLesAteliersJeanProuvé,France.
251/2×931/4×36in.(64.8×236.9×91.4cm.)
Estimate$35,000–45,000
PROVENANCE GaleriesJousseSeguin,Paris;Privatecollection,London
LITERATURE GaleriesJousseSeguinandEnricoNavarra,Jean Prouvé,Paris,
1998,p. 124;PeterSulzer,Jean Prouvé: Œuvre Complète, Volume 2: 1934–1944,Basel,2000,
pp. 110–111,figs.534.1,1–534.1,5fordrawings,specificationsheetsandperiodillustrations;
GaleriePatrickSeguin,Jean Prouvé, Volume 2,Paris,2007,pp. 354and361
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PROPERTYFROMANIMPORTANTCOLLECTION
24 JEAN ROYÈRE1902–1981
Unique “Œuf” chest of drawers,ca.1958
Ash,ash-veneeredwood,fabric,brass.
371/2×59×193/8in.(95.3×149.9×49.2cm.)
Estimate$120,000–180,000
PROVENANCE GaleriePatrickSeguin,Paris
LITERATURE Pierre-EmmanuelMartin-Vivier,Jean Royère,Paris,2002,illustratedp. 258
ThepresentlotwillbeincludedintheforthcomingCatalogue raisonné de
Jean RoyèrebyGaleriePatrickSeguinandGalerieJacquesLacoste.
Phillips de Pury & Company wish to thank Jacques Lacoste for his assistance
in cataloguing this lot.
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“To create a harmonious spectacle to enchant the eye, rejoice the heart and elevate the spirit.” JEAN ROYÈRE
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JeanRoyère’spreparatorydrawingforabedroomwithŒufbedandchairs,1955–1961
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PROPERTYFROMTHEVENINIARCHIVES
25 ALESSANDRO MENDINIb.1931
Unique “La Colonna di Venini,”2011
Clearandcoloredglass,marble.ProducedbyVenini,Italy.Artist’sproof
fortheeditionofnine.Oneglasselementacid-etchedwith“venini2011
A. Mendini.P.d.A.”TogetherwithacertificateofauthenticityfromVenini.
100in.(254cm.)high
Estimate$20,000–30,000
“Ourideawastocreateasingleobjectthattransmittedthehistory
ofVeniniandallitsspecializations:sophisticatedcraftsmanship,
amultitudeofcolorsandtextures,theexpertise,thespecial
techniques,andtheprodigiousartistswholenttheirtalenttothe
companyfromthebeginning,throughouttheyears.Thismeant
90 YEARS VENINI 1921–2011
thatourcreationwouldneedtobecomposedofdifferentparts,
eachexpressingspecificelementsofthecompositionandtogether
becomingasinglesymbol,aVeniniemblem.Wethoughtofan
ascendingandlightweightshape,akindoflargenecklacefixedin
averticalposition,madeupofdistancedspheres,eachofwhich
wouldcontainapartoftheVeninihistory.Theresultisastory,
aclassification.Eachdifferentpartrepresentsananalyzedand
motivatedelement;togethertheyareanagileandalmostacrobatic
arrangement.Andwesaidtoourselves,‘Wehavecreatedacolumn.’
ThatishowtheColonnadiVeninicametobe:amonumentto
dedication,hardwork,aestheticsandtheiridescentripplesonthe
surfaceofthelagoon.”
AlessandroMendini
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26 JEAN ROYÈRE1902–1981
Pair of two-arm “Bouquet” wall lights,ca.1948
Paintedtubularmetal,paper(2).
Each:13×18×10in.(33×45.7×25.4cm.)
Estimate$20,000–35,000
PROVENANCE GaleriePatrickSeguin,Paris;GalerieJacquesLacoste,Paris
LITERATURE Pierre-EmmanuelMartin-Vivier,Jean Royère,Paris,2002,pp. 39,151,
185,238forsimilarexamples;Jean Royère, décorateur à Paris,exh.cat.,Muséedes
ArtsDécoratifs,Paris,1999,pp. 16and31forsimilarexamples
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27 JEAN-MICHEL FRANK1895–1941
Side chair, from the Templeton Crocker residence, San Francisco, ca. 1929
Straw marquetry veneered wood, fabric. Produced by Chanaux & Company, France.
Impressed twice with manufacturer’s mark and with “623_.”
32 1/4 in. (81.9 cm.) high
Estimate$90,000–110,000
PROVENANCE Templeton Crocker, Russian Hill, San Francisco; Mr. & Mrs. P. Brant, 1970s;
Delorenzo Gallery, New York, 1977; Private collection
LITERATURE “Une décoration française à San Francisco. Chez M. Templeton Crocker,”
Art et Industrie, Paris, May 1930, p. 15; “A Twentieth-Century Apartment,” Vogue, August 3,
1929, p. 33; Patricia Bayer, Art Deco Interiors: Decoration and Design Classics of the 1920s and
1930s, London, 1990, p. 94; Leopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, pp. 76–77
and 130; Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank, Paris, 2006, p. 130
Templeton Crocker (1884–1948), grandson of Charles Crocker—founder
of the Union Pacific Railroad, controlling shareholder of Wells Fargo—
enjoyed the fruits of his forbear’s labors. The younger Crocker traveled
widely too, on scientific expeditions to the Galapagos and to Bora Bora,
and on less arduous journeys to Europe, where he joined Parisian café
Templeton Crocker’s study, panelled in straw marquetry, with the present
chair, San Francisco, 1929, “Une décoration française à San Francisco.
Chez M. Templeton Crocker,” Art et Industrie, Paris, May 1930
“Mr. Templeton Crocker has built the first large and luxurious apartment done completely in the modern manner in the United States.”VOGUE, “A TWENTIETH CENTURY APARTMENT”, 1929
society. A collector of art, books, artifacts, and friends, Crocker befriended
the great designers of the day, whom he commissioned to decorate his
expansive penthouse on San Francisco’s Russian Hill. The residence
comprised three rooms by Jean Dunand, a bathroom by Perre Legrain, and
a dressing room by Madame Lipska. The chief author of the apartment,
however, was Jean-Michel Frank.
In “A Twentieth Century Apartment”, a Vogue article dated August 3, 1929, a
staff writer celebrated the commission: “Perhaps the most unusual feature
from a decorator’s point of view is the exotic use of unusual materials. Walls
and furniture are of parchment and straw, tables of sharkskin, andirons of
rock-crystal, curtains of lacy woven steel like fairy coats of mail…”
Like the walls, ceiling and divan in Mr. Crocker’s study, the present chair was
veneered by Jean-Michel Frank in straw marquetry. It was purchased by a
Connecticut collector in the 1970s along with a larger group of furnishings
formerly of the Crocker residence.
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28 MARTIN SZEKELYb. 1956
“Table Blanche,” 2007
Corian, honeycomb aluminum, resin. Produced by Galerie kreo, France.
Number four from the edition of eight plus two artist’s proofs and two
prototypes. Underside signed in black marker with “Martin/Szekely/4 / 8 /2007.”
29 1/2 × 110 × 55 in. (74.9 × 279.4 × 139.7 cm.)
Estimate$50,000–70,000
PROVENANCE Galerie kreo, France
LITERATURE Clément Dirié, Martin Szekely, Zurich, 2010, pp. 78–79; Martin Szekely:
No More Drawing, exh. cat., Centre Pompidou, Musée national d’art modern, Paris,
2011, p. 10
“Table Blanche” will be included as MSZ – 03-2007 in the
forthcoming catalogue raisonné of limited editions by Martin Szekely
being prepared by Didier Krzentowski of Galerie kreo, Paris.
“Table Blanche” is in the permanent collection of the Centre
Pompidou, Musée national d’art modern, Paris, where it is currently
on view in the exhibition “Martin Szekely: No More Drawing” until
January 2, 2112.
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“Today, to me my work seems like a subtraction, down to the expressionism of drawing. This notion came from my relationship with industrial design and its creation for the largest audience possible.”MARTIN SZEKELY
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29 KEN PRICEb. 1935
“Green and Gold,” 2007
Fired and painted clay.
12 in. (30.5 cm.) high
Estimate$20,000–30,000
PROVENANCE Frank Lloyd Gallery, Santa Monica, California
Since the 1960s, Ken Price’s deliberate disassociation with the
conventions of his chosen material have resulted in a consistently
ambitious exploration of form and surface that is more closely allied
to sculpture and painting than ceramics. His most recent body of
work, the free-form amorphous ‘blobs’, create an uneasy tension
that on the one hand seem to celebrate the organic plasticity of the
clay while rejoicing in the synthetic artificiality of the applied layers
of paint that make up the surface.
Alternative view
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30 JEAN ROYÈRE1902–1981
Unique dining table, ca. 1953
Straw marquetry, brass.
29 1/2 × 62 7/8 × 35 3/8 in. (75 × 160 × 90 cm.)
Estimate$220,000–320,000
PROVENANCE Private collection, Paris; Galerie Patrick Seguin and Galerie Jacques
Lacoste, Paris
LITERATURE Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, illustrated p. 59;
Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 133 for a
similar example; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 154–155 for the
ball and undulation motif and 209, 242–243 for straw marquetry examples, illustrated p. 276
The present lot will be included in the forthcoming Catalogue raisonné de
Jean Royère by Galerie Patrick Seguin and Galerie Jacques Lacoste.
Phillips de Pury & Company wish to thank Jacques Lacoste for his assistance
in the cataloguing of this lot. Arc
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The present lot in situ, Paris, 1950s
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31 PETER COLLINGWOOD1922–2008
Important unique wall hanging, for Sir Gordon Russell, 1959
Blockweave, hand-dyed Wilton wool, genappe yarn, Icelandic worsted wool and
vat-dyed mercerised linen in over 60 colors. Three panels containing the lettering
“G.R,” “CoICD” and “1944–1959.”
119 5/8 × 88 5/8 in. (304 × 225 cm.)
Estimate$20,000–30,000
PROVENANCE Commissioned by the Council of Industrial Design as a gift marking
the retirement of its Director, Sir Gordon Russell; presented January 5, 1960 and
subsequently hung on the landing of his Cotswold house “Kingcombe,” Broadway, UK
LITERATURE Peter Collingwood, “A Weaving Project,” The Quarterly Journal of the
Guilds for Weavers, Spinners and Dyers, Journal No. 33, March 1960, pp. 115–122 for an
extensive explanation of the commission; Peter Collingwood: Master Weaver, exh. cat.,
The Minories Art Gallery, Colchester, 1998, p. 4 for a detail and p. 18
Collingwood recalled that while making the present lot he first tied
warp threads to heddles in order to change the design as he went
along. He stated in The Journal for Weavers, Spinners and Dyers, “I
had no sketch to follow and made all decisions about the design
as I went along. But also as I went along I sketched to scale what I
had woven… Although I had over sixty colours I used two or three
together, the actual combinations used were far greater in number
and they were changing every few inches in both the blocks and
the ground… It was for me a real excitement to put this almost
barbaric pink against the brightest orange-red – it made the optic
nerves dance a jig. In fact, throughout, my object was so to combine
the colours that they glowed. This can only be done if all muddy
colours are excluded. Only pure colours have the power to produce
this effect, when seen in isolation these colours may be called
crude by some but when placed together appropriately they react
on each other and produce this exciting glow. There is an element
of dissonance in this sort of combination, that touch of dissonance
that puts the excitement into a Debussy chord that is lacking in an
English Hymnal chord.”
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“Handweaving is artistically justifiable only if it can keep abreast of contemporary movements in the world of architecture and fashion, if it can capture the spirit of the age in its textiles”PETER COLLINGWOOD
The artist holding a sample length of the present lot
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PROPERTYFROMANORTHERNITALIANCOLLECTION
32 FULVIO BIANCONI1915–1996
Rare ‘amacchie’ vase, model no. 4324,ca.1955
Clearglasswithaubergine‘a macchie’inclusions.ProducedbyVenini,Italy.
Undersidewithmanufacturer’spaperlabel“VENINIS.A.”
10in.(25.4cm.)high
Estimate$50,000–70,000
LITERATURE Venini:Red Catalogue,Murano,modelno.4327;MarcHeiremans,
Art Glass From Murano: 1910–1970,Stuttgart,1993,p. 265,fig.218forasimilarexample;
MarinaBarovier,RosaBarovierMentastiandAttiliaDorigato,Il Vetro Di Murano: Alle
Biennali 1895–1972,Milan,1995,p. 157,no.83forasimilarexample;FrancoDeboni,
Murano ’900,Turin,1996,pp. 74and296,fig.212forsimilarexamples;HelmutRicke
andEvaSchmitt,Italian Glass Murano, Milan 1930–1970,Munich,1997,pp. 102–103
forsimilarexamples;FrancoDeboni,Venini Glass, Its history, artists and techniques,
Volume1,Milan,2007,n.p.modelno.4327
90 YEARS VENINI 1921–2011
Periodphotoofagroupof‘a macchie’vases,ca.1955
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33 GIO PONTI1891–1979
Unique pair of armchairs, from an important private commission,ca.1950
Originalvelvet,brass,walnut.Togetherwithacertificateofauthenticityfrom
theGioPontiArchives(2).
Each:30in.(76.2cm.)high
Estimate$60,000–80,000
PROVENANCE Importantprivatecommission
LITERATURE UgoLaPietra,ed.,Gio Ponti,NewYork,2009,p. 203,fig. 435fora
similarexample
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PROPERTYOFALONDONCOLLECTOR
34 LUCIE RIE1902–1995
Deep bowl,ca.1980
Porcelain,darkgreenglazewithbrightgoldlip.Impressedwithartist’sseal.
4in.(10cm.)high;61/4in.(16cm.)diameter
Estimate$20,000–30,000
PROVENANCE LucieRie,AlbionMewsStudio,London,1980
EXHIBITED “LucieRie-ARetrospective,”TheNationalArtCentre,Tokyo,Japan,
April 28–June 21,2010;TheMashikoMuseumofCeramicArt,TochigiPrefecture,Japan,
August 7–September26,2010;MOAMuseumofArt,ShizuokaPrefecture,Japan,October
9–December1,2010;TheMuseumofOrientalCeramics,Osaka,Japan,December
11–February 13,2011;ParamitaMuseum,MiePrefecture,Japan,February26–April17,2011;
HagiUragamiMuseum,YamaguchiPrefecture,Japan,April29–June26,2011
LITERATURE Lucie Rie – A Retrospective,exh.cat.,TheNationalMuseumofModernArt,Tokyo,
illustratedp. 240,item183
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PROPERTYOFALONDONCOLLECTOR
35 LUCIE RIE1902–1995
Open bowl,ca.1980
Porcelain,darkgreenglazewithbrightgoldlip.Impressedwithartist’sseal.
33/4in.(9.5cm.)high,8in.(20.5cm.)
Estimate$20,000–30,000
PROVENANCE LucieRie,AlbionMewsStudio,London,1980
EXHIBITED “LucieRie–ARetrospective,”TheNationalArtCentre,Tokyo,Japan,April
28–June21,2010;TheMashikoMuseumofCeramicArt,TochigiPrefecture,Japan,
August7–September26,2010;MOAMuseumofArt,ShizuokaPrefecture,Japan,October
9–December1,2010;TheMuseumofOrientalCeramics,Osaka,Japan,December
11–February13,2011;ParamitaMuseum,MiePrefecture,Japan,February26–April17,2011;
HagiUragamiMuseum,YamaguchiPrefecture,Japan,April29–June26,2011
LITERATURE Lucie Rie – A Retrospective,exh.cat.,TheNationalMuseumofModernArt,
Tokyo,illustratedp. 241,item184
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36 GIO PONTI1891–1979
Monumental chandelier, for the Hotel Parco dei Principi, Rome,ca.1964
Frostedglass,brass.ManufacturedbyArredoluce,Italy.Togetherwitha
certificateofauthenticityfromtheGioPontiArchives.
231/4in.(59cm.)drop,817/8in.(208cm.)diameter
Estimate$80,000–120,000
EXHIBITED “EspressionidiGioPonti,”Triennale,Milan,May6–July24,2011
LITERATURE “IlNuovoAlbergo‘ParcodeiPrincipi’inRoma,”Domus,no.425,April
1965,p. 53;UgoLaPietra,ed.,Gio Ponti,NewYork,2009,p. 372,fig.773;Graziella
Roccella,Gio Ponti: Master of Lightness,Cologne,2009.pp. 78–79forbackground
onHotelParcodeiPrincipi,Rome;GermanoCelant,ed.,Espressioni di Gio Ponti,
exh. cat.,Triennale,Milan,2011,p. 109,fig.174
ThepresentmodelwasdesignedfortheHotelParcodeiPrincipi,
Rome.ItwasthereafterproducedbyArredoluceinaverysmall
series,ofwhichfourexamplesareknown.
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PROPERTYFROMTHEVENINIARCHIVES
37 MIROSLAV HRSTKA1933–1983
“Miros 2” vase,ca.1968
Incisoglass.ProducedbyVenini,Italy.Togetherwithacertificateofauthenticity
fromVenini.
121/2in.(31.8cm.)high
Estimate$10,000–15,000
LITERATURE FrancoDeboni,Venini Glass, Catalogue 1921–2007,vol.2,Turin,2007,pl.248
90 YEARS VENINI 1921–2011
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38 GIO PONTI1891–1979
Dressing table and side chair, from Casa Ceccato, Milan,ca.1950
Dressingtable:rosewood-veneeredwood,brass,mirroredglass,glass;
chair:stainedmahogany,fabric,brass.Producedbycabinetmaker
GiordanoChiesa,Italy.Togetherwithacertificateof authenticityfromthe
GioPontiArchives(2).
Dressingtable:473/4×451/2×17in.(121.3×115.6×43.2cm.);
chair:331/2in.(85.1cm.)high
Estimate$35,000–45,000
PROVENANCE CasaCeccato,Milan;Christie’s,20th-Century Decorative Art and
Design,London,March23,2006,lot5
LITERATURE “ParticolaridiunaCasa.”Domus256,April1951,illustratedp. 30;
UgoLaPietra,ed.,Gio Ponti: L’Arte Si Innamora Dell’Industria,NewYork,2009,
pp. 342–343,373foradiscussionofthecommission;LisaLicitraPonti,Gio Ponti:
The Complete Work 1923–1978,Cambridge,MA,1990,p. 145foradiscussionof
thecommission
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Design_Masters_NY_Dec11_Lots_62-111_v2.indd 91 12/11/11 09.01
39 SUEHARU FUKAMIb.1947
“Bô,”1990
Porcelain,Seihakujiceladonglaze,walnut.Numberthreefromtheseriesof
eight.Reverseincisedunderglazewith“3/8S.Fukami.”
141/2×50×41/2in.(36.8×127×11.4cm.)
Estimate$20,000–30,000
EXHIBITED “WhiteporcelainandCeladon,”IbarakiCeramicArtMuseum,
April26–June29,2003
LITERATURE “FukamiSueharu,”L’Toh’,vol. 81,July25,1993,illustratedpp. 14–15;
White porcelain and Celadon,exh.cat.,IbarakiCeramicArtMuseumcatalogue,
no. 96,2003,illustratedp. 112
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Design_Masters_NY_Dec11_Lots_62-111_v2.indd 93 12/11/11 09.01
40 GEORGE NAKASHIMA1905–1990
Early “Conoid” bench with single free-form arm, 1961
American black walnut, hickory, three East Indian rosewood butterfly keys.
Underside signed in black marker with “Reed.” Together with a copy of the
original order card and a letter of authenticity from Mira Nakashima.
29 3/4 × 120 × 31 1/2 in. (75.6 × 304.8 × 80 cm.)
Estimate$100,000–150,000
PROVENANCE George Reed, Coconut Grove, Florida
LITERATURE Lee Nordness, OBJECTS: USA, New York, 1970, p. 263 for a similar
example; George Nakashima, The Soul of a Tree, New York, 1981, p. 151 for a sketch
of a similar example; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat.,
American Craft Museum, New York, 1989, p. 157 for a similar example; Mira
Nakashima, Nature, Form & Spirit, The Life & Legacy of George Nakashima, New York,
2003, pp. 147, 173 and 176 for similar examples
Design_Masters_NY_Dec11_Lots_62-111_v2.indd 94 14/11/11 08.21
“There was no other way for me but to go alone, secure with my family, placing stone upon stone, seeking kinship with each piece of wood, eventually creating an inward mood of space …”GEORGE NAKASHIMA
Design_Masters_NY_Dec11_Lots_62-111_v2.indd 95 14/11/11 08.21
PROPERTY FROM A NORTHERN ITALIAN COLLECTION
41 CARLO SCARPA1906–1978
ÒPennellateÓ vase, model no. 3911, ca. 1942
Bloomed transparent glass with applied pink and amethyst pasta vitrea.
Produced by Venini, Italy. Underside acid-etched with “venini murano ITALIA.”
7 in. (17.8 cm.) high
Estimate$50,000–70,000
LITERATURE “Lattimi 1931–1935,” Venini: Catologo Blu, Murano, pl. 58, model no.
3911; Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, pp. 178 and 223,
fig. 270 and p. 285, fig. 53 for a period illustration; Marino Barovier, ed., Venetian glass:
The Nancy Olnick and Giorgio Spanu Collection, New York, 2000, p. 104; Franco Deboni,
Venini Glass, Catalogue 1921–2007, vol. 2, Turin, 2007, pl. 102 for a similar example
90 YEARS VENINI 1921–2011
Similar examples of the present lot exhibited at the XXIII Exposizione
Internazionale d’arte di Venezia, 1942
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PROPERTYFROMACANADIANCOLLECTION
42 CARLO MOLLINO1905–1973
Low table, model no. 1114,ca.1950
Maple,glass,brass.ProducedbyAppelli&Varesio,Italyandretailedby
Singer&Sons,USA.
181/4×52×231/4in.(46.4×132.1×59.1cm.)
Estimate$80,000–120,000
PROVENANCE AcquiredbythepreviousownerfromSinger&Sons,NewYork
LITERATURE FulvioFerrari,Carlo Mollino Cronaca,Turin,1985,p.129,fig.215;
GiovanniBrino,Carlo Mollino,Munich,1987,p.132;RenateUlmerandSilvio
SanPietro,eds.,Carlo Mollino: Sedie e Arredi,exh.cat.,InstitutMathildenhöhe
Darmstadt,Milan,1994,p.74;GiovanniBrino,Carlo Mollino: Architecture as
Autobiography,London,2005,p.137,fig.316;RossellaColombari,Carlo Mollino:
Catologo del Mobili,Milan,2005,p.114,fig.105;FulvioFerrariandNapoleone
Ferrari,The Furniture of Carlo Mollino,London,2006,pp.109,fig.131and133for
adrawing,and226;CharlotteandPeterFiell,eds.,Domus, Vol. III, 1950–1954,
Cologne,2006,p.239;FulvioFerrariandNapoleoneFerrari,eds.,Carlo Mollino:
arabesques,exh.cat.,GalleriaCivicad’ArteModernaeContemporanea,Milan,
2007,p.104,fig.165
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43 HANS COPER1920–1981
Rare white “Cycladic” bud form with wings, 1975
Stoneware, layered white porcelain slips and engobes over a body with textured
and incised designs. Impressed with artist’s seal.
6 3/4 in. (17.1 cm.) high
Estimate$30,000–40,000
PROVENANCE Robert Welch Gallery, Chipping Camden, UK, 1975; Garth Clark
Gallery, New York, 1985
LITERATURE Tony Birks, Hans Coper, Somerset, 2005, illustrated p. 72 in situ at the
Robert Welch Gallery
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Design_Masters_NY_Dec11_Lots_62-111_v2.indd 101 12/11/11 10.37
44 MAX INGRAND1908–1969
“Diavolo” table lamp, ca. 1957
Brass, painted metal, glass. Manufactured by Fontana Arte, Italy.
23 in. (58.4 cm.) high
Estimate$40,000–60,000
PROVENANCE Private collection, Como, Italy
LITERATURE Domus, no. 328, March 1957, n.p. for an advertisement of a similar
example; Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 113 for a
similar example; Charlotte and Peter Fiell, eds., Domus Vol. IV 1955–1959, Cologne,
2006, p. 295 for an advertisement of a similar example
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Design_Masters_NY_Dec11_Lots_62-111_v2.indd 103 12/11/11 10.37
45 CLAUDI CASANOVASb. 1956
Large bowl, 1988
Stoneware, mixed clays (including clay from Moutiers-en-Puisaye, France),
engobes and glazes. Underside incised with “5,88 Cassanovas.”
15 × 33 × 27 in. (38.1 × 83.8 × 68.6 cm.)
Estimate$10,000–15,000
LITERATURE Tony Birks, Claudi Casanovas, Somerset, 1996, fig. 4a–d for similar
examples
“Clay stops being just a vehicle for water and becomes a register of fire; this is what ceramics is all about.” CLAUDI CASANOVAS
Design_Masters_NY_Dec11_Lots_62-111_v2.indd 104 12/11/11 10.37
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46 SCOTT BURTON1939–1989
Rare pair of chairs, ca. 1988
Stainless steel. From the edition of five (2).
Each: 31 1/2 × 21 2/3 × 32 in. (80 × 55 × 81.3 cm.)
Estimate$225,000–275,000
PROVENANCE Max Protetch Gallery, New York, 1988; Private collection, New York
LITERATURE Scott Burton, exh. cat., Kunstverein für die Rheinland und Westfalen,
Düsseldorf, March 3–April 6, 1989, pp.–26–27; Nancy Princethal, ed., Scott Burton:
Chaises Longings, exh. cat., Max Protetch Gallery, New York, 1996, p. 11; Anna-Maria
Torres, ed., Scott Burton, exh. cat., Institut Valencia d’Art Modern, 2004, illustrated
p. 212
Of the five pairs produced by Scott Burton, one set is in the permanent collection
of the Philadelphia Museum of Art and two further sets are in important private
American collections.
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“[Art should] place itself not in front of, but around, behind, underneath (literally) the audience.” SCOTT BURTON
Design_Masters_NY_Dec11_Lots_62-111_v2.indd 109 14/11/11 08.23
VARIOUS PROPERTIES
47 CARLO SCARPA1906–1978
‘A fasce applicate’ plate, model no. 4476, ca. 1940
Bloomed transparent glass with applied red and aquamarine glass fasce.
Produced by Venini, Italy. Underside acid-etched with “venini/murano/ITALIA.”
2 × 10 3/4 × 14 1/2 in. (5.1 × 27.3 × 36.8 cm.)
Estimate$15,000–20,000
PROVENANCE Private collection, Italy
LITERATURE Venini: Red Catalogue, Murano, model no. 4476; Helmut Ricke and Eva
Schmitt, Italian Glass Murano, Milan 1930–1970, Munich, 1997, p. 65, fig. 28 for a similar
example; Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, pp. 162–163
and 220, fig. 235 and p. 238, fig. 47 for a period illustration of a similar example; Marino
Barovier, ed., Venetian Glass: The Nancy Olnick and Giorgio Spanu Collection, New York,
2000, p. 216 for a similar example; Franco Deboni, Venini Glass, Its history, artists and
techniques, Volume 1, Milan, 2007, n.p. model no. 4476; Franco Deboni, Venini Glass,
catalogue 1921–2007, vol. 2, Turin, 2007, pl. 104 for a similar example
90 YEARS VENINI 1921–2011
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48 SHIRO KURAMATA1934–1991
Unique table, from the Tachibana restaurant, Shinagawa, Tokyo, 1991
Acrylic. Together with a certificate of authenticity from Mieko Kuramata.
40 1/2 × 157 1/2 × 23 5/8 in. (103 × 400 × 60 cm.)
Estimate $80,000–120,000
PROVENANCE Tachibana restaurant, Shinagawa, Tokyo
LITERATURE Japanese Restaurants & Taverns: 51 Outstanding Japanese Speciality Dish Restaurants
& Taverns, Volume III, Japan, 1996, front cover and pp. 176–180; Shiro Kuramata 1934–1991,
exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, p. 198 for a mention of the commission
Tachibana is a Japanese variety of sweet wild orange.
Phillips de Pury & Company wish to thank Mieko Kuramata in cataloguing this lot.
Design_Masters_NY_Dec11_Lots_112-137 v2.indd 112 14/11/11 08.24
PROPERTYFROMTHEVENINIARCHIVES
49 TADAO ANDOb.1941
Set of three vases,2011
Coloredglass.Firstartist’sproof.ProducedbyVenini,Italy.Eachisthefirst
artist’sprooffromtheirrespectiveeditionsof30.Undersideofeachvaseacid-
etchedwith“90/VENINI/2011/ANDO”and“venini2011–1/9P.d.A”andwith
manufacturer’sstickerwith“90/1921/2011/VENINI.”Togetherwithacertificate
ofauthenticityfromVenini(3).
Each:221/4in.(56.5cm.)
Estimate $40,000–50,000
REQUIEM FORESTS FORTHEDISASTER-STRICKENAREAS
Thegreatearthquake,tsunami,andnuclearaccidentthatstruckthe
TohokuregionofJapanonMarch 11,2011causeddamagesthatexceeded
ourimagination.Entirehometowns,familyhistories,andworkplaceswere
washedawayinaninstantandcountlessirreplaceableliveswerelost.
Fivemonthshavepassedfromthatday,buttherearestillmanypeoplewho
aremissingfromthedisasterareas,andtheworkofremovingthemoundsof
debriscreatedbythetsunamihasproventobeastrenuoustask.Whilethe
provisionofaidtothosewhocontinuetosufferofcoursemustbetheutmost
priority,itisalsonowtimeforustobeginthinkingaboutournextsteponthe
roadtorecovery.Forthis,beforeanythingelse,wemustraisethedepressed
spiritofthecitizensandredirectthemtolookforwardonce again.
Asonewaytoachievethis,Iproposetocreate“RequiemForests”inthe
disasterareas.Highgroundsthatcanserveassafeevacuationareaswill
beplantedwithgrasses,flowers,andtrees,andmaintainedtogetherby
thecommunityas“RequiemForests”.Theforestswillalsocontributeto
sustainingthememoryoftheearthquakeforfuturegenerations.
Themoundsofdebriswillprobablyremainforyetawhile.However,people
cannotraisetheirhopesifthecreationofnewcitiescannotbeginuntilallof
thedebrishasbeenremoved.Ithusproposetohavethemoundssownwith
seedsofgrassesandflowersandtogrowtreeseedlingsuponthem.The
smallflowerswillgainlifeevenamongtherubble.Thetreesaplingswillbe
plantedasappropriateinthevariousareas.Ibelievethatthecreationofsuch
landscapescangivehopetothepeople.Thetreeswilleventuallymatureand
formforestsconnectedtoeveryone’sheart.
IntheSanrikudistrict,whichisamongthedisasterareas,thereisasaying:
“tsunamitendenko”.Ittellsofhowwhenthereisatsunami,everyoneshould
scrambletohighergroundscaringonlyfortheirownsafety,evenifthey
areseparatedfromtheirfamily.Theirpredecessorsputtheirlessonsfrom
experienceintowordsandpassedontheirwisdomtolatergenerations.
Similarly,Ithinkthemenaceoftherecenttsunamicanbetransmittedtolater
generationsthroughthe“RequiemForests”.Theforestswilltakeontherole
oftellingtheexperienceofthedisastertothenextgenerationsinorderto
preventthetragedyfromhappeningagain.
ThefarmingandfishingvillagesoftheTohokuregionretainqualitiesof
theidyllicJapaneselandscape,andthemodelofthetraditionalfamily
andregionalsocietyarestillintact.ThepeopleofJapanarefocusedon
thereconstructionofthisregion,whichtheyseeinparallelwiththeirown
futures.Thesoundsofconstructionfromtherecoveryeffortwillsurely
providehopeandcalmforthepeople,andbecomeasourceofrenewed
energyforthenation.Althoughitisasmallstep,itismyhopethatthe
“RequiemForests”canbebecomeafootholdforthiseffort.
TadaoAndo(architect),August 11,2011
被災地に「鎮魂の森」を
2011年3月11日、東日本を襲った、大地震、大津波、そして原発事故は、私たちの想
像をはるかにこえた大災害をもたらし、多くの人々の尊い命を奪い、故郷や、家族の
歴史、職業までも一瞬にして奪い去りました。
あれから5カ月、被災地ではいまだ行方不明者も多く、津波によってできた瓦礫の山
の撤去には、相当な困難が伴っています。もちろん、今この瞬間も、被災地で苦しんで
いる人々を救うことが最優先ですが、そろそろ私たちは次のステップとして復興への
道のりを考えなければいけません。そのためには、何よりもまず深く沈んだ国民の気
持ちを前に向かせることが先決です。
その一つの方法として、提案するのが、被災地での「鎮魂の森」づくりです。安全のた
めに、避難場所になる高台に草花や木を植え、「鎮魂の森」としてその周辺の整備を
進め、みんなで育てるのです。それは、震災の記憶の継承にもつながります。
瓦礫の山は当分、なくならないでしょう。しかし、その処理が終わるまで、新しい街づ
くりが何もはじまらないのでは、人々に希望は生まれません。瓦礫の山に草花の種を
蒔き、苗を育てる。瓦礫の中でも命を得た小さな花が咲いている。そして各地に適し
た苗木を植えていく。そんな風景をつくることが人々の希望につながるのではないか
と思います。やがて木々は育ち、人々の心の森となります。
今回被災地にもなった三陸地域では、「津波てんでんこ」という言葉が伝わっていま
す。津波の際は、肉親に構わず、てんでんばらばらで良いのでとにかく高台に逃げろと
いう意味です。先人たちは、先の災害の教訓を、言葉にして後世に託しました。この津
波の脅威を、今回は「鎮魂の森」という形で伝承していってはどうかと考えます。悲惨
な災害の経験を、二度とくりかえさないために、次の世代、またその次の世代に伝え
ていく。その役割を、「鎮魂の森」が担うのです。
東北の農村、漁村には、日本の原風景や、家族や地域社会の姿が残っています。多く
の国民は、この地の復興を、自分たちの未来と重ねて注目しています。復興の槌音が、
人々にとって何よりの希望と安心感をもたらすでしょうし、国が元気を取り戻すきっ
かけとなります。「鎮魂の森」が、小さくともその足がかりの一つとなればと思います。
安藤忠雄(建築家), 2011年8月11日w
90 YEARS VENINI 1921–2011
THISLOTISBEINGSOLDTOBENEFITTADAOANDO’S
“REQUIEMFORESTS”PROJECT
Design_Masters_NY_Dec11_throw Shiro_3-4_v2.indd 4 14/11/11 09.36
Design_Masters_NY_Dec11_throw Shiro_3-4_v2.indd 3 14/11/11 09.36
Design_Masters_NY_Dec11_throw Shiro_3-4_v2.indd 3 14/11/11 09.36
PROPERTYFROMTHEVENINIARCHIVES
49 TADAO ANDOb.1941
Set of three vases,2011
Coloredglass.Firstartist’sproof.ProducedbyVenini,Italy.Eachisthefirst
artist’sprooffromtheirrespectiveeditionsof30.Undersideofeachvaseacid-
etchedwith“90/VENINI/2011/ANDO”and“venini2011–1/9P.d.A”andwith
manufacturer’sstickerwith“90/1921/2011/VENINI.”Togetherwithacertificate
ofauthenticityfromVenini(3).
Each:221/4in.(56.5cm.)
Estimate $40,000–50,000
REQUIEM FOREST FORTHEDISASTER-STRICKENAREAS
Thegreatearthquake,tsunami,andnuclearaccidentthatstruckthe
TohokuregionofJapanonMarch 11,2011causeddamagesthatexceeded
ourimagination.Entirehometowns,familyhistories,andworkplaceswere
washedawayinaninstantandcountlessirreplaceableliveswerelost.
Fivemonthshavepassedfromthatday,buttherearestillmanypeoplewho
aremissingfromthedisasterareas,andtheworkofremovingthemoundsof
debriscreatedbythetsunamihasproventobeastrenuoustask.Whilethe
provisionofaidtothosewhocontinuetosufferofcoursemustbetheutmost
priority,itisalsonowtimeforustobeginthinkingaboutournextsteponthe
roadtorecovery.Forthis,beforeanythingelse,wemustraisethedepressed
spiritofthecitizensandredirectthemtolookforwardonce again.
Asonewaytoachievethis,Iproposetocreate“RequiemForest”inthe
disasterareas.Highgroundsthatcanserveassafeevacuationareaswill
beplantedwithgrasses,flowers,andtrees,andmaintainedtogetherby
thecommunityas“RequiemForest”.Theforestswillalsocontributeto
sustainingthememoryoftheearthquakeforfuturegenerations.
Themoundsofdebriswillprobablyremainforyetawhile.However,people
cannotraisetheirhopesifthecreationofnewcitiescannotbeginuntilallof
thedebrishasbeenremoved.Ithusproposetohavethemoundssownwith
seedsofgrassesandflowersandtogrowtreeseedlingsuponthem.The
smallflowerswillgainlifeevenamongtherubble.Thetreesaplingswillbe
plantedasappropriateinthevariousareas.Ibelievethatthecreationofsuch
landscapescangivehopetothepeople.Thetreeswilleventuallymatureand
formforestsconnectedtoeveryone’sheart.
IntheSanrikudistrict,whichisamongthedisasterareas,thereisasaying:
“tsunamitendenko”.Ittellsofhowwhenthereisatsunami,everyoneshould
scrambletohighergroundscaringonlyfortheirownsafety,evenifthey
areseparatedfromtheirfamily.Theirpredecessorsputtheirlessonsfrom
experienceintowordsandpassedontheirwisdomtolatergenerations.
Similarly,Ithinkthemenaceoftherecenttsunamicanbetransmittedtolater
generationsthroughthe“RequiemForest”.Theforestswilltakeontherole
oftellingtheexperienceofthedisastertothenextgenerationsinorderto
preventthetragedyfromhappeningagain.
ThefarmingandfishingvillagesoftheTohokuregionretainqualitiesof
theidyllicJapaneselandscape,andthemodelofthetraditionalfamily
andregionalsocietyarestillintact.ThepeopleofJapanarefocusedon
thereconstructionofthisregion,whichtheyseeinparallelwiththeirown
futures.Thesoundsofconstructionfromtherecoveryeffortwillsurely
providehopeandcalmforthepeople,andbecomeasourceofrenewed
energyforthenation.Althoughitisasmallstep,itismyhopethatthe
“RequiemForest”canbebecomeafootholdforthiseffort.
TadaoAndo(architect),August 11,2011
被災地に「鎮魂の森」を
2011年3月11日、東日本を襲った、大地震、大津波、そして原発事故は、私たちの想
像をはるかにこえた大災害をもたらし、多くの人々の尊い命を奪い、故郷や、家族の
歴史、職業までも一瞬にして奪い去りました。
あれから5カ月、被災地ではいまだ行方不明者も多く、津波によってできた瓦礫の山
の撤去には、相当な困難が伴っています。もちろん、今この瞬間も、被災地で苦しんで
いる人々を救うことが最優先ですが、そろそろ私たちは次のステップとして復興への
道のりを考えなければいけません。そのためには、何よりもまず深く沈んだ国民の気
持ちを前に向かせることが先決です。
その一つの方法として、提案するのが、被災地での「鎮魂の森」づくりです。安全のた
めに、避難場所になる高台に草花や木を植え、「鎮魂の森」としてその周辺の整備を
進め、みんなで育てるのです。それは、震災の記憶の継承にもつながります。
瓦礫の山は当分、なくならないでしょう。しかし、その処理が終わるまで、新しい街づ
くりが何もはじまらないのでは、人々に希望は生まれません。瓦礫の山に草花の種を
蒔き、苗を育てる。瓦礫の中でも命を得た小さな花が咲いている。そして各地に適し
た苗木を植えていく。そんな風景をつくることが人々の希望につながるのではないか
と思います。やがて木々は育ち、人々の心の森となります。
今回被災地にもなった三陸地域では、「津波てんでんこ」という言葉が伝わっていま
す。津波の際は、肉親に構わず、てんでんばらばらで良いのでとにかく高台に逃げろと
いう意味です。先人たちは、先の災害の教訓を、言葉にして後世に託しました。この津
波の脅威を、今回は「鎮魂の森」という形で伝承していってはどうかと考えます。悲惨
な災害の経験を、二度とくりかえさないために、次の世代、またその次の世代に伝え
ていく。その役割を、「鎮魂の森」が担うのです。
東北の農村、漁村には、日本の原風景や、家族や地域社会の姿が残っています。多く
の国民は、この地の復興を、自分たちの未来と重ねて注目しています。復興の槌音が、
人々にとって何よりの希望と安心感をもたらすでしょうし、国が元気を取り戻すきっ
かけとなります。「鎮魂の森」が、小さくともその足がかりの一つとなればと思います。
安藤忠雄(建築家), 2011年8月11日w
90 YEARS VENINI 1921–2011
THISLOTISBEINGSOLDTOBENEFITTADAOANDO’S
“REQUIEMFOREST”PROJECT
Design_Masters_NY_Dec11_throw Shiro_3-4_v2.indd 4 21/11/11 16.49
Design_Masters_NY_Dec11_Lots_112-137 v2.indd 113 14/11/11 08.24
50 MARC NEWSONb. 1963
“Chop Top Table,” ca. 2006
Polished and painted aluminum, glass. Produced by Pod Edition, UK and
Galerie kreo, France. Editioned by Galerie kreo, France. Number eight from the
edition of 12 plus one prototype. Underside impressed with “MARC NEWSON/
POD/POD EDITION” and with “8 / 12.”
31 1/2 × 70 7/8 × 38 1/4 in. (80 × 180.1 × 97.2 cm.)
Estimate $180,000–220,000
PROVENANCE Galerie kreo, Paris; Private collection, UK
The “Chop Top Table” will be included as MN – 13NEHT-2006 in the
forthcoming catalogue raisonné of limited editions by Marc Newson
being prepared by Didier Krzentowski of Galerie kreo, Paris.
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Design_Masters_NY_Dec11_Lots_112-137 v2.indd 115 12/11/11 10.41
PROPERTYFROMTHEVENINIARCHIVES
51 VITTORIO ZECCHIN1878–1947
Large “soffiato” vase,ca.1921–1926
Translucentamethystglass.ProducedbyVenini,Italy.Acid-etched“venini/
murano/ITALIA.”TogetherwithacertificateofauthenticityfromVenini.
77/8×91/2in.(20×24cm.)
Estimate $8,000–12,000
EXHIBITED “VittorioZecchin,1878–1947:Pittura,Vetro,ArtiDecorative,”Museo
Correr,Venice,2002
LITERATURE FrancoDeboni,I vetri Venini,1996,p.35
AsimilarexampleonviewattheMuranoglassretrospectiveatthe26th
BiennalediVenezia,1952
90 YEARS VENINI 1921–2011
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Design_Masters_NY_Dec11_Lots_112-137 v2.indd 117 14/11/11 08.25
52 GIO PONTI1891–1979
Monumental “Vaso delle donne e dei fiori,” model no. 1036,ca.1924
Glazedearthenware.ManufacturedbyRichard-Ginori,Italy.FromtheMyWomenseries.
Undersidepaintedwithmaker’smarkandwith“Richard/Ginori/M982/M206E/GioPonti.”
201/2in.(52.1cm.)high
Estimate $70,000–90,000
PROVENANCE Christie’s,20th-Century Decorative Art and Design,London,April 30,2008,lot58
LITERATURE CarloPirovano,ed.,Gio Ponti: Ceramiche 1923–1930,exh.cat.,Milan,1983,pp. 39,
110,173–175;LorisManna,Gio Ponti: Le Maioliche,Milan,2000,pp. 73–75;UgoLaPietra,ed.,
Gio Ponti,NewYork,2009,p. 34;GraziellaRoccella,Gio Ponti: Master of Lightness,Cologne,2009,
pp. 18–19
GioPonti’spreparatorydrawingforthepresentmodel
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ioP
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s
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53 EMILE-JACQUES RUHLMANN1879–1933
Pair of “Gonse” armchairs, model no. 278 NR,ca.1930–1932
Lacqueredwood,fabric.Undersideofoneframebrandedwith“Ruhlmann”(2).
Each:29×42×451/4in.(73.7×106.7×114.9cm.)
Estimate $600,000–800,000
PROVENANCE Privatecollection,Paris,ca.1930;Privatecollection,Paris,1980s;
DeLorenzoGallery,NewYork,1988;PrivateMidwestcollection
LITERATURE LeonMoussinac,Croquis de Ruhlmann,Paris,1924,pl.31foradesign
sketch;CurtisMoffat,“FurnitureandHangings,”The Studio Year Book,Decorative Art,
London,1931,p.82;RaymondFoulk,Centenary Exhibition Emile-Jacques Ruhlmann,
London,1979,pl.27forasimilarexample;PierreKjellberg,Les Maîtres du Mobilier Art
Deco,Paris,1981,p.163;FlorenceCamard,Ruhlmann: Master of Art Deco,NewYork,
1984,pp.159,216foradesignsketchand261;PhilippeGarner,“ChowWow,”House
and Garden,May1988,pp.168–169;EmmanuelBreon,Jacques-Emile Ruhlmann, the
Designer’s Archives, Furniture,Paris,2004,pp.103and107foranarchivesketch
Inhissketchbookdated1915,Ruhlmannexploredtheconceptofa
lowloungechairwhosearmssweepdowninacontinuouscurve
toformtherearlegs,asinthepresentmodel.Onlythreeexamples
ofthe“Gonse”armchairproducedinblacklacquerareknownto
exist,includingthepresentpairaswellasasingleexamplesoldat
Christie’sNewYorkonJune1,2004.
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“…Rationalism, Comfort, Progress” EMILE-JACQUES RUHLMANN
SalonareaforaParisianCollector,ca.1930
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Design_Masters_NY_Dec11_Lots_112-137 v2.indd 123 14/11/11 08.25
54 HANS COPER1920–1981
White “Cycladic” pot, ca. 1977
Stoneware, layered white porcelain slips and engobes over a body with textured
and incised linear designs. Impressed with artist’s seal.
10 1/8 in. (25.7 cm.) high
Estimate $25,000–35,000
EXHIBITED “Lucie Rie/Hans Coper,” The Metropolitan Museum of Art, New York,
November 15, 1994–May 21, 1995; “Hans Coper Retrospective: Innovation in 20th-
Century Ceramics,” The Museum of Ceramic Art, Hyogo, September 12–November
29, 2009, then travelled to: The Shigaraki Ceramic Cultural Park, Museum of
Contemporary Ceramic Art, Shiga (March 13–June 17, 2010), Panasonic Electric
Works, Shiodome Museum, Tokyo (June 26–September 5, 2010), Museum of Modern
Ceramic Art, Gifu (September 18 – November 23, 2010), Iwate Museum of Art, Iwate
(December 4, 2010–February 13, 2011), and Shizuoka City Museum of Art, Shizuoka
(April 9–June 26, 2011)
LITERATURE John P. O’Neill, ed., Lucie Rie/Hans Coper, exh. cat., The Metropolitan
Museum of Art, New York, 1994, p. 19, fig. C74; Maya Nishi, ed., Hans Coper
Retrospective: Innovation in 20th-Century Ceramics, exh. cat., The Museum of Ceramic
Art, Hyogo, 2009, illustrated p. 111, fig. 95
55 HANS COPER1920–1981
Black “Cycladic” pot, ca. 1974
Stoneware, black glaze over a body with textured and incised linear
designs. Impressed with artist’s seal.
7 7/8 in. (19.8 cm.) high
Estimate $16,000–24,000
PROVENANCE The New Craftsman Gallery, St. Ives, UK, 1970s
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56 EMILE-JACQUES RUHLMANN1879–1933
Monumental set of doors, ca. 1925
Black lacquered oak, oak, silvered bronze, bronze (2).
Each: 98 3/8 × 26 1/4 × 1 3/8 in. (249.9 × 66.7 × 3.5 cm.)
Estimate $250,000–350,000
PROVENANCE Michael Chow, USA
EXHIBITED “Ruhlmann, Genius of Art Deco,” The Metropolitan Museum of Art, New
York, June 10 – September 5, 2004, then travelled to: The Montreal Museum of Fine
Arts, Jean Noel Desmarais Pavilion, Montreal, September 30 – December 12, 2004
LITERATURE “L’Entrée, Le Vestibule, Le Hallm,” Les Echos des Industries d’Art,
no. 19, February 1927, p. 8 for a similar example, “Salons et Boudoirs,” Les Echos
d’Art, no. 42, January 1929, p. 8 for a similar example; Raymond Foulk, Centenary
Exhibition Emile-Jacques Ruhlmann, London, 1979, pl. 24 for a similar example; Florence
Camard, Ruhlmann: Master of Art Deco, New York, 1984, pp. 134, 151 and 201 for similar
examples; Bruno Foucart, et al., Ruhlmann, Connaissance des Arts, Special Issue,
Paris, 2001, p. 44 for a similar example
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Design_Masters_NY_Dec11_Lots_112-137 v2.indd 127 14/11/11 08.32
COLLECTIONOFAGENTLEMAN
57 JEAN EMILE PUIFORCAT 1887–1945
Footed bowl,ca.1938
Silver,walnut,ivory.Outsideoflipimpressedwithmaker’smark
andtheMinervaheadmark.
67/8in.(17.5cm.)high,81/8in.(20.6cm.)diameter
Estimate $18,000–24,000 ∑
PROVENANCE FayLucasGallery,London
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58 EMILE-JACQUES RUHLMANN1879–1933
Wall light, model no. 3691,ca.1929
Silveredbronze,alabaster.
81/2×27×61/2in.(21.6×68.6×16.5cm.)
Estimate $40,000–60,000
PROVENANCE L’ArcenSeine,Paris
LITERATURE FlorenceCamard,Ruhlmann: Master of Art Deco,NewYork,1984,
p. 295,ref.3691forasimilarexample;Jean-LouisGaillemin,Antiquaires, The Finest
Antique Dealers in Paris,NewYork,2000,p. 115
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Design_Masters_NY_Dec11_Lots_112-137 v2.indd 131 12/11/11 10.41
PROPERTYFROMTHEVENINIARCHIVES
59 CARLO SCARPA1906–1978
‘A bollicine’ vase, model no. 11020,ca.1931–1934
Heavilybloomedopaquegreenglass.ProducedbyVenini,Italy.Underside
acid-etchedwith“venini/murano/ITALIA.”Togetherwithacertificateof
authenticityfromVenini.
85/8in.(22cm.)high,71/2in.(19cm.)diameter
Estimate $22,000–28,000
LITERATURE “ABOLLICINE1931–1934,”Venini: Catologo Blu,Murano,pl.34,model
no.11020;MarinoBarovier,Carlo Scarpa: Glass of an Architect,Milan,1999,p. 204,
fig. 10forasimilarexample;FrancoDeboni,Venini Glass, Its history, artists and
techniques,Volume1,Milan,2007,n.p.pl.34,modelno.11020;FrancoDeboni,Venini
Glass, Catalogue 1921–2007,vol.2,Turin,2007,pl.79forasimilarexample
Preparatorydrawingforthepresentlot
90 YEARS VENINI 1921–2011
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60 JEAN DUNAND1877–1942
Side table, ca. 1925
Lacquered wood, lacquered eggshell mosaic. Underside branded with “769”
and “JEAN/DUNAND/ LAQUEUR.”
13 1/2 × 15 3/4 × 13 in. (34.3 × 40 × 33 cm.)
Estimate $70,000–90,000
PROVENANCE Olivier Jean Elie, France
LITERATURE Felix Marcilhac, Jean Dunand: His Life and Works, London, 1991, pp. 151
and 246–247 for similar examples
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Design_Masters_NY_Dec11_Lots_112-137 v2.indd 135 12/11/11 10.42
61 WENDELL CASTLEb. 1932
Rare music stand, 1980
Ebonized oak. brass. Reverse incised with “W. Castle 80.”
55 1/2 in. (141 cm.) high
Estimate $25,000–35,000
PROVENANCE Barbara Fendrick Gallery, Washington, D.C.; Private collection,
McLean, Virginia
LITERATURE Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American
Craft Museum, New York, 1989, p. 177 for a similar example; Davira S. Taragin,
Edward S. Cooke and Joseph Giovannini, Furniture by Wendell Castle, New York, 1989,
p. 25 for a similar example; Jeremy Adamson, The Furniture of Sam Maloof, exh. cat.,
The Smithsonian American Art Museum, Washington, D.C., 2001, p. 121 for a similar
example; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High
Craft to High Glam, New York, 2008, p. 45; Jeannine Falino, ed., Crafting Modernism:
Midcentury American Art and Design, exh. cat., Museum of Arts and Design, New York,
2011 for a similar example
The present lot is the first of two music stands produced with an
ebonized finish and brass inlay.
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Design_Masters_NY_Dec11_Lots_112-137 v2.indd 137 12/11/11 10.42
COLLECTIONOFAGENTLEMAN
62 DIEGO GIACOMETTI1902–1985
“Oiseau,”ca.1970
Patinatedbronze.Impressedwith“DG.”
31/4×53/4×21/2in.(8.3×14.6×6.4cm.)
Estimate $12,000–18,000
PROVENANCE Collectionoftheartist;Christie’s,20th-Century Art (DaySale),New
York,November 10,1992,lot692;Christie’s, Impressionist and Modern Art(DaySale),
NewYork,May 5,2004
LITERATURE MichelBuxtor,Diego Giacometti,Paris,1985,pp.108,111and11for
examplesofsimilar“oiseau”figures;DanielMarchesseau,Diego Giacometti,Paris,
1986,pp.94–95forexamplesofsimilar“oiseau”figures;FrancoisBaudot,Diego
Giacometti,Paris,1998,pp.26–27and66–67forexamplesofsimilar“oiseau”figures
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Design_Masters_NY_Dec11_Lots_138-165_v2.indd 139 14/11/11 08.33
63 GEORGES CHEVALIER1894–1987
The “Jets d’eau” chandelier, from the Baccarat-Christofle Pavilion, Paris,1925
Crystal,brass.ProducedbyCompagniedesCristalleriesdeBaccarat,France.
108in.(274.3cm.)drop,78in.(198.1cm.)diameter
Estimate $200,000–250,000
PROVENANCE Baccarat-ChristoflePavilion,ExpositionInternationaledesArts
DécoratifsetIndustrielsModernes,Paris,1925;purchasedfromtheabovebyFrank
Thring,Sr.fortheLobbyoftheRegentTheater,Sydney,Australia,1928–1984
EXHIBITED “ExpositionInternationaledesArtsDécoratifsetIndustrielsModernes,”
Baccarat-ChristoflePavilion,EsplanadedesInvalides,Paris,April–October1925
Phillips de Pury and Company would like to thank Michaela Lerch and
Sandrine Fritz of the Heritage Department at Baccarat, for their help in
cataloguing this lot.
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Design_Masters_NY_Dec11_Lots_138-165_v2.indd 141 14/11/11 08.34
ApamphletdepictingtheBaccarat-ChristoflePavilionwherethepresentlotappeared,
Paris,1925
Thepresentlotin situ,theBaccarart-ChristoflePavilion,ExpositionInternationaledesArts
DécoratifsetIndustrielsModernes,Paris,1925
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GeorgesChevalier(1894–1987)designedthepresentchandelierforthe
jointBaccarat-ChristoflePavilionatthe1925ExpositionInternationale
desArtsDécoratifsetIndustrielsModernes,Paris,whereithungin
thebuilding’sdomethatsummerandfall.Designedintheshapeofa
cascadingfountain,thechandeliercomprises24arms,156lights,and
approximately100,000Baccaratcrystals.
ViewedinsituduringtheExposition,thechandelierwaspurchasedby
Mr.FrankThring,founderofHoyt’sTheatersinAustralia.Heshipped
theworktohisnativeAustralia,whereheinstalleditin1928forthe
grandopeningofhisflagship,theRegentTheateronGeorgeStreetin
Sydney.The“Jetd’Eau”enjoyedprideofplaceuntil1984,whenthetheater
wasdestroyed.
AgraduateoftheÉcoleNationaleSupérieuredesArtsDécoratifsandan
associateofdecoratorMauriceDufrène,Chevalierbroughtacontemporary,
modernfocustoBaccarat,whereheremainedactiveuntilthe1970s.
Asmaller,laterversionofthepresentchandelierhangsintheSalleGérard
GarousteattheMuséeBaccarat,PlacedesÉtats-Unis,Paris.
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64 EMILE-JACQUES RUHLMANN1879–1933
‘Chaud Porte-Feuille’ wall light,1922
Silveredbronze,alabaster.
5×20×8in.(12.7×50.8×20.3cm.)
Estimate $70,000–90,000
PROVENANCE Camard,June2,2006
LITERATURE FlorenceCamard,Ruhlmann: Master of Art Deco,NewYork:Abrams,
1984,p.295forasimilarexample;Jean-LouisGaillemin,Antiquaires: The Finest Antique
Dealers in Paris,NewYork,2001,p.115forasimilarexample
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Design_Masters_NY_Dec11_Lots_138-165_v2.indd 145 14/11/11 08.34
65 HANS COPER1920–1981
Monumental early “Thistle” form, ca. 1958
Stoneware, layered white porcelain slips and engobes over a body with scrubbed
radiating linear design. Impressed with artist’s seal.
(18 1/8 × 15 3/8 × 5 7/8 in. (46 × 39 × 15 cm.)
Estimate $50,000–70,000
EXHIBITED “Hans Coper Retrospective: Innovation in 20th-Century Ceramics,” The Museum
of Ceramic Art, Hyogo, September 12–November 29, 2009, then traveled to: The Shigaraki
Ceramic Cultural Park, Museum of Contemporary Ceramic Art, Shiga (March 13–June 17,
2010), Panasonic Electric Works, Shiodome Museum, Tokyo (June 26–September 5, 2010),
Museum of Modern Ceramic Art, Gifu (18 September 18–November 23, 2010), Iwate Museum of
Art, Iwate (December 4, 2010–February 13, 2011), and Shizuoka City Museum of Art, Shizuoka
(April 9–June 26, 2011)
LITERATURE Tony Birks, Hans Coper, Somerset, 2005, illustrated p. 106 in the studio at Albion
Mews; Maya Nishi, ed., Hans Coper Retrospective: Innovation in 20th Century Ceramics, exh. cat.,
The Museum of Ceramic Art, Hyogo, 2009, illustrated p. 81, fig. 38
The present lot was featured prominently in a panel discussion on
the Hans Coper documentary broadcast by the Japan Broadcasting
Corporation (NHK) in 2010.
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Design_Masters_NY_Dec11_Lots_138-165_v2.indd 147 12/11/11 10.46
PROPERTY OF AN EAST COAST GENTLEMAN
66 PIERRE CHAREAU1883–1950
Important desk, model no. MB 405, and stool, model no. SN 3, ca. 1927
Rosewood-veneered walnut, painted iron.
36 1/4 × 64 × 40 3/8 in. (92.1 × 162.6 × 102.6 cm.)
Estimate $475,000–525,000
PROVENANCE Thierry Couvrat Desvergnes, Paris; Sotheby’s, Arts
Décoratifs du XXe Siècle, Paris, November 20, 2006, lot 110
EXHIBITED “Pierre Chareau Architecte, un Art Intérieur,” Centre Georges
Pompidou, Paris, November 3, 1993–January 17, 1994
LITERATURE Pierre Chareau: architecte, un art intérieur, exh. cat., Centre
Georges Pompidou, Paris, 1993, illustrated p. 149; Brian Brice Taylor, Pierre
Chareau, Cologne, 1998, pp. 76–78; Pierre Kjellberg, Art Déco: Les Maîtres du
Mobilier-Le Décor das Paquebots, Paris, 1998, p. 57
Pierre Chareau designed a similar desk for Dr. Jean Dalsace, original owner
of Chareau’s Maison de Verre, Paris.
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COLLECTIONOFAGENTLEMAN
67 JEAN-MICHEL FRANK1895–1941
Lidded box,ca.1930
Shagreen,wood,brass.Interioroflidimpressedwith“9083.”
21/4×43/4×31/2in.(5.7×12.1×8.9cm.)
Estimate $8,000–12,000 ∑
PROVENANCE AlexandreBiaggi,Paris
LITERATURE LéopoldDiegoSanchez,Jean-Michel Frank,Paris,1997,
p. 247forasimilarexample
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Design_Masters_NY_Dec11_throw Chareau_5-6_v2.indd 5 14/11/11 09.36
COLLECTIONOFAGENTLEMAN
67 JEAN-MICHEL FRANK1895–1941
Lidded box,ca.1930
Shagreen,wood,brass.Interioroflidimpressedwith“9083.”
21/4×43/4×31/2in.(5.7×12.1×8.9cm.)
Estimate $8,000–12,000 ∑
PROVENANCE AlexandreBiaggi,Paris
LITERATURE LéopoldDiegoSanchez,Jean-Michel Frank,Paris,1997,
p. 247forasimilarexample
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68 BERNARD LEACH1887–1979
Large vase with “Leaping Fish” design, ca. 1970
Stoneware, shino type glazes, the repeated fish designs cut back through a
brushstroke of glaze and enclosed within a banded design. Impressed with
“BL” and Bernard Leach’s pottery seals.
15 3/4 in. (40 cm.) high
Estimate $9,000–14,000
PROVENANCE Janet Leach, The New Craftsman Gallery, St. Ives, UK
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PROPERTYOFAGENTLEMAN
69 JEAN-MICHEL FRANK1895–1941
‘Pagoda’ side table,ca.1930
Pearwood,leather.
171/2×161/4×163/4in.(44.5×41.3×42.5cm.)
Estimate $50,000–70,000
PROVENANCE GalerieVallois,Paris;FriedmanVallois,NewYork,2006
LITERATURE LéopoldDiegoSanchez,Jean-Michel Frank,Paris,1997,pp. 161,205
and211forsimilarexamples;PierreEmmanuelMartin-Vivier, Jean-Michel Frank,Paris,
2006,pp.159and278forsimilarexamples
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Design_Masters_NY_Dec11_Lots_138-165_v2.indd 153 14/11/11 08.35
70 LUCIE RIE1902–1995
Large conical bowl, ca. 1985
Stoneware, white feldspathic glaze over a mixed clay body producing a delicate
pink and blue spiral. Underside impressed with artist’s seal and with applied
label “LR/135.”
5 in. (12.7 cm.) high, 12 1/4 in. (31.1 cm.) diameter
Estimate $25,000–35,000
PROVENANCE Galerie Besson, London, 1990
EXHIBITED “Nine Potters,” Fischer Fine Art, London, September–October 1986;
“Lucie Rie,” Galerie Besson, London, April–June 1988
LITERATURE Nine Potters, exh. cat., Fischer Fine Art, London, 1986, illustrated p. 28;
Lucie Rie, exh. cat., Galerie Besson, London, 1988, illustrated p. 58; Issey Miyake Meets
Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo and Museum of Oriental Ceramics, Osaka,
1989, p. 12, item 95 for a similar example
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Design_Masters_NY_Dec11_Lots_138-165_v2.indd 155 12/11/11 10.47
COLLECTIONOFAGENTLEMAN
71 JEAN DUNAND1877–1942
Lidded box,ca.1925
Lacqueredwood,lacqueredeggshellmosaic,brass.Undersidepainted
inredwith“J.D.”
13/4×31/2×41/8in.(4.4×8.9×10.5cm.)
Estimate $7,000–9,000
PROVENANCE RainbowFineArt,NewYork,2002
LITERATURE FelixMarcilhac,Jean Dunand, His Life and Works,NewYork,1990,
p. 277forsimilarexamples
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Design_Masters_NY_Dec11_Lots_138-165_v2.indd 157 14/11/11 08.35
COLLECTIONOFAGENTLEMAN
72 JEAN DUNAND1877–1942
Lidded box, model no. 704,ca.1925
Brass,lacqueredoroideinlaidwitheggshell.Undersidepainted
inredwith“JEANDUNAND.”
11/2×31/2×3in.(3.8×8.9×7.6cm.)
Estimate $12,000–18,000
PROVENANCE Tajan,Paris,20th-Century Decorative Arts,June28,2005,lot12
LITERATURE FelixMarcilhac,Jean Dunand, His Life and Works,NewYork,1990,
p. 276forasimilarexample
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COLLECTIONOFAGENTLEMAN
73 JEAN-MICHEL FRANK1895–1941
Table lamp,ca.1927
Glass,bronze,parchment.Undersideofbaseimpressedwith“MADEIN
FRANCE”andwithL’ArcenSeinegallerylabel.
18in.(45.7cm.)high,14in.(35.6cm.)diameterincludingshade
Estimate $40,000–60,000
PROVENANCE Privatecollection,Switzerland;L’ArcenSeine,Paris,2007
LITERATURE LéopoldDiegoSanchez,Jean-Michel Frank,Paris,1997,p. 245;Pierre
EmmanuelMartin-Vivier,Jean-Michel Frank,Paris,2006,p.277;PierreBergé,etal.,
Jean-Michel Frank: Un décorateur dans le Paris des années 30,exh.cat.,FondationPierre
Bergé–YvesSaintLaurent,Paris,2010,p.89
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COLLECTIONOFAGENTLEMAN
74 JEAN DUNAND1877–1942
Vase,ca.1925
Lacqueredmetal.Undersideimpressedwith“JEAN·DUNAND.”
63/4in.(7.2cm.)high,53/4in.(14.5cm.)diameter
Estimate $30,000–40,000
PROVENANCE DeLorenzoGallery,NewYork
LITERATURE FelixMarcilhac,Jean Dunand, His Life and Works,NewYork,1990,
p. 313,fig.1058forasimilarexample
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75 STUDIO JOB
JOB SMEETS and NYNKE TYNAGEL b. 1970, b. 1977
“Robber Baron” floor lamp, 2007
Polished and patinated bronze. Number one from the edition of five.
Base impressed with “JOB 07 01 / 05.”
63 in. (160 cm.) high
Estimate $100,000–150,000
LITERATURE Willy van den Bussche, et al., Studio Job: The Book of Job, New York, 2010,
pp. 181 or a drawing and 187, 190
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INDEX
Ando, T. 49
Bianconi, F. 32
Burton, S. 46
Buzzi, T. 4
Campana, F. 22
Campana, H. 22
Casanovas, C. 45
Castle, W. 61
Chareau, P. 66
Chevalier, G. 63
Collingwood, P. 31
Coper, H. 13, 14, 43, 54, 55, 65
De Lanux, E. 10
Dunand, J. 11, 60, 71, 72, 74
Frank, J-M. 27, 67, 69, 73
Fukami, S. 39
Giacometti, D. 8, 9, 15, 62
Henningsen, F. 6
Hoffmann, J. 3
Hrstka, M. 37
Ingrand, M. 44
Kuramata, S. 48
Leach, B. 68
Maloof, S. 18
Matta, R. 7
Mendini, A. 25
Mollino, C. 42
Nakashima, G. 5, 40
Newson, M. 50
Noguchi, I. 7
Peche, D. 1
Perriand, C. 19
Ponti, G. 2, 20, 33, 36, 38, 52
Price, K. 29
Prouvé, P. 21, 23
Puiforcat, J. E. 57
Rie, L. 34, 35, 70
Royère, J. 24, 26, 30
Ruhlmann, E-J. 53, 56, 58, 64
Scarpa, C. 41, 47, 59
Smeets, J. 12, 75
Studio Job 12, 75
Szekely, M. 28
Torun Bülow-Hübbe, V. 16
Tower, J. 17
Tynagel, N. 12, 75
Zecchin, V. 51
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has been fully financed by third parties.
∆ Property in Which Phillips de Pury & Company Has an Ownership Interest
Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in
part or has an economic interest in the lot equivalent to an ownership interest.
• No Reserve
Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve
is the confidential value established between Phillips de Pury & Company and the seller and
below which a lot may not be sold. The reserve for each lot is generally set at a percentage
of the low estimate and will not exceed the low pre-sale estimate.
∑ Endangered Species
This property may require an export, import or endangered species license or permit.
Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the
Conditions of Sale.
2 BIDDING IN THE SALE
Bidding at Auction
Bids may be executed during the auction in person by paddle or by telephone or prior to the
sale in writing by absentee bid.
Bidding in Person
To bid in person, you will need to register for and collect a paddle before the auction begins.
Proof of identity in the form of government issued identification will be required, as will
an original signature. We may also require that you furnish us with a bank reference. New
clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient
time for us to process your information. All lots sold will be invoiced to the name and
address to which the paddle has been registered and invoices cannot be transferred to other
names and addresses. Please do not misplace your paddle. In the event you lose it, inform
a Phillips de Pury & Company staff member immediately. At the end of the auction, please
return your paddle to the registration desk.
Bidding by Telephone
If you cannot attend the auction, you may bid live on the telephone with one of our multi-
lingual staff members. This service must be arranged at least 24 hours in advance of the
sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone
bids may be recorded. By bidding on the telephone, you consent to the recording of your
conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium
and any applicable taxes, which we can execute on your behalf in the event we are unable to
reach you by telephone.
Absentee Bids
If you are unable to attend the auction and cannot participate by telephone, Phillips de
Pury & Company will be happy to execute written bids on your behalf. A bidding form can
be found at the back of this catalogue. This service is free and confidential. Bids must be
placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the
lowest possible price taking into account the reserve and other bidders. Always indicate a
maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will
not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale.
In the event of identical bids, the earliest bid received will take precedence.
Employee Bidding
Employees of Phillips de Pury & Company and our affiliated companies, including the
auctioneer, may bid at the auction by placing absentee bids so long as they do not know
the reserve when submitting their absentee bids and otherwise comply with our employee
bidding procedures.
Bidding Increments
Bidding generally opens below the low estimate and advances in increments of up to 10%,
subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments
set below may be lowered to the next bidding increment.
$50 to $1,000 by $50s
$1,000 to $2,000 by $100s
$2,000 to $3,000 by $200s
$3,000 to $5,000 by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800)
$5,000 to $10,000 by $500s
$10,000 to $20,000 by $1,000s
$20,000 to $30,000 by $2,000s
$30,000 to $50,000 by $2,000s, 5,000, 8,000
$50,000 to $100,000 by $5,000s
$100,000 to $200,000 by $10,000s
above $200,000 auctioneer’s discretion
The auctioneer may vary the increments during the course of the auction at his or her own
discretion.
3 THE AUCTION
Conditions of Sale
As noted above, the auction is governed by the Conditions of Sale and Authorship
Warranty. All prospective bidders should read them carefully. They may be amended by
saleroom addendum or auctioneer’s announcement.
Interested Parties Announcement
In situations where a person allowed to bid on a lot has a direct or indirect interest in such
lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or
GUIDE FOR PROSPECTIVE BUYERS
BUYING AT AUCTION
The following pages are designed to offer you information on how to buy at auction at
Phillips de Pury & Company. Our staff will be happy to assist you.
CONDITIONS OF SALE
The Conditions of Sale and Authorship Warranty which appear later in this catalogue
govern the auction. Bidders are strongly encouraged to read them as they outline the
legal relationship among Phillips, the seller and the buyer and describe the terms upon
which property is bought at auction. Please be advised that Phillips de Pury & Company
generally acts as agent for the seller.
BUYER’S PREMIUM
Phillips de Pury & Company charges the successful bidder a commission, or buyer’s
premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer
as part of the total purchase price at the following rates: 25% of the hammer price up to and
including $50,000, 20% of the portion of the hammer price above $50,000 up to and including
$1,000,000 and 12% of the portion of the hammer price above $1,000,000.
1 PRIOR TO AUCTION
Catalogue Subscriptions
If you would like to purchase a catalogue for this auction or any other Phillips de Pury lot&
Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.
Pre-Sale Estimates
Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high
and low estimate range should, in our opinion, offer a chance of success. However, many
lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request”
appears, please contact the specialist department for further information. It is advisable to
contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale
estimates do not include the buyer’s premium or any applicable taxes.
Pre-Sale Estimates in Pounds Sterling and Euros
Although the sale is conducted in US dollars, the pre-sale estimates in the auction
catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate
is that at the time of catalogue production and not at the date of auction, you should treat
estimates in pounds sterling or euros as a guide only.
Catalogue Entries
Phillips may print in the catalogue entry the history of ownership of a work of art, as well as
the exhibition history of the property and references to the work in art publications. While
we are careful in the cataloguing process, provenance, exhibition and literature references
may not be exhaustive and in some cases we may intentionally refrain from disclosing the
identity of previous owners. Please note that all dimensions of the property set forth in the
catalogue entry are approximate.
Condition of Lots
Our catalogues include references to condition only in the descriptions of multiple works
(e.g., prints). Such references, though, do not amount to a full description of condition.
The absence of reference to the condition of a lot in the catalogue entry does not imply that
the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de
Pury & Company may provide condition reports. In preparing such reports, our specialists
assess the condition in a manner appropriate to the estimated value of the property and
the nature of the auction in which it is included. While condition reports are prepared
honestly and carefully, our staff are not professional restorers or trained conservators.
We therefore encourage all prospective buyers to inspect the property at the pre-sale
exhibitions and recommend, particularly in the case of any lot of significant value, that you
retain your own restorer or professional advisor to report to you on the property’s condition
prior to bidding. Any prospective buyer of photographs or prints should always request a
condition report because all such property is sold unframed, unless otherwise indicated in
the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability
for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the
purchaser to a professional framer.
Pre-Auction Viewing
Pre-auction viewings are open to the public and free of charge. Our specialists are available
to give advice and condition reports at viewings or by appointment.
Electrical and Mechanical Lots
All lots with electrical and/or mechanical features are sold on the basis of their decorative
value only and should not be assumed to be operative. It is essential that, prior to any
intended use, the electrical system is verified and approved by a qualified electrician.
Symbol Key
The following key explains the symbols you may see inside this catalogue.
O Guaranteed Property
The seller of lots with this symbol has been guaranteed a minimum price. The guarantee
may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third
party. Phillips de Pury & Company and third parties providing or participating in a guarantee
may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the
sale is not successful. A third party guarantor may also bid for the guaranteed lot and may
be allowed to net the financial remuneration received in connection with the guarantee
against the final purchase price if such party is the successful bidder.
In this catalogue, if property has O◊ next to the lot number, the guarantee of minimum price
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a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will
make an announcement in the saleroom that interested parties may bid on the lot.
Consecutive and Responsive Bidding
The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The
auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing
consecutive bids or bids in response to other bidders.
4 AFTER THE AUCTION
Payment
Buyers are required to pay for purchases immediately following the auction unless other
arrangements are agreed with Phillips de Pury & Company in writing in advance of the
sale. Payments must be made in US dollars either by cash, check drawn on a US bank or
wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy
not to make or accept single or multiple payments in cash or cash equivalents in excess of
US$10,000.
Credit Cards
As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa
and Mastercard to pay for invoices of $10,000 or less.
Collection
It is our policy to request proof of identity on collection of a lot. A lot will be released to
the buyer or the buyer’s authorized representative when Phillips de Pury & Company has
received full and cleared payment and we are not owed any other amount by the buyer.
Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th
Avenue in Long Island City, Queens, New York. All purchased lots should be collected at
this location during our regular weekday business hours. As a courtesy to clients, we will
upon request transfer purchased lots suitable for hand carry back to our premises at 450
West 15th Street, New York, New York for collection within 30 days following the date of
the auction. For each purchased lot not collected from us at either our warehouse or our
auction galleries by such date, Phillips de Pury & Company will levy a late collection fee of
$50, an additional administrative fee of $10 per day and insurance charges of 0.1% of the
Purchase Price per month on each uncollected lot.
Loss or Damage
Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to
lots for a maximum of five days following the auction.
Transport and Shipping
As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand
carry only. We will, at the buyer’s expense, either provide packing, handling and shipping
services or coordinate with shipping agents instructed by the buyer in order to facilitate
such services for property purchased at Phillips de Pury & Company. Please refer to
Paragraph 7 of the Conditions of Sale for more information.
Export and Import Licenses
Before bidding for any property, prospective bidders are advised to make independent
inquiries as to whether a license is required to export the property from the United States
or to import it into another country. It is the buyer’s sole responsibility to comply with all
import and export laws and to obtain any necessary licenses or permits. The denial of any
required license or permit or any delay in obtaining such documentation will not justify the
cancellation of the sale or any delay in making full payment for the lot.
Endangered Species
Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,
whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may
require a license or certificate prior to exportation and additional licenses or certificates
upon importation to any foreign country. Please note that the ability to obtain an export
license or certificate does not ensure the ability to obtain an import license or certificate in
another country, and vice versa. We suggest that prospective bidders check with their own
government regarding wildlife import requirements prior to placing a bid. It is the buyer’s
sole responsibility to obtain any necessary export or import licenses or certificates as well
as any other required documentation. The denial of any required license or certificate or
any delay in obtaining such documentation will not justify the cancellation of the sale or any
delay in making full payment for the lot.
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CONDITIONS OF SALE
The Conditions of Sale and Authorship Warranty set forth below govern the relationship
between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers,
on the other hand. All prospective buyers should read these Conditions of Sale and
Authorship Warranty carefully before bidding.
1 INTRODUCTION
Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale
and Authorship Warranty; (b) additional notices and terms printed in other places in this
catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue
or other written material posted by Phillips de Pury & Company in the saleroom, in each case
as amended by any addendum or announcement by the auctioneer prior to the auction.
By bidding at the auction, whether in person, through an agent, by written bid, by telephone
bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as
so changed or supplemented, and Authorship Warranty.
These Conditions of Sale, as so changed or supplemented, and Authorship Warranty
contain all the terms on which Phillips de Pury & Company and the seller contract with
lotthe buyer.
2 PHILLIPS de PURY & COMPANY AS AGENT
Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in
this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own
a lot, in which case we will act in a principal capacity as a consignor, or may have a legal,
beneficial or financial interest in a lot as a secured creditor or otherwise.
3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY
Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless
such description is changed or supplemented, as provided in Paragraph 1 above) and in the
condition that they are in at the time of the sale on the following basis.
(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially
dependent on information provided to us by the seller, and Phillips de Pury & Company
is not able to and does not carry out exhaustive due diligence on each lot. Prospective
buyers acknowledge this fact and accept responsibility for carrying out inspections
and investigations to satisfy themselves as to the lots in which they may be interested.
Notwithstanding the foregoing, we shall exercise such reasonable care when making
express statements in catalogue descriptions or condition reports as is consistent with our
role as auctioneer of lots in this sale and in light of (i) the information provided to us by the
seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of
relevant experts, in each case at the time any such express statement is made.
(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by
prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on
the basis that bidders (and independent experts on their behalf, to the extent appropriate
given the nature and value of the lot and the bidder’s own expertise) have fully inspected the
lot prior to bidding and have satisfied themselves as to both the condition of the lot and the
accuracy of its description.
(c) Prospective buyers acknowledge that many lots are of an age and type which means
that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company
may prepare and provide condition reports to assist prospective buyers when they are
inspecting lots. Catalogue descriptions and condition reports may make reference to
particular imperfections of a lot, but bidders should note that lots may have other faults not
expressly referred to in the catalogue or condition report. All dimensions are approximate.
Illustrations are for identification purposes only and cannot be used as precise indications
of size or to convey full information as to the actual condition of lots.
(d) Information provided to prospective buyers in respect of any lot, including any pre-sale
estimate, whether written or oral, and information in any catalogue, condition or other
report, commentary or valuation, is not a representation of fact but rather a statement of
opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as
a prediction of the selling price or value of the lot and may be revised from time to time by
Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company
nor any of our affiliated companies shall be liable for any difference between the pre-sale
estimates for any lot and the actual price achieved at auction or upon resale.
4 BIDDING AT AUCTION
(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction
or participation in the sale. All bidders must register for a paddle prior to bidding, supplying
such information and references as required by Phillips de Pury & Company.
(b) As a convenience to bidders who cannot attend the auction in person, Phillips de
Pury & Company may, if so instructed by the bidder, execute written absentee bids on a
bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,”
a copy of which is printed in this catalogue or otherwise available from Phillips de Pury &
Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate
the maximum amount he or she intends to bid, excluding the buyer’s premium and any
applicable sales or use taxes. The auctioneer will not accept an instruction to execute an
absentee bid which does not indicate such maximum bid. Our staff will attempt to execute
an absentee bid at the lowest possible price taking into account the reserve and other
bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the
event of identical bids, the earliest bid received will take precedence.
(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy
of which is printed in this catalogue or otherwise available from Phillips de Pury &
Company. Telephone bidding is available for lots whose low pre-sale estimate is at least
$1,000. Phillips de Pury & Company reserves the right to require written confirmation of
a successful bid from a telephone bidder by fax or otherwise immediately after such bid
is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the
telephone, a bidder consents to the recording of the conversation.
(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder
accepts personal liability to pay the purchase price, as described more fully in Paragraph
6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing
with Phillips de Pury & Company before the commencement of the auction that the bidder
is acting as agent on behalf of an identified third party acceptable to Phillips de Pury &
Company and that we will only look to the principal for such payment.
(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury
& Company to prospective buyers. While we undertake to exercise reasonable care in
undertaking such activity, we cannot accept liability for failure to execute such bids except
where such failure is caused by our willful misconduct.
(f) Employees of Phillips de Pury & Company and our affiliated companies, including the
auctioneer, may bid at the auction by placing absentee bids so long as they do not know
the reserve when submitting their absentee bids and otherwise comply with our employee
bidding procedures.
5 CONDUCT OF THE AUCTION
(a) Unless otherwise indicated by the symbol • each lot is offered subject to a reserve,
which is the confidential minimum selling price agreed by Phillips de Pury & Company with
the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.
(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a
lot for sale (including after the fall of the hammer) if he or she believes there may be error or
dispute and take such other action as he or she deems reasonably appropriate.
(c) The auctioneer will commence and advance the bidding at levels and in increments he
or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may
place one or more bids on behalf of the seller up to the reserve without indicating he or she
is doing so, either by placing consecutive bids or bids in response to other bidders.
(d) The sale will be conducted in US dollars and payment is due in US dollars. For the
benefit of international clients, pre-sale estimates in the auction catalogue may be
shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates.
Accordingly, estimates in pounds sterling or euros should be treated only as a guide.
(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the
auctioneer will be the buyer and the striking of the hammer marks the acceptance of the
highest bid and the conclusion of a contract for sale between the seller and the buyer.
lotRisk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.
(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”
“returned to owner” or “bought-in.”
(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of
Sale and Authorship Warranty as if sold in the auction.
6 PURCHASE PRICE AND PAYMENT
(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s
premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25%
of the hammer price up to and including $50,000, 20% of the portion of the hammer price
above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price
above $1,000,000. Phillips reserves the right to pay from our compensation an introductory
commission to one or more third parties for assisting in the sale of property offered and
sold at auction.
(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable
law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted
exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale
certificates from US dealers as proof of exemption from sales tax. All foreign buyers should
contact the Client Accounting Department about tax matters.
(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately
following the auction regardless of any intention to obtain an export or import license or
other permit for such lot. Payments must be made by the invoiced party in US dollars either
by cash, check drawn on a US bank or wire transfer, as follows:
(i) Phillips de Pury & Company will accept payment in cash provided that the total amount
paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should
do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during
regular weekday business hours.
(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer
provides to us acceptable government issued identification. Checks and banker’s drafts
should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,
please send the check or banker’s draft to the attention of the Client Accounting Department
at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is
written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.
(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. lotBank
transfer details:
Design_Masters_NY_Dec11_Backmatter_166-175.indd 169 14/11/11 08.37
(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips
de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the
buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any
other property or money of the buyer in, or coming into, our possession or the possession of
one of our affiliated companies. We may apply such money or deal with such property as the
Uniform Commercial Code or other applicable law permits a secured creditor to do. In the
event that we exercise a lien over property in our possession because the buyer is in default
to one of our affiliated companies, we will so notify the buyer. Our security interest in any
individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.
(c) In the event the buyer is in default of payment to any of our affiliated companies, the
buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property
in our possession by actual or constructive delivery to our affiliated company as security
for the payment of any outstanding amount due. Phillips de Pury & Company will notify the
buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.
10 RESCISSION BY PHILLIPS de PURY & COMPANY
Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale
without notice to the buyer if we reasonably believe that there is a material breach of the
seller’s representations and warranties or the Authorship Warranty or an adverse claim is
made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the
sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then
refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the
refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury
lot& Company and the seller with respect to such rescinded sale..
11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS
Before bidding for any property, prospective buyers are advised to make their own inquiries
as to whether a license is required to export a lot from the United States or to import it into
another country. Prospective buyers are advised that some countries prohibit the import
of property made of or incorporating plant or animal material, such as coral, crocodile,
ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.
Accordingly, prior to bidding, prospective buyers considering export of purchased lots
should familiarize themselves with relevant export and import regulations of the countries
concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any
necessary export, import and endangered species licenses or permits. Failure to obtain a
license or permit or delay in so doing will not justify the cancellation of the sale or any delay
in making full payment for the lot.
12 CLIENT INFORMATION
In connection with the management and operation of our business and the marketing and
supply of auction related services, or as required by law, we may ask clients to provide
personal information about themselves or obtain information about clients from third
parties (e.g., credit information). If clients provide us with information that is defined by law
as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may
use it for the above purposes. Phillips de Pury & Company and our affiliated companies will
not use or process sensitive information for any other purpose without the client’s express
consent. If you would like further information on our policies on personal data or wish to
make corrections to your information, please contact us at +1 212 940 1228. If you would
prefer not to receive details of future events please call the above number.
13 LIMITATION OF LIABILITY
(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our
affiliated companies and the seller to the buyer in connection with the sale of a lot shall be
limited to the Purchase Price actually paid by the buyer for the lot.
(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company,
any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether
orally or in writing, in information provided to prospective buyers by Phillips de Pury &
Company or any of our affiliated companies or (ii) accepts responsibility to any bidder
in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury &
Company or any of our affiliated companies in connection with the conduct of the auction or
for any other matter relating to the sale of any lot.
(c) All warranties other than the Authorship Warranty, express or implied, including any
warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips
de Pury & Company, our affiliated companies and the seller to the fullest extent permitted
lotby law.
(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our
affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond
the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss
or damage is characterized as direct, indirect, special, incidental or consequential, or for
the payment of interest on the Purchase Price to the fullest extent permitted by law.
(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of
Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any
fraud or fraudulent misrepresentation made by any of us or in respect of death or personal
injury caused by our negligent acts or omissions.
14 COPYRIGHT
The copyright in all images, illustrations and written materials produced by or for Phillips
de Pury & Company relating to a lot, including the contents of this catalogue, is and shall
remain at all times the property of Phillips de Pury & Company and such images and
materials may not be used by the buyer or any other party without our prior written consent.
Phillips de Pury & Company and the seller make no representations or warranties that the
buyer of a lot will acquire any copyright or other reproduction rights in it.
Citibank
322 West 23rd Street, New York, NY 10011
SWIFT Code: CITIUS33
ABA Routing: 021 000 089
For the account of Phillips de Pury & Company LLC
Account no.: 58347736
Please reference the relevant sale and lot number.
(d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the
Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to
release a lot to the buyer until title in the lot has passed and appropriate identification has
been provided, and any earlier release does not affect the passing of title or the buyer’s
unconditional obligation to pay the Purchase Price.
7 COLLECTION OF PROPERTY
(a) Phillips de Pury & Company will not release a lot to the buyer until we have received
payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding
amounts due to Phillips de Pury & Company or any of our affiliated companies, including
any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such
other terms as we in our sole discretion shall require, including completing any anti-money
laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the
foregoing conditions, and no later than five days after the conclusion of the auction, he or
she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange
for collection of purchased property.
(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09
37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected
at this location during our regular weekday business hours. As a courtesy to clients,
Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots
suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for
collection within 30 days following the date of the auction. Purchased lots are at the buyer’s
risk, including the responsibility for insurance, from the earlier to occur of (i) the date of
collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company
will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the
Purchase Price paid, subject to our usual exclusions for loss or damage to property.
(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap
purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing,
handling, insurance and shipping services or coordinate with shipping agents instructed
by the buyer in order to facilitate such services for property bought at Phillips de Pury &
Company. Any such instruction, whether or not made at our recommendation, is entirely
at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of
third party packers or shippers. Third party shippers should contact us by telephone at +1
212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to
schedule pickup.
(d) Phillips de Pury & Company will require presentation of government issued
identification prior to release of a lot to the buyer or the buyer’s authorized representative.
8 FAILURE TO COLLECT PURCHASES
(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of
the auction, each lot will incur a late collection fee of $50, administrative charges of $10 per
day and insurance charges of .1% of the Purchase Price per month on each uncollected lot.
(b) If a purchased lot is paid for but not collected within six months of the auction, the
buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item
by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s
reasonable discretion. The proceeds of such sale will be applied to pay for storage charges
and any other outstanding costs and expenses owed by the buyer to Phillips de Pury &
Company or our affiliated companies and the remainder will be forfeited unless collected by
the buyer within two years of the original auction.
9 REMEDIES FOR NON-PAYMENT
(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement
fails to make payment of the Purchase Price for a lot in cleared funds within five days of
the auction, Phillips de Pury & Company may in our sole discretion exercise one or more
of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or
elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8
(a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price
as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to
payment of a deposit; (iv) charge interest at 12% per annum from the date payment became
due until the date the Purchase Price is received in cleared funds; (v) subject to notification
of the buyer, exercise a lien over any of the buyer’s property which is in the possession of
Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over
any of the buyer’s property which is in their possession and, in each case, no earlier than 30
days from the date of such notice, arrange the sale of such property and apply the proceeds
to the amount owed to Phillips de Pury & Company or any of our affiliated companies after
the deduction from sale proceeds of our standard vendor’s commission and all sale-related
expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at
Phillips de Pury & Company’s reasonable discretion, it being understood that in the event
such resale is for less than the original hammer price and buyer’s premium for that lot, the
buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii)
commence legal proceedings to recover the hammer price and buyer’s premium for that
lot, together with interest and the costs of such proceedings; or (viii) release the name and
address of the buyer to the seller to enable the seller to commence legal proceedings to
recover the amounts due and legal costs.
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15 GENERAL
(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph
1 above, and Authorship Warranty set out the entire agreement between the parties
with respect to the transactions contemplated herein and supersede all prior and
contemporaneous written, oral or implied understandings, representations and
agreements.
(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the
department in charge of the sale, quoting the reference number specified at the beginning
of the sale catalogue. Notices to clients shall be addressed to the last address notified by
them in writing to Phillips de Pury & Company.
(c) These Conditions of Sale are not assignable by any buyer without our prior written
consent but are binding on the buyer’s successors, assigns and representatives.
(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable
for any reason, the remaining provisions shall remain in full force and effect. No failure
by any party to exercise, nor any delay in exercising, any right or remedy under these
Conditions of Sale shall act as a waiver or release thereof in whole or in part.
16 LAW AND JURISDICTION
(a) The rights and obligations of the parties with respect to these Conditions of Sale and
Authorship Warranty, the conduct of the auction and any matters related to any of the
foregoing shall be governed by and interpreted in accordance with laws of the State of New
York, excluding its conflicts of law rules.
(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction
of the (i) state courts of the State of New York located in New York City and (ii) the federal
courts for the Southern and Eastern Districts of New York to settle all disputes arising in
connection with all aspects of all matters or transactions to which these Conditions of Sale
and Authorship Warranty relate or apply.
(c) All bidders and sellers irrevocably consent to service of process or any other documents
in connection with proceedings in any court by facsimile transmission, personal service,
delivery by mail or in any other manner permitted by New York law or the law of the place of
service, at the last address of the bidder or seller known to Phillips de Pury & Company.
AUTHORSHIP WARRANTY
Phillips de Pury & Company warrants the authorship of property in this auction catalogue
for a period of five years from date of sale by Phillips de Pury & Company, subject to the
exclusions and limitations set forth below.
(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer
of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does
not extend to (i) subsequent owners of the property, including purchasers or recipients
by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii)
property created prior to 1870, unless the property is determined to be counterfeit (defined
as a forgery made less than 50 years ago with an intent to deceive) and has a value at the
date of the claim under this warranty which is materially less than the Purchase Price paid;
(iii) property where the description in the catalogue states that there is a conflict of opinion
on the authorship of the property; (iv) property where our attribution of authorship was on
the date of sale consistent with the generally accepted opinions of specialists, scholars or
other experts; or (v) property whose description or dating is proved inaccurate by means of
scientific methods or tests not generally accepted for use at the time of the publication of the
catalogue or which were at such time deemed unreasonably expensive or impractical to use.
(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company
reserves the right, as a condition to rescinding any sale under this warranty, to require
the buyer to provide to us at the buyer’s expense the written opinions of two recognized
experts approved in advance by Phillips de Pury & Company. We shall not be bound by any
expert report produced by the buyer and reserve the right to consult our own experts at
our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship
Warranty, we shall refund to the buyer the reasonable costs charged by the experts
commissioned by the buyer and approved in advance by us.
(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a
claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips
de Pury & Company in writing within three months of receiving any information which
causes the buyer to question the authorship of the lot, specifying the auction in which the
property was included, the lot number in the auction catalogue and the reasons why the
authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury
& Company in the same condition as at the time of its auction and is able to transfer good
and marketable title in the lot free from any third party claim arising after the date of the
auction.
(d) The buyer understands and agrees that the exclusive remedy for any breach of the
Authorship Warranty shall be rescission of the sale and refund of the original Purchase
Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against
Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of
any other remedy available as a matter of law. This means that none of Phillips de Pury &
Company, any of our affiliated companies or the seller shall be liable for loss or damage
beyond the remedy expressly provided in this Authorship Warranty, whether such loss or
damage is characterized as direct, indirect, special, incidental or consequential, or for the
payment of interest on the original Purchase Price.
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PHILLIPS de PURY & COMPANY
Advisory Board
Maria Bell
Janna Bullock
Lisa Eisner
Lapo Elkann
Ben Elliot
Lady Elena Foster
H.I.H. Francesca von Habsburg
Marc Jacobs
Ernest Mourmans
Aby Rosen
Christiane zu Salm
Juergen Teller
Princess Gloria von Thurn und Taxis
Jean Michel Wilmotte
Anita Zabludowicz
Directors
Sean Cleary
Finn Schouenborg Dombernowsky
Patricia G. Hambrecht
Alexander Payne
Olivier Vrankenne
Chairman
Simon de Pury
Chief Executive Officer
Bernd Runge
Senior Directors
Michael McGinnis
Dr. Michaela de Pury
INTERNATIONAL SPECIALISTS
Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42
Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44
Bérénice Chef, Specialist, Contemporary Art +32 473 12 27 06
Buenos Aires & London Brooke Metcalfe, International Specialist, Contemporary Art +44 777 551 7060
Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000
London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 736 11
Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771
Milan Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671
Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22
Paris Thomas Dryll, Specialist, Contemporary Art +33 1 42 78 67 77
NEW YORK
450 Park Avenue, New York, NY 10022, USA
tel +1 212 940 1300 fax +1 212 940 1230
NEW YORK
450 West 15 Street, New York, NY 10011, USA
tel +1 212 940 1200 fax +1 212 924 5403
LONDON
Howick Place, London SW1P 1BB, United Kingdom
tel +44 20 7318 4010 fax +44 20 7318 4011
PARIS
6, avenue Franklin D. Roosevelt, 75008 Paris, France
tel +33 1 42 78 67 77 fax +33 1 42 78 23 07
BERLIN
Auguststrasse 19, 10117 Berlin, Germany
tel +49 30 8800 1842 fax +49 30 8800 1843
GENEVA
23 quai des Bergues, 1201 Geneva, Switzerland
tel +41 22 906 80 00 fax +41 22 906 80 01
MOSCOW
TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia
tel +7 495 225 88 22 fax +7 495 225 88 87
WORLDWIDE OFFICES
GENERAL COUNSEL
Patricia G. Hambrecht
MANAGING DIRECTORS
Sean Cleary, New York
Finn Schouenborg Dombernowsky, London/Europe
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SPECIALISTS AND DEPARTMENTS
MODERN AND CONTEMPORARY EDITIONS
NEW YORK
Cary Leibowitz, Worldwide Co-Director +1 212 940 1222
Kelly Troester, Worldwide Co-Director +1 212 940 1221
Audrey Lindsey +1 212 940 1333
Jannah Greenblatt +1 212 940 1332
PHOTOGRAPHS
Vanessa Kramer, Worldwide Director +1 212 940 1243
NEW YORK
Shlomi Rabi +1 212 940 1246
Caroline Deck +1 212 940 1247
Sarah Krueger +1 212 940 1225
Deniz Atac +1 212 940 1245
Carol Ehlers, Consultant +1 212 940 1245
LONDON
Lou Proud, Head of Photographs, London +44 20 7318 4018
Sebastien Montabonel +44 20 7318 4025
Alexandra Bibby +44 20 7318 4087
Rita Almeida Freitas +44 20 7318 4062
Emma Lewis +44 20 7318 4092
JEWELS
NEW YORK
Nazgol Jahan, Worldwide Director +1 212 940 1283
Joanna Bengoa +1 212 940 1302
Brittany Gersh +1 212 940 1365
LONDON
Ardavan Ghavami, Head of Jewels, Europe +44 20 7318 4064
Rose Curran +44 20 7318 4010
Lane McLean +44 20 7318 4032
Stephen Gilbert +44 20 7318 4104
THEME SALES
Henry Allsopp, Worldwide Director +44 20 7318 4060
NEW YORK
Corey Barr +1 212 940 1239
Steve Agin, Consultant +1 908 475 1796
Laura González +1 212 940 1216
Stephanie Max +1 212 940 1301
LONDON
Arianna Jacobs +44 20 7318 4054
Lisa de Simone +44 20 7318 4090
Eleanor Crabtree +44 20 7318 4040
Tamila Kerimova +44 20 7318 4085
PRIVATE SALES
Matt Langton +44 20 7318 4074
CONTEMPORARY ART
Michael McGinnis, Senior Director +1 212 940 1254
and Worldwide Head, Contemporary Art
NEW YORK
Zach Miner, Head of Part I +1 212 940 1256
Sarah Mudge, Head of Part II +1 212 940 1259
Roxana Bruno +1 212 940 1229
Jean-Michel Placent +1 212 940 1263
Peter Flores +1 212 940 1223
Winnie Scheuer +1 212 940 1226
Alyse Serrell +1 212 940 1303
Amanda Stoffel +1 212 940 1261
Roxanne Tahbaz +1 212 940 1292
Jonathan Winter +1 212 757 0190
LONDON
Peter Sumner, Head of Evening Sale +44 20 7318 4063
George O’Dell, Head of Day Sale +44 20 7318 4093
Matt Langton +44 20 7318 4074
Raphael Lepine +44 20 7318 4078
Karen Levy +44 20 7318 4082
Paul de Bono +44 20 7318 4070
Henry Highley +44 20 7318 4061
Helen Rohwedder +44 20 7318 4042
Charlotte Salisbury +44 20 7318 4010
PARIS
Thomas Dryll +33 1 42 78 67 77
Edouard de Moussac +33 1 42 78 67 77
DESIGN
Alexander Payne, Director +44 20 7318 4052
and Worldwide Head, Design
NEW YORK
Alex Heminway, New York Director +1 212 940 1268
Marcus Tremonto +1 212 940 1268
Meaghan Roddy +1 212 940 1266
Alexandra Gilbert +1 212 940 1265
Lauren Sohn +1 212 940 1268
LONDON
Domenico Raimondo +44 20 7318 4016
Ben Williams +44 20 7318 4027
Marine Hartogs +44 20 7318 4021
Marcus McDonald +44 20 7318 4095
Megan McGee +44 20 7318 4023
NEW YORK
Andrea Koronkiewicz, Studio Manager
Steven Mosier, Graphic Designer
Orlann Capazorio, US Production Manager
LONDON
Mark Hudson, Deputy Art Director
Andrew Lindesay, Sub-Editor
Tom Radcliffe, Production Director
NEW YORK
Trish Walsh, Marketing Manager
LONDON
Giulia Costantini, Head of Communications
Fiona McGovern, Communications Assistant
Alex Godwin-Brown, Communications Assistant
ART AND PRODUCTION
Mike McClafferty, Consultant Art Director
MARKETING & COMMUNICATIONS
PRIVATE CLIENT SERVICES
Judith Hess, Director, London +44 20 7318 4075
Simon Tovey, Assistant +44 20 7318 4084
OFFICE OF THE CHAIRMAN
Anna Furney, New York +1 212 940 1238
Harmony Johnston, London +44 20 7318 4099
MUSEUM SERVICES DEPARTMENT NEW YORK
Lauren Shadford +1 212 940 1257
Cecilia Wolfson +1 212 940 1258
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SALE INFORMATION
AUCTION
450 PARK AVENUE NEW YORK 10022
Tuesday, December 13, 2011, 4pm
VIEWING
450 PARK AVENUE NEW YORK 10022
Wednesday, December 7 – Tuesday, December 13
Monday – Saturday 10am – 6pm
Sunday 12pm – 6pm
SALE DESIGNATION
In sending in written bids or making enquiries please
refer to this sale as NY050311 or Design Masters.
WORLDWIDE DIRECTOR
Alexander Payne London +44 20 7318 4052
New York +1 212 940 1268
INTERNATIONAL CONSULTANT
Marcus Tremonto +1 212 940 1268
NEW YORK DIRECTOR
Alex Heminway +1 212 940 1268
SPECIALISTS
Meaghan Roddy +1 212 940 1266
Ben Williams London +44 20 7318 4027
Domenico Raimondo London +44 20 7318 4026
Marine Hartogs London +44 20 7318 4021
CATALOGUERS
Alexandra Gilbert +1 212 940 1265
Marcus McDonald London +44 20 7318 4014
ADMINISTRATORS
Lauren Sohn +1 212 940 1268
Megan McGee London +44 207 318 4023
PROPERTY MANAGERS
Eric Mingus +1 212 940 1364
Oliver Gottschalk London +44 20 7318 4033
PHOTOGRAPHY
Kent Pell
Byron Slater
Morten Smidt
SELECT ESSAYS
Alex Heminway
Meaghan Roddy
CATALOGUES
Barbara Escobar +1 212 940 1240
$35/€25/£22 at the gallery
ABSENTEE AND TELEPHONE BIDS
Main +1 212 940 1228 fax +1 212 924 1749 [email protected]
Marissa Piedra, Bid Manager +1 212 940 1304
Amanda Mazloom, Bid Clerk +1 212 940 1215
CLIENT ACCOUNTING
Sylvia Leitao +1 212 940 1231
Buyers Accounts
Nicole Rodriguez +1 212 940 1235
Seller Accounts
Barbara Doupal +1 212 940 1232
CLIENT SERVICES
450 Park Avenue +1 212 940 1300
450 West 15 Street +1 212 940 1200
SHIPPING
Beth Petriello +1 212 940 1373
Jennifer Brennan +1 212 940 1372
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