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Front Cover Ron Arad, “Before Summer” high-backed chaise longue, 1992, Lot 93

Back Cover Ron Arad, “After Spring” low-backed chaise longue, 1992, Lot 74

D E S I G NJ U N E 3 2 0 0 9 N E W YO R K

WWW.PHI L L I P S D E P U RY. C O M



Angelo Mangiarotti, Rare dining table, ca. 1961, Lot 46 (detail)

Jun Kaneko, Dango form, 1998, Lot 86 (detail)

DES IGNJUNE 3 2 0 0 9 11am N E W YO R K

Viewing

Wednesday May 27 - Saturday May 30 10am - 6pm

Sunday May 31 12pm-6pm

Monday June 1 -Tuesday June 2 10am - 6pm

1 JEAN PROUVÉ 1901-1984

Bahut storage unit (Meuble Suspendu), ca. 1948

Painted steel, solid and laminated oak. Manufactured by Les Ateliers Jean

Prouvé, France.

100 3/8 x 78 3/4 x 22 in. (255 x 200 x 55.9 cm.)

Estimate $50,000-70,000

PROVENANCE Galerie Steph Simon, Paris; Private Collection, France; Etude

Orne, Alençon; Galerie 54, Paris; Jean Prouvé’s Prototype Maison Tropicale and

Other Works, Christie’s NewYork, June 5, 2007, Lot 204

LITERATURE Galeries Jousse Seguin and Enrico Navarra, Jean Prouvé, Paris,

1998, pp. 116-117 for similar examples; Peter Sulzer, Jean Prouvé: Œuvre Complète,

Volume 2: 1934-1944, Basel, 2000, p. 285, fig. 891,1 for a drawing; Galerie Patrick

Seguin and Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 461 and 482-485 for

similar examples

2 CHARLOTTE PERRIAND 1903-1999

Set of 20 wall lights, model no. CP1, 1980s

Painted metal, plastic (20).

Each: 7 x 5 x 4 3/4 in. (17.8 x 12.7 x 12.1 cm.)

Estimate $6,000-8,000

LITERATURE Charlotte Perriand: Un Art de Vivre, exh. cat., Musée des Arts

Décoratifs, Paris, 1985, p. 52

3 PIERRE JEANNERET

FOR LE CORBUSIER 1896-1967, 1887-1965

Rare low table, ca. 1960

Indian rosewood, wrought iron, iron.

17 3/4 in. (45.1 cm.) high, 35 1/2 in. (90.2 cm.) diameter

Estimate $80,000-120,000

PROVENANCE Private Collection of an employee of Le Corbusier and Pierre

Jeanneret, Chanigarh; Galerie 54, Paris; Jean Prouvé’s Prototype Maison Tropicale

and Other Works, Christie’s NewYork, June 5, 2007, Lot 242

LITERATURE “La maison de Pierre Jeanneret à Chandigarh,” Aujourd’hui: Art et

Architecture, September 1956, pp. 62 and 65; Gilles Barbey, et al., “Hommage à

Pierre Jeanneret,” Werk, Bauen und Formen mit Kunststoff-Das Lebenswerk von

Pierre Jeanneret, June 1968, pp. 381 and 392; Sarbjit Bahga and Surinder Bahga,

Le Corbusier and Pierre Jeanneret: Footprints on the Sands of Indian Architecture,

New Delhi, 2000, p. 35

There are 12 known examples of this design.

PROPERTY FROM A PRIVATE NEWYORK COLLECTION

4 JEAN PROUVÉ 1901-1984

Important unique two-legged demountable Center Table, “Trapèze,” for the

Commissariat à l’Énergie Atomique, ca. 1958

Painted bent sheet steel, bent sheet steel, rubber, wood. Manufactured by

Les Constructions Jean Prouvé, France.

30 3/4 x 96 5/8 x 36 in. (78.1 x 245.4 x 91.4 cm.)

Estimate $150,000-200,000

PROVENANCE C. E. A., Commissariat à l’Énergie Atomique; Galerie 54, Paris

LITERATURE Anthony Delorenzo, ed., Jean Prouvé / Serge Mouille, NewYork, 1985,

pp. 36-37 and 74-75 for a similar example; Galeries Jousse Seguin and Enrico

Navarra, Jean Prouvé, Paris, 1998, pp. 88-91, 151, 156, 161, 169, 179, 187, 251 and 265

for similar examples; Laurence Allégret and Valérie Vaudou, eds., Jean Prouvé et

Paris, Paris, 2001, p. 237, figs. 61 and 63 for similar examples; Penelope Rowlands,

Jean Prouvé, NewYork, 2002, pp. 74-75 for a similar example; Jean Prouvé

Connaissance des Arts, special issue, 2002, p. 48 for a similar example; Peter

Sulzer, Jean Prouvé: Œuvre Complète, Volume 3: 1944-1954, Basel, 2005, p. 184, fig.

1163.8 and pp. 231-232, figs. 1220.5 for similar examples; Galerie Patrick Seguin and

Sonnabend Gallery, Jean Prouvé, Paris, 2007, pp. 424-427 for similar examples; Eric

Touchaleaume, Corpus des Differentes Variantes de la “Table Trapèze” de Jean

Prouvé, Paris, 2007, illustrated on front cover and p. 28

This “Trapèze” table is illustrated in Peter Sulzer’s Jean Prouvé: Œuvre

Complète, Volume 4: 1954-1984, Basel, 2008, on p. 14, fig. 22.

Figures©Archives

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Pragmatic metal master Jean Prouvé built steel and aluminum furniture noted for its function, durability, and

ease. His “Table Centrale,” also called “Trapèze,” reflects the rational principles first proclaimed by Le

Corbusier in Towards a New Architecture (1923). Prouvé shifted load bearing from outer legs (which impede the

legs) to internal supports; they more effectively transmit forces to the floor. He projected the top beyond those

supports, giving the table an overall impression of lightness despite its mass. Not surprisingly Charlotte

Perriand, longtime collaborator of Le Corbusier, commissioned Prouvé to build the first variation of “Trapèze,”

an illuminated library table for the Maison de la Médecine, in July 1951. In that instance, two tubular steel

trapezoids and a bent steel stretcher bore a solid plank designed by woodworker André Chetaille.

In the late 1950s Constructions Jean Prouvé built the present table, a short two-legged version in grey-green

lacquer, for the Commissariat à l’Énergie Atomique (C.E.A.), a French government-funded research

organization concerned with defense and energy technologies. During the late 1940s and 1950s, Prouvé supplied

a wide range of furniture for offices, conference rooms, and laboratories at C.E.A. sites in Saclay, Marcoule,

Grenoble, and in Algiers.

As was frequently the case, Prouvé revisited and refined his most successful forms; throughout the 1950s he

built variations of “Trapèze” tables for five confirmed locations: Maison de la Médecine (1951); Cité Université

d’Antony (1954-55); Caisse Nationale de Sécurité Sociale de Paris (1954); the office of architects Lagneau et

Weill (1954-55); and for the C.E.A. (1952-58), of which fifteen known examples exist in seven variations according

to size, shape, color, and number of supports. Among them are demountable two- and three-legged tables with

straight or curved central beams in grey-green or black lacquer.Three C.E.A. examples, including the present

lot, bear circular metal plates which support their tops; the other twelve tables bear narrow projecting brackets.

As Peter Sulzer has stated inVolume 4 of Jean Prouvé Œuvre Complète (2008), a recently discovered letter,

dated April 1958 and written by Prouvé to C.E.A. architect Michel Luyckx, hints at a forthcoming order of

“Trapèze” tables: “…So, for your laboratory and conference tables, I am proposing to you variants of the tables

made for the Antony faculty, but stronger and larger models.”

5 GEORGES JOUVE 1910-1964

Rare double vase, 1950s

Glazed stoneware. Underside incised with “JOUVE.”

13 3/8 in. (34 cm.) high

Estimate $25,000-35,000

LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve,

Paris, 2005, p. 296


Low table, ca. 1955

Glazed ceramic tiles, painted iron.

17 3/8 x 36 3/4 x 16 1/2 in. (44.1 x 93.3 x 41.9 cm.)

Estimate $7,000-9,000

PROVENANCE Design, Phillips de Pury & Company, December 13, 2007, Lot 98

LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve,

Paris, 2005, pp. 219-227 for similar examples


Table lamp, ca. 1958

Glazed stoneware, tubular brass, paper shade. Underside incised with “JOUVE.”

28 in. (71.1 cm.) high, with shade

Estimate $10,000-15,000

LITERATURE Philippe Jousse and Galerie Jousse Entreprise, Georges Jouve, Paris,

2005, pp. 287-288

8 ALBERTO GIACOMETTI 1901-1966

Pair of table lamps, designed 1936

Bronze, fabric shades. Designed for Jean-Michel Frank and cast at a later

date by Diego Giacometti. Each impressed with “A. GIACOMETTI” and

artist’s mark (2).

Each: 24 5/8 in. (62.5 cm.) high, with shade

Estimate $50,000-70,000

PROVENANCE Giorgio Upiglio, Milan

LITERATURE Léopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, p. 244;

François Baudot, Jean-Michel Frank, NewYork, 1999, pp. 26 and 76

9 JEAN ROYÈRE 1902-1981

Rare “Ours Polaire” sofa, ca. 1950

Oak, fabric.

25 x 93 x 54 in. (63.5 x 236.2 x 137.2 cm.)

Estimate $180,000-220,000

PROVENANCE Private Collection, Lebanon

LITERATURE Yvonne Brunhammer, Le Mobilier Français 1930-1960, Paris, 1997,

p. 139 for a drawing; Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999,

pp. 24, 40, 63 and 83-85; Jean Royère, Décorateur à Paris, exh. cat., Musée des Arts

Décoratifs, Paris, 1999, pp. 9-10, 25, 41, 60, 63, 70-72, 76, 161, 165 and pp. 12, 115,

122-123 125 for drawings; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris,

2002, pp. 45, 143, 210-211, 226-229, 231-232, 247, 266, 285, 291 and pp. 15 and 233

for drawings

After the doldrums of war, European furniture of the 1950s perked up: seats swelled; silhouettes swung out of

bounds.The geometric rigors of Modernism succumbed to cants, curves, and playful biomorphs: Serge

Mouille’s insect lamps, alert on spindle legs, threatened to walk away; Carlo Mollino’s sculpted chairs, pitched

at dangerous angles, never sat still. In an undated graphite drawing, Mollino sketched a gazelle in flight, a

telling inspiration. French designer Jean Royère added to the menagerie; his silhouettes drew inspiration from

surrealism and from the natural world: “Polar Bears,” “Elephants,” “Eggs,” and “Bananas,” an unexpected

bunch. Royère enlivened his furniture with playful names, robust volumes, and elaborate upholstery, as in the

present lot. He first exhibited a similar canapé at “La Résidence Française,” a 1947 Paris show organized by the

magazine Art et Industrie. In Jean Royère (Galerie de Beyrie, 2000), collector Michael Boyd wrote: “There is a

serious sculptural content imbued—but there is a playful, even humorous side, too.” Simply put, Royère cracked

a good joke. But Boyd is right, Royère modeled in the round. In the present sofa, the horizontal sweep of the

frame is mimicked by a vertical one: the broad slope of the back into the arms, a continuous curve.The sofa’s

shapely lines offer surprising lightness and grace—it’s no elephant in the room.

10 HARRY BERTOIA 1915-1978

Rare “Bush” sculpture, ca. 1965

Patinated copper.

15 1/4 in. (38.7 cm.) high

Estimate $70,000-90,000

PROVENANCE Richard Grischy, Chadds Ford, Pennsylvania

LITERATURE Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen,

2003, pp. 110-114 for similar examples

11 WENDELL CASTLE b. 1932

“Crescent” rocking chair, 1984

Walnut, leather. One leg carved with “W. Castle 84.”

32 3/4 in. (83.2 cm.) high

Estimate $20,000-30,000

LITERATURE Davira S. Taragin, Edward S. Cooke Jr. and Joseph Giovanni,

Furniture by Wendell Castle, exh. cat., Detroit Institute of Arts, NewYork, 1989, p. 45,

fig. 11; Patricia Conway, Art for Everyday: The New American Craft Movement, New

York, 1990, p. 85; Arthur C. Danto, Peter T. Joseph, and EmmaT. Cobb, Angel Chairs:

New Works by Wendell Castle, exh. cat., Peter Joseph Gallery, NewYork, 1991, p. 34

12 PAUL EVANS 1931-1987

Wall-mounted ‘Wavy Front’ cabinet, 1964

Painted and patinated patchwork steel, sculpted steel, painted wood, slate,

gilt metal. Underside of left door cast with “Paul Evans 1964.”

21 x 73 3/4 x 22 1/2 in. (53.5 x 187.3 x 57.2 cm.)

Estimate $50,000-70,000

LITERATURE John Sollo, “Out of the Ordinary: Paul Evans and His Style,”

Modernism Magazine, Fall 1998, illustrated p. 43; Todd Merrill and Julie V. Iovine,

Modern Americana: Studio Furniture from High Craft to High Glam, NewYork, 2008,

pp. 98-99 for a similar example

13 VLADIMIR KAGAN b. 1927

“Tri-Symmetric” side chair, model no. 500, ca. 1960

Aluminum, leather. Manufactured by Kagan-Dreyfuss, USA.

30 in. (76.2 cm.) high

Estimate $6,000-8,000

LITERATURE Vladimir Kagan, The Complete Kagan: A Lifetime of Avant-Garde

Design, NewYork, 2004, pp. 132-133

14 VLADIMIR KAGAN b. 1927

“Tri-Symmetric” stool, model no. 504, ca. 1955

Aluminum, vinyl. Manufactured by Kagan-Dreyfuss, USA.

14 in. (35.6 cm.) high

Estimate $5,000-7,000

PROVENANCE Michael and Gabrielle Boyd; Pioneers of American Modernism,

Phillips de Pury & Company, June 11, 2001, Lot 135; Design, Phillips de Pury &

Company, June 7, 2006, Lot 76

EXHIBITED “Sitting on the Edge: Modernist Design from the Collection of Michael

and Gabrielle Boyd,” San Francisco Museum of Modern Art, November 20, 1998 –

February 23, 1999

LITERATURE Paola Antonelli, et al., Sitting on the Edge: Modernist Design from

the Collection of Michael and Gabrielle Boyd, exh. cat., San Francisco Museum of

Modern Art, 1998, illustrated pl. 82; Vladimir Kagan, The Complete Kagan/Vladimir

Kagan: A Lifetime of Avant-Garde Design, NewYork, 2004, p. 133; Todd Merrill and

Julie V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam,

NewYork, 2008, p. 122

15 ARTHUR ESPENET CARPENTER 1920-2006

“Wishbone” chair, 1983

Walnut, parchment. Underside impressed with “Espenet.”

30 3/4 in. (78.1 cm.) high

Estimate $12,000-14,000

LITERATURE Michael A. Stone, Contemporary American Woodworkers, Salt Lake

City, 1986, p. 84; Patricia Conway and Jon Jensen, Art for Everyday: the New Craft

Movement, NewYork, 1990, p. 262; Edward S. Cooke, Jr., Gerald W.R. Ward and

Kelly H. L’Ecuyer, The Maker’s Hand: American Studio Furniture 1940-1990, exh.

cat., Museum of Fine Arts, Boston, 2003, p. 45; Kathleen Hannah, “A

Straightforward Desire for Utility: An Interview with Furniture Maker Arthur

Espenet Carpenter,” Archives of American Art Journal, no. 43, 2003, p. 33; Jo Lauria

and Suzanne Baizerman, California Design: the Legacy of West Coast Craft and

Style, San Francisco, 2005, p. 74; Todd Merrill and Julie V. Iovine, Modern

Americana: Studio Furniture from High Craft to High Glam, NewYork, 2008, p. 73

PROPERTY FROMTHE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

16 RUTH DUCKWORTH b. 1919

Winged pot, 1989

Porcelain. Underside painted with “R” and “0921289.”

6 in. (15.2 cm.) high

Estimate $6,000-8,000

PROVENANCE Garth Clark Gallery, NewYork

LITERATURE Garth Clark, American Ceramics, 1876 to the Present, NewYork,

1979, p. 208 for a similar example

17 EDWARD WORMLEY 1907-1995

Side table, ca. 1957

Walnut,Tiffany favrile glass tiles, brass.Table manufactured by Dunbar, USA and

the tiles manufactured by Louis ComfortTiffany, USA, from the Janus collection.

Underside with brass plaque impressed with “DUNBAR/BERNE, INDIANA.”

23 1/4 x 13 1/2 x 14 in. (59.1 x 34.3 x 35.6 cm.)

Estimate $8,000-12,000

LITERATURE “Edward J. Wormley: portrait of a designer,” Interiors, November

1956, p. 100; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture

from High Craft to High Glam, NewYork, 2008, p. 224 for similar examples

PROPERTY FROM THE ESTATE OF DR. ALFRED JONES, NEWYORK

18 PAUL EVANS 1931-1987

Unique custom-made illuminated cabinet bar, ca. 1963

Painted sculpted and patchwork steel, perforated steel, painted and sculpted

bronze, painted wood, gold leaf-covered wood, slate, painted tubular steel,

electrical components, felt.

81 3/4 x 60 x 23 in. (207.6 x 152.4 x 58.4 cm.)

Estimate $80,000-120,000

LITERATURE Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture

from High Craft to High Glam, NewYork, 2008, front and back covers and p. 12 for

similar examples

Phillips de Pury & Company would like to thank Dorsey

Reading for his assistance in cataloging this and the

following lot.

Wandering through Bucks County, Pennsylvania in the early 1960s, Dr. Alfred Jones (psychologist, collector)

discovered the great studio furniture makers Paul Evans and Phillip Lloyd Powell. Close collaborators, the two

designers shared a showroom in the small town of New Hope, halfway between NewYork and Philadelphia

on OldYork Road. Home to the Bucks County Playhouse, New Hope enjoyed a lively traffic of visitors, actors,

and artists (George Nakashima maintained a studio in the nearby woods; Grace Kelly had debuted at the

Playhouse in 1949).

Following his discharge from the Army Air Corps—he had flown B17s over Europe—Dr. Jones studied painting

at the New School for Social Research, a progressive university in NewYork. Although he later earned a Ph.D.

in psychology, Dr. Jones maintained a lifelong interest in the arts; he frequented galleries and was a devoted

subscriber to the Metropolitan Opera and to NewYork City Ballet.

Among his many affections, Dr. Jones indulged two sweethearts: wine and song. An avid collector of rare

vintages, Dr. Jones commissioned the present lot, a commanding cabinet bar built by Evans in 1963 with the

assistance of studio foreman Dorsey Reading. As design critic Julie Iovine has elaborated in her recent book

Modern Americana (Rizzoli, 2008), Evans would have sketched in chalk on a wood carcass the cabinet’s many

details—patchworks and perforations. Reading, a trained machinist, faithfully executed them in metal. In the

present case, Evans’s alternation of pierced panels with solid, polychrome ones adds counterpoint rhythm to

the bar’s folding doors. Punctures draw the eye, raised weld marks and color swatches push it back.

From chamber music to jazz, Dr. Jones amassed a broad selection of vinyl, which he listened to on a D44000

Paragon, the landmark speaker system then in vogue among enthusiasts.The stereo itself was housed in a

unique wall-mounted cabinet built by Powell (Lot 19).The latter’s generous use of 23-karat gold leaf

corresponded to Evans’s similar treatment to the interior of the bar, which stood across the living room in Dr.

Jones’s Central ParkWest apartment, where he had moved in 1962. As Reading has confirmed, the bar and

stereo cabinets were designed by Evans and Powell respectively; they bear distinct authorship, although the

commission was a joint one.Together Evans and Powell would have installed both works in Dr. Jones’s living

room, where they remained in close conversation, as the designers had been, until the present day.

PROPERTY FROM THE ESTATE OF DR. ALFRED JONES, NEWYORK

19 PHILLIP LLOYD POWELL 1919-2008

Unique custom wall-mounted stereo cabinet, ca. 1963

Gold leaf-covered painted wood, walnut, velvet.

60 x 30 1/4 x 19 3/8 in. (152.4 x 76.8 x 49.2 cm.)

Estimate $25,000-35,000

LITERATURE Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture

from High Craft to High Glam, NewYork, 2008, front and back covers and p. 101 for

a similar example

20 HARRY BERTOIA 1915-1978

Study, for the four-panel screen at Dulles International Airport,

Chantilly, VA, ca. 1963

Patinated poured bronze.

13 1/2 in. (34.3 cm.) high

Estimate $20,000-30,000

PROVENANCE Harry Bertoia Estate

LITERATURE Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen,

2003, p. 154 for another study for this project

21 KEN FERGUSON b. 1938

“Black Hare Platter,” 1987

Stoneware, black glaze. Underside painted with “Ferguson” script signature.

4 1/4 in. (10.8 cm.) high, 22 in. (55.9 cm.) diameter

Estimate $2,000-3,000

PROVENANCE Esther Saks Gallery, Chicago, Illinois


1979, p. 264 for similar examples; Michael Rubin, “Ken Ferguson,” Ceramics

Monthly, November 1987, illustrated p. 30

LOTS 21-31

PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

22 KEN FERGUSON b. 1938

Teapot #16, 1987

Stoneware, shino-type glaze.

22 3/4 in. (57.8 cm.) high

Estimate $5,000-7,000

PROVENANCE Esther Saks Gallery, Chicago, Illinois

LITERATURE Martha Drexler Lynn, Clay Today, Contemporary Ceramists and Their

Work, Los Angeles, 1990, pp. 64 and 181 for a similar example

23 DANIEL RHODES 1911-1989

“Small Guardian,” 1985

Wood-fired stoneware. Underside signed in marker with “A5.”

20 1/8 in. (51.1 cm.) high

Estimate $3,000-4,000

PROVENANCE Shaw/Guido Gallery, NewYork

24 WAYNE HIGBY b. 1943

“Intangible Bay,” 1988

Raku-fired glazed earthenware. Foot impressed with artist’s seal.


Estimate $4,000-6,000

PROVENANCE Helen Drutt, NewYork and Philadelphia, Pennsylvania

LITERATURE Garth Clark, American Ceramics, 1876 to the Present, NewYork, 1979,

pp. 221 and 272 for similar examples; Jane Adlin, Contemporary Ceramics, Selections

from the Metropolitan Museum of Art, NewYork, 1998, p. 17 for a similar example

26 LAURA ANDRESON 1902-1999

Vase, 1984

Glazed stoneware. Underside incised with “Laura Andreson” script

signature and “84.”

5 1/2 in. (14 cm.) high

Estimate $2,000-3,000


25 LAURA ANDRESON 1902-1999

Bowl, 1955

Glazed earthenware. Underside incised with “Laura Andreson” script

signature and “1955.”

3 1/4 in. (8.3 cm.) high, 5 1/8 in. (13 cm.) diameter

Estimate $2,000-3,000


LITERATURE Paul S. Donhauser, History of American Ceramics, The Studio

Potter, Dubuque, 1978, p. 226, fig. 13-32 for a similar example

25

26

27 GERTRUD AND OTTO NATZLER 1908-1971, 1908-2007

Single-stem vase, ca. 1960

Glazed earthenware. Underside signed in ink with “NATZLER” and with paper

label with “M628.”

8 1/4 in. (21 cm.) high

Estimate $4,000-6,000

PROVENANCE Mr. and Mrs. Warren H. Corning, Cleveland, Ohio

LITERATURE American studio pottery, exh. cat., The Victoria and Albert Museum,

London, 1968, fig. 8 for a similar example; Form and Fire, Natzler Ceramics 1939-

1972, exh. cat., The Renwick Gallery of the National Collection of Fine Arts,

Smithsonian Institution, Washington, D.C., 1973, p. 61, fig. 77 for a similar example

28 ROBERT TURNER 1913-2005

Grey form with key, ca. 1989

Glazed stoneware with cinder surface. Underside incised with “TURNER.”

11 in. (27.9 cm.) high

Estimate $6,000-8,000

PROVENANCE Acquired directly from the artist

29 ROBERT TURNER 1913-2005

Vase, ca. 1989

Glazed stoneware. Underside incised with “TURNER.”

11 5/8 in. (29.5 cm.) high

Estimate $6,000-8,000


30 PETER VOULKOS 1924-2002

“Orzo” charger, 1979

Wood-fired stoneware. Underside painted with “ORZO” and “V·O·U·L·K·O·S.”

4 7/8 in. (12.4 cm.) high, 21 1/4 in. (54 cm.) diameter

Estimate $8,000-12,000

PROVENANCE Eric Zetterquist, NewYork

LITERATURE Paul S. Donhauser, History of American Ceramics, The Studio

Potter, Dubuque, 1978, p. 129, fig. 11 and p. 154, fig. 11-22 for similar examples;

Garth Clark and Margie Hughto, A Century of Ceramics in the United States, 1878-

1978, NewYork, 1979, p. 242, fig. 294 and p. 256, fig. 323 for a similar example;

Garth Clark, American Ceramics, 1876 to the Present, NewYork, 1979, p. 170 for a

similar example; Martha Drexler Lynn, Clay Today, Contemporary Ceramists and

Their Work, Los Angeles, 1990, p. 222 for a similar example

31 PETER VOULKOS 1924-2002

“Elephant Foot” ice bucket, 1975

Wood-fired stoneware. Underside painted with “VOULKOS/75.”

8 1/4 in. (21 cm.) high

Estimate $5,000-7,000

PROVENANCE Yaw Gallery, Birmingham, Michigan

32 GEORGE NAKASHIMA 1905-1990

Free-form “Wepman” side table, 1965

Walnut.

11 3/4 x 21 x 20 in. (29.8 x 53.3 x 50.8 cm.)

Estimate $12,000-14,000

PROVENANCE Susan Wepman Seidman, Toronto, Ontario, Canada

LITERATURE Mira Nakashima, Nature, Form & Spirit: The Life and Legacy

of George Nakashima, NewYork, 2003, pp. 95 and 156 for similar examples

33 PAUL EVANS 1931-1987

‘Patchwork’ cabinet, 1960s

Painted patchwork steel, copper, pewter, sculpted steel, painted wood, slate.

32 1/4 x 42 1/8 x 22 in. (81.9 x 107 x 55.9 cm.)

Estimate $20,000-30,000

LITERATURE Directional sales catalogue, no date, n.p., for examples of sculpted

steel, and painted and patchwork, steel, copper and pewter; Todd Merrill and Julie

V. Iovine, Modern Americana: Studio Furniture from High Craft to High Glam, New

York, 2008, p. 12 for a similar example

34 BEATRICE WOOD 1893-1988

Bowl, 1987

Luster glazed earthenware. Underside painted with “BEATO” and signed

in marker with “76B.”


Estimate $4,000-6,000


LITERATURE Lee Nordness, Objects:USA, NewYork, 1970, p. 53 for a similar

example; Garth Clark, American Ceramics, 1876 to the Present, NewYork, 1979,

p. 115 for similar examples

LOTS 34-38

PROPERTY FROM THE COLLECTION OF ELLEN AND DIXON LONG, CALIFORNIA

35 BEATRICE WOOD 1893-1988

Chalice, ca. 1987

Luster glazed earthenware. Underside signed in ink with “BEATO, 23B”

and “NWD193.”

11 3/4 in. (29.8 cm.) high

Estimate $4,000-6,000




pp. 115 and 137 for similar examples

36 KAREN KARNES b. 1925

Split-foot vase, ca. 1987

Wood-fired stoneware. One side near base incised with artist’s “KK” monogram.

11 in. (27.9 cm.) high

Estimate $3,000-4,000



Work, Los Angeles, 1990, pp. 88 and 189 for a similar example

37 TOSHIKOTAKAEZU b. 1929

Buff pot with brown splashes, 1980s

Glazed stoneware. Underside incised with artist’s “TT” monogram.

11 in. (27.9 cm.) high

Estimate $4,000-6,000

38 TOSHIKOTAKAEZU b. 1929

“Moon pot #44,” ca. 1987

Glazed stoneware. Underside incised with artist’s “TT” monogram.

7 1/2 in. (19.1 cm.) high

Estimate $2,500-3,500

PROVENANCE Perimeter Gallery, Chicago, Illinois



p. 8 for a similar example


Monumental “Conoid” dining table, 1989

Walnut, 15 Indian rosewood keys. Underside signed in marker with “George

Nakashima/Feb 28 1989.”Together with the original drawing.

73 x 290 1/8 x 135 in. (185.7 x 737.2 x 345.2 cm.)

Estimate $150,000-200,000

PROVENANCE Phillip Roth, San Anselmo, California

LITERATURE George Nakashima, The Soul of a Tree, A Woodworker's Reflections,

Tokyo, 1981, p. 185 for a drawing; Mira Nakashima, Nature, Form & Spirit: The Life

and Legacy of George Nakashima, NewYork, 2003, front cover and pp. 147, 174 and

223 for similar examples


Set of eight “Conoid” dining chairs, 1989

Walnut, hickory. Underside of four chairs signed in marker with “Roth/George

Nakashima/Feb 27 1989” and underside of four signed in marker with “Roth” (8).

Each: 35 1/2 in. (90.2 cm.) high

Estimate $80,000-120,000

PROVENANCE Phillip Roth, San Anselmo, California

LITERATURE George Nakashima, The Soul of a Tree, A Woodworker's Reflections,

Tokyo, 1981, pp. 32, 38, 153, 167, 169, 177, 179, 183-184, 187, 191 and p. 108 for a

drawing; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat., American

Craft Museum, NewYork, 1989, p. 155, fig. 27; Mira Nakashima, Nature, Form &

Spirit: The Life and Legacy of George Nakashima, NewYork, 2003, pp. 173-175, 195,

215-216, 223 and 226-227;

41 JENNIFER LEE b. 1956

“Asymmetric Rust with Speckles” pot, 1986

Stoneware, integral body color.

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

Estimate $6,000-9,000

PROVENANCE Bonhams London, June 14, 2000, Lot 214

42 GIJS BAKKER b. 1942

Rare “Adam” necklace, 1987

Gold-plated brass, PVC-laminated photograph. Executed byAldo Bakker,

Florian Göttke and Rudi Sand,The Netherlands. Back of laminated element

hand-signed in pen with “Adam, 1987/M10” and with artist’s signature.

11 1/8 in. (28.3 cm.) diameter

Estimate $24,000-28,000

PROVENANCE Galerie ra, Amsterdam

LITERATURE Gert Staal, Gijs Bakker, Vormgever: Solo voor een Solist,

Gravenhage, 1989, p. 38; IdaVan Zijl, Gijs Bakker and Jewelry, Stuttgart, 2005,

p. 216; Alba Cappellieri and Marco Romanelli, Il Design della Gioia : Il Gioiello

fra Progetto e Ornamento = Jewelry Between Design and Ornament, exh. cat.,

Palazzo dellaTriennale, Milan, 2005, p. 44

43 LINE VAUTRIN 1913-1997

Rare and important “Planets” necklace, 1950s

Impressed brass, patinated brass, metal chain.

38 in. (96.5 cm.) drop, 21 in. (53.3 cm.) diameter

Estimate $25,000-30,000

PROVENANCE Galerie Thierry Struvay, Brussels

It is believed that approximately five examples of this design

were ever produced.

44 TAPIO WIRKKALA 1915-1985

“Hopeaku” pendant, ca. 1973

Silver. Produced by N.Westerback, Finland. Pendant impressed with “925S S7

925H NW 1B” and chain impressed with “Italy 925.”

Pendant: 5 5/8 in. (14.3 cm.) drop, 4 1/2 in. (11.4 cm.) diameter

Estimate $7,000-9,000

LITERATURE Marianne Aav, ed., Tapio Wirkkala, Eye, Hand andThought, exh. cat.,

Museum of Art and Design, Helsinki, 2000, p. 192

45 ANDREA BRANZI b. 1938

Vase, 1995-1996

Acid-dipped silver, natural birch. Editioned by Argentaurum, Belgium, from the

Silver andWood collection. Number eight from an edition of 25. Side impressed

with artist’s mark and “Andrea Branzi ARGENTAURUM 925 8 / 25.”

17 1/8 in. (43.5 cm.) high

Estimate $7,000-9,000

LITERATURE Andrea Branzi, Andrea Branzi: Open Enclosures, exh. cat., Fondation

Cartier pour l’art contemporain, Paris, 2008, n.p.

46 ANGELO MANGIAROTTI b. 1921

Rare dining table, ca. 1961

Agate, turned bronze. Manufactured by Bernini, Italy.


Estimate $30,000-40,000

LITERATURE Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli Anni

‘40 e ‘50, Roma-Bari, 1992, p. 201, fig. 10 for similar examples; Charlotte and Peter

Fiell, eds., Domus Vol. IV 1955-1959, Cologne, 2006, pp. 546-548 for similar examples

47 ANDREA BRANZI b. 1938

Cup, 1995-1996

Acid-dipped silver, natural birch. Editioned by Argentaurum, Belgium, from the

Silver andWood collection. Number five from an edition of 25. Side impressed

with artist’s mark and “Andrea Branzi ARGENTAURUM 925 5 / 25.”

4 in. (10.2 cm.) high

Estimate $3,500-4,000

48 ANGELO MANGIAROTTI b. 1921

“Incas” console, ca. 1978

Pietra serena stone. Manufactured by Skipper, Italy.

26 3/4 x 78 1/4 x 21 3/8 in. (67.9 x 198.8 x 54.3 cm.)

Estimate $8,000-12,000

LITERATURE Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 456

for a similar example

49 CLAUDE LALANNE b. 1925

Rare and important set of 12 “Grains de Café” side chairs, designed 1965

Steel, brass, leather. Each chair back impressed with “CLAUDE LALANNE”

and “84.” Originally designed for Olivier de La Baume (12).

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

Estimate $180,000-220,000

LITERATURE Daniel Abadie, Lalanne(s), Paris, 2008, p. 304

In 1965 Claude Lalanne designed her “Grains de Café” or “Coffee Beans” side chairs for the office of Olivier

de La Baume, director of Maison du Café, a French coffee company.The chairs accompanied a writing desk

and an articulated conference table designed for the same commission by husband François-Xavier Lalanne.

In 2004 the Centre Pompidou included Lalanne’s “Grains de Café” chair in its exhibition Mobilier national 1964-

2004: 40 ans de creation.The single example illustrated in the accompanying catalog was editioned by Zol in

the 1970s and produced in chrome-plated steel and black leather.

Madame Lalanne has confirmed that those “Grains de Café” chairs hand built by her, as with the present lot,

had coffee-colored leather cushions, as opposed to chairs made by Zol, which featured white or black leather.

Philips de Pury & Company would like to thank Claude Lalanne for her assistance in cataloging this lot.

Tendrils and vines wind across the landscape of Claude Lalanne’s jewelry, furniture, and sculpture. Her output

has been a fertile one: monumental bronze apples, copper hosta chairs, branch staircases, and aluminum tables

made from outsize gingko leaves. Cast fruits and vegetables punctuate her body of work (body is the operative

word); for the past half century, Lalanne has grown a tender garden: fennel-hands, apple-mouths, cabbage-

rabbits, a surreal collection of flora and fauna whose peculiar juxtapositions accentuate nature’s motley. She’s

potted; but her imagination, sweetened by humor, never stumbles into dark corners like that of Salvador Dalí or

Max Ernst, her Surrealist forebears.

In close collaboration with husband François-Xavier, with whom she worked until his death in 2008, Lalanne

“…made constant surprise a driving force behind creativity…,” as Daniel Abadie states in his recent monograph

(Lalanne(s), Paris, 2008).What is remarkable is that we should be so surprised by the facts of life on display:

plants, fruits, vegetables, all that fare of which the Lalannes are so fond. Abadie states flatly, “…the Lalannes

are remarkable cooks, simultaneously classic and inventive, primarily for the benefit of themselves and their

friends…”The comment, in the context of culinary experimentation in France in the 1960s, is instructive for it

recalls that old saw, “food is life,” and hints at a broader working method: the Lalannes combined basic

ingredients—steel, brass, bronze—to ingenious effect for their own nourishment and for that of a small coterie

of friends and collectors.

Olivier de La Baume, director of Maison du Café, must have been an intriguing client, for he presided over a food

preparation company whose daily work was the packaging of daily roast. In 1965 François-Xavier designed both

an articulated conference table and a writing desk for La Baume’s office.The desk’s hooded oval top, in the

shape of a coffee bean, stood on clustered steel legs.To accompany desk and table, Claude hand built a set of

side chairs, which she called “Grains de Café,” or “Coffee Beans.”The chairs comprise brass and steel frames

with coffee-colored leather pads supported on clustered legs similar to desk and table (the curved elements are

reminiscent of the spring steel supports of Poul Kjærholm’s famous “PK9” chair, designed in 1960). Claude

shaped her backrests like stylized coffee berries whose oval forms cup two beans each, as in nature. Ranged

around a room, the chairs percolate with caffeinated buoyancy.

50 ARDITI AND GIANNI GAMBERINI“B.T. 3” floor lamp, ca. 1971

Stainless steel, painted wood, acrylic, steel wire, magnets. Manufactured by

Nucleo for Sormani, Italy. Side of base with paper label “S/nucleo/divisione della

sormani s.p.a./22060 orosio – Italia.”

79 1/2 in. (201.9 cm.) high

Estimate $5,000-7,000

LITERATURE Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973:

il nuovo design italiano, Turin, 2002, figs. 87 and 87A for similar examples

51 OLIVIER MOURGUE b. 1939

“Bouloum” chaise longue, ca. 1968

Reinforced polyester, resin. Manufactured by Airbourne, France.

23 1/4 x 55 x 23 1/2 in. (59.1 x 139.7 x 59.7 cm.)

Estimate $3,500-4,500

LITERATURE Kathryn B. Hiesinger and George H. Marcus, Landmarks of

Twentieth-Century Design: An Illustrated Handbook, NewYork, 1993, p. 246, fig. 320

for a similar example; Charlotte and Peter Fiell, Modern Classics, Postwar to

Postmodernism, London, 2001, pp. 103 and 111

52 ETTORE SOTTSASS JR. 1917-2007

“Brucco” wall light, ca. 1970

Methacrylate, chrome-plated metal, painted metal. Manufactured by Design

Centre, Italy and distributed by Poltronova, Italy.

29 5/8 x 10 1/4 x 5 in. (75.2 x 26 x 12.7 cm.)

Estimate $4,000-6,000

LITERATURE Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973: il

nuovo design italiano, Turin, 2002, figs. 147-148; Charlotte and Peter Fiell, eds., 1000

Lights, Vol. 2: 1960 to Present, Cologne, 2005, pp. 222-223

53 GABRIELLA CRESPI b. 1922

“Pyramid” table lamp, ca. 1970

Brass, acrylic. Manufactured by Crespi, Italy. Base impressed

with facsimile signature and “BREV.”

25 1/2 in. (64.8 cm.) high

Estimate $2,500-3,500

54 MARIA PERGAY b. 1930

Low table, 1970s

Brushed and mirror-polished stainless steel, painted metal.

14 1/2 x 29 5/8 x 29 5/8 in. (36.8 x 75.2 x 75.2 cm.)

Estimate $10,000-15,000

LITERATURE Suzanne Demisch, Maria Pergay: Between Ideas and Design,

Verona, 2006, p. 144

55 JACQUES CHARPENTIER b. 1933

Lounge chair, ca. 1967

Matte stainless steel, leather, painted wood. Manufactured by Uginox, France.

25 1/2 in. (64.8 cm.) high

Estimate $8,000-12,000

LITERATURE “Designed for Art,” Metropolitan Home, October 2008, pp. 138-140

56 JOE COLOMBO 1930-1971

Pair of “Living Center” lounge chairs, ca. 1970

Leather, chrome-plated metal, plastic, plastic laminate-covered wood, brushed

aluminum, painted metal. Manufactured by Rosenthal, Germany. Comprising two

lounge chairs and two removable head/foot-rests (4).

Each: 34 1/4 x 64 1/2 x 50 1/2 in. (87 x 163.8 x 128.3 cm.), fully extended and including

headrests

Estimate $15,000-20,000

LITERATURE Mateo Kries, Joe Colombo Inventing the Future, Weil am Rhein,

2005, pp. 88-89 and 246-247, figs. 328-331.


“A Fischietto” vase, model no. 591, 1962

Glazed ceramic. Produced by the Società CeramicaToscana for Galleria Il

Sestante, Italy. Underside signed in marker with “SOTTSASS/IL/SESTANTE/

591/ITALY.”

10 1/8 in. (25.7 cm.) high

Estimate $3,000-4,000

LITERATURE Ettore Sottsass Jr., “Ceramiche a colaggio, per la serie,” Domus,

January 1965, pp. 53-54; Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin,

1996, p. 103, fig. 399




Sestante, Italy. Underside signed in marker with “SOTTSASS/IL/SESTANTE/

592 ITALY.”

12 3/4 in. (32.4 cm.) high

Estimate $4,000-6,000


January 1965, pp. 53-54; Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin,

1996, p. 103, fig. 402




Sestante, Italy. Underside signed in marker with “SOTTSASS/IL SESTANTE/

594 ITALY.”

5 5/8 in. (14.3 cm.) high

Estimate $4,000-6,000


January 1965, pp. 54; Fulvio Ferrari, Ettore Sottsass Tutta la Ceramica, Turin, 1996,

p. 103, fig. 404

57

58

59


“Asteroid” table lamp, ca. 1968

Colored methacrylate, fluorescent tube, painted aluminum, chrome-plated metal.

Manufactured by Francesconi for Design Centre, Italy and distributed by

Poltronova, Italy.

28 in. (71.1 cm.) high

Estimate $5,000-7,000

LITERATURE Emelio Ambasz, Italy: The New Domestic Landscape: Achievements

and Problems of Italian Design, exh. cat., The Museum of Modern Art, NewYork,

1972, p. 106; Hans Höger, Ettore Sottsass Jun. Designer, Artist, Architect, Tübingen,

1993, p. 90; Fulvio Ferrari and Napoleone Ferrari, Luce: Lampade 1968-1973: il nuovo

design italiano, Turin, 2002, pl. 153; Charlotte and Peter Fiell, eds., Domus Vol. VI

1965-1969, Cologne, 2006, pp. 436 and 500 for similar examples


“Asteroid” table lamp, ca. 1968

Colored methacrylate, fluorescent tube, painted aluminum, chrome-plated metal.

Manufactured by Francesconi for Design Centre, Italy and distributed by

Poltronova, Italy.

28 in. (71.1 cm.) high

Estimate $5,000-7,000

LITERATURE Please see previous lot

62 GINO SARFATTI 1912-1985

Pair of wall lights, 1960s

Opaque glass, brass, painted tubular metal. Manufactured by Arteluce, Italy (2).

Each: 15 1/4 x 15 x 12 1/2 in. (38.7 x 38.1 x 31.8 cm.)

Estimate $10,000-15,000

LITERATURE Galerie Christine Diegoni, Gino Sarfatti, Paris, 2008, p. 90


63 LUDWIG MIES VAN DER ROHE 1886-1969

Pair of “Barcelona” chairs, model no. MR90, ca. 1945

Chrome-plated flat steel, leather, fabric, machine screws (2).

Each: 29 in. (73.7 cm.) high

Estimate $20,000-30,000

LITERATURE Ludwig Glaeser, Ludwig Mies van der Rohe: Furniture and Furniture

Drawings from the Design Collection and the Mies van der Rohe Archive, The

Museum of Modern Art, NewYork, 1977, pp. 46-49; Derek E. Ostergard, ed., Bent

Wood and Metal Furniture: 1850-1946, exh. cat., The American Federation of Arts,

NewYork, 1987, pp. 292-293; Charlotte and Peter Fiell, 1000 Chairs, Cologne, 1997,

p. 172; Mies van der Rohe: Architecture and Design in Stuttgart, Barcelona, Brno,

exh. cat., Vitra Design Museum, Weil am Rhein, 1998, pp. 37, 41, 57-59, 69-70, 87-91,

169, 171, 176, 195 and 197

64 C. F. OTTO MÜLLERAdjustable ceiling light, 1930s

Colored glass, clear glass, opaque glass, nickel-plated metal. Manufactured by

Sistrah-Licht GmbH, Germany. Shade stamped with “MEGAPHOS/PATENTANG.”

26 in. (66 cm.) drop, fully extended

Estimate $4,500-5,000

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

Cologne, 2005, p. 320 for a similar example

65

64

∆ 65 C. F. OTTO MÜLLERPair of rare “Megaphos” ceiling lights, ca. 1930

Opaque glass, clear glass, painted metal, nickel-plated metal. Manufactured

by Sistrah-Licht GmbH, Germany. Each stamped twice with

“MEGAPHOS/PATENT” (2).

Each: 6 in. (15.2 cm.) high, 7 3/4 in. (19.7 cm.) diameter

Estimate $2,500-3,500

66 MOGENSVOLTELEN 1908-1995

“Copenhagen” chair, ca. 1936

Beech, leather. Produced by cabinetmaker NielsVodder, Denmark.

36 1/4 in. (92.1 cm.) high

Estimate $6,000-8,000

LITERATURE Grete Jalk, ed., Dansk Moebelkunst gennem, 40 aar, 1927-1936,

Copenhagen, 1987, p. 264; Noritsugu Oda, Danish Chairs, San Francisco, 1996, p. 77

67 POUL KJÆRHOLM 1929-1980

Set of six armchairs, model no. PK 11, ca. 1957

Matte chrome-plated steel, oak, original custom zebra hide upholstery.

Manufactured by E. Kold Christensen, Denmark. Each impressed with

manufacturer’s mark (6).

Each: 26 in. (66 cm.) high

Estimate $20,000-30,000

LITERATURE Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm,

Poul Kjærholm, Copenhagen, 1999, pp. 23, 92 and 94-95; Michael Sheridan, The

Furniture of Poul Kjærholm: Catalogue Raisonné, NewYork, 2007, pp. 97, 99-101and 103


68 JOHN MASON b. 1927

Plaque, 1992

Glazed stoneware. Back incised with “MASON 1-92/ ©.”

2 1/4 x 16 3/8 x 17 in. (5.7 x 41.6 x 43.2 cm.)

Estimate $3,000-4,000



Work, Los Angeles, 1990, pp. 103 and 195 for an example of a similar pattern

69 PAAVOTYNELL 1890-1973

Floor lamp, ca. 1954

Brass, cane, silk, painted tubular metal. Manufactured by Idman Oy, Finland.

59 1/4 in. (150.5 cm.) high

Estimate $8,000-10,000

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

Cologne, 2005, p. 398 for a similar desk lamp

71 RICHARD MEIER b. 1934

“Getty–Series II,” 1995

Mixografia®relief print on handmade paper. Published by Mixografia, USA.

Number 20 from an edition of 30. Signed in graphite at lower left with “Richard

Meier 20 / 30” and on reverse

with “J-2.”

35 3/4 x 33 7/8 in. (90.8 x 86 cm.)

Estimate $1,500-2,500


“Getty–Series I,” 1995




with “J-1.”

35 3/4 x 33 7/8 in. (90.8 x 86 cm.)

Estimate $1,500-2,500

70 71


“Getty–Series III,” 1995




with “J-3.”

35 3/4 x 33 7/8 in. (90.8 x 86 cm.)

Estimate $1,500-2,500

PROCEEDS FROMTHE SALE OFTHIS LOTWILL BE DONATEDTO

THE MAKE IT RIGHT FOUNDATION, NEW ORLEANS

73 PHILIP MICHAEL WOLFSON b. 1958

“Genoa” desk, designed 1991, executed 2007

Acid-patinated steel, Zebrano-veneered wood, nickel-plated steel, leather, felt.

Self-produced by Philip MichaelWolfson, UK. Number three from an edition of

four plus two artist’s proofs. Underside signed in pen with “PMWolfson/ 3 / 10.”

Together with a certificate of authenticity from Philip MichaelWolfson which

ammends the edition number.

29 3/8 x 85 x 31 1/2 in. (74.5 x 216 x 80 cm.)

Estimate $18,000-24,000

LITERATURE Fiona and Keith Baker, 20th Century Furniture, London, 2003,

pp. 233 and 243

74 RON ARAD b. 1951

“After Spring” low-backed chaise longue, 1992

Mirror-polished bronze, patinated bronze, sprung steel. Produced by Ron Arad

Studio, Italy. Number two from an edition of five plus three artist’s proofs. Edge

of base incised with “Ron Arad 2 / 5.”

40 1/2 x 81 1/4 x 14 7/8 in. (102.9 x 206.4 x 37.8 cm.)

Estimate $130,000-150,000

LITERATURE Deyan Sudjic, Ron Arad, London, 1999, p. 60; Matthew Collings,

Ron Arad Talks to Matthew Collings, London, 2004, pp. 222-223

75 ROBERT WILSON b. 1941

Rare “Zeus Chair,” 2002

Bronze, stone. Produced by John Battle,Watermill, NewYork, for RWWork Ltd.,

USA. Number two from an edition of three. Originally designed for the theatrical

production T.S.E., come in under the shadow of this red rock, 1994.

45 1/4 in. (114.9 cm.) high

Estimate $15,000-20,000

76 MAARTENVAN SEVEREN 1956-2005

Set of ten “Chair No. II” chairs, ca. 2000

Aluminum, beech plywood. Manufactured byTM, Belgium (10).

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

Estimate $6,000-8,000

LITERATURE Maarten Van Severen, Maarten Van Severen: Work, Oostkamp, 2004,

pp. 32-33, 38 and 249

77 MAARTENVAN SEVEREN 1956-2005

“70%” coffee table, model no.T93, ca. 1993

Bakelite. Produced by MaartenVan Severen MEUBELEN, Belgium.

19 3/4 x 27 1/2 x 27 1/2 in. (50.2 x 69.9 x 69.9 cm.)

Estimate $7,000-9,000

LITERATURE MaartenVan Severen,MaartenVan Severen: Work, Oostkamp, 2004, p. 251


“Bessie Smith Breakfast Chair,” 1991

Lacquered oak. Editioned by RWWork Ltd., USA and Luca Dosi Delfini,The

Netherlands. Number ten from an edition of 12. Underside with manufacturer’s

brass plaque impressed with “RW/WORK LTD/EDITIONS DOSI DELFINI” and

incised with “Breakfast Chair/1 of 12/10.” Originally designed for the theatrical

production Cosmopolitan Greetings, 1988.

39 3/8 x 35 3/8 x 17 3/4 in. (100 x 89.9 x 45.1 cm.)

Estimate $22,000-28,000

LITERATURE Trevor Fairbrother, Robert Wilson’s Vision, exh. cat., Museum of Fine

Arts, Boston, NewYork, 1991, p. 51

79 COMMITTEE

CLARE PAGE AND HARRY RICHARDSON b. 1975, b. 1975

Unique “OverThe Hills and Far Away” floor lamp, 2007

Tubular metal, fabric, glazed ceramic, clear and colored glass, plastic, vinyl,

chrome-plated metal, wood. Produced by Committee, UK, from the Kebab

series.The binoculars signed in marker with “2007/Committee and Over the Hills

and Far Away” and central rod signed in marker with “Over the Hills + Far Away.”

67 in. (170.2 cm.) high

Estimate $5,000-7,000

PROVENANCE Design 55, Auckland, New Zealand; Private Collection,

Sydney, Australia

LITERATURE Icon, April 2005, p. 69 for a similar example; Sophie Lovell, Furnish:

Furniture and Interior Design for the 21st Century, Berlin, 2007, pp. 50-51 and back

cover for similar examples

80 FERNANDO AND HUMBERTO CAMPANA b. 1961, b. 1953

“Sonia Diniz” chair, 2003

Carpet, rubber, EVA, fabric, stainless steel. Produced by Estudio Campana,

Brazil. From an edition of 12 plus four artist’s proofs and two prototypes.Together

with a certificate of authentcitiy from Estudio Campana.

31 in. (78.7 cm.) high

Estimate $30,000-40,000

81 RON ARAD b. 1951

“Big EasyVolume 2” chair, ca. 2001

Carbon fiber, Nomex resin-impregnated paper. Produced by the Gallery

Mourmans,The Netherlands. Number two from an edition of 20 plus five artist’s

proofs. Side of base incised with “Ron Arad 2 / 20.”

37 3/8 in. (94.9 cm.) high

Estimate $50,000-70,000

LITERATURE Matthew Collings, Ron Arad Talks to Matthew Collings, London, 2004,

pp. 100-101; Ron Arad, A Retrospective Exhibition 1981-2001, exh. cat., Barry

Friedman Ltd., NewYork, 2005, pp. 81 and 102


82 AKIO TAKAMORI b. 1950

Untitled, ca. 1999

Porcelain, painted glazes and overglazes. Back signed under glaze with “Akio.”

14 5/8 x 17 x 6 1/2 in. (37.1 x 43.2 x 16.5 cm.)

Estimate $5,000-7,000

PROVENANCE TRAX Gallery, Berkeley, California


1979, p. 219 for similar examples; Martha Drexler Lynn, Clay Today, Contemporary

Ceramists and Their Work, Los Angeles, 1990, pp. 149 and 218 for similar examples


Unique “Pierre and Marie Curie” bench, 1989

Painted wood, wood. Original stage property from the theatrical production

De Materie.

15 3/4 x 70 7/8 x 11 7/8 in. (40 x 180 x 30 cm.)

Estimate $14,000-20,000

PROVENANCE De Materie, The Netherlands Opera, Amsterdam, June 1 – 17, 1989

84 PATRICK JOUIN b. 1967

Prototype “C1” chair, 2005

Rapid prototype stereolithography. Produced by Patrick Jouin Studio, France and

Materialise.MGX, Belgium, from the Solid series. One of two prototypes for an

edition of 30.

31 in. (78.7 cm.) high

Estimate $18,000-22,000

PROVENANCE Design, Phillips de Pury & Company, December 13, 2007, Lot 234

LITERATURE Laurel Saville, Design Secrets: Furniture, Gloucester, 2006, p. 117;

Sophie Lovell, Furnish: Furniture and Interior Design for the 21st Century, Berlin,

2007, p. 192

85 LILIAN DAUBISSE b. 1970

“Hérisson,” 2004

Painted corrugated cardboard, polyester string, metal armature. Number two

from an edition of eight plus two artist’s proofs.

64 1/4 x 39 1/2 x 23 in. (163.2 x 100.3 x 58.4 cm.)

Estimate $20,000-30,000

PROVENANCE Arums Galerie, Paris

LITERATURE Paul B. Franklin, “Lilian Daubisse at Arums,” Art in America,

March 2008, p. 180

Man personifies what he can’t apprehend: water, weather, the numen inside stone. Animals, too, are easy prey,

so close to us in scale and mien.We lend them our attributes and freely borrow theirs; we say lionhearted or wise

as an owl. Foreign bodies become less so when inhabited. Ancient Egyptians pulled Horus, god of sky, to earth,

but they also gave him wing. Half falcon, half man, he represented the breadth of human imagination and its

limits. Conversely, man has always lost himself in ritual costumes and disguises: Norse Berserkers wore

bearskins into battle and fought with animal rage; Kwakiutl shamans, aided by raven masks, ascended to higher

states. Ever since Zeus turned Lycaon into a wolf, shape shifters and baleful gluttons have stalked the edge of

sleep and reason.They threaten to devour us—but we have conceived them.

With its arched layer of fluting, corrugated cardboard cushions against hard knocks. Devoted to the material,

French artist Lilian Daubisse included only cardboard in his 2007 solo show at Arums Galerie in Paris. Of the

eight works, “Hérisson” (2004), or “Hedgehog,” furthered the notion of protection: hedgehogs bristle with

thousands of hollow spines. “Hérisson” comprises hollow cardboard quills applied to a polyester string shell.

Beyond its animal likeness, Daubisse’s hooded waistcoat references those shamanic costumes that evoke

animal spirits by displaying their remains (The Russian Museum of Ethnography, for example, includes in its

collection a Siberian robe with applied owl wings, squirrel pelts, and reindeer beard). Like a tutelary spirit,

“Hérisson” watches over its wearer and guards his identity.

Closer to home, “Hérisson” calls to mind the recent work of American artist Nick Cave, whose acclaimed

“Soundsuits” stride (literally) across broad ground: sculpture, fashion, performance, and sonic art. Cave crafts

his head-to-toe suits from found articles—buttons, twigs, sequins, wire. He displays them, wears them, dances

in them. His suits are an extension of the wearer’s body and an escape from it. Like them, and unlike every

other autonomous object in this catalog, “Hérisson” breathes when its wearer breathes. But it needn’t move

in order to move us.


86 JUN KANEKO b. 1942

Dango form, 1998

Glazed earthenware. Underside incised with “Kaneko/98.”

22 1/4 in. (56.5 cm.) high

Estimate $10,000-14,000

PROVENANCE Sherry-Leedy Gallery, Kansas City, Missouri

87 XAVIER LUST b. 1969

“Archiduchaise,” 2007

Mirror-polished aluminum. Produced by Xavier Lust Studio, Belgium, in

collaboration with CarpentersWorkshop Gallery, UK. Number one of two artist’s

proofs for an edition of 18. Underside incised with “XAVIER LUST/AP / 1.”

30 1/4 in. (76.8 cm.) high

Estimate $20,000-30,000

LITERATURE Xavier Lust, Xavier Lust: (de)formations, Oostkamp, 2007,

pp. 57-61 and 142

An event horizon is the verge of a black hole, a point of no return from which light, matter, and radiation cannot escape. But

approach is also impossible, for the horizon recedes, always out of reach.Two of Marc Newson’s early tables, “Black Hole”

(1988) and “Event Horizon” (1992), directly address the designer’s abiding interest in outer space, and inner too.The partially

hollow legs of each table, like funnels, are conceptual renderings of black holes. “Both my sculptural work and the production

furniture have always had as much to do with what is not there as what is there—the voids, the interior spaces, the things

that you don’t see” (Gagosian Gallery, 2007). Newson manifests the conundrums of the universe through earthly materials,

carbon fiber and aluminum in the case of those early tables. He renders the remote vagaries of the cosmos as accessible

local objects, platforms for daily life (“Black Hole” swallows pens and pennies). In the catalog accompanying Newson’s 2007

solo show at Gagosian Gallery, curator Louise Neri wrote: “Across his protean output, Newson has been preoccupied with

how to achieve a maximum sense of volume with the least amount of material (or mass) possible, thereby creating space as a

grand illusion of that volume.” Compact and dense, a black hole’s extreme mass creates a gravitational pull from which even

light can’t escape—a heavy notion. Perversely, Newson molded his table from carbon fiber, a low-density material whose

lightness adds unexpected contradiction. A single thread of carbon fiber consists of thousands of bundled filaments. Woven

in a twill pattern, as in the present case, the minute warp and weft of the carbon yarn is distinct and viewable, not vast and

unknowable like the woolly idea it represents. Newson doesn’t conjecture, he builds.

88 MARC NEWSON b. 1963

“Black Hole” table, 2005

Carbon fiber. Produced by Marc Newson, France. Number five from an edition

of ten, plus two artist’s proofs and one prototype. Underside with metal roundel

stamped with “MN/Black hole table/5 / 10” and signature.

28 1/2 x 97 1/4 x 40 in. (72.4 x 247 x 101.6 cm.)

Estimate $100,000-150,000

LITERATURE Alice Rawsthorn, Marc Newson, London, 1999, pp. 38-41; Conway

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

This carbon “Black Hole” table will be included as “MN-13CBHT2-

2005” in the forthcoming catalogue raisonné of limited editions by

Marc Newson, currently being prepared by Didier Krzentowski of

Galerie Kreo, Paris.

89 MARC NEWSON b. 1963

Rare set of six “Komed” bar stools, from the Osman restaurant, KOMED

Media Park, Cologne, 1996

Cast aluminum, fabric. Manufactured by Colber, Italy (6).

Each: 31 in. (78.7 cm.) high

Estimate $20,000-25,000

PROVENANCE Osman restaurant, KOMED Media Park, Cologne

LITERATURE Alice Rawsthorn, Marc Newson, London, 1999, pp. 140-141

Along with his cantilevered “Komed” chairs, Marc Newson designed the present stools in 1996 for Osman, a brasserie in the

KOMED Media Park in Cologne and one of Newson’s important restaurant commissions of the 1990s.The concentric rings of

the stool’s channeled base mimic the geometry of his “Komed” light fixture, a cantilevered saucer, which he also included in

the project. Osman’s round dining tables shared enlarged versions of the present stool base. “Komed” is a prime example of

Newson’s preoccupation with seamlessness and fluidity. Only 15 examples of this design were produced for the restaurant.

90 ZAHA HADID b. 1950

“Swash” cabinet, 2006

Custom-colored lacquered polyester resin. Produced by Established & Sons,

Ltd., UK, from the Seamless collection. Number two from an edition of eight.

Underside with two metal roundels stamped with “Established/& Sons/British

Made” and “Designed by/Zaha Hadid/Seamless / 2006/Swash 2 / 8.”

40 x 99 1/2 x 48 in. (101.6 x 252.7 x 121.9 cm.)

Estimate $70,000-90,000

PROVENANCE Established & Sons, Ltd., London

LITERATURE Seamless Zaha Hadid, exh. cat., Phillips de Pury & Company,

NewYork, 2006, n.p.

91 MAARTEN BAAS b. 1978

Set of six prototype “Clay” chairs, 2006

Painted synthetic clay, metal. Hand-made by Baas & den Herder,The

Netherlands. Each chair back inset with metal lettering “BAAS” (6).

Tallest: 29 in. (73.7 cm.) high

Estimate $18,000-24,000

PROVENANCE Acquired directly from the artist at “Clay Furniture,” Superstudio

Più, Salone del Mobile, Milan

EXHIBITED Salone del Mobile, Milan, 2006

LITERATURE Laurie Manfra, “Maarten Baas: Furniture Iconoclast,” American

Craft, October/November 2007, pp. 52-53; Tom Dixon, et al., eds., &Fork, NewYork,

2007, pp. 26-27


“Nijinsky Table,” 1991

Metal wire mesh. Editioned by RWWork Ltd., USA and Luca Dosi Delfini,The

Netherlands. Number three from an edition of 12. Attached with manufacturer’s

brass plaque impressed with “RW/WORK LTD/EDITIONS DOSI DELFINI” and

incised with “HangingTable/3 /12.” Originally designed for the theatrical

production The Life andTimes of Sigmund Freud, 1969.

36 1/2 x 33 1/8 x 6 in. (92.5 x 84 x 15 cm.)

Estimate $6,000-8,000

LITERATURE Trevor Fairbrother, Robert Wilson’s Vision, exh. cat., Museum of Fine

Arts, Boston, NewYork, 1991, p. 52

93 RON ARAD b. 1951

“Before Summer” high-backed chaise longue, 1992

Mirror-polished bronze, patinated bronze, sprung steel. Produced by Ron Arad

Studio, Italy. Number four from an edition of five plus three artist’s proofs. Edge

of base incised with “Ron Arad 4 / 5.”

51 1/8 x 67 x 14 7/8 in. (129.9 x 170.2 x 37.8 cm.)

Estimate $130,000-150,000

PROVENANCE Gallery Mourmans, The Netherlands

LITERATURE Marie Laure Jousset, Sir Christopher Frayling and Jonathan Safran

Foer, et al., Ron Arad No Discipline, exh. cat., Centre National d’art et de culture

Georges Pampidou, Paris, 2008, p. 95


94 ADRIAN SAXE b. 1943

Bowl and stand, 1988

Glazed porcelain, glazed earthenware.

8 in. (20.3 cm.) high

Estimate $3,000-4,000



1979, p. 225 for a similar example; Martha Drexler Lynn, Clay Today, Contemporary

Ceramists and Their Work, Los Angeles, 1990, p. 211 for a similar example; Jane

Adlin, Contemporary Ceramics, Selections from the Metropolitan Museum of Art,

NewYork, 1998, p. 33 for a similar example


95 ADRIAN SAXE b. 1943

“Ampersand” teapot, 1989

Glazed porcelain. Underside of one foot incised with “SAXE” and underside

of the other foot impressed with “SAXE/1989.”

8 3/4 in. (22.2 cm.) high

Estimate $3,000-4,000



“Multidão” chair, designed 2003, executed 2006

Rag dolls, brushed steel. Produced by Estudio Campana, Brazil. Number two

from an edition of 35 plus five artist’s proofs and three prototypes. One doll

embroidered with “Campana/N. 02 2006.”Together with a certificate of

authenticity from Estudio Campana.

28 3/4 in. (73 cm.) high

Estimate $25,000-30,000

PROVENANCE Design 55, Auckland, New Zealand; Private Collection,

Sydney, Australia

LITERATURE Sophie Lovell, Furnish: Furniture and Interior Design for the 21st

Century, Berlin, 2007, p. 238

97 JASPER MORRISON b. 1959

“Plywood” desk, ca. 1988

Laminated beech plywood, plywood, MDF, brushed metal. Produced by Galerie

Néotù, France.

28 x 64 x 33 1/4 in. (71.1 x 162.6 x 84.5 cm.)

Estimate $12,000-18,000

LITERATURE Jasper Morrison, Everything but the Walls, Baden, 2002, p. 192, fig. 20


Mixed “Banquete” chair, designed 2002, executed ca. 2003

Stuffed toy animals, tubular stainless steel. Manufactured by Estudio Campana,

Brazil. Number 32 from an edition of 150 plus five artist’s proofs and three

prototypes. One toy embroidered with “Campana N. 32.”

38 in. (96.5 cm.) high

Estimate $30,000-40,000

LITERATURE “Qu’est-ce que le Design? (Aujourd’hui),” Beaux Arts Magazine,

Paris, 2004, p. 93, fig. 1 for a similar example; Sophie Lovell, Furnish: Furniture

and Interior Design for the 21st Century, Berlin, 2007, p. 238

99 LUCIE RIE 1902-1995

Vase with flaring lip, ca. 1980

Mixed clay body creating an integral spiral of turquoise, brown and white pitted

glaze. Impressed with artist’s seal.

12 in. (30.5 cm.) high

Estimate $14,000-18,000

100 LUCIE RIE 1902-1995

Cylindrical vase, ca. 1965

Porcelain, pale yellow glaze over manganese inlaid into the body. Impressed with

artist’s seal.

7 1/8 in. (18.1 cm.) high

Estimate $6,000-9,000

PROVENANCE Art Nouveau, Art Deco and Arts & Crafts, Butterfield & Butterfield

Los Angeles, November 9, 1998, Lot 3394

101 LUCIE RIE 1902-1995

Cylindrical pot, ca. 1968

Stoneware, pitted off-white glaze over a finely fluted body. Impressed with

artist’s seal.

7 in. (17.8 cm.) diameter

Estimate $5,000-7,000

PROVENANCE Art Nouveau, Art Deco and Arts & Crafts, Butterfield & Butterfield

Los Angeles, November 9, 1998, Lot 3397

102 LUCIE RIE 1902-1995

Small bowl, ca. 1960

Porcelain, shiny black glaze inlaid into an unglazed band around the lip.

Impressed with artist’s seal.


Estimate $4,000-6,000

PROVENANCE Lucie Rie / Hans Coper – Masterworks, Phillips London, June 20,

2000, Lot 13

103 LUCIE RIE 1902-1995

Flower vase, ca. 1965

Stoneware, manganese glaze, sgraffito design inside and out.The well with

a cylindrical stem-holder. Impressed with artist’s seal.

8 1/4 in. (21 cm.) high

Estimate $6,000-9,000

PROVENANCE Galerie Besson, London; Michael and Lucy Foster Collection, UK;

Lucie Rie / Hans Coper – Masterworks, Phillips London, June 20, 2000, Lot 34

104 LUCIE RIE 1902-1995

Straight-sided bowl, ca. 1977

Porcelain and stoneware mixed, white pitted glaze with unglazed band,

foot and lip. Impressed with artist’s seal.


Estimate $5,000-7,000

105 LUCIE RIE 1902-1995

Vase with flaring lip, ca. 1970

Stoneware, grey lightly pitted glaze over a combed body. Impressed with

artist’s seal.

8 3/4 in. (22.2 cm.) high

Estimate $2,000-3,000

PROVENANCE Contemporary Ceramics, Phillips London, December 2, 1999,

Lot 84

106 LUCIE RIE 1902-1995

Flattened ovoid vase, ca. 1965

Stoneware, mixed body material producing an integral blue and white spiral

beneath the pitted glaze, mineral elements in the body material producing

strong brown speckles. Impressed with artist’s seal.

7 7/8 in. (20 cm.) high

Estimate $7,000-9,000

PROVENANCE Peter Dingley Gallery, Stratford-upon-Avon, UK; Michael and

Lucy Foster Collection, UK; Lucie Rie / Hans Coper – Masterworks, Phillips London,

June 20, 2000, Lot 49

107 LUCIE RIE 1902-1995

Vase, ca. 1965

Stoneware, pitted white glaze, fluted body, squeezed oval at the lip. Impressed

with artist’s seal.

7 in. (17.8 cm.) high

Estimate $5,000-7,000

PROVENANCE Contemporary Ceramics – Swan Song of the 20th Century,

Bonhams London, June 9, 1999, Lot 183

108 LUCIE RIE 1902-1995

Water jar or “Misuzashi,” ca. 1970

Stoneware, blue, white and brown glaze inlaid into the body. Impressed with

artist’s seal.


Estimate $5,000-7,000


2000, Lot 47

This lot was a direct commission by a Japanese collector of Lucie’s

work.The intention was to have a lacquer lid made for the pot and

for it to be used in tea ceremony.

109 LUCIE RIE 1902-1995

Footed bowl, ca. 1980

Porcelain. Golden manganese, terracotta and turquoise glazes. Impressed with

artist’s seal.


Estimate $8,000-12,000

PROVENANCE Michael and Lucy Foster Collection, UK; Lucie Rie / Hans Coper –

Masterworks, Phillips London, June 20, 2000, Lot 36

110 LUCIE RIE 1902-1995

Vase with fluted body, ca. 1980

Stoneware, white pitted glaze. Impressed with artist’s seal.

8 7/8 in. (22.5 cm.) high

Estimate $5,000-7,000


2000, Lot 78

111 LUCIE RIE 1902-1995

Footed bowl, ca. 1974

Porcelain, bright golden glaze, a terracotta disc in the well. Impressed with

artist’s seal.


Estimate $8,000-12,000

PROVENANCE Contemporary Ceramics, Phillips London, December 2, 1999,

Lot 90; De Crespigny Family Collection

112 LUCIE RIE 1902-1995

Vase with collar, ca. 1981

Stoneware, mixed body material producing an integral blue and white spiral

beneath the pitted cream glaze. Impressed with artist’s seal.

13 1/2 in. (34.3 cm.) high

Estimate $12,000-18,000

PROVENANCE Contemporary Ceramics, Phillips London, October 26, 2000, Lot 124

113 LUCIE RIE 1902-1995

Byzantine-style vase, ca. 1976

Porcelain, golden manganese glaze with sgraffito inside and out. Impressed with

artist’s seal.

9 3/8 in. (23.8 cm.) high

Estimate $12,000-18,000


2000, Lot 118

EXHIBITED “Lucie Rie Retrospective,” Sainsbury Centre for Visual Arts, Norwich

and The Victoria and Albert Museum, London, 1981

LITERATURE Lucie Rie, exh. cat., Sainsbury Centre for Visual Arts and The

Victoria and Albert Museum, London, 1981, catalogue no. 25 and illustrated p. 49;

Tony Birks, Lucie Rie, London, 1994, illustrated pp. 195 and 203

This pot was the first example of this late design. Lucie Rie herself

was delighted to have created a “new form” and made only a few

others. Lucie Rie retained this ‘prototype’ pot for the remainder of

her working life.

114 LUCIE RIE 1902-1995

Important tall vase with collar, 1984

Stoneware, pitted white glaze.The flaring neck squeezed to an oval at the lip.

Impressed with artist’s seal.

15 1/8 in. (38.4 cm.) high

Estimate $25,000-35,000

PROVENANCE Fischer Fine Art, London

EXHIBITED “Nine Potters,” Fischer Fine Art, London, 1986, item 87

LITERATURE Tony Birks, Lucie Rie, London, 2004, illustrated p. 188

115 LUCIE RIE 1902-1995

Conical bowl, ca. 1962

Porcelain, manganese glaze, sgraffito on the exterior, inlaid on the interior,

in the base of the well a large manganese disc. Impressed with artist’s seal.


Estimate $12,000-18,000

116 GIO PONTI AND PAOLO DE POLI 1891-1979, 1905-1984

Bird sculpture, 1956

Enameled metal. Underside incised with “De Poli.”

5 3/8 in. (13.7 cm.) high

Estimate $2,800-3,500

LITERATURE Roberto Aloi, L’Arredamento Moderno, Modern Furnishing, Milan,

1964, p. 53 for similar examples; Ugo La Pietra, ed., Gio Ponti, NewYork, 1996,

pp. 312-315 for similar examples

117 GIO PONTI 1891-1979

Coffee table, from the Giulio Cesare ocean liner, Genoa, Italy, 1950

Painted laminated wood, glass, brushed bronze.Together with a certificate

of authenticity from the Gio Ponti Archives.


Estimate $20,000-30,000

PROVENANCE Giulio Cesare ocean liner, Genoa, Italy

LITERATURE Giordano Tironi and Paolo Piccione, eds., “The Design of the Ship,”

Rassegna, December 1990, p. 58; Ugo La Pietra, ed., Gio Ponti, NewYork, 1996,

p. 214; Paolo Piccione, Gio Ponti: Le Navi: Il Progetto Degli Interni Navali, 1948-1953,

Milan, 2007, pp. 103 and 106-108

118 FONTANA ARTEOccasional table, 1950s

Brass, mirrored glass. Manufactured by Fontana Arte, Italy.


Estimate $8,000-12,000


Rare vase, ca. 1958

Enameled metal. Produced for Galleria Il Sestante, Italy. Underside impressed

with “IL SESTANTE.”

4 3/8 in. (11.1 cm.) high

Estimate $4,000-6,000

LITERATURE Roberto Aloi, L’Arredamento Moderno, Modern Furnishing, Milan,

1964, p. 53 for similar examples

120 GINO SARFATTI 1912-1985

Important chandelier, model no. 2068, 1952

Brass, painted metal. Manufactured by Arteluce, Italy. Inside rim of one shade

with manufacturer's decal “AL/MILANO/ARTELUCE.”

15 in. (38.1 cm.) drop, 44 1/4 in. (112.4 cm.) diameter

Estimate $20,000-30,000

LITERATURE Galerie Christine Diegoni, Gino Sarfatti, Paris, 2008, pp. 24-25

121 FONTANA ARTEMirror, 1950s

Colored glass, mirrored glass, painted wood, walnut, metal. Manufactured

by Fontana Arte, Italy.

43 x 19 1/4 x 3 1/2 in. (109.2 x 48.9 x 8.9 cm.)

Estimate $6,000-8,000

LITERATURE Edoardo Paoli, L’importanza dello Specchio, 1959, p. 18, fig. 40;

Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 212, fig. 101


122 FONTANA ARTERare occasional table, 1950s

Glass, acid-etched glass, brushed steel. Manufactured by Fontana Arte, Italy.


Estimate $10,000-15,000

123 FULVIO BIANCONI 1915-1996

Important “Macchie” vase, ca. 1950

Clear and colored glass. Manufactured byVenini, Italy. Underside acid stamped

with “Venini/Murano/Italia” and incised with “W58 2178.”

10 5/8 in. (27 cm.) high

Estimate $30,000-40,000

LITERATURE Rossana Bossaglia, I Vetri di Fulvio Bianconi, Milan, 1993, fig. 33

for a similar example; Helmut Ricke and Eva Schmitt, Italian Glass Murano, Milan

1930-1970, Munich, 1997, pp. 102-103, figs. 73-74 for similar examples; Franco

Deboni, Venini Glass, Milan, 2003, fig. 116 for a similar example

125 GIO PONTI 1891-1979

Pair of sconces, ca. 1955

Brass, frosted textured glass, painted metal. Manufactured by Arredoluce, Italy.

Back of each with paper label “MADE IN ITALY/ARREDOLUCE MONZA” (2).

Each: 11 1/2 x 11 1/2 x 3 1/4 in. (29.2 x 29.2 x 8.3 cm.)

Estimate $5,000-7,000

LITERATURE Lisa Licitra Ponti, Gio Ponti: The Complete Works 1923-1978, London,

1990, p. 178 for a similar form; Laura Falconi, Gio Ponti: Interni, Oggetti, Disegni

1920-1976, Milan, 2004, pp. 248 and 250 for similar forms

124 PIETRO CHIESA 1892-1948

Floor lamp, 1930s

Copper, tubular copper, frosted glass. Manufactured by Fontana Arte, Italy.

91 1/2 in. (232.4 cm.) high

Estimate $8,000-12,000

126 GINO LEVI MONTALCINI 1902-1974

Wall-mounted console, from the De Benedetti House, Italy, ca. 1950

Walnut over steel, glass.

37 1/2 x 91 x 17 3/4 in. (95.3 x 231.1 x 45.1 cm.)

Estimate $40,000-60,000

PROVENANCE De Benedetti House, Italy

LITERATURE Irene de Guttry and Maria Paola Maino, Il Mobile Italiano Degli

Anni’ 40 e ‘50, Roma-Bari, 1992, p. 194, fig. 8

This console was created for the De Benedetti family, owners

of the Italian manufacturing company Olivetti.

127 ANGELO LELLITwelve-arm chandelier, ca. 1970

Brass, frosted glass, colored glass murrine. Manufactured by Arredoluce, Italy

and glass murrine manufactured byVenini, Italy.

26 1/4 in. (66.7 cm.) drop, 27 in. (68.6 cm.) diameter

Estimate $3,000-5,000

128 THOMAS STEARNS 1936-2006

Rare three-shade pendant light, ca. 1960

Colored and opaque glass, brass, painted metal. Manufactured byVenini, Italy.

55 7/8 in. (141.9 cm.) drop

Estimate $25,000-30,000

LITERATURE Fondazione Giorgio Cini, Gli Artisti Di Venini, exh. cat., Istituto

di Storia dell’Arte, Venice, 1996, p. 151, fig. 223 for a similar form; Franco Deboni,

Venini Glass, Milan, 2003, p. 53 and fig. 170 for similar forms

Paul Evans, Unique custom-made illuminated cabinet bar, ca. 1963, Lot 18 (detail)

INDEX

Andreson,L. 25, 26

Arad,R. 74, 81, 93

Baas,M. 91

Bakker,G. 42

Bertoia,H. 10, 20

Bianconi, F. 123

Branzi,A. 45, 47

Campana,C. 80, 96, 98

Campana,F. 80, 96, 98

Carpenter,A.E. 15

Castle,W. 11

Charpentier, J. 55

Chiesa,P. 124

Colombo,J. 56

Committee 79

Crespi,G. 53

Daubisse,L. 85

dePoli,P. 116

Duckworth,R. 16

Evans,P. 12, 18, 33

Ferguson,K. 21, 22

FontanaArte 118, 121, 122

Gamberini,A. 50

Gamberini,G. 50

Giacometti,A. 8

Hadid,Z. 90

Higby,W. 24

Jeanneret,P. 3

Jouin,P. 84

Jouve,G. 5, 6, 7

Kagan,V. 13, 14

Kaneko,J. 86

Karnes,K. 36

Kjærholm,P. 67

Lalanne,C. 49

LeCorbusier 3

Lee,J. 41

Lelli,A. 127

LeviMontalcini,G. 126

Lust,X. 87

Mangiarotti,A. 46, 48

Mason,J. 68

Meier,R. 70, 71, 72

MiesvanderRohe,L. 63

Morrison,J. 97

Mourgue,O. 51

Müller,C.F.O. 64, 65

Nakashima,G. 32, 39, 40

Natzler,G. 27

Natzler,O. 27

Newson,M. 88, 89

Page,C. 79

Pergay,M. 54

Perriand,C. 2

Ponti,G. 116, 117, 125

Powell,P. L. 19

Prouvé,J. 1, 4

Rhodes,D. 23

Richardson,H. 79

Rie, L. 99, 100, 101, 102, 103, 104, 105,

106, 107, 108, 109, 110, 111, 112, 113,

114, 115

Royère, J. 9

Sarfatti,G. 62, 120

Saxe,A. 94, 95

SottsassJr., E. 52, 57, 58, 59, 60, 61, 119

Stearns,T. 128

Takaezu,T. 37, 38

Takamori,A. 82

Turner,R. 28, 29

Tynell,P. 69

VanSeveren,M. 76, 77

Vautrin, L. 43

Voltelen,M. 66

Voulkos,P. 30, 31

Wilson,R. 75, 78, 83, 92

Wirkkala,T. 44

Wolfson,P.M. 73

Wood,B. 34, 35

Wormley, E. 17

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Catalogue EntriesPhillips 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 artpublications.While we are careful in the cataloguing process, provenance, exhibitionand literature references may not be exhaustive and in some cases we mayintentionally refrain from disclosing the identity of previous owners. Please note thatall dimensions of the property set forth in the catalogue entry are approximate.

Condition of LotsOur catalogues include references to condition only in the descriptions of multipleworks (e.g., prints). Such references, though, do not amount to a full description ofcondition.The absence of reference to the condition of a lot in the catalogue entrydoes not imply that the lot is free from faults or imperfections. Solely as aconvenience to clients, Phillips de Pury & Company may provide condition reports. Inpreparing such reports, our specialists assess the condition in a manner appropriateto the estimated value of the property and the nature of the auction in which it isincluded.While condition reports are prepared honestly and carefully, our staff are notprofessional restorers or trained conservators.We therefore encourage allprospective 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 restoreror 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 conditionreport because all such property is sold unframed, unless otherwise indicated in thecondition report. If a lot is sold framed, Phillips de Pury& Company accepts no liability for the condition of the frame. If we sell any lotunframed, we will be pleased to refer the purchaser to a professional framer.

Pre-AuctionViewingPre-auction viewings are open to the public and free of charge. Our specialistsare available to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical LotsAll lots with electrical and/or mechanical features are sold on the basis of theirdecorative 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 qualifiedelectrician.

Symbol KeyThe following key explains the symbols you may see inside this catalogue.

O Guaranteed PropertyThe seller of lots with this symbol has been guaranteed a minimum price.Theguarantee may be provided by Phillips de Pury & Company, by a third party or jointlyby us and a third party. Phillips de Pury & Company and third parties providing orparticipating in a guarantee may benefit financially if a guaranteed lot is soldsuccessfully and may incur a loss if the sale is not successful.

∆ Property inWhich Phillips de Pury & Company Has an Ownership InterestLots with this symbol indicate that Phillips de Pury & Company owns the lot in wholeor in part or has an economic interest in the lot equivalent to an ownership interest.

• No ReserveUnless 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 & Companyand the seller and below which a lot may not be sold.The reserve for each lot isgenerally set at a percentage of the low estimate and will not exceed the low pre-saleestimate.

2 Bidding in the Sale

Bidding at AuctionBids may be executed during the auction in person by paddle or by telephone or priorto the sale in writing by absentee bid.

Bidding in PersonTo bid in person, you will need to register for and collect a paddle before the auctionbegins. Proof of identity in the form of government issued identification will berequired, as will an original signature.We may also require that you furnish us witha bank reference. New clients are encouraged to register at least 48 hours in advanceof a sale to allow sufficient time for us to process your information.All lots sold willbe invoiced to the name and address to which the paddle has been registered andinvoices cannot be transferred to other names and addresses. Please do not misplaceyour paddle. In the event you lose it, inform a Phillips de Pury & Company staffmember immediately. At the end of the auction, please return your paddle to theregistration desk.

Bidding byTelephoneIf you cannot attend the auction, you may bid live on the telephone with one of ourmulti-lingual staff members.This service must be arranged at least 24 hours inadvance 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 tothe 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 onyour behalf in the event we are unable to reach you by telephone.

Absentee BidsIf you are unable to attend the auction and cannot participate by telephone, Phillipsde Pury & Company will be happy to execute written bids on your behalf. A biddingform 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 anabsentee bid at the lowest possible price taking into account the reserve and otherbidders.Always indicate a maximum bid, excluding the buyer’s premium and anyapplicable taxes. Unlimited bids will not be accepted.Any absentee bid must bereceived at least 24 hours in advance of the sale. In the event of identical bids, theearliest bid received will take precedence.

Employee BiddingEmployees of Phillips de Pury & Company and our affiliated companies, including theauctioneer, may bid at the auction by placing absentee bids so long as they do notknow the reserve when submitting their absentee bids and otherwise comply with ouremployee bidding procedures.

Bidding IncrementsBidding generally opens below the low estimate and advances in increments of upto 10%, subject to the auctioneer’s discretion.Absentee bids that do not conformto 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 $10,000sabove $200,000 auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at hisor her own discretion.

AUCTION 2 JUNE 2009 2pm NEW YORK

Viewing 27 May – 2 June

Phillips de Pury & Company 450 West 15 Street NewYork

Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 / +44 20 7318 4039

www.phillipsdepury.com

DONALD JUDD Untitled (New Museum Multiple), 1986 Folded aluminum and black Plexiglas multiple Estimate $20,000-30,000

CHUCK CLOSE Self Portrait, 2007 Screenprint Estimate $50,000-70,000

JASPER JOHNS The Seasons, 1989 Etching and aquatint Estimate $20,000-30,000

MODERN & CONTEMPORARY EDITIONS

3 TheAuction

Conditions of SaleAs noted above, the auction is governed by the Conditions of Sale andAuthorshipWarranty. All prospective bidders should read them carefully.They may be amendedby saleroom addendum or auctioneer’s announcement.

Interested Parties AnnouncementIn situations where a person allowed to bid on a lot has a direct or indirect interest insuch lot, such as the beneficiary or executor of an estate selling the lot, a joint ownerof the lot or a party providing or participating in a guarantee on the lot, Phillips dePury & Company will make an announcement in the saleroom that interested partiesmay bid on the lot.

Consecutive and Responsive BiddingThe auctioneer may open the bidding on any lot by placing a bid on behalf of theseller.The auctioneer may further bid on behalf of the seller up to the amount of thereserve by placing consecutive bids or bids in response to other bidders.

4 After the Auction

PaymentBuyers are required to pay for purchases immediately following the auction unlessother arrangements are agreed with Phillips de Pury & Company in writing in advanceof the sale. Payments must be made in US dollars either by cash, check drawn on aUS bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is ourcorporate policy not to make or accept single or multiple paymentsin cash or cash equivalents in excess of US$10,000.

Credit CardsAs a courtesy to clients, Phillips de Pury & Company will acceptAmerican Express,Visa and Mastercard to pay for invoices of $10,000 or less.

CollectionIt is our policy to request proof of identity on collection of a lot. A lot will be releasedto 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 otheramount by the buyer. Promptly after the auction, we will transfer all lots to ourwarehouse located at 29-09 37thAvenue in Long Island City, Queens, NewYork.Allpurchased lots should be collected at this location during our regular weekdaybusiness hours.As a courtesy to clients, we will upon request transfer purchased lotssuitable for hand carry back to our premises at 450West 15th Street, NewYork, NewYork for collection within 30 days following the date of the auction.We will levyremoval, interest, storage and handling charges on uncollected lots.

Loss or DamageBuyers are reminded that Phillips de Pury & Company accepts liability for loss ordamage to lots for a maximum of five days following the auction.

Transport and ShippingAs a free service for buyers, Phillips de Pury & Company will wrap purchased lots forhand carry only.We will, at the buyer’s expense, either provide packing, handling andshipping services or coordinate with shipping agents instructed by the buyer in orderto 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 LicensesBefore bidding for any property, prospective bidders are advised to make independentinquiries as to whether a license is required to export the property from the UnitedStates or to import it into another country. It is the buyer’s sole responsibility tocomply with all import and export laws and to obtain any necessary licenses orpermits.The denial of any required license or permit or any delay in obtaining suchdocumentation will not justify the cancellation of the sale or any delay in making fullpayment for the lot.

Endangered SpeciesItems made of or incorporating plant or animal material, such as coral, crocodile,ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage orvalue, may require a license or certificate prior to exportation and additional licensesor certificates upon importation to any foreign country. Please note that the ability toobtain an export license or certificate does not ensure the ability to obtain an importlicense or certificate in another country, and vice versa.We suggest that prospectivebidders check with their own government regarding wildlife import requirements priorto placing a bid. It is the buyer’s sole responsibility to obtain any necessary export orimport licenses or certificates as well as any other required documentation.Thedenial of any required license or certificate or any delay in obtaining suchdocumentation will not justify the cancellation of the sale or any delay in making fullpayment for the lot.

IMPORTANT NOTICETO BUYERS OF POST-1950 FURNITURE

All items of furniture included in this sale are either items not originallysupplied for use in a private dwelling or are offered for sale as works of art.The items may not comply with the UK Furniture and Furnishings (Fire) (Safety)Regulations 1988 (as amended in 1989 and 1993) and for this reason should notbe used in a private home.

CONDITIONS OF SALE

The Conditions of Sale andAuthorshipWarranty set forth below govern therelationship between bidders and buyers, on the one hand, and Phillips de Pury &Company and sellers, on the other hand.All prospective buyers should read theseConditions of Sale andAuthorshipWarranty carefully before bidding.

1 IntroductionEach lot in this catalogue is offered for sale and sold subject to: (a) the Conditions ofSale andAuthorshipWarranty; (b) additional notices and terms printed in otherplaces 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 orannouncement by the auctioneer prior to the auction

By bidding at the auction, whether in person, through an agent, by written bid, bytelephone bid or other means, bidders and buyers agree to be bound by theseConditions of Sale, as so changed or supplemented, andAuthorshipWarranty.

These Conditions of Sale, as so changed or supplemented, andAuthorshipWarrantycontain all the terms on which Phillips de Pury & Company and the seller contractwith the buyer.

2 Phillips de Pury & Company asAgentPhillips de Pury & Company acts as an agent for the seller, unless otherwiseindicated 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 aconsignor, or may have a legal, beneficial or financial interest in a lot as a securedcreditor or otherwise.

3 Catalogue Descriptions and Condition of PropertyLots are sold subject to theAuthorshipWarranty, as described in the catalogue(unless such description is changed or supplemented, as provided in Paragraph 1above) and in the condition that they are in at the time of the sale on the followingbasis.

(a)The knowledge of Phillips de Pury & Company in relation to each lot is partiallydependent 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 outinspections and investigations to satisfy themselves as to the lots in which they maybe interested. Notwithstanding the foregoing, we shall exercise such reasonable carewhen making express statements in catalogue descriptions or condition reports as isconsistent with our role as auctioneer of lots in this sale and in light of (i) theinformation 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 anysuch express statement is made.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspectionby prospective buyers prior to the auction. Phillips de Pury & Company accepts bidson lots on the basis that bidders (and independent experts on their behalf, to theextent appropriate given the nature and value of the lot and the bidder’s ownexpertise) have fully inspected the lot prior to bidding and have satisfied themselvesas 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 whichmeans 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 buyerswhen they are inspecting lots. Catalogue descriptions and condition reports maymake reference to particular imperfections of a lot, but bidders should note that lotsmay have other faults not expressly referred to in the catalogue or condition report.All dimensions are approximate. Illustrations are for identification purposes only andcannot be used as precise indications of size or to convey full information as to theactual 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 orother report, commentary or valuation, is not a representation of fact but rather astatement of opinion held by Phillips de Pury & Company.Any pre-sale estimate maynot be relied on as a prediction of the selling price or value of the lot and may berevised 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 liablefor any difference between the pre-sale estimates for any lot and the actual priceachieved at auction or upon resale.

4 Bidding at Auction(a) Phillips de Pury & Company has absolute discretion to refuse admission to theauction or participation in the sale. All bidders must register for a paddle prior tobidding, 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 dePury & Company may, if so instructed by the bidder, execute written absentee bids ona bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee BidForm,” a copy of which is printed in this catalogue or otherwise available fromPhillips de Pury & Company. Bids must be placed in the currency of the sale.Thebidder 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 notaccept an instruction to execute an absentee bid which does not indicate suchmaximum bid. Our staff will attempt to execute an absentee bid at the lowest possibleprice taking into account the reserve and other bidders.Any absentee bid must bereceived at least 24 hours in advance of the sale. In the event of identical bids, theearliest bid received will take precedence.

(c)Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copyof 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 atleast $1000. Phillips de Pury & Company reserves the right to require writtenconfirmation of a successful bid from a telephone bidder by fax or otherwiseimmediately after such bid is accepted by the auctioneer.Telephone bids may berecorded and, by bidding on the telephone, a bidder consents to the recording of theconversation.

(d)When making a bid, whether in person, by absentee bid or on the telephone, abidder accepts personal liability to pay the purchase price, as described more fully inParagraph 6 (a) below, plus all other applicable charges unless it has been explicitlyagreed in writing with Phillips de Pury & Company before the commencement of theauction that the bidder is acting as agent on behalf of an identified third partyacceptable to Phillips de Pury & Company and that we will only look to the principalfor such payment.

(e)Arranging absentee and telephone bids is a free service provided by Phillips dePury & Company to prospective buyers.While we undertake to exercise reasonablecare in undertaking such activity, we cannot accept liability for failure to execute suchbids except where such failure is caused by our willful misconduct.

(f) Employees of Phillips de Pury & Company and our affiliated companies, includingthe auctioneer, may bid at the auction by placing absentee bids so long as they do notknow the reserve when submitting their absentee bids and otherwise comply with ouremployee bidding procedures.

5 Conduct of the Auction(a) Unless otherwise indicated by the symbol • each lot is offered subject to areserve, 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 thetime 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 theremay be error or dispute and take such other action as he or she deems reasonablyappropriate.

(c)The auctioneer will commence and advance the bidding at levels and in incrementshe or she considers appropriate. In order to protect the reserve on any lot, theauctioneer may place one or more bids on behalf of the seller up to the reservewithout indicating he or she is doing so, either by placing consecutive bids or bids inresponse to other bidders.

(d)The sale will be conducted in US dollars and payment is due in US dollars. For thebenefit of international clients, pre-sale estimates in the auction catalogue may beshown in pounds sterling and/or euros and, if so, will reflect approximate exchangerates.Accordingly, estimates in pounds sterling or euros should be treated only as aguide.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder acceptedby the auctioneer will be the buyer and the striking of the hammer marks theacceptance of the highest bid and the conclusion of a contract for sale between theseller and the buyer. Risk and responsibility for the lot passes to the buyer as set forthin 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 Conditionsof Sale andAuthorshipWarranty 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’spremium and any applicable sales tax (the “Purchase Price”).The buyer’s premium is25% of the hammer price up to and including $50,000, 20% of the portion of thehammer price above $50,000 up to and including $1,000,000 and 12% of the portion ofthe hammer price above $1,000,000.

(b) Sales tax, use tax and excise and other taxes are payable in accordance withapplicable law.All prices, fees, charges and expenses set out in these Conditionsof Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company willonly accept valid resale certificates from US dealers as proof of exemption fromsales tax. All foreign buyers should contact the Client Accounting Department abouttax matters.

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lotimmediately following the auction regardless of any intention to obtain an exportor import license or other permit for such lot. Payments must be made by theinvoiced party in US dollars either by cash, check drawn on a US bankor wire transfer, as follows:

(i) Phillips de Pury & Company will accept payment in cash provided that thetotal amount paid in cash or cash equivalents does not exceed US$10,000. Buyerspaying in cash should do so in person at our ClientAccounting Deskat 450West 15th Street,Third Floor, during regular weekday business hours.

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank andthe buyer provides to us acceptable government issued identification. Checksand banker’s drafts should be made payable to “Phillips de Pury & CompanyLLC.” If payment is sent by mail, please send the check or banker’s draft to theattention of the ClientAccounting Department at 450West 15th Street, NewYork,NY 10011 and make sure that the sale and lot number is written on the check.Checks or banker’s drafts drawn by third parties will not be accepted.

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company.Bank transfer details:

Citibank322West 23rd Street, NewYork, NY 10011SWIFT Code: CITIUS33ABA Routing: 021 000 089For the account of Phillips de Pury & Company LLCAccount no.: 58347736

Please reference the relevant sale and lot number.

(d)Title in a purchased lot will not pass until Phillips de Pury & Company hasreceived the Purchase Price for that lot in cleared funds. Phillips de Pury & Companyis not obliged to release a lot to the buyer until title in the lot has passed andappropriate identification has been provided, and any earlier release does not affectthe 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 havereceived payment of its Purchase Price in full in cleared funds, the buyer has paid alloutstanding amounts due to Phillips de Pury & Company or any of our affiliatedcompanies, including any charges payable pursuant to Paragraph 8 (a) below, and thebuyer 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, he or she shouldcontact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange forcollection of purchased property.

(b)The buyer must arrange for collection of a purchased lot within five days of the dateof the auction. Promptly after the auction, we will transfer all lots to our warehouselocated at 29-09 37thAvenue in Long Island City, Queens, NewYork.All purchased lotsshould be collected at this location during our regular weekday business hours.As acourtesy 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 450West15th Street, NewYork, NewYork for collection within 30 days following the date of theauction. Purchased lots are at the buyer’s risk, including the responsibility forinsurance, from the earlier to occur of (i) the date of collection or (ii) five days afterthe auction. Until risk passes, Phillips de Pury & Company will compensate the buyerfor 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, wrappurchased lots for hand carry only.We will, at the buyer’s expense, either providepacking, handling, insurance and shipping services or coordinate with shippingagents instructed by the buyer in order to facilitate such services for property boughtat Phillips de Pury & Company.Any such instruction, whether or not made at ourrecommendation, is entirely at the buyer’s risk and responsibility, and we will not beliable for acts or omissions of third party packers or shippers.Third party shippersshould contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least24 hours in advance of collection in order to schedule pickup.

(d) Phillips de Pury & Company will require presentation of government issuedidentification prior to release of a lot to the buyer or the buyer’s authorizedrepresentative.

8 Failure to Collect Purchases(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30days of the auction, the buyer will incur a late collection fee of $35, storage charges of$5 per day and pro rated insurance charges of .1% of the Purchase Price per monthon each uncollected lot.

(b) If a purchased lot is paid for but not collected within six months of the auction, thebuyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of theitem 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 forstorage charges and any other outstanding costs and expenses owed by the buyer toPhillips 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 prioragreement fails to make payment of the Purchase Price for a lot in cleared fundswithin five days of the auction, Phillips de Pury & Company may in our sole discretionexercise 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 samerates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining anypartial payment of the Purchase Price as liquidated damages; (iii) reject future bidsfrom the buyer or render such bids subject to payment of a deposit; (iv) chargeinterest at 12% per annum from the date payment became due until the date thePurchase 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 Phillipsde Pury & Company and instruct our affiliated companies to exercise a lien over anyof the buyer’s property which is in their possession and, in each case, no earlier than30 days from the date of such notice, arrange the sale of such property and apply theproceeds to the amount owed to Phillips de Pury & Company or any of our affiliatedcompanies after the deduction from sale proceeds of our standard vendor’scommission and all sale-related expenses; (vi) resell the lot by auction or privatesale, with estimates and a reserve set at Phillips de Pury & Company’s reasonablediscretion, it being understood that in the event such resale is for less than theoriginal hammer price and buyer’s premium for that lot, the buyer will remain liable forthe shortfall together with all costs incurred in such resale; (vii) commence legalproceedings to recover the hammer price and buyer’s premium for that lot, togetherwith interest and the costs of such proceedings; or (viii) release the name andaddress of the buyer to the seller to enable the seller to commence legal proceedingsto recover the amounts due and legal costs.

(b) As security to us for full payment by the buyer of all outstanding amounts dueto Phillips de Pury & Company and our affiliated companies, Phillips de Pury &Company retains, and the buyer grants to us, a security interest in each lotpurchased at auction by the buyer and in any other property or money of the buyerin, or coming into, our possession or the possession of one of our affiliatedcompanies.We may apply such money or deal with such property as the UniformCommercial Code or other applicable law permits a secured creditor to do. In theevent that we exercise a lien over property in our possession because the buyer is indefault to one of our affiliated companies, we will so notify the buyer. Our securityinterest in any individual lot will terminate upon actual delivery of the lot to thebuyer 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 thebuyer’s property in our possession by actual or constructive delivery to our affiliatedcompany 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 anaffiliated company by way of pledge.

10 Rescission by Phillips de Pury & CompanyPhillips de Pury & Company shall have the right, but not the obligation, to rescind asale without notice to the buyer if we reasonably believe that there is a materialbreach of the seller’s representations and warranties or theAuthorshipWarranty oran 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 toPhillips 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 soleremedy and recourse of the buyer against Phillips de Pury & Company and the sellerwith respect to such rescinded sale..

11 Export, Import and Endangered Species Licenses and PermitsBefore bidding for any property, prospective buyers are advised to make their owninquiries as to whether a license is required to export a lot from the United States orto import it into another country. Prospective buyers are advised that some countriesprohibit the import of property made of or incorporating plant or animal material, suchas coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective ofage, percentage or value.Accordingly, prior to bidding, prospective buyersconsidering export of purchased lots should familiarize themselves with relevantexport and import regulations of the countries concerned. It is solely the buyer’sresponsibility to comply with these laws and to obtain any necessary export, importand endangered species licenses or permits. Failure to obtain a license or permit ordelay in so doing will not justify the cancellation of the sale or any delay in makingfull payment for the lot.

12 Client InformationIn connection with the management and operation of our business and the marketingand supply of auction related services, or as required by law, we may ask clients toprovide personal information about themselves or obtain information about clientsfrom third parties (e.g., credit information). If clients provide us with information thatis defined by law as "sensitive," they agree that Phillips de Pury & Company and ouraffiliated companies may use it for the above purposes. Phillips de Pury & Companyand our affiliated companies will not use or process sensitive information for anyother purpose without the client's express consent. If you would like furtherinformation on our policies on personal data or wish to make corrections to yourinformation, please contact us at +1 212 940 1228. If you would prefer not to receivedetails 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 lotshall 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 oromissions, whether orally or in writing, in information provided to prospective buyersby Phillips de Pury & Company or any of our affiliated companies or (ii) acceptsresponsibility to any bidder in respect of acts or omissions, whether negligent orotherwise, by Phillips de Pury & Company or any of our affiliated companies inconnection with the conduct of the auction or for any other matter relating to thesale of any lot.

(c)All warranties other than theAuthorshipWarranty, express or implied, includingany warranty of satisfactory quality and fitness for purpose, are specifically excludedby Phillips de Pury & Company, our affiliated companies and the seller to the fullestextent permitted by law.

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of ouraffiliated companies or the seller shall be liable to the buyer for any loss or damagebeyond the refund of the Purchase Price referred to in subparagraph (a) above,whether such loss or damage is characterized as direct, indirect, special, incidental orconsequential, or for the payment of interest on the Purchase Price to the fullestextent permitted by law.

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit theliability of Phillips de Pury & Company or any of our affiliated companies to the buyerin respect of any fraud or fraudulent misrepresentation made by any of us or inrespect of death or personal injury caused by our negligent acts or omissions.

14 CopyrightThe copyright in all images, illustrations and written materials produced by or forPhillips 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 suchimages and materials may not be used by the buyer or any other party without ourprior written consent. Phillips de Pury & Company and the seller make norepresentations or warranties that the buyer of a lot will acquire any copyright or otherreproduction rights in it.

15 General(a)These Conditions of Sale, as changed or supplemented as provided in Paragraph 1above, andAuthorshipWarranty set out the entire agreement between the partieswith respect to the transactions contemplated herein and supersede all prior andcontemporaneous written, oral or implied understandings, representations andagreements.

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to thedepartment in charge of the sale, quoting the reference number specified at thebeginning of the sale catalogue. Notices to clients shall be addressed to the lastaddress notified by them in writing to Phillips de Pury & Company.

(c)These Conditions of Sale are not assignable by any buyer without our prior writtenconsent but are binding on the buyer’s successors, assigns and representatives.

(d) Should any provision of these Conditions of Sale be held void, invalid orunenforceable for any reason, the remaining provisions shall remain in full force andeffect. No failure by any party to exercise, nor any delay in exercising, any right orremedy under these Conditions of Sale shall act as a waiver or release thereof inwhole or in part.

16 Law and Jurisdiction(a)ThThe rights and obligations of the parties with respect to these Conditions ofSale andAuthorshipWarranty, the conduct of the auction and any matters related toany of the foregoing shall be governed by and interpreted in accordance with laws ofthe State of NewYork, excluding its conflicts of law rules.

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusivejurisdiction of the (i) state courts of the State of NewYork located in NewYork Cityand (ii) the federal courts for the Southern and Eastern Districts of NewYork to settleall disputes arising in connection with all aspects of all matters or transactions towhich these Conditions of Sale andAuthorshipWarranty relate or apply.

(c)All bidders and sellers irrevocably consent to service of process or any otherdocuments in connection with proceedings in any court by facsimile transmission,personal service, delivery by mail or in any other manner permitted by NewYork lawor the law of the place of service, at the last address of the bidder or seller known toPhillips de Pury & Company.

AUTHORSHIPWARRANTY

Phillips de Pury & Company warrants the authorship of property in this auctioncatalogue 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 thisAuthorshipWarranty only to the originalbuyer of record (i.e., the registered successful bidder) of any lot.ThisAuthorshipWarranty does not extend to (i) subsequent owners of the property, includingpurchasers or recipients by way of gift from the original buyer, heirs, successors,beneficiaries and assigns; (ii) property created prior to 1870, unless the property isdetermined to be counterfeit (defined as a forgery made less than 50 years ago withan intent to deceive) and has a value at the date of the claim under this warrantywhich is materially less than the Purchase Price paid; (iii) property where thedescription in the catalogue states that there is a conflict of opinion on theauthorship of the property; (iv) property where our attribution of authorship was onthe date of sale consistent with the generally accepted opinions of specialists,scholars or other experts; or (v) property whose description or dating is provedinaccurate by means of scientific methods or tests not generally accepted for use atthe time of the publication of the catalogue or which were at such time deemedunreasonably expensive or impractical to use.

(b) In any claim for breach of theAuthorshipWarranty, Phillips de Pury & Companyreserves the right, as a condition to rescinding any sale under this warranty, to requirethe buyer to provide to us at the buyer’s expense the written opinions of tworecognized experts approved in advance by Phillips de Pury & Company.We shall notbe bound by any expert report produced by the buyer and reserve the right to consultour own experts at our expense. If Phillips de Pury & Company agrees to rescind asale under theAuthorshipWarranty, we shall refund to the buyer the reasonable costscharged 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 bringa claim for breach of theAuthorshipWarranty provided that (i) he or she has notifiedPhillips de Pury & Company in writing within three months of receiving anyinformation which causes the buyer to question the authorship of the lot, specifyingthe auction in which the property was included, the lot number in the auctioncatalogue 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 conditionas at the time of its auction and is able to transfer good and marketable title in the lotfree 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 theAuthorshipWarranty shall be rescission of the sale and refund of the originalPurchase Price paid.This remedy shall constitute the sole remedy and recourse ofthe buyer against Phillips de Pury & Company, any of our affiliated companies andthe seller and is in lieu of any other remedy available as a matter of law.This meansthat none of Phillips de Pury & Company, any of our affiliated companies or the sellershall be liable for loss or damage beyond the remedy expressly provided in thisAuthorshipWarranty, whether such loss or damage is characterized as direct,indirect, special, incidental or consequential, or for the payment of interest on theoriginal Purchase Price.

www.phill ipsdepury.com

www.phillipsar texpert.com

SPECIALIST & SERVICE DEPARTMENTS

Contemporary Art

Michael McGinnis Worldwide Director +44 20 7318 4091

AileenAgopian Director NewYork +1 212 940 1255

Anthony McNerney Head of Evening Sale London +44 20 7318 4067

Peter Sumner Head of Day Sale London +44 20 7318 4063

Jean-Michel Placent NewYork +1 212 940 1263

Christina Floyd NewYork +1 212 940 1340

Timothy Malyk Head of Under the Influence NewYork +1 212 940 1258

Chin-ChinYap NewYork +1 212 940 1250

Veronica Collins NewYork +1 212 940 1252

Sarah Mudge Head of Part II NewYork +1 212 940 1259

Roxana Bruno NewYork +1 212 940 1229

Sara Davidson NewYork +1 212 940 1262

Derrick Mead NewYork +1 212 940 1272

Maria Bueno NewYork +1 212 940 1261

Peter Flores NewYork +1 212 940 1223

(Uli) Zhiheng Huang NewYork +1 212 940 1288

Eugenia Ballvé NewYork +1 212 940 1303

Laetitia Catoir London + 44 20 7318 4064

SilkeTaprogge London +44 20 7318 4012

Ivgenia Naiman London +44 20 7318 4071

Fiona Biberstein London +44 20 7318 4013

Siobhan O’Connor London +44 20 7318 4093

Catherine Higgs London +44 20 7318 4089

Raphael Lepine London +44 20 7318 4078

TanyaTikhnenko London +44 20 7318 4065

Sarah Buchwald London +44 20 7318 4085

PhillippaWillison London +44 20 7318 4070

Jewelry

Nazgol Jahan Worldwide Director +1 212 940 1283

Carolin Bulgari Geneva +41 22 906 80 00

Carmela Manoli NewYork +1 212 940 1302

Heather Zises NewYork +1 212 940 1290

Lane Mclean London +44 20 7318 4032

Veronica Lota Geneva +41 22 906 80 05

Contemporary Jewelry

Rachel Mattes NewYork +1 212 940 1285

Photographs

Charlie Scheips Worldwide Director +1 212 940 1244

Vanessa Kramer Head of Sale NewYork +1 212 940 1243

Kelly Padden Head of Sale London +44 20 7318 4018

Sebastien Montabonel London +44 20 7318 4025

Alexandra Bibby London +44 20 7318 4087

Helen Hayman London +44 20 7318 4092

Caroline Shea NewYork +1 212 940 1247

Sarah Krueger NewYork +1 212 940 1245

Design

Alexander Payne Worldwide Director +44 20 7318 4052

MarcusTremonto NewYork +1 212 940 1268

Alex Heminway Director NewYork +1 212 940 1269

Tara DeWitt NewYork +1 212 940 1265

Meaghan Roddy NewYork +1 212 940 1266

Stephanie Abraitis NewYork +1 212 940 1268

BenWilliams London +44 20 7318 4027

Domenico Raimondo London +44 20 7318 4016

Ellen Stelter London +44 20 7318 4021

Marcus McDonald London +44 20 7318 4014

Modern and Contemporary Editions

KellyTroester Worldwide Co-Director +1 212 940 1221

Cary Leibowitz Worldwide Co-Director +1 212 940 1222

Jannah Greenblatt NewYork +1 212 940 1332

Joy Deibert NewYork +1 212 940 1333

Saturday@Phillips

Tobias Sirtl Director +44 20 7318 4095

AlexW. Smith NewYork +1 212 940 1276

Anne Huntington NewYork +1 212 940 1210

Arianna Jacobs London + 44 20 7318 4054

George O’Dell London +44 20 7318 4040

Steve Agin (Consultant) +1 908 475 1796

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

Chairman London

Rodman Primack London +44 20 7318 4017

Managing Directors

Finn Dombernowsky London +44 20 7318 4034

Charlie Horne NewYork +1 212 940 1292

Business Development

Alexander Gilkes NewYork +1 212 940 1398

Executive Assistant to Simon de Pury

Helen Rohwedder London +44 20 7318 4042

Executive Assistant to Bernd Runge

Johanna Frydman London +44 20 7318 4024

Private Sales

Christina Scheublein NewYork +1 212 940 1248

Press and Public Relations

Ariel Childs Head London +44 20 7318 4028

Cécile Demtchenko Paris +33 1 42 78 67 77

Exhibitions

London +44 20 7318 4023 NewYork +1 212 940 1301

International Specialists and Representatives

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

OlivierVrankenne Brussels & Paris +32 486 43 43 44

Leonie Moschner Paris +33 6 85 53 92 03

Tamara Corm Paris & London +33 6 75 07 04 71

Ivgenia Naiman London +44 20 7318 4071

Brooke de Ocampo London +44 777 551 7060

Laura Garbarino Milan +39 339 478 9671

Eugenia Bertelè Milan +39 02 3669 5895

Florence Uchida NewYork +1 917 902 2714

Nadia Breuer Sopher NewYork & Australia +1 917 319 4741

MimiWonTechentin Los Angeles +1 310 600 9192

Maya McLaughlin Los Angeles +1 323 791 1771

Tatiana Beliaeva Moscow +7 985 969 9292

JeremyWingfield Shanghai/Beijing +86 135 0118 2804

Lulu Al-Sabah Dubai +44 77 9518 8878

Lydia Limmerick Dubai +44 79 2048 1110

SALE INFORMATION

DESIGN

Auction

Wednesday June 3 2009 at 11am

Viewing &Auction Location

450West 15th Street NewYork NY 10011

Viewing

Wednesday May 27 - Saturday May 30 10am - 6pm

Sunday May 31 12pm-6pm

Monday June 1 -Tuesday June 2 10am - 6pm

Sale Designation

In sending written bids or making inquiries please refer

to this sale as NY050109 or Design.

Catalogues $60 at the Gallery / £30

Catalogue Subscriptions

NewYork +1 212 940 1240

London +44 20 7318 4039

[email protected]

Absentee andTelephone Bids

Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax

Client Accounting

Sylvia Leitao +1 212 940 1231

Barbara Doupal +1 212 940 1232

Nicole Rodriguez +1 212 940 1235

Client Services +1 212 940 1200

Shipping

Beth Petriello +1 212 940 1373

Front & Back Cover RonArad, “Before Summer” high-backed chaise

longue, and “After Spring” low-backed chaise longue, 1992, Lots 93 and 74

Inside Front Cover Angelo Mangiarotti, Rare dining table, ca. 1961, Lot 46

(detail)

Title Page Jun Kaneko, Dango form, 1998, Lot 86 (detail)

Inside Back Cover George Nakashima, Monumental “Conoid” dining table,

1989, Lot 39 (detail)

Worldwide Director

Alexander Payne NewYork +1 212 940 1267 London +44 20 7318 4052

International Senior Specialist

MarcusTremonto NewYork +1 212 940 1268

Director NewYork

Alex Heminway NewYork +1 212 940 1269

Specialists

Tara DeWitt NewYork +1 212 940 1265

Meaghan Roddy NewYork +1 212 940 1266

BenWilliams London +44 20 7318 4027

Domenico Raimondo London +44 20 7318 4026

Ellen Stelter London +44 20 7318 4021

Administrators

Stephanie Abraitis NewYork +1 212 940 1268

Marcus McDonald London +44 20 7318 4014

Property Managers

MattTackett NewYork +1 212 940 1364

Oliver Gottschalk London +44 20 7318 4038

Principal Auctioneer

Simon de Pury 0874341

Auctioneers

AileenAgopian 1199037

Christina L. Floyd 1238278

Sarah Mudge 1301805

Alexander Gilkes 1308958

Ellen Stelter UK

Rodman Primack UK

E-mail Addresses

All Phillips de Pury & Company e-mails are first initial and

last name @phillipsdepury.com (i.e., [email protected])

www.phillipsdepury.com

Please refer to the Guide for Prospective Buyers, Conditions of SaleandAuthorshipWarranty which appear in the preceding pages.

Design John Morgan Studio

Photography Byron Slater, Clint Blowers

Selected Essays Alex Heminway

PHILLIPS de PURY & COMPANY CONTACTS

Chairman

Simon de Pury

Chief Executive Officer

Bernd Runge

Senior Partners

Michael McGinnis

Dr. Michaela Neumeister

Partners

Aileen Agopian

Sean Cleary

Alexander Payne

Rodman Primack

OlivierVrankenne

TiffanyWood

WORLDWIDE OFFICES

NEWYORK

450West 15 Street NewYork NY 10011 USA

+1 212 940 1200 +1 212 924 5403 fax

LONDON

Howick Place London SW1P 1BB United Kingdom

+44 20 7318 4010 +44 20 7318 4011 fax

PARIS

28, rue Michel Le Comte 75003 Paris France

Cécile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax

Advisory Board

Maria Bell

Janna Bullock

Lisa Eisner

Lapo Elkann

Ben Elliot

Lady Elena Foster

H.I.H. Francesca von Habsburg

Marc Jacobs

Malcolm McLaren

Ernest Mourmans

Aby Rosen

Christiane zu Salm

Princess Gloria vonThurn undTaxis

Jean MichelWilmotte

Anita Zabludowicz

MUNICH

Maximiliansplatz 12a 80333 Munich Germany

Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax

BERLIN

Auguststrasse 19 10117 Berlin Germany

Rolf Moritz Estermann Natalia Kazmierczak

+49 30 880 018 42 +49 30 880 018 43 fax

GENEVA

23, quai des Bergues 1201 Geneva Switzerland

Carolin Goetze +41 22 906 80 00 +41 22 906 80 01 fax



Angelo Mangiarotti, Rare dining table, ca. 1961, Lot 46 (detail)

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Design NY June

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