design masters

DE SIGN MASTERS 13 DECEMBER 2 011 NEW YORK

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VARIOUS PROPERTIES

4 TOMASO BUZZI 1900–1981

“Laguna” vase, model no. 3298, ca. 1931–1935

Estimate $20,000–30,000

90 YEARS VENINI 1921–2011

Phillips de Pury & Company wish to thank Franco Deboni for granting

access to his extensive archive and for his kind assistance in the

cataloguing of these lots.

For ninety years, Venini has been passionate about glass. This love

is reflected in the brand through its purest characteristics: research,

innovation, and quality. Over nearly a century, Venini has revealed itself as a

true leader and in the process has rekindled the art of Venetian glassmaking.

Among innumerable colors and the constant evolution of technique, Venini’s

craftsmen have established a heritage of creativity. The company’s design

approach celebrates the past while looking forward into the future and

towards new objectives. This is the vision of Venini.

Dott. Giancarlo Chimento

Chairman, Venini SpA

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PROPERTY FROM THE VENINI ARCHIVES

49 TADAO ANDO b. 1941

Set of three vases, 2011

Estimate $40,000–50,000

PROPERTY FROM

A NORTHERN ITALIAN COLLECTION

32 FULVIO BIANCONI 1915–1996

Rare a macchie vase, model no. 4324, ca. 1955

Estimate $50,000–70,000


37 MIROSLAV HRSTKA 1933–1983

“Miros 2” vase, ca. 1968

Estimate $10,000–15,000

PROPERTY FROM

A NORTHERN ITALIAN COLLECTION

41 CARLO SCARPA 1906–1978

“Pennellate” vase, model no. 3911, ca. 1942

Estimate $50,000–70,000


22 FERNANDO and HUMBERTO CAMPANA

b. 1961, b. 1953

Unique “Esmeralda” ceiling light, 2010

Estimate $30,000–40,000


25 ALESSANDRO MENDINI b. 1931

“Colonna di Venini,” 2011

Estimate $20,000–30,000

VARIOUS PROPERTIES


“Applied bands” plate, model no. 4476, ca. 1940

Estimate $15,000–20,000


51 VITTORIO ZECCHIN 1878–1947

Large “soffiato” vase, ca. 1921–1926

Estimate $8,000–12,000



“A bollicine” vase, model no. 11020, ca. 1931–1934

Estimate $22,000–28,000


LOTS 1–75

Viewing

December 7 – 13, 2011

Monday – Saturday, 10am – 6pm

Sunday, 12pm – 6pm

DE SIGN MAS TERS

13 DECEMBER 2 011 4PM

4 5 0 PARK AVENUE NEW YORK

Front and back cover Emile-Jacques Ruhlmann, Pair of ‘Gonse’ armchairs, model no. 278 NR, ca. 1930–1932, lot 53, detail

Inside front cover Tadao Ando, Set of three vases, 2011, lot 49, detail

Previous pages Gio Ponti, Monumental chandelier, for the Hotel Parco dei Principi, Rome, ca. 1964, lot 36, detail;

Scott Burton, Pair of chairs, ca. 1988, lot 46, detail

Opposite Jean Royère, Unique dining table, ca. 1953, lot 30 (detail)

Inside back cover George Nakashima, Custom “Sanso” table, 1987, lot 5, detail; Jean Dunand, Side table, ca. 1925, lot 60,

detail; Pierre Chareau, Important desk, model no. MB 405, ca. 1927, lot 66, detail; Peter Collingwood, Important unique wall

hanging, for Sir Gordon Russell, 1959, lot 31, detail


1 DAGOBERT PECHE 1887–1923

Rare table lamp, model no. M 3566-M la 15, ca. 1921

Hammered brass, fabric. Executed by the Wiener Werkstätte, Austria.

Base impressed with “WIENER/WERK/STÄTTE” and artist’s mark.

24 in. (61 cm.) high, 13 1/4 in. (33.7 cm.) including shade

Estimate$15,000–20,000

PROVENANCE Private collection, Cambridge, Massachusetts

LITERATURE Max Eisler, Dagobert Peche, Vienna, 1925, p. 22; Peter Noever, ed.,

Dagobert Peche and the Wiener Werkstätte, New York, 2002, pp. 96 and 229

for similar examples

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2 GIO PONTI1891–1979

Large covered vase, ca. 1928

Gilt glazed porcelain. Manufactured by Richard-Ginori, Italy. Underside of

lid with paper label in ink “dec628e,” underside of vase painted “RICHARD/

GINORI/29 = 7” and with decal with “RICHARD-GINORI/PITTORIA/DI

DOCCIA.”

25 in. (63.5 cm.) high, 4 1/2 in. (36.8 cm.) diameter

Estimate$70,000–90,000

PROVENANCE Private collection, France

LITERATURE Ugo La Pietra, ed., Gio Ponti, New York, 2009, p. 26; Ugo La Pietra,

ed., Gio Ponti: L’arte si innamora dell’industria, New York, 2009, p. 26, fig. 54; Germano

Celant, ed., Espressioni di Gio Ponti, exh. cat., Triennale, Milan, 2011, p. 20, fig. 10


3 JOSEF HOFFMANN1870–1956

“Gitterwerk” basket, model no. S 509, ca. 1905

Sterling silver, ivory. From the production of 29. Handle impressed

with Diana hallmark, “WW,” rose mark, and “JH.”

6 × 8 3/8 × 6 3/8 in. (15.2 × 21.3 × 16.2 cm.)

Estimate$40,000–60,000 ∑

PROVENANCE Estate of Mildred Burrage, Wiscasset, Maine

LITERATURE Maria F. Rich, Vienna 1900–1930: Art in the Home, exh. cat.,

Historical Design Inc., New York, 1996, p. 33; Renée Price, ed., New Worlds:

German and Austrian Art 1890–1940, exh. cat., Neue Galerie, New York, 2001,

p. 432, cat. no. III.25; Michael Huey, ed., Viennese Silver: Modern Design

1780–1918, Ostfildern-Ruit, 2003, p. 323, fig. 176

Josef Hoffmann’s preparatory drawing for the present lot is

registered at the MAK, Vienna, as “K.I. 12033/42, model no.

S 509 FS.”


VARIOUS PROPERTIES

4 TOMASO BUZZI1900–1981

“Laguna” vase, model no. 3298, ca. 1931–1935

Pink glass cased in lattimo glass with applied gold leaf. Produced by Venini,

Italy. Underside with partially detached manufacturer’s paper label with

“VENINI S.A.”

10 in. (25.4 cm.) high

Estimate$20,000–30,000

PROVENANCEPrivate collection, Italy

LITERATURE “LATTIMI 1931–1935,” Venini: Catologo Blu, Murano, pl. 29, model

no. 3298; Marc Heiremans, Art Glass From Murano, Stuttgart, 1993, p. 241, fig. 194 for

a similar example; Alessandro Bettagno, Gli Artisti Di Venini: Per Una Storia Del Vetro

D’Arte Veneziano, Milan, 1996, p. 81, fig. 55 for a similar example; Anna Venini Diaz de

Santillana, Venini Catalogue Raisonné 1921–1986, Milan, 2000, p. 238, pl. 29, model no.

3298; Marino Barovier, Venetian Art Glass: 1840–1970: An American Collection, Stuttgart,

2004, p. 232, fig. 160 for a similar example of laguna glass; ; Franco Deboni, Venini

Glass, Its history, artists and techniques, Volume 1, Milan, 2007, pl. 29, model no. 3298



5 GEORGE NAKASHIMA1905–1990

Custom “Sanso” table and set of ten “Conoid” lounge chairs, 1987

Table: single-board claro walnut, American black walnut, seven East Indian

rosewood butterfly keys; chairs: single-board American black walnut, hickory.

Underside of table signed in black marker with “George Nakashima/Nov 12 1987,”

and “Schwab.” Underside of each chair signed in black marker with “George

Nakashima/Nov 12 1987.” Together with the original drawing of the table and

correspondence between George Nakashima and the original owner (11).

Table: 25 1/4 × 101 × 63 3/4 in. (64.1 × 256.5 × 161.9 cm.); each chair: 33 1/4 in.

(84.5 cm.) high

Estimate$300,000–400,000

PROVENANCE Mr. and Mrs. Walter Schwab, Providence, Rhode Island

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

Tokyo, 1981, p. 188 for a drawing of a “Minguren II” base; Derek E. Ostergard, George

Nakashima, Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 163 for the

chairs; Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima,

New York, 2003, p. 210 for an example of a claro walnut board, and p. 239 for the 1986

“Peace Altar” in claro walnut and of a similar form


George Nakashima’s “Sanso” tables, similar in design to his monumental

“Altar of Peace” of 1986, typically consist of two matched walnut boards

held together by rosewood butterfly keys. When Mr. and Mrs. Schwab

requested the present table, Nakashima found in his studio two boards for

the project, but he also found a more impressive single board made of claro

walnut. Highly figured with striking grain patterns, claro walnut exemplifies

the richness of materials and impeccable craftsmanship characteristic of

Nakashima’s output in the 1980s. Nakashima wrote to the Schwabs: “I don’t

know whether you are familiar with Claro Walnut or not, but I consider this

wood some of the finest that we have. It runs quite colorfully, from a grey to

dark greys, to dark browns, in variegated shades. This particular piece has a

very fine crotch grain running the whole length of the board.”

Given these factors—a single-board top, the use of claro walnut—the price of

this project would increase considerably. The date for the Schwabs to meet

Nakashima and to view the board was set for August 8, 1987. The studio was

closed at the time for vacation, which Nakashima cut short: “As I am rather

excited about these selections, I can make a special appointment.”

To complement this custom “Sanso” order, the Schwabs requested a set

of ten “Conoid” lounge chairs. The “Conoid”, designed in 1960, is widely

regarded as one of Nakashima’s most successful works due to the chair’s

architectonic shape and its departure from the designer’s typical “Windsor”

adaptations. Twenty years later, Nakashima redesigned the “Conoid” to a

lower height for more comfort. This became known as the “Conoid” lounge

chair, which was only produced for ten years and was crafted in far fewer

quantities. In addition, the chairs in the present lot were designed with single-

board seats, much rarer than this design’s usual construction of multiple

laminated boards.

The present lot represents one of the finest examples of Nakashima’s output

toward the end of his career. In contrast to his earliest works, beautiful simple

designs crafted from locally sourced woods, the present set demonstrates his

growth as a designer and craftsman whose craft had been honed over four

decades in celebration of what he referred to as “the soul of a tree.”


PROPERTYOFATEXASCOLLECTOR

6 FRITS HENNINGSEN1889–1969

Wingback armchair, ca. 1935

Leather, beech. Produced by Master Cabinetmaker Frits Henningsen.

Two legs numbered in black marker with “212” and one incised with “7567.”

44 1/2 in. (113 cm.) high

Estimate$40,000–60,000

PROVENANCE Christie’s South Kensington, Scandinavian Design, September 15, 1999, lot 19

LITERATURE Bodil Busk Laurse and Christian Holmsed Olesen, eds., Mesterværker: 100 års

dansk mobelsnedkeri, Copenhagen, 2003, p. 39; Diane Dorrans Saeks, Orlando Diaz-Azcuy, New

York, 2009, front cover and p. 19


7 ISAMU NOGUCHI and ROBERTO MATTA 1904–1988, 1911–2002

Unique handpainted “Akari” hanging light, 1960s

Ink on Japanese mulberry bark paper, copper. Light produced by Ozeki Company, Gifu,

Japan. Top stamped with Noguchi’s ideograph and signed by Matta with his monogram.

61 in. (155 cm.) long

Estimate $8,000–12,000

PROVENANCE Clara Scremini Gallery, Paris

EXHIBITED “Lumières, je pense à vous,” Centre de Création Industrielle (CCI), Centre Pompidou

Musée national d’art moderne, Paris, June 3–August 5, 1985

LITERATURE Lumières, je pense à vous, exh. cat., Centre Pompidou Musée national d’art

moderne, Paris, 1985, illustrated p. 128, fig. 51


PROPERTYOFAEUROPEANCOLLECTOR

8 DIEGO GIACOMETTI1902–1985

“Berceau” table, first version,ca.1965

Patinatedbronze,glass.TogetherwithaletterofauthenticityfromJamesLord

andacopyoftheoriginalinvoicefromPierreMatisseGallery,NewYork.

151/2×17×453/4in.(39.4×43.2×116.2cm.)

Estimate$80,000–120,000

PROVENANCE PierreMatisseGallery,NewYork,1970;Sr.MoisesStoliar,Buenos

Aires;acquireddirectlyfromtheabovein1988

LITERATURE MichelButor,Diego Giacometti,Paris,1985,p. 143;Daniel

Marchesseau,Diego Giacometti,Paris,1986,pp. 66–67;FrançoisBaudot,Diego

Giacometti,Paris,1998,pp. 58–59forsimilarexamples

DiegoGiacomettidesignedthepresentmodel“table-berceau,

premièreversion”(ca.1965)forfilmmakerRaoulLévy,whoacted

inandproducednotablefilmsbyRogerVadimandJean-Luc

Godard.Giacomettiproducedalaterzoomorphic“secondeversion”

(ca. 1970)notedforitsvarianttablesupportsterminatinginthe

headsofcats,dogs,andfoxes.




“Berceau” table, first version,ca.1965

Patinatedbronze,glass.TogetherwithaletterofauthenticityfromJamesLord

andacopyoftheoriginalinvoicefromPierreMatisseGallery,NewYork.

151/2×17×453/4in.(39.4×43.2×116.2cm.)

Estimate$80,000–120,000

PROVENANCE PierreMatisseGallery,NewYork,1970;Sr.MoisesStoliar,Buenos

Aires;acquireddirectlyfromtheabovein1988

LITERATURE MichelButor,Diego Giacometti,Paris,1985,p. 143;Daniel

Marchesseau,Diego Giacometti,Paris,1986,pp. 66–67;FrançoisBaudot,Diego

Giacometti,Paris,1998,pp. 58–59forsimilarexamples


PROPERTYOFAGENTLEMAN

10 EYRE DE LANUX1894–1996

Side table,ca.1935

Strawmarquetry.

151/4×271/2×181/4in.(38.7×69.9×46.4cm.)

Estimate$30,000–50,000

PROVENANCE CollectionofEyredeLanux;Christie’s,Important 20th-Century Decorative Art,

including Arts & Crafts and Architectural Designs,NewYork,December13and14,1996,lot237


11 JEAN DUNAND1877–1942

Tall “dinanderie” vase,ca.1925

Lacqueredbrass,lacqueredoxidizedcopper.Undersideimpressedwith“4710.”

TogetherwithaletterofauthenticityfromDorothéeDunand.

11in.(27.9cm.)high,7in.(17.8cm.)diameter

Estimate$40,000–50,000

PROVENANCE GalerieGeorgesPetit,Paris,1927;EdgarBrandt,Paris,1928

EXHIBITED GalerieGeorgesPetit,Paris,1927

LITERATURE FelixMarcilhac,Jean Dunand: His Life and Works,NewYork,1991,p. 312,

fig. 1060forasimilarmotif

Intheaccompanyingletterofauthenticity,DorothéeDunandstatesthatthepresentlotwas

purchasedbyEdgarBrandtin1928fromGalerieGeorgesPetit,aprominentParisgallery

whichlaterheldexhibitionsofHenriMatisseandPabloPicasso.


12 STUDIO JOB

JOB SMEETS and NYNKE TYNAGEL b.1970,b.1977

“Perished” table,2006

Macassarebony,bird’seyemapleinlay.Fromtheeditionofsix.Oneleginlaidwith“Job.”

301/8×881/2×353/8in.(76.5×224.8×89.9cm.)

Estimate$50,000–60,000

LITERATURE WillyvandenBussche,etal.,Studio Job: The Book of Job,NewYork,2010,pp. 104

and106–107foradrawing;AdamLindemann,Collecting Design,Colgne,2010,p.135forthe

“Perished”bench


13 HANS COPER1920–1981

Rare white “Cycladic” arrow form,ca.1974

Stoneware,layeredwhiteporcelainslipsandengobesoverabodywithtextured

andincisedlineardesigns,thebasewithablackglazeoveratexturedbody.

Impressedwithartist’sseal.

123/4in.(32.4cm.)high

Estimate$40,000–60,000

PROVENANCE Bonhams,Contemporary Ceramics,London,October16,1995,lot111

LITERATURE TonyBirks,Hans Coper,Somerset,2005,p. 195;CyrilFrankel,Hans

Coper,Modern Pots: Lucie Rie & their Contemporaries: The Lisa Sainsbury Collection,

London,2000,p. 56,fig. 40forasimilarexample


Rare black “Cycladic” form,ca.1975

Stoneware,blackglazeoverabodywithincisedspiralsandturningmarks.

Impressedwithartist’sseal.

141/2in.(36.8cm.)high

Estimate$40,000–60,000

PROVENANCE LucieRie,AlbionMewsStudio,London,1992;thecollectionof

MichaelandLucyFoster,Portland,Oregon;PhillipsAuctioneers,Lucie Rie/Hans

Coper: Masterworks,June20,2000,lot66

LITERATURE CyrilFrankel,Hans Coper, Modern Pots: Lucie Rie & their Contemporaries:

The Lisa Sainsbury Collection,London,2000,p. 59,figs.47,48and49forthreevariants

ofthisform




“Lustre aux Acrobates” ceiling fixture,ca.1978

Patinatedbronze.Reverseincisedwith“Diego.”Togetherwithaletterof

authenticityfromJamesLord.

445/8in.(113.3cm.)drop,221/4in.(56.5cm.)diameter

Estimate$80,000–120,000

PROVENANCE PierreMatisseGallery,NewYork;Sr.MoisesStoliar,BuenosAires

LITERATURE MichelButor,Diego Giacometti,Paris,1985,pp. 136–137forasimilar

example;DanielMarchesseau,Diego Giacometti,Paris,1986,p. 117foranearlybronze

sculptureofthecoupleandp. 169forasimilarexample


16 VIVIANNA TORUN BÜLOW-HÜBBE 1927–1904

Rare table clock, model no. 1188,1970s

Silver,moonstone,silver-platedbrass,teak.ProducedbyGeorgJensen,Denmark.

Reversemarkedwith“DESIGNTORUN,”“GEORGJENSEN,”and“1188.”Interiorofrim

markedwith“2,”and“BRASS.”

4in.(10.2cm.)high,51/2in.(14cm.)diameter

Estimate$10,000–12,000

PROVENANCEGeorgJensenMuseum,Copenhagen

Thepresentlotisoneofthreeextantexamples,oneofwhichisintheestate

ofViviannaTorunBülow-Hübbeandanotherinaprivatecollection.


17 JAMES TOWER1919–1988

“Waving reeds” vessel, no. 40,1979

Earthenware,layeredblackandwhiteglazes,thedesignetchedthroughthe

unfiredglaze.Undersideincisedwith“JamesTower/79.”

121/2×23×9in.(31.8×58.4×22.9cm.)

Estimate$12,000–18,000

PROVENANCE ArtLatitude,NewYork;Bonhams,Contemporary Ceramics,London,

March21,1991

EXHIBITED “JamesTower,”ArtLatitude,NewYork,January8–February2,1980

Thepresentlotwillbeincludedintheforthcomingcatalogue

raisonnébyTimothyWilcox,The Ceramic Art of James Tower,Lund

Humphries,April2012.


18 SAM MALOOF1916–2009

Rocking chair,1983

Walnut,ebony.Undersideincisedwith“No.171983/SamMalooffACC.”

44in.(111.8cm.)high

Estimate$30,000–40,000

PROVENANCE Privatecollection,LosAngeles

LITERATURE SamMaloof,Sam Maloof: Woodworker,Tokyo,1983,pp.47,61and118–127;

JeremyAdamson,The Furniture of Sam Maloof,exh.cat.,TheSmithsonianAmericanArt

Museum,WashingtonD.C.,2001,insetandpp. 176,179,190,192–193;ToddMerrilland

JulieV.Iovine,Modern Americana: Studio Furniture from High Craft to High Glam,NewYork,

2008,p. 74;JeannineFalino,ed.,Crafting Modernism: Midcentury American Art and Design,

exh.cat.,MuseumofArtsandDesign,NewYork,2011,p. 240


PROPERTYFROMANEWYORKCOLLECTION

19 CHARLOTTE PERRIAND1903–1999

Monumental “Bibliothèque murale,”ca.1954

Aluminum,oak.ManufacturedbyLesAteliersJeanProuvé,Franceand

editionedbyGalerieStephSimon,France.

551/4×126×131/4in.(140.3×320×33.6cm.)

Estimate$200,000–300,000

PROVENANCE GaleriesJousseSeguin,Paris;Privatecollection,NewYork;Phillips

dePury&Company,Design,London,October15,2009,lot32

LITERATURE GaleriesJousseSeguinandEnricoNavarra,Jean Prouvé,Paris,1998,

p. 120foraGalerieStephSimonadvertisementandillustratedp. 121


20 GIO PONTI1891–1979

Unique and monumental pair of wall lights, from the entrance hall of the

Dalmine S.p.A. headquarters, Via Brera, Milan, ca. 1948

Glass, brushed sheet steel, painted steel. Manufactured by Fontana Arte,

Italy. From the set of four. Together with a certificate of authenticity from

the Gio Ponti Archives (2).

Each: 61 1/2 × 17 3/4 × 23 5/8 in. (156.2 × 45.1 × 60 cm.)

Estimate$28,000–34,000

PROVENANCE Dalmine S.p.A. headquarters, Via Brera, Milan

LITERATURE “Lastre di vetro e cristallo,” Vitrum, no. 34, August 1952, pp. 10–12;

Roberto Aloi, “Illuminazione D’oggi,” Esempi, Milan, 1956, p. 237

The present lights are the only surviving examples from the set

of four produced for the Milan headquarters of Dalmine S.p.A.,

a manufacturer of steel products.

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20 GIO PONTI1891–1979

Unique and monumental pair of wall lights, from the entrance hall of the

Dalmine S.p.A. headquarters, Via Brera, Milan, ca. 1948

Glass, brushed sheet steel, painted steel. Manufactured by Fontana Arte,

Italy. From the set of four. Together with a certificate of authenticity from

the Gio Ponti Archives (2).

Each: 61 1/2 × 17 3/4 × 23 5/8 in. (156.2 × 45.1 × 60 cm.)

Estimate$28,000–34,000

PROVENANCE Dalmine S.p.A. headquarters, Via Brera, Milan

LITERATURE “Lastre di vetro e cristallo,” Vitrum, no. 34, August 1952, pp. 10–12;

Roberto Aloi, “Illuminazione D’oggi,” Esempi, Milan, 1956, p. 237

The present lights are the only surviving examples from the set

of four produced for the Milan headquarters of Dalmine S.p.A.,

a manufacturer of steel products.


21 JEAN PROUVÉ1901–1984

Panel with porthole windows, from the Bouqueval School,ca.1949

Aluminum,paintedaluminum,oak,glass.ManufacturedbyLes

AteliersJeanProuvé,France.

1157/8×355/8×23/4in.(294.6×90.5×7cm.)

Estimate$70,000–110,000

PROVENANCE BouquevalSchool,Bouqueval,France;Galerie

PatrickSeguin,Paris

LITERATURE Jean Prouvé Constructeur 1901–1984,exh.cat.,Musée

desBeaux-Arts,Paris,2001,p. 98forsimilarexamples;PeterSulzer,

Jean Prouvé: Œuvre Complète, Volume 3: 1944–1954,Basel,2005,

pp. 104–105foradiscussionoftheschool;GaleriePatrickSeguin,

Jean Prouvé, Volume 2,Paris,2007,pp. 544–553

Thepresentlotisoneofnineoriginalpanelsfromthe

BouquevalSchool.


PROPERTYFROMTHEVENINIARCHIVES

22 FERNANDO and HUMBERTO CAMPANAb.1961,b.1953

Unique “Esmeralda” ceiling light,2010

Coloredglass,wicker,rope.ProducedbyVenini,Italy.Togetherwitha

certificateofauthenticityfromVenini.

62in.(157.5cm.)drop

Estimate$30,000–40,000

LITERATURECampanaBrothers,Complete Works (So Far),NewYork,2010,pp. 212–

240foradiscussionoftheirdesignscasedinwicker

“Esmeralda,”auniquehanginglight,comprisinghand-blown

coloredglassencasedinwicker,derivesfromFernandoand

HumbertoCampana’searlierTransPlasticseries(2007)which

combinedrepurposedobjects—plasticchairs,tables,tires—

wrappedinwovennaturalfibers,acommentonthe“invasionof

plastic,”¹andacelebrationofBrazilianweavingtraditions.The

seriesmarkedareturnofsortsforFernando,whohadwovenwicker

basketsaftergraduatingfromlawschool.

1.DarrinAlfredinComplete Works (So Far),2010,pp.214–232

Phillips de Pury & Company wish to thank Estudio Campana for their

assistance in cataloguing this lot.

“We wanted to create a kind of fantasy. We imagined the world being attacked by nature. There would be so many plants that they would gradually engulf all man-made objects, becoming inseparable from them.” FERNANDO CAMPANA



23 JEAN PROUVÉ1901–1984

Bed, model no. 102,ca.1936

Paintedbentsteel,oak,leather.ManufacturedbyLesAteliersJeanProuvé,France.

251/2×931/4×36in.(64.8×236.9×91.4cm.)

Estimate$35,000–45,000

PROVENANCE GaleriesJousseSeguin,Paris;Privatecollection,London

LITERATURE GaleriesJousseSeguinandEnricoNavarra,Jean Prouvé,Paris,

1998,p. 124;PeterSulzer,Jean Prouvé: Œuvre Complète, Volume 2: 1934–1944,Basel,2000,

pp. 110–111,figs.534.1,1–534.1,5fordrawings,specificationsheetsandperiodillustrations;

GaleriePatrickSeguin,Jean Prouvé, Volume 2,Paris,2007,pp. 354and361


PROPERTYFROMANIMPORTANTCOLLECTION

24 JEAN ROYÈRE1902–1981

Unique “Œuf” chest of drawers,ca.1958

Ash,ash-veneeredwood,fabric,brass.

371/2×59×193/8in.(95.3×149.9×49.2cm.)

Estimate$120,000–180,000

PROVENANCE GaleriePatrickSeguin,Paris

LITERATURE Pierre-EmmanuelMartin-Vivier,Jean Royère,Paris,2002,illustratedp. 258

ThepresentlotwillbeincludedintheforthcomingCatalogue raisonné de

Jean RoyèrebyGaleriePatrickSeguinandGalerieJacquesLacoste.

Phillips de Pury & Company wish to thank Jacques Lacoste for his assistance

in cataloguing this lot.


“To create a harmonious spectacle to enchant the eye, rejoice the heart and elevate the spirit.” JEAN ROYÈRE

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JeanRoyère’spreparatorydrawingforabedroomwithŒufbedandchairs,1955–1961



25 ALESSANDRO MENDINIb.1931

Unique “La Colonna di Venini,”2011

Clearandcoloredglass,marble.ProducedbyVenini,Italy.Artist’sproof

fortheeditionofnine.Oneglasselementacid-etchedwith“venini2011

A. Mendini.P.d.A.”TogetherwithacertificateofauthenticityfromVenini.

100in.(254cm.)high

Estimate$20,000–30,000

“Ourideawastocreateasingleobjectthattransmittedthehistory

ofVeniniandallitsspecializations:sophisticatedcraftsmanship,

amultitudeofcolorsandtextures,theexpertise,thespecial

techniques,andtheprodigiousartistswholenttheirtalenttothe

companyfromthebeginning,throughouttheyears.Thismeant


thatourcreationwouldneedtobecomposedofdifferentparts,

eachexpressingspecificelementsofthecompositionandtogether

becomingasinglesymbol,aVeniniemblem.Wethoughtofan

ascendingandlightweightshape,akindoflargenecklacefixedin

averticalposition,madeupofdistancedspheres,eachofwhich

wouldcontainapartoftheVeninihistory.Theresultisastory,

aclassification.Eachdifferentpartrepresentsananalyzedand

motivatedelement;togethertheyareanagileandalmostacrobatic

arrangement.Andwesaidtoourselves,‘Wehavecreatedacolumn.’

ThatishowtheColonnadiVeninicametobe:amonumentto

dedication,hardwork,aestheticsandtheiridescentripplesonthe

surfaceofthelagoon.”

AlessandroMendini



Pair of two-arm “Bouquet” wall lights,ca.1948

Paintedtubularmetal,paper(2).

Each:13×18×10in.(33×45.7×25.4cm.)

Estimate$20,000–35,000

PROVENANCE GaleriePatrickSeguin,Paris;GalerieJacquesLacoste,Paris

LITERATURE Pierre-EmmanuelMartin-Vivier,Jean Royère,Paris,2002,pp. 39,151,

185,238forsimilarexamples;Jean Royère, décorateur à Paris,exh.cat.,Muséedes

ArtsDécoratifs,Paris,1999,pp. 16and31forsimilarexamples


27 JEAN-MICHEL FRANK1895–1941

Side chair, from the Templeton Crocker residence, San Francisco, ca. 1929

Straw marquetry veneered wood, fabric. Produced by Chanaux & Company, France.

Impressed twice with manufacturer’s mark and with “623_.”

32 1/4 in. (81.9 cm.) high

Estimate$90,000–110,000

PROVENANCE Templeton Crocker, Russian Hill, San Francisco; Mr. & Mrs. P. Brant, 1970s;

Delorenzo Gallery, New York, 1977; Private collection

LITERATURE “Une décoration française à San Francisco. Chez M. Templeton Crocker,”

Art et Industrie, Paris, May 1930, p. 15; “A Twentieth-Century Apartment,” Vogue, August 3,

1929, p. 33; Patricia Bayer, Art Deco Interiors: Decoration and Design Classics of the 1920s and

1930s, London, 1990, p. 94; Leopold Diego Sanchez, Jean-Michel Frank, Paris, 1997, pp. 76–77

and 130; Pierre-Emmanuel Martin-Vivier, Jean-Michel Frank, Paris, 2006, p. 130

Templeton Crocker (1884–1948), grandson of Charles Crocker—founder

of the Union Pacific Railroad, controlling shareholder of Wells Fargo—

enjoyed the fruits of his forbear’s labors. The younger Crocker traveled

widely too, on scientific expeditions to the Galapagos and to Bora Bora,

and on less arduous journeys to Europe, where he joined Parisian café

Templeton Crocker’s study, panelled in straw marquetry, with the present

chair, San Francisco, 1929, “Une décoration française à San Francisco.

Chez M. Templeton Crocker,” Art et Industrie, Paris, May 1930

“Mr. Templeton Crocker has built the first large and luxurious apartment done completely in the modern manner in the United States.”VOGUE, “A TWENTIETH CENTURY APARTMENT”, 1929

society. A collector of art, books, artifacts, and friends, Crocker befriended

the great designers of the day, whom he commissioned to decorate his

expansive penthouse on San Francisco’s Russian Hill. The residence

comprised three rooms by Jean Dunand, a bathroom by Perre Legrain, and

a dressing room by Madame Lipska. The chief author of the apartment,

however, was Jean-Michel Frank.

In “A Twentieth Century Apartment”, a Vogue article dated August 3, 1929, a

staff writer celebrated the commission: “Perhaps the most unusual feature

from a decorator’s point of view is the exotic use of unusual materials. Walls

and furniture are of parchment and straw, tables of sharkskin, andirons of

rock-crystal, curtains of lacy woven steel like fairy coats of mail…”

Like the walls, ceiling and divan in Mr. Crocker’s study, the present chair was

veneered by Jean-Michel Frank in straw marquetry. It was purchased by a

Connecticut collector in the 1970s along with a larger group of furnishings

formerly of the Crocker residence.


28 MARTIN SZEKELYb. 1956

“Table Blanche,” 2007

Corian, honeycomb aluminum, resin. Produced by Galerie kreo, France.

Number four from the edition of eight plus two artist’s proofs and two

prototypes. Underside signed in black marker with “Martin/Szekely/4 / 8 /2007.”

29 1/2 × 110 × 55 in. (74.9 × 279.4 × 139.7 cm.)

Estimate$50,000–70,000

PROVENANCE Galerie kreo, France

LITERATURE Clément Dirié, Martin Szekely, Zurich, 2010, pp. 78–79; Martin Szekely:

No More Drawing, exh. cat., Centre Pompidou, Musée national d’art modern, Paris,

2011, p. 10

“Table Blanche” will be included as MSZ – 03-2007 in the

forthcoming catalogue raisonné of limited editions by Martin Szekely

being prepared by Didier Krzentowski of Galerie kreo, Paris.

“Table Blanche” is in the permanent collection of the Centre

Pompidou, Musée national d’art modern, Paris, where it is currently

on view in the exhibition “Martin Szekely: No More Drawing” until

January 2, 2112.


“Today, to me my work seems like a subtraction, down to the expressionism of drawing. This notion came from my relationship with industrial design and its creation for the largest audience possible.”MARTIN SZEKELY


29 KEN PRICEb. 1935

“Green and Gold,” 2007

Fired and painted clay.

12 in. (30.5 cm.) high

Estimate$20,000–30,000

PROVENANCE Frank Lloyd Gallery, Santa Monica, California

Since the 1960s, Ken Price’s deliberate disassociation with the

conventions of his chosen material have resulted in a consistently

ambitious exploration of form and surface that is more closely allied

to sculpture and painting than ceramics. His most recent body of

work, the free-form amorphous ‘blobs’, create an uneasy tension

that on the one hand seem to celebrate the organic plasticity of the

clay while rejoicing in the synthetic artificiality of the applied layers

of paint that make up the surface.

Alternative view



Unique dining table, ca. 1953

Straw marquetry, brass.

29 1/2 × 62 7/8 × 35 3/8 in. (75 × 160 × 90 cm.)

Estimate$220,000–320,000

PROVENANCE Private collection, Paris; Galerie Patrick Seguin and Galerie Jacques

Lacoste, Paris

LITERATURE Jean Royère, exh. cat., Galerie Jacques Lacoste, Paris, 1999, illustrated p. 59;

Jean Royère, décorateur à Paris, exh. cat., Musée des Arts Décoratifs, Paris, 1999, p. 133 for a

similar example; Pierre-Emmanuel Martin-Vivier, Jean Royère, Paris, 2002, pp. 154–155 for the

ball and undulation motif and 209, 242–243 for straw marquetry examples, illustrated p. 276

The present lot will be included in the forthcoming Catalogue raisonné de

Jean Royère by Galerie Patrick Seguin and Galerie Jacques Lacoste.

Phillips de Pury & Company wish to thank Jacques Lacoste for his assistance

in the cataloguing of this lot. Arc

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The present lot in situ, Paris, 1950s


31 PETER COLLINGWOOD1922–2008

Important unique wall hanging, for Sir Gordon Russell, 1959

Blockweave, hand-dyed Wilton wool, genappe yarn, Icelandic worsted wool and

vat-dyed mercerised linen in over 60 colors. Three panels containing the lettering

“G.R,” “CoICD” and “1944–1959.”

119 5/8 × 88 5/8 in. (304 × 225 cm.)

Estimate$20,000–30,000

PROVENANCE Commissioned by the Council of Industrial Design as a gift marking

the retirement of its Director, Sir Gordon Russell; presented January 5, 1960 and

subsequently hung on the landing of his Cotswold house “Kingcombe,” Broadway, UK

LITERATURE Peter Collingwood, “A Weaving Project,” The Quarterly Journal of the

Guilds for Weavers, Spinners and Dyers, Journal No. 33, March 1960, pp. 115–122 for an

extensive explanation of the commission; Peter Collingwood: Master Weaver, exh. cat.,

The Minories Art Gallery, Colchester, 1998, p. 4 for a detail and p. 18

Collingwood recalled that while making the present lot he first tied

warp threads to heddles in order to change the design as he went

along. He stated in The Journal for Weavers, Spinners and Dyers, “I

had no sketch to follow and made all decisions about the design

as I went along. But also as I went along I sketched to scale what I

had woven… Although I had over sixty colours I used two or three

together, the actual combinations used were far greater in number

and they were changing every few inches in both the blocks and

the ground… It was for me a real excitement to put this almost

barbaric pink against the brightest orange-red – it made the optic

nerves dance a jig. In fact, throughout, my object was so to combine

the colours that they glowed. This can only be done if all muddy

colours are excluded. Only pure colours have the power to produce

this effect, when seen in isolation these colours may be called

crude by some but when placed together appropriately they react

on each other and produce this exciting glow. There is an element

of dissonance in this sort of combination, that touch of dissonance

that puts the excitement into a Debussy chord that is lacking in an

English Hymnal chord.”


“Handweaving is artistically justifiable only if it can keep abreast of contemporary movements in the world of architecture and fashion, if it can capture the spirit of the age in its textiles”PETER COLLINGWOOD

The artist holding a sample length of the present lot


PROPERTYFROMANORTHERNITALIANCOLLECTION

32 FULVIO BIANCONI1915–1996

Rare ‘amacchie’ vase, model no. 4324,ca.1955

Clearglasswithaubergine‘a macchie’inclusions.ProducedbyVenini,Italy.

Undersidewithmanufacturer’spaperlabel“VENINIS.A.”

10in.(25.4cm.)high

Estimate$50,000–70,000

LITERATURE Venini:Red Catalogue,Murano,modelno.4327;MarcHeiremans,

Art Glass From Murano: 1910–1970,Stuttgart,1993,p. 265,fig.218forasimilarexample;

MarinaBarovier,RosaBarovierMentastiandAttiliaDorigato,Il Vetro Di Murano: Alle

Biennali 1895–1972,Milan,1995,p. 157,no.83forasimilarexample;FrancoDeboni,

Murano ’900,Turin,1996,pp. 74and296,fig.212forsimilarexamples;HelmutRicke

andEvaSchmitt,Italian Glass Murano, Milan 1930–1970,Munich,1997,pp. 102–103

forsimilarexamples;FrancoDeboni,Venini Glass, Its history, artists and techniques,

Volume1,Milan,2007,n.p.modelno.4327


Periodphotoofagroupof‘a macchie’vases,ca.1955


33 GIO PONTI1891–1979

Unique pair of armchairs, from an important private commission,ca.1950

Originalvelvet,brass,walnut.Togetherwithacertificateofauthenticityfrom

theGioPontiArchives(2).

Each:30in.(76.2cm.)high

Estimate$60,000–80,000

PROVENANCE Importantprivatecommission

LITERATURE UgoLaPietra,ed.,Gio Ponti,NewYork,2009,p. 203,fig. 435fora

similarexample


PROPERTYOFALONDONCOLLECTOR

34 LUCIE RIE1902–1995

Deep bowl,ca.1980

Porcelain,darkgreenglazewithbrightgoldlip.Impressedwithartist’sseal.

4in.(10cm.)high;61/4in.(16cm.)diameter

Estimate$20,000–30,000

PROVENANCE LucieRie,AlbionMewsStudio,London,1980

EXHIBITED “LucieRie-ARetrospective,”TheNationalArtCentre,Tokyo,Japan,

April 28–June 21,2010;TheMashikoMuseumofCeramicArt,TochigiPrefecture,Japan,

August 7–September26,2010;MOAMuseumofArt,ShizuokaPrefecture,Japan,October

9–December1,2010;TheMuseumofOrientalCeramics,Osaka,Japan,December

11–February 13,2011;ParamitaMuseum,MiePrefecture,Japan,February26–April17,2011;

HagiUragamiMuseum,YamaguchiPrefecture,Japan,April29–June26,2011

LITERATURE Lucie Rie – A Retrospective,exh.cat.,TheNationalMuseumofModernArt,Tokyo,

illustratedp. 240,item183


PROPERTYOFALONDONCOLLECTOR

35 LUCIE RIE1902–1995

Open bowl,ca.1980

Porcelain,darkgreenglazewithbrightgoldlip.Impressedwithartist’sseal.

33/4in.(9.5cm.)high,8in.(20.5cm.)

Estimate$20,000–30,000

PROVENANCE LucieRie,AlbionMewsStudio,London,1980

EXHIBITED “LucieRie–ARetrospective,”TheNationalArtCentre,Tokyo,Japan,April

28–June21,2010;TheMashikoMuseumofCeramicArt,TochigiPrefecture,Japan,

August7–September26,2010;MOAMuseumofArt,ShizuokaPrefecture,Japan,October

9–December1,2010;TheMuseumofOrientalCeramics,Osaka,Japan,December

11–February13,2011;ParamitaMuseum,MiePrefecture,Japan,February26–April17,2011;

HagiUragamiMuseum,YamaguchiPrefecture,Japan,April29–June26,2011

LITERATURE Lucie Rie – A Retrospective,exh.cat.,TheNationalMuseumofModernArt,

Tokyo,illustratedp. 241,item184


36 GIO PONTI1891–1979

Monumental chandelier, for the Hotel Parco dei Principi, Rome,ca.1964

Frostedglass,brass.ManufacturedbyArredoluce,Italy.Togetherwitha

certificateofauthenticityfromtheGioPontiArchives.

231/4in.(59cm.)drop,817/8in.(208cm.)diameter

Estimate$80,000–120,000

EXHIBITED “EspressionidiGioPonti,”Triennale,Milan,May6–July24,2011

LITERATURE “IlNuovoAlbergo‘ParcodeiPrincipi’inRoma,”Domus,no.425,April

1965,p. 53;UgoLaPietra,ed.,Gio Ponti,NewYork,2009,p. 372,fig.773;Graziella

Roccella,Gio Ponti: Master of Lightness,Cologne,2009.pp. 78–79forbackground

onHotelParcodeiPrincipi,Rome;GermanoCelant,ed.,Espressioni di Gio Ponti,

exh. cat.,Triennale,Milan,2011,p. 109,fig.174

ThepresentmodelwasdesignedfortheHotelParcodeiPrincipi,

Rome.ItwasthereafterproducedbyArredoluceinaverysmall

series,ofwhichfourexamplesareknown.



37 MIROSLAV HRSTKA1933–1983

“Miros 2” vase,ca.1968

Incisoglass.ProducedbyVenini,Italy.Togetherwithacertificateofauthenticity

fromVenini.

121/2in.(31.8cm.)high

Estimate$10,000–15,000

LITERATURE FrancoDeboni,Venini Glass, Catalogue 1921–2007,vol.2,Turin,2007,pl.248



38 GIO PONTI1891–1979

Dressing table and side chair, from Casa Ceccato, Milan,ca.1950

Dressingtable:rosewood-veneeredwood,brass,mirroredglass,glass;

chair:stainedmahogany,fabric,brass.Producedbycabinetmaker

GiordanoChiesa,Italy.Togetherwithacertificateof authenticityfromthe

GioPontiArchives(2).

Dressingtable:473/4×451/2×17in.(121.3×115.6×43.2cm.);

chair:331/2in.(85.1cm.)high

Estimate$35,000–45,000

PROVENANCE CasaCeccato,Milan;Christie’s,20th-Century Decorative Art and

Design,London,March23,2006,lot5

LITERATURE “ParticolaridiunaCasa.”Domus256,April1951,illustratedp. 30;

UgoLaPietra,ed.,Gio Ponti: L’Arte Si Innamora Dell’Industria,NewYork,2009,

pp. 342–343,373foradiscussionofthecommission;LisaLicitraPonti,Gio Ponti:

The Complete Work 1923–1978,Cambridge,MA,1990,p. 145foradiscussionof

thecommission


39 SUEHARU FUKAMIb.1947

“Bô,”1990

Porcelain,Seihakujiceladonglaze,walnut.Numberthreefromtheseriesof

eight.Reverseincisedunderglazewith“3/8S.Fukami.”

141/2×50×41/2in.(36.8×127×11.4cm.)

Estimate$20,000–30,000

EXHIBITED “WhiteporcelainandCeladon,”IbarakiCeramicArtMuseum,

April26–June29,2003

LITERATURE “FukamiSueharu,”L’Toh’,vol. 81,July25,1993,illustratedpp. 14–15;

White porcelain and Celadon,exh.cat.,IbarakiCeramicArtMuseumcatalogue,

no. 96,2003,illustratedp. 112


40 GEORGE NAKASHIMA1905–1990

Early “Conoid” bench with single free-form arm, 1961

American black walnut, hickory, three East Indian rosewood butterfly keys.

Underside signed in black marker with “Reed.” Together with a copy of the

original order card and a letter of authenticity from Mira Nakashima.

29 3/4 × 120 × 31 1/2 in. (75.6 × 304.8 × 80 cm.)

Estimate$100,000–150,000

PROVENANCE George Reed, Coconut Grove, Florida

LITERATURE Lee Nordness, OBJECTS: USA, New York, 1970, p. 263 for a similar

example; George Nakashima, The Soul of a Tree, New York, 1981, p. 151 for a sketch

of a similar example; Derek E. Ostergard, George Nakashima, Full Circle, exh. cat.,

American Craft Museum, New York, 1989, p. 157 for a similar example; Mira

Nakashima, Nature, Form & Spirit, The Life & Legacy of George Nakashima, New York,

2003, pp. 147, 173 and 176 for similar examples


“There was no other way for me but to go alone, secure with my family, placing stone upon stone, seeking kinship with each piece of wood, eventually creating an inward mood of space …”GEORGE NAKASHIMA


PROPERTY FROM A NORTHERN ITALIAN COLLECTION

41 CARLO SCARPA1906–1978

ÒPennellateÓ vase, model no. 3911, ca. 1942

Bloomed transparent glass with applied pink and amethyst pasta vitrea.

Produced by Venini, Italy. Underside acid-etched with “venini murano ITALIA.”

7 in. (17.8 cm.) high

Estimate$50,000–70,000

LITERATURE “Lattimi 1931–1935,” Venini: Catologo Blu, Murano, pl. 58, model no.

3911; Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, pp. 178 and 223,

fig. 270 and p. 285, fig. 53 for a period illustration; Marino Barovier, ed., Venetian glass:

The Nancy Olnick and Giorgio Spanu Collection, New York, 2000, p. 104; Franco Deboni,

Venini Glass, Catalogue 1921–2007, vol. 2, Turin, 2007, pl. 102 for a similar example


Similar examples of the present lot exhibited at the XXIII Exposizione

Internazionale d’arte di Venezia, 1942


PROPERTYFROMACANADIANCOLLECTION

42 CARLO MOLLINO1905–1973

Low table, model no. 1114,ca.1950

Maple,glass,brass.ProducedbyAppelli&Varesio,Italyandretailedby

Singer&Sons,USA.

181/4×52×231/4in.(46.4×132.1×59.1cm.)

Estimate$80,000–120,000

PROVENANCE AcquiredbythepreviousownerfromSinger&Sons,NewYork

LITERATURE FulvioFerrari,Carlo Mollino Cronaca,Turin,1985,p.129,fig.215;

GiovanniBrino,Carlo Mollino,Munich,1987,p.132;RenateUlmerandSilvio

SanPietro,eds.,Carlo Mollino: Sedie e Arredi,exh.cat.,InstitutMathildenhöhe

Darmstadt,Milan,1994,p.74;GiovanniBrino,Carlo Mollino: Architecture as

Autobiography,London,2005,p.137,fig.316;RossellaColombari,Carlo Mollino:

Catologo del Mobili,Milan,2005,p.114,fig.105;FulvioFerrariandNapoleone

Ferrari,The Furniture of Carlo Mollino,London,2006,pp.109,fig.131and133for

adrawing,and226;CharlotteandPeterFiell,eds.,Domus, Vol. III, 1950–1954,

Cologne,2006,p.239;FulvioFerrariandNapoleoneFerrari,eds.,Carlo Mollino:

arabesques,exh.cat.,GalleriaCivicad’ArteModernaeContemporanea,Milan,

2007,p.104,fig.165



Rare white “Cycladic” bud form with wings, 1975

Stoneware, layered white porcelain slips and engobes over a body with textured

and incised designs. Impressed with artist’s seal.

6 3/4 in. (17.1 cm.) high

Estimate$30,000–40,000

PROVENANCE Robert Welch Gallery, Chipping Camden, UK, 1975; Garth Clark

Gallery, New York, 1985

LITERATURE Tony Birks, Hans Coper, Somerset, 2005, illustrated p. 72 in situ at the

Robert Welch Gallery


44 MAX INGRAND1908–1969

“Diavolo” table lamp, ca. 1957

Brass, painted metal, glass. Manufactured by Fontana Arte, Italy.

23 in. (58.4 cm.) high

Estimate$40,000–60,000

PROVENANCE Private collection, Como, Italy

LITERATURE Domus, no. 328, March 1957, n.p. for an advertisement of a similar

example; Laura Falconi, Fontana Arte: Una Storia Trasparente, Milan, 1998, p. 113 for a

similar example; Charlotte and Peter Fiell, eds., Domus Vol. IV 1955–1959, Cologne,

2006, p. 295 for an advertisement of a similar example


45 CLAUDI CASANOVASb. 1956

Large bowl, 1988

Stoneware, mixed clays (including clay from Moutiers-en-Puisaye, France),

engobes and glazes. Underside incised with “5,88 Cassanovas.”

15 × 33 × 27 in. (38.1 × 83.8 × 68.6 cm.)

Estimate$10,000–15,000

LITERATURE Tony Birks, Claudi Casanovas, Somerset, 1996, fig. 4a–d for similar

examples

“Clay stops being just a vehicle for water and becomes a register of fire; this is what ceramics is all about.” CLAUDI CASANOVAS


46 SCOTT BURTON1939–1989

Rare pair of chairs, ca. 1988

Stainless steel. From the edition of five (2).

Each: 31 1/2 × 21 2/3 × 32 in. (80 × 55 × 81.3 cm.)

Estimate$225,000–275,000

PROVENANCE Max Protetch Gallery, New York, 1988; Private collection, New York

LITERATURE Scott Burton, exh. cat., Kunstverein für die Rheinland und Westfalen,

Düsseldorf, March 3–April 6, 1989, pp.–26–27; Nancy Princethal, ed., Scott Burton:

Chaises Longings, exh. cat., Max Protetch Gallery, New York, 1996, p. 11; Anna-Maria

Torres, ed., Scott Burton, exh. cat., Institut Valencia d’Art Modern, 2004, illustrated

p. 212

Of the five pairs produced by Scott Burton, one set is in the permanent collection

of the Philadelphia Museum of Art and two further sets are in important private

American collections.


“[Art should] place itself not in front of, but around, behind, underneath (literally) the audience.” SCOTT BURTON


VARIOUS PROPERTIES


‘A fasce applicate’ plate, model no. 4476, ca. 1940

Bloomed transparent glass with applied red and aquamarine glass fasce.

Produced by Venini, Italy. Underside acid-etched with “venini/murano/ITALIA.”

2 × 10 3/4 × 14 1/2 in. (5.1 × 27.3 × 36.8 cm.)

Estimate$15,000–20,000

PROVENANCE Private collection, Italy

LITERATURE Venini: Red Catalogue, Murano, model no. 4476; Helmut Ricke and Eva

Schmitt, Italian Glass Murano, Milan 1930–1970, Munich, 1997, p. 65, fig. 28 for a similar

example; Marino Barovier, Carlo Scarpa: Glass of an Architect, Milan, 1999, pp. 162–163

and 220, fig. 235 and p. 238, fig. 47 for a period illustration of a similar example; Marino

Barovier, ed., Venetian Glass: The Nancy Olnick and Giorgio Spanu Collection, New York,

2000, p. 216 for a similar example; Franco Deboni, Venini Glass, Its history, artists and

techniques, Volume 1, Milan, 2007, n.p. model no. 4476; Franco Deboni, Venini Glass,

catalogue 1921–2007, vol. 2, Turin, 2007, pl. 104 for a similar example



48 SHIRO KURAMATA1934–1991

Unique table, from the Tachibana restaurant, Shinagawa, Tokyo, 1991

Acrylic. Together with a certificate of authenticity from Mieko Kuramata.

40 1/2 × 157 1/2 × 23 5/8 in. (103 × 400 × 60 cm.)

Estimate $80,000–120,000

PROVENANCE Tachibana restaurant, Shinagawa, Tokyo

LITERATURE Japanese Restaurants & Taverns: 51 Outstanding Japanese Speciality Dish Restaurants

& Taverns, Volume III, Japan, 1996, front cover and pp. 176–180; Shiro Kuramata 1934–1991,

exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, p. 198 for a mention of the commission

Tachibana is a Japanese variety of sweet wild orange.

Phillips de Pury & Company wish to thank Mieko Kuramata in cataloguing this lot.

Design_Masters_NY_Dec11_Lots_112-137 v2.indd 112 14/11/11 08.24


49 TADAO ANDOb.1941

Set of three vases,2011

Coloredglass.Firstartist’sproof.ProducedbyVenini,Italy.Eachisthefirst

artist’sprooffromtheirrespectiveeditionsof30.Undersideofeachvaseacid-

etchedwith“90/VENINI/2011/ANDO”and“venini2011–1/9P.d.A”andwith

manufacturer’sstickerwith“90/1921/2011/VENINI.”Togetherwithacertificate

ofauthenticityfromVenini(3).

Each:221/4in.(56.5cm.)

Estimate $40,000–50,000

REQUIEM FORESTS FORTHEDISASTER-STRICKENAREAS

Thegreatearthquake,tsunami,andnuclearaccidentthatstruckthe

TohokuregionofJapanonMarch 11,2011causeddamagesthatexceeded

ourimagination.Entirehometowns,familyhistories,andworkplaceswere

washedawayinaninstantandcountlessirreplaceableliveswerelost.

Fivemonthshavepassedfromthatday,buttherearestillmanypeoplewho

aremissingfromthedisasterareas,andtheworkofremovingthemoundsof

debriscreatedbythetsunamihasproventobeastrenuoustask.Whilethe

provisionofaidtothosewhocontinuetosufferofcoursemustbetheutmost

priority,itisalsonowtimeforustobeginthinkingaboutournextsteponthe

roadtorecovery.Forthis,beforeanythingelse,wemustraisethedepressed

spiritofthecitizensandredirectthemtolookforwardonce again.

Asonewaytoachievethis,Iproposetocreate“RequiemForests”inthe

disasterareas.Highgroundsthatcanserveassafeevacuationareaswill

beplantedwithgrasses,flowers,andtrees,andmaintainedtogetherby

thecommunityas“RequiemForests”.Theforestswillalsocontributeto

sustainingthememoryoftheearthquakeforfuturegenerations.

Themoundsofdebriswillprobablyremainforyetawhile.However,people

cannotraisetheirhopesifthecreationofnewcitiescannotbeginuntilallof

thedebrishasbeenremoved.Ithusproposetohavethemoundssownwith

seedsofgrassesandflowersandtogrowtreeseedlingsuponthem.The

smallflowerswillgainlifeevenamongtherubble.Thetreesaplingswillbe

plantedasappropriateinthevariousareas.Ibelievethatthecreationofsuch

landscapescangivehopetothepeople.Thetreeswilleventuallymatureand

formforestsconnectedtoeveryone’sheart.

IntheSanrikudistrict,whichisamongthedisasterareas,thereisasaying:

“tsunamitendenko”.Ittellsofhowwhenthereisatsunami,everyoneshould

scrambletohighergroundscaringonlyfortheirownsafety,evenifthey

areseparatedfromtheirfamily.Theirpredecessorsputtheirlessonsfrom

experienceintowordsandpassedontheirwisdomtolatergenerations.

Similarly,Ithinkthemenaceoftherecenttsunamicanbetransmittedtolater

generationsthroughthe“RequiemForests”.Theforestswilltakeontherole

oftellingtheexperienceofthedisastertothenextgenerationsinorderto

preventthetragedyfromhappeningagain.

ThefarmingandfishingvillagesoftheTohokuregionretainqualitiesof

theidyllicJapaneselandscape,andthemodelofthetraditionalfamily

andregionalsocietyarestillintact.ThepeopleofJapanarefocusedon

thereconstructionofthisregion,whichtheyseeinparallelwiththeirown

futures.Thesoundsofconstructionfromtherecoveryeffortwillsurely

providehopeandcalmforthepeople,andbecomeasourceofrenewed

energyforthenation.Althoughitisasmallstep,itismyhopethatthe

“RequiemForests”canbebecomeafootholdforthiseffort.

TadaoAndo(architect),August 11,2011

被災地に「鎮魂の森」を

2011年3月11日、東日本を襲った、大地震、大津波、そして原発事故は、私たちの想

像をはるかにこえた大災害をもたらし、多くの人々の尊い命を奪い、故郷や、家族の

歴史、職業までも一瞬にして奪い去りました。

あれから5カ月、被災地ではいまだ行方不明者も多く、津波によってできた瓦礫の山

の撤去には、相当な困難が伴っています。もちろん、今この瞬間も、被災地で苦しんで

いる人々を救うことが最優先ですが、そろそろ私たちは次のステップとして復興への

道のりを考えなければいけません。そのためには、何よりもまず深く沈んだ国民の気

持ちを前に向かせることが先決です。

その一つの方法として、提案するのが、被災地での「鎮魂の森」づくりです。安全のた

めに、避難場所になる高台に草花や木を植え、「鎮魂の森」としてその周辺の整備を

進め、みんなで育てるのです。それは、震災の記憶の継承にもつながります。

瓦礫の山は当分、なくならないでしょう。しかし、その処理が終わるまで、新しい街づ

くりが何もはじまらないのでは、人々に希望は生まれません。瓦礫の山に草花の種を

蒔き、苗を育てる。瓦礫の中でも命を得た小さな花が咲いている。そして各地に適し

た苗木を植えていく。そんな風景をつくることが人々の希望につながるのではないか

と思います。やがて木々は育ち、人々の心の森となります。

今回被災地にもなった三陸地域では、「津波てんでんこ」という言葉が伝わっていま

す。津波の際は、肉親に構わず、てんでんばらばらで良いのでとにかく高台に逃げろと

いう意味です。先人たちは、先の災害の教訓を、言葉にして後世に託しました。この津

波の脅威を、今回は「鎮魂の森」という形で伝承していってはどうかと考えます。悲惨

な災害の経験を、二度とくりかえさないために、次の世代、またその次の世代に伝え

ていく。その役割を、「鎮魂の森」が担うのです。

東北の農村、漁村には、日本の原風景や、家族や地域社会の姿が残っています。多く

の国民は、この地の復興を、自分たちの未来と重ねて注目しています。復興の槌音が、

人々にとって何よりの希望と安心感をもたらすでしょうし、国が元気を取り戻すきっ

かけとなります。「鎮魂の森」が、小さくともその足がかりの一つとなればと思います。

安藤忠雄（建築家）, 2011年8月11日w


THISLOTISBEINGSOLDTOBENEFITTADAOANDO’S

“REQUIEMFORESTS”PROJECT

Design_Masters_NY_Dec11_throw Shiro_3-4_v2.indd 4 14/11/11 09.36


49 TADAO ANDOb.1941

Set of three vases,2011

Coloredglass.Firstartist’sproof.ProducedbyVenini,Italy.Eachisthefirst

artist’sprooffromtheirrespectiveeditionsof30.Undersideofeachvaseacid-

etchedwith“90/VENINI/2011/ANDO”and“venini2011–1/9P.d.A”andwith

manufacturer’sstickerwith“90/1921/2011/VENINI.”Togetherwithacertificate

ofauthenticityfromVenini(3).

Each:221/4in.(56.5cm.)

Estimate $40,000–50,000

REQUIEM FOREST FORTHEDISASTER-STRICKENAREAS

Thegreatearthquake,tsunami,andnuclearaccidentthatstruckthe

TohokuregionofJapanonMarch 11,2011causeddamagesthatexceeded

ourimagination.Entirehometowns,familyhistories,andworkplaceswere

washedawayinaninstantandcountlessirreplaceableliveswerelost.

Fivemonthshavepassedfromthatday,buttherearestillmanypeoplewho

aremissingfromthedisasterareas,andtheworkofremovingthemoundsof

debriscreatedbythetsunamihasproventobeastrenuoustask.Whilethe

provisionofaidtothosewhocontinuetosufferofcoursemustbetheutmost

priority,itisalsonowtimeforustobeginthinkingaboutournextsteponthe

roadtorecovery.Forthis,beforeanythingelse,wemustraisethedepressed

spiritofthecitizensandredirectthemtolookforwardonce again.

Asonewaytoachievethis,Iproposetocreate“RequiemForest”inthe

disasterareas.Highgroundsthatcanserveassafeevacuationareaswill

beplantedwithgrasses,flowers,andtrees,andmaintainedtogetherby

thecommunityas“RequiemForest”.Theforestswillalsocontributeto

sustainingthememoryoftheearthquakeforfuturegenerations.

Themoundsofdebriswillprobablyremainforyetawhile.However,people

cannotraisetheirhopesifthecreationofnewcitiescannotbeginuntilallof

thedebrishasbeenremoved.Ithusproposetohavethemoundssownwith

seedsofgrassesandflowersandtogrowtreeseedlingsuponthem.The

smallflowerswillgainlifeevenamongtherubble.Thetreesaplingswillbe

plantedasappropriateinthevariousareas.Ibelievethatthecreationofsuch

landscapescangivehopetothepeople.Thetreeswilleventuallymatureand

formforestsconnectedtoeveryone’sheart.

IntheSanrikudistrict,whichisamongthedisasterareas,thereisasaying:

“tsunamitendenko”.Ittellsofhowwhenthereisatsunami,everyoneshould

scrambletohighergroundscaringonlyfortheirownsafety,evenifthey

areseparatedfromtheirfamily.Theirpredecessorsputtheirlessonsfrom

experienceintowordsandpassedontheirwisdomtolatergenerations.

Similarly,Ithinkthemenaceoftherecenttsunamicanbetransmittedtolater

generationsthroughthe“RequiemForest”.Theforestswilltakeontherole

oftellingtheexperienceofthedisastertothenextgenerationsinorderto

preventthetragedyfromhappeningagain.

ThefarmingandfishingvillagesoftheTohokuregionretainqualitiesof

theidyllicJapaneselandscape,andthemodelofthetraditionalfamily

andregionalsocietyarestillintact.ThepeopleofJapanarefocusedon

thereconstructionofthisregion,whichtheyseeinparallelwiththeirown

futures.Thesoundsofconstructionfromtherecoveryeffortwillsurely

providehopeandcalmforthepeople,andbecomeasourceofrenewed

energyforthenation.Althoughitisasmallstep,itismyhopethatthe

“RequiemForest”canbebecomeafootholdforthiseffort.

TadaoAndo(architect),August 11,2011

被災地に「鎮魂の森」を

2011年3月11日、東日本を襲った、大地震、大津波、そして原発事故は、私たちの想

像をはるかにこえた大災害をもたらし、多くの人々の尊い命を奪い、故郷や、家族の

歴史、職業までも一瞬にして奪い去りました。

あれから5カ月、被災地ではいまだ行方不明者も多く、津波によってできた瓦礫の山

の撤去には、相当な困難が伴っています。もちろん、今この瞬間も、被災地で苦しんで

いる人々を救うことが最優先ですが、そろそろ私たちは次のステップとして復興への

道のりを考えなければいけません。そのためには、何よりもまず深く沈んだ国民の気

持ちを前に向かせることが先決です。

その一つの方法として、提案するのが、被災地での「鎮魂の森」づくりです。安全のた

めに、避難場所になる高台に草花や木を植え、「鎮魂の森」としてその周辺の整備を

進め、みんなで育てるのです。それは、震災の記憶の継承にもつながります。

瓦礫の山は当分、なくならないでしょう。しかし、その処理が終わるまで、新しい街づ

くりが何もはじまらないのでは、人々に希望は生まれません。瓦礫の山に草花の種を

蒔き、苗を育てる。瓦礫の中でも命を得た小さな花が咲いている。そして各地に適し

た苗木を植えていく。そんな風景をつくることが人々の希望につながるのではないか

と思います。やがて木々は育ち、人々の心の森となります。

今回被災地にもなった三陸地域では、「津波てんでんこ」という言葉が伝わっていま

す。津波の際は、肉親に構わず、てんでんばらばらで良いのでとにかく高台に逃げろと

いう意味です。先人たちは、先の災害の教訓を、言葉にして後世に託しました。この津

波の脅威を、今回は「鎮魂の森」という形で伝承していってはどうかと考えます。悲惨

な災害の経験を、二度とくりかえさないために、次の世代、またその次の世代に伝え

ていく。その役割を、「鎮魂の森」が担うのです。

東北の農村、漁村には、日本の原風景や、家族や地域社会の姿が残っています。多く

の国民は、この地の復興を、自分たちの未来と重ねて注目しています。復興の槌音が、

人々にとって何よりの希望と安心感をもたらすでしょうし、国が元気を取り戻すきっ

かけとなります。「鎮魂の森」が、小さくともその足がかりの一つとなればと思います。

安藤忠雄（建築家）, 2011年8月11日w


THISLOTISBEINGSOLDTOBENEFITTADAOANDO’S

“REQUIEMFOREST”PROJECT


50 MARC NEWSONb. 1963

“Chop Top Table,” ca. 2006

Polished and painted aluminum, glass. Produced by Pod Edition, UK and

Galerie kreo, France. Editioned by Galerie kreo, France. Number eight from the

edition of 12 plus one prototype. Underside impressed with “MARC NEWSON/

POD/POD EDITION” and with “8 / 12.”

31 1/2 × 70 7/8 × 38 1/4 in. (80 × 180.1 × 97.2 cm.)

Estimate $180,000–220,000

PROVENANCE Galerie kreo, Paris; Private collection, UK

The “Chop Top Table” will be included as MN – 13NEHT-2006 in the

forthcoming catalogue raisonné of limited editions by Marc Newson

being prepared by Didier Krzentowski of Galerie kreo, Paris.



51 VITTORIO ZECCHIN1878–1947

Large “soffiato” vase,ca.1921–1926

Translucentamethystglass.ProducedbyVenini,Italy.Acid-etched“venini/

murano/ITALIA.”TogetherwithacertificateofauthenticityfromVenini.

77/8×91/2in.(20×24cm.)

Estimate $8,000–12,000

EXHIBITED “VittorioZecchin,1878–1947:Pittura,Vetro,ArtiDecorative,”Museo

Correr,Venice,2002

LITERATURE FrancoDeboni,I vetri Venini,1996,p.35

AsimilarexampleonviewattheMuranoglassretrospectiveatthe26th

BiennalediVenezia,1952



52 GIO PONTI1891–1979

Monumental “Vaso delle donne e dei fiori,” model no. 1036,ca.1924

Glazedearthenware.ManufacturedbyRichard-Ginori,Italy.FromtheMyWomenseries.

Undersidepaintedwithmaker’smarkandwith“Richard/Ginori/M982/M206E/GioPonti.”

201/2in.(52.1cm.)high

Estimate $70,000–90,000

PROVENANCE Christie’s,20th-Century Decorative Art and Design,London,April 30,2008,lot58

LITERATURE CarloPirovano,ed.,Gio Ponti: Ceramiche 1923–1930,exh.cat.,Milan,1983,pp. 39,

110,173–175;LorisManna,Gio Ponti: Le Maioliche,Milan,2000,pp. 73–75;UgoLaPietra,ed.,

Gio Ponti,NewYork,2009,p. 34;GraziellaRoccella,Gio Ponti: Master of Lightness,Cologne,2009,

pp. 18–19

GioPonti’spreparatorydrawingforthepresentmodel

Co

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ioP

on

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ive

s


53 EMILE-JACQUES RUHLMANN1879–1933

Pair of “Gonse” armchairs, model no. 278 NR,ca.1930–1932

Lacqueredwood,fabric.Undersideofoneframebrandedwith“Ruhlmann”(2).

Each:29×42×451/4in.(73.7×106.7×114.9cm.)

Estimate $600,000–800,000

PROVENANCE Privatecollection,Paris,ca.1930;Privatecollection,Paris,1980s;

DeLorenzoGallery,NewYork,1988;PrivateMidwestcollection

LITERATURE LeonMoussinac,Croquis de Ruhlmann,Paris,1924,pl.31foradesign

sketch;CurtisMoffat,“FurnitureandHangings,”The Studio Year Book,Decorative Art,

London,1931,p.82;RaymondFoulk,Centenary Exhibition Emile-Jacques Ruhlmann,

London,1979,pl.27forasimilarexample;PierreKjellberg,Les Maîtres du Mobilier Art

Deco,Paris,1981,p.163;FlorenceCamard,Ruhlmann: Master of Art Deco,NewYork,

1984,pp.159,216foradesignsketchand261;PhilippeGarner,“ChowWow,”House

and Garden,May1988,pp.168–169;EmmanuelBreon,Jacques-Emile Ruhlmann, the

Designer’s Archives, Furniture,Paris,2004,pp.103and107foranarchivesketch

Inhissketchbookdated1915,Ruhlmannexploredtheconceptofa

lowloungechairwhosearmssweepdowninacontinuouscurve

toformtherearlegs,asinthepresentmodel.Onlythreeexamples

ofthe“Gonse”armchairproducedinblacklacquerareknownto

exist,includingthepresentpairaswellasasingleexamplesoldat

Christie’sNewYorkonJune1,2004.


“…Rationalism, Comfort, Progress” EMILE-JACQUES RUHLMANN

SalonareaforaParisianCollector,ca.1930



White “Cycladic” pot, ca. 1977

Stoneware, layered white porcelain slips and engobes over a body with textured

and incised linear designs. Impressed with artist’s seal.

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

Estimate $25,000–35,000

EXHIBITED “Lucie Rie/Hans Coper,” The Metropolitan Museum of Art, New York,

November 15, 1994–May 21, 1995; “Hans Coper Retrospective: Innovation in 20th-

Century Ceramics,” The Museum of Ceramic Art, Hyogo, September 12–November

29, 2009, then travelled to: The Shigaraki Ceramic Cultural Park, Museum of

Contemporary Ceramic Art, Shiga (March 13–June 17, 2010), Panasonic Electric

Works, Shiodome Museum, Tokyo (June 26–September 5, 2010), Museum of Modern

Ceramic Art, Gifu (September 18 – November 23, 2010), Iwate Museum of Art, Iwate

(December 4, 2010–February 13, 2011), and Shizuoka City Museum of Art, Shizuoka

(April 9–June 26, 2011)

LITERATURE John P. O’Neill, ed., Lucie Rie/Hans Coper, exh. cat., The Metropolitan

Museum of Art, New York, 1994, p. 19, fig. C74; Maya Nishi, ed., Hans Coper

Retrospective: Innovation in 20th-Century Ceramics, exh. cat., The Museum of Ceramic

Art, Hyogo, 2009, illustrated p. 111, fig. 95


Black “Cycladic” pot, ca. 1974

Stoneware, black glaze over a body with textured and incised linear

designs. Impressed with artist’s seal.

7 7/8 in. (19.8 cm.) high

Estimate $16,000–24,000

PROVENANCE The New Craftsman Gallery, St. Ives, UK, 1970s



Monumental set of doors, ca. 1925

Black lacquered oak, oak, silvered bronze, bronze (2).

Each: 98 3/8 × 26 1/4 × 1 3/8 in. (249.9 × 66.7 × 3.5 cm.)

Estimate $250,000–350,000

PROVENANCE Michael Chow, USA

EXHIBITED “Ruhlmann, Genius of Art Deco,” The Metropolitan Museum of Art, New

York, June 10 – September 5, 2004, then travelled to: The Montreal Museum of Fine

Arts, Jean Noel Desmarais Pavilion, Montreal, September 30 – December 12, 2004

LITERATURE “L’Entrée, Le Vestibule, Le Hallm,” Les Echos des Industries d’Art,

no. 19, February 1927, p. 8 for a similar example, “Salons et Boudoirs,” Les Echos

d’Art, no. 42, January 1929, p. 8 for a similar example; Raymond Foulk, Centenary

Exhibition Emile-Jacques Ruhlmann, London, 1979, pl. 24 for a similar example; Florence

Camard, Ruhlmann: Master of Art Deco, New York, 1984, pp. 134, 151 and 201 for similar

examples; Bruno Foucart, et al., Ruhlmann, Connaissance des Arts, Special Issue,

Paris, 2001, p. 44 for a similar example


COLLECTIONOFAGENTLEMAN

57 JEAN EMILE PUIFORCAT 1887–1945

Footed bowl,ca.1938

Silver,walnut,ivory.Outsideoflipimpressedwithmaker’smark

andtheMinervaheadmark.

67/8in.(17.5cm.)high,81/8in.(20.6cm.)diameter

Estimate $18,000–24,000 ∑

PROVENANCE FayLucasGallery,London



Wall light, model no. 3691,ca.1929

Silveredbronze,alabaster.

81/2×27×61/2in.(21.6×68.6×16.5cm.)

Estimate $40,000–60,000

PROVENANCE L’ArcenSeine,Paris

LITERATURE FlorenceCamard,Ruhlmann: Master of Art Deco,NewYork,1984,

p. 295,ref.3691forasimilarexample;Jean-LouisGaillemin,Antiquaires, The Finest

Antique Dealers in Paris,NewYork,2000,p. 115




‘A bollicine’ vase, model no. 11020,ca.1931–1934

Heavilybloomedopaquegreenglass.ProducedbyVenini,Italy.Underside

acid-etchedwith“venini/murano/ITALIA.”Togetherwithacertificateof

authenticityfromVenini.

85/8in.(22cm.)high,71/2in.(19cm.)diameter

Estimate $22,000–28,000

LITERATURE “ABOLLICINE1931–1934,”Venini: Catologo Blu,Murano,pl.34,model

no.11020;MarinoBarovier,Carlo Scarpa: Glass of an Architect,Milan,1999,p. 204,

fig. 10forasimilarexample;FrancoDeboni,Venini Glass, Its history, artists and

techniques,Volume1,Milan,2007,n.p.pl.34,modelno.11020;FrancoDeboni,Venini

Glass, Catalogue 1921–2007,vol.2,Turin,2007,pl.79forasimilarexample

Preparatorydrawingforthepresentlot




Side table, ca. 1925

Lacquered wood, lacquered eggshell mosaic. Underside branded with “769”

and “JEAN/DUNAND/ LAQUEUR.”

13 1/2 × 15 3/4 × 13 in. (34.3 × 40 × 33 cm.)

Estimate $70,000–90,000

PROVENANCE Olivier Jean Elie, France

LITERATURE Felix Marcilhac, Jean Dunand: His Life and Works, London, 1991, pp. 151

and 246–247 for similar examples


61 WENDELL CASTLEb. 1932

Rare music stand, 1980

Ebonized oak. brass. Reverse incised with “W. Castle 80.”

55 1/2 in. (141 cm.) high

Estimate $25,000–35,000

PROVENANCE Barbara Fendrick Gallery, Washington, D.C.; Private collection,

McLean, Virginia

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

Craft Museum, New York, 1989, p. 177 for a similar example; Davira S. Taragin,

Edward S. Cooke and Joseph Giovannini, Furniture by Wendell Castle, New York, 1989,

p. 25 for a similar example; Jeremy Adamson, The Furniture of Sam Maloof, exh. cat.,

The Smithsonian American Art Museum, Washington, D.C., 2001, p. 121 for a similar

example; Todd Merrill and Julie V. Iovine, Modern Americana: Studio Furniture from High

Craft to High Glam, New York, 2008, p. 45; Jeannine Falino, ed., Crafting Modernism:

Midcentury American Art and Design, exh. cat., Museum of Arts and Design, New York,

2011 for a similar example

The present lot is the first of two music stands produced with an

ebonized finish and brass inlay.




“Oiseau,”ca.1970

Patinatedbronze.Impressedwith“DG.”

31/4×53/4×21/2in.(8.3×14.6×6.4cm.)

Estimate $12,000–18,000

PROVENANCE Collectionoftheartist;Christie’s,20th-Century Art (DaySale),New

York,November 10,1992,lot692;Christie’s, Impressionist and Modern Art(DaySale),

NewYork,May 5,2004

LITERATURE MichelBuxtor,Diego Giacometti,Paris,1985,pp.108,111and11for

examplesofsimilar“oiseau”figures;DanielMarchesseau,Diego Giacometti,Paris,

1986,pp.94–95forexamplesofsimilar“oiseau”figures;FrancoisBaudot,Diego

Giacometti,Paris,1998,pp.26–27and66–67forexamplesofsimilar“oiseau”figures


63 GEORGES CHEVALIER1894–1987

The “Jets d’eau” chandelier, from the Baccarat-Christofle Pavilion, Paris,1925

Crystal,brass.ProducedbyCompagniedesCristalleriesdeBaccarat,France.

108in.(274.3cm.)drop,78in.(198.1cm.)diameter

Estimate $200,000–250,000

PROVENANCE Baccarat-ChristoflePavilion,ExpositionInternationaledesArts

DécoratifsetIndustrielsModernes,Paris,1925;purchasedfromtheabovebyFrank

Thring,Sr.fortheLobbyoftheRegentTheater,Sydney,Australia,1928–1984

EXHIBITED “ExpositionInternationaledesArtsDécoratifsetIndustrielsModernes,”

Baccarat-ChristoflePavilion,EsplanadedesInvalides,Paris,April–October1925

Phillips de Pury and Company would like to thank Michaela Lerch and

Sandrine Fritz of the Heritage Department at Baccarat, for their help in

cataloguing this lot.


ApamphletdepictingtheBaccarat-ChristoflePavilionwherethepresentlotappeared,

Paris,1925

Thepresentlotin situ,theBaccarart-ChristoflePavilion,ExpositionInternationaledesArts

DécoratifsetIndustrielsModernes,Paris,1925

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GeorgesChevalier(1894–1987)designedthepresentchandelierforthe

jointBaccarat-ChristoflePavilionatthe1925ExpositionInternationale

desArtsDécoratifsetIndustrielsModernes,Paris,whereithungin

thebuilding’sdomethatsummerandfall.Designedintheshapeofa

cascadingfountain,thechandeliercomprises24arms,156lights,and

approximately100,000Baccaratcrystals.

ViewedinsituduringtheExposition,thechandelierwaspurchasedby

Mr.FrankThring,founderofHoyt’sTheatersinAustralia.Heshipped

theworktohisnativeAustralia,whereheinstalleditin1928forthe

grandopeningofhisflagship,theRegentTheateronGeorgeStreetin

Sydney.The“Jetd’Eau”enjoyedprideofplaceuntil1984,whenthetheater

wasdestroyed.

AgraduateoftheÉcoleNationaleSupérieuredesArtsDécoratifsandan

associateofdecoratorMauriceDufrène,Chevalierbroughtacontemporary,

modernfocustoBaccarat,whereheremainedactiveuntilthe1970s.

Asmaller,laterversionofthepresentchandelierhangsintheSalleGérard

GarousteattheMuséeBaccarat,PlacedesÉtats-Unis,Paris.



‘Chaud Porte-Feuille’ wall light,1922

Silveredbronze,alabaster.

5×20×8in.(12.7×50.8×20.3cm.)

Estimate $70,000–90,000

PROVENANCE Camard,June2,2006

LITERATURE FlorenceCamard,Ruhlmann: Master of Art Deco,NewYork:Abrams,

1984,p.295forasimilarexample;Jean-LouisGaillemin,Antiquaires: The Finest Antique

Dealers in Paris,NewYork,2001,p.115forasimilarexample



Monumental early “Thistle” form, ca. 1958

Stoneware, layered white porcelain slips and engobes over a body with scrubbed

radiating linear design. Impressed with artist’s seal.

(18 1/8 × 15 3/8 × 5 7/8 in. (46 × 39 × 15 cm.)

Estimate $50,000–70,000

EXHIBITED “Hans Coper Retrospective: Innovation in 20th-Century Ceramics,” The Museum

of Ceramic Art, Hyogo, September 12–November 29, 2009, then traveled to: The Shigaraki

Ceramic Cultural Park, Museum of Contemporary Ceramic Art, Shiga (March 13–June 17,

2010), Panasonic Electric Works, Shiodome Museum, Tokyo (June 26–September 5, 2010),

Museum of Modern Ceramic Art, Gifu (18 September 18–November 23, 2010), Iwate Museum of

Art, Iwate (December 4, 2010–February 13, 2011), and Shizuoka City Museum of Art, Shizuoka

(April 9–June 26, 2011)

LITERATURE Tony Birks, Hans Coper, Somerset, 2005, illustrated p. 106 in the studio at Albion

Mews; Maya Nishi, ed., Hans Coper Retrospective: Innovation in 20th Century Ceramics, exh. cat.,

The Museum of Ceramic Art, Hyogo, 2009, illustrated p. 81, fig. 38

The present lot was featured prominently in a panel discussion on

the Hans Coper documentary broadcast by the Japan Broadcasting

Corporation (NHK) in 2010.


PROPERTY OF AN EAST COAST GENTLEMAN

66 PIERRE CHAREAU1883–1950

Important desk, model no. MB 405, and stool, model no. SN 3, ca. 1927

Rosewood-veneered walnut, painted iron.

36 1/4 × 64 × 40 3/8 in. (92.1 × 162.6 × 102.6 cm.)

Estimate $475,000–525,000

PROVENANCE Thierry Couvrat Desvergnes, Paris; Sotheby’s, Arts

Décoratifs du XXe Siècle, Paris, November 20, 2006, lot 110

EXHIBITED “Pierre Chareau Architecte, un Art Intérieur,” Centre Georges

Pompidou, Paris, November 3, 1993–January 17, 1994

LITERATURE Pierre Chareau: architecte, un art intérieur, exh. cat., Centre

Georges Pompidou, Paris, 1993, illustrated p. 149; Brian Brice Taylor, Pierre

Chareau, Cologne, 1998, pp. 76–78; Pierre Kjellberg, Art Déco: Les Maîtres du

Mobilier-Le Décor das Paquebots, Paris, 1998, p. 57

Pierre Chareau designed a similar desk for Dr. Jean Dalsace, original owner

of Chareau’s Maison de Verre, Paris.




Lidded box,ca.1930

Shagreen,wood,brass.Interioroflidimpressedwith“9083.”

21/4×43/4×31/2in.(5.7×12.1×8.9cm.)

Estimate $8,000–12,000 ∑

PROVENANCE AlexandreBiaggi,Paris

LITERATURE LéopoldDiegoSanchez,Jean-Michel Frank,Paris,1997,

p. 247forasimilarexample

Design_Masters_NY_Dec11_throw Chareau_5-6_v2.indd 6 14/11/11 10.26



Lidded box,ca.1930

Shagreen,wood,brass.Interioroflidimpressedwith“9083.”

21/4×43/4×31/2in.(5.7×12.1×8.9cm.)

Estimate $8,000–12,000 ∑

PROVENANCE AlexandreBiaggi,Paris

LITERATURE LéopoldDiegoSanchez,Jean-Michel Frank,Paris,1997,



68 BERNARD LEACH1887–1979

Large vase with “Leaping Fish” design, ca. 1970

Stoneware, shino type glazes, the repeated fish designs cut back through a

brushstroke of glaze and enclosed within a banded design. Impressed with

“BL” and Bernard Leach’s pottery seals.

15 3/4 in. (40 cm.) high

Estimate $9,000–14,000

PROVENANCE Janet Leach, The New Craftsman Gallery, St. Ives, UK


PROPERTYOFAGENTLEMAN


‘Pagoda’ side table,ca.1930

Pearwood,leather.

171/2×161/4×163/4in.(44.5×41.3×42.5cm.)

Estimate $50,000–70,000

PROVENANCE GalerieVallois,Paris;FriedmanVallois,NewYork,2006

LITERATURE LéopoldDiegoSanchez,Jean-Michel Frank,Paris,1997,pp. 161,205

and211forsimilarexamples;PierreEmmanuelMartin-Vivier, Jean-Michel Frank,Paris,

2006,pp.159and278forsimilarexamples


70 LUCIE RIE1902–1995

Large conical bowl, ca. 1985

Stoneware, white feldspathic glaze over a mixed clay body producing a delicate

pink and blue spiral. Underside impressed with artist’s seal and with applied

label “LR/135.”

5 in. (12.7 cm.) high, 12 1/4 in. (31.1 cm.) diameter

Estimate $25,000–35,000

PROVENANCE Galerie Besson, London, 1990

EXHIBITED “Nine Potters,” Fischer Fine Art, London, September–October 1986;

“Lucie Rie,” Galerie Besson, London, April–June 1988

LITERATURE Nine Potters, exh. cat., Fischer Fine Art, London, 1986, illustrated p. 28;

Lucie Rie, exh. cat., Galerie Besson, London, 1988, illustrated p. 58; Issey Miyake Meets

Lucie Rie, exh. cat., Sogetsu Gallery, Tokyo and Museum of Oriental Ceramics, Osaka,

1989, p. 12, item 95 for a similar example




Lidded box,ca.1925

Lacqueredwood,lacqueredeggshellmosaic,brass.Undersidepainted

inredwith“J.D.”

13/4×31/2×41/8in.(4.4×8.9×10.5cm.)

Estimate $7,000–9,000

PROVENANCE RainbowFineArt,NewYork,2002

LITERATURE FelixMarcilhac,Jean Dunand, His Life and Works,NewYork,1990,

p. 277forsimilarexamples




Lidded box, model no. 704,ca.1925

Brass,lacqueredoroideinlaidwitheggshell.Undersidepainted

inredwith“JEANDUNAND.”

11/2×31/2×3in.(3.8×8.9×7.6cm.)

Estimate $12,000–18,000

PROVENANCE Tajan,Paris,20th-Century Decorative Arts,June28,2005,lot12






Table lamp,ca.1927

Glass,bronze,parchment.Undersideofbaseimpressedwith“MADEIN

FRANCE”andwithL’ArcenSeinegallerylabel.

18in.(45.7cm.)high,14in.(35.6cm.)diameterincludingshade

Estimate $40,000–60,000

PROVENANCE Privatecollection,Switzerland;L’ArcenSeine,Paris,2007

LITERATURE LéopoldDiegoSanchez,Jean-Michel Frank,Paris,1997,p. 245;Pierre

EmmanuelMartin-Vivier,Jean-Michel Frank,Paris,2006,p.277;PierreBergé,etal.,

Jean-Michel Frank: Un décorateur dans le Paris des années 30,exh.cat.,FondationPierre

Bergé–YvesSaintLaurent,Paris,2010,p.89




Vase,ca.1925

Lacqueredmetal.Undersideimpressedwith“JEAN·DUNAND.”

63/4in.(7.2cm.)high,53/4in.(14.5cm.)diameter

Estimate $30,000–40,000

PROVENANCE DeLorenzoGallery,NewYork


p. 313,fig.1058forasimilarexample


75 STUDIO JOB

JOB SMEETS and NYNKE TYNAGEL b. 1970, b. 1977

“Robber Baron” floor lamp, 2007

Polished and patinated bronze. Number one from the edition of five.

Base impressed with “JOB 07 01 / 05.”

63 in. (160 cm.) high

Estimate $100,000–150,000

LITERATURE Willy van den Bussche, et al., Studio Job: The Book of Job, New York, 2010,

pp. 181 or a drawing and 187, 190


INDEX

Ando, T. 49

Bianconi, F. 32

Burton, S. 46

Buzzi, T. 4

Campana, F. 22

Campana, H. 22

Casanovas, C. 45

Castle, W. 61

Chareau, P. 66

Chevalier, G. 63

Collingwood, P. 31

Coper, H. 13, 14, 43, 54, 55, 65

De Lanux, E. 10

Dunand, J. 11, 60, 71, 72, 74

Frank, J-M. 27, 67, 69, 73

Fukami, S. 39

Giacometti, D. 8, 9, 15, 62

Henningsen, F. 6

Hoffmann, J. 3

Hrstka, M. 37

Ingrand, M. 44

Kuramata, S. 48

Leach, B. 68

Maloof, S. 18

Matta, R. 7

Mendini, A. 25

Mollino, C. 42

Nakashima, G. 5, 40

Newson, M. 50

Noguchi, I. 7

Peche, D. 1

Perriand, C. 19

Ponti, G. 2, 20, 33, 36, 38, 52

Price, K. 29

Prouvé, P. 21, 23

Puiforcat, J. E. 57

Rie, L. 34, 35, 70

Royère, J. 24, 26, 30

Ruhlmann, E-J. 53, 56, 58, 64

Scarpa, C. 41, 47, 59

Smeets, J. 12, 75

Studio Job 12, 75

Szekely, M. 28

Torun Bülow-Hübbe, V. 16

Tower, J. 17

Tynagel, N. 12, 75

Zecchin, V. 51

Design_Masters_NY_Dec11_Backmatter_166-175.indd 166 14/11/11 08.37

has been fully financed by third parties.

∆ Property in Which Phillips de Pury & Company Has an Ownership Interest

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in

part or has an economic interest in the lot equivalent to an ownership interest.

• No Reserve

Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve

is the confidential value established between Phillips de Pury & Company and the seller and

below which a lot may not be sold. The reserve for each lot is generally set at a percentage

of the low estimate and will not exceed the low pre-sale estimate.

∑ Endangered Species

This property may require an export, import or endangered species license or permit.

Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the

Conditions of Sale.

2 BIDDING IN THE SALE

Bidding at Auction

Bids may be executed during the auction in person by paddle or by telephone or prior to the

sale in writing by absentee bid.

Bidding in Person

To bid in person, you will need to register for and collect a paddle before the auction begins.

Proof of identity in the form of government issued identification will be required, as will

an original signature. We may also require that you furnish us with a bank reference. New

clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient

time for us to process your information. All lots sold will be invoiced to the name and

address to which the paddle has been registered and invoices cannot be transferred to other

names and addresses. Please do not misplace your paddle. In the event you lose it, inform

a Phillips de Pury & Company staff member immediately. At the end of the auction, please

return your paddle to the registration desk.

Bidding by Telephone

If you cannot attend the auction, you may bid live on the telephone with one of our multi-

lingual staff members. This service must be arranged at least 24 hours in advance of the

sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone

bids may be recorded. By bidding on the telephone, you consent to the recording of your

conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium

and any applicable taxes, which we can execute on your behalf in the event we are unable to

reach you by telephone.

Absentee Bids

If you are unable to attend the auction and cannot participate by telephone, Phillips de

Pury & Company will be happy to execute written bids on your behalf. A bidding form can

be found at the back of this catalogue. This service is free and confidential. Bids must be

placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the

lowest possible price taking into account the reserve and other bidders. Always indicate a

maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will

not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale.

In the event of identical bids, the earliest bid received will take precedence.

Employee Bidding

Employees of Phillips de Pury & Company and our affiliated companies, including the

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

the reserve when submitting their absentee bids and otherwise comply with our employee

bidding procedures.

Bidding Increments

Bidding generally opens below the low estimate and advances in increments of up to 10%,

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

set below may be lowered to the next bidding increment.

$50 to $1,000 by $50s

$1,000 to $2,000 by $100s

$2,000 to $3,000 by $200s

$3,000 to $5,000 by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800)

$5,000 to $10,000 by $500s

$10,000 to $20,000 by $1,000s

$20,000 to $30,000 by $2,000s

$30,000 to $50,000 by $2,000s, 5,000, 8,000

$50,000 to $100,000 by $5,000s

$100,000 to $200,000 by $10,000s

above $200,000 auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own

discretion.

3 THE AUCTION

Conditions of Sale

As noted above, the auction is governed by the Conditions of Sale and Authorship

Warranty. All prospective bidders should read them carefully. They may be amended by

saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement

In situations where a person allowed to bid on a lot has a direct or indirect interest in such

lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or

GUIDE FOR PROSPECTIVE BUYERS

BUYING AT AUCTION

The following pages are designed to offer you information on how to buy at auction at

Phillips de Pury & Company. Our staff will be happy to assist you.

CONDITIONS OF SALE

The Conditions of Sale and Authorship Warranty which appear later in this catalogue

govern the auction. Bidders are strongly encouraged to read them as they outline the

legal relationship among Phillips, the seller and the buyer and describe the terms upon

which property is bought at auction. Please be advised that Phillips de Pury & Company

generally acts as agent for the seller.

BUYER’S PREMIUM

Phillips de Pury & Company charges the successful bidder a commission, or buyer’s

premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer

as part of the total purchase price at the following rates: 25% of the hammer price up to and

including $50,000, 20% of the portion of the hammer price above $50,000 up to and including

$1,000,000 and 12% of the portion of the hammer price above $1,000,000.

1 PRIOR TO AUCTION

Catalogue Subscriptions

If you would like to purchase a catalogue for this auction or any other Phillips de Pury lot&

Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

Pre-Sale Estimates

Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high

and low estimate range should, in our opinion, offer a chance of success. However, many

lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request”

appears, please contact the specialist department for further information. It is advisable to

contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale

estimates do not include the buyer’s premium or any applicable taxes.

Pre-Sale Estimates in Pounds Sterling and Euros

Although the sale is conducted in US dollars, the pre-sale estimates in the auction

catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate

is that at the time of catalogue production and not at the date of auction, you should treat

estimates in pounds sterling or euros as a guide only.

Catalogue Entries

Phillips may print in the catalogue entry the history of ownership of a work of art, as well as

the exhibition history of the property and references to the work in art publications. While

we are careful in the cataloguing process, provenance, exhibition and literature references

may not be exhaustive and in some cases we may intentionally refrain from disclosing the

identity of previous owners. Please note that all dimensions of the property set forth in the

catalogue entry are approximate.

Condition of Lots

Our catalogues include references to condition only in the descriptions of multiple works

(e.g., prints). Such references, though, do not amount to a full description of condition.

The absence of reference to the condition of a lot in the catalogue entry does not imply that

the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de

Pury & Company may provide condition reports. In preparing such reports, our specialists

assess the condition in a manner appropriate to the estimated value of the property and

the nature of the auction in which it is included. While condition reports are prepared

honestly and carefully, our staff are not professional restorers or trained conservators.

We therefore encourage all prospective buyers to inspect the property at the pre-sale

exhibitions and recommend, particularly in the case of any lot of significant value, that you

retain your own restorer or professional advisor to report to you on the property’s condition

prior to bidding. Any prospective buyer of photographs or prints should always request a

condition report because all such property is sold unframed, unless otherwise indicated in

the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability

for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the

purchaser to a professional framer.

Pre-Auction Viewing

Pre-auction viewings are open to the public and free of charge. Our specialists are available

to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical Lots

All lots with electrical and/or mechanical features are sold on the basis of their decorative

value only and should not be assumed to be operative. It is essential that, prior to any

intended use, the electrical system is verified and approved by a qualified electrician.

Symbol Key

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

O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee

may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third

party. Phillips de Pury & Company and third parties providing or participating in a guarantee

may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the

sale is not successful. A third party guarantor may also bid for the guaranteed lot and may

be allowed to net the financial remuneration received in connection with the guarantee

against the final purchase price if such party is the successful bidder.

In this catalogue, if property has O◊ next to the lot number, the guarantee of minimum price


a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will

make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding

The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The

auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing

consecutive bids or bids in response to other bidders.

4 AFTER THE AUCTION

Payment

Buyers are required to pay for purchases immediately following the auction unless other

arrangements are agreed with Phillips de Pury & Company in writing in advance of the

sale. Payments must be made in US dollars either by cash, check drawn on a US bank or

wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy

not to make or accept single or multiple payments in cash or cash equivalents in excess of

US$10,000.

Credit Cards

As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa

and Mastercard to pay for invoices of $10,000 or less.

Collection

It is our policy to request proof of identity on collection of a lot. A lot will be released to

the buyer or the buyer’s authorized representative when Phillips de Pury & Company has

received full and cleared payment and we are not owed any other amount by the buyer.

Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th

Avenue in Long Island City, Queens, New York. All purchased lots should be collected at

this location during our regular weekday business hours. As a courtesy to clients, we will

upon request transfer purchased lots suitable for hand carry back to our premises at 450

West 15th Street, New York, New York for collection within 30 days following the date of

the auction. For each purchased lot not collected from us at either our warehouse or our

auction galleries by such date, Phillips de Pury & Company will levy a late collection fee of

$50, an additional administrative fee of $10 per day and insurance charges of 0.1% of the

Purchase Price per month on each uncollected lot.

Loss or Damage

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to

lots for a maximum of five days following the auction.

Transport and Shipping

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand

carry only. We will, at the buyer’s expense, either provide packing, handling and shipping

services or coordinate with shipping agents instructed by the buyer in order to facilitate

such services for property purchased at Phillips de Pury & Company. Please refer to

Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licenses

Before bidding for any property, prospective bidders are advised to make independent

inquiries as to whether a license is required to export the property from the United States

or to import it into another country. It is the buyer’s sole responsibility to comply with all

import and export laws and to obtain any necessary licenses or permits. The denial of any

required license or permit or any delay in obtaining such documentation will not justify the

cancellation of the sale or any delay in making full payment for the lot.

Endangered Species

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

require a license or certificate prior to exportation and additional licenses or certificates

upon importation to any foreign country. Please note that the ability to obtain an export

license or certificate does not ensure the ability to obtain an import license or certificate in

another country, and vice versa. We suggest that prospective bidders check with their own

government regarding wildlife import requirements prior to placing a bid. It is the buyer’s

sole responsibility to obtain any necessary export or import licenses or certificates as well

as any other required documentation. The denial of any required license or certificate or

any delay in obtaining such documentation will not justify the cancellation of the sale or any

delay in making full payment for the lot.


CONDITIONS OF SALE

The Conditions of Sale and Authorship Warranty set forth below govern the relationship

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers,

on the other hand. All prospective buyers should read these Conditions of Sale and

Authorship Warranty carefully before bidding.

1 INTRODUCTION

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

and Authorship Warranty; (b) additional notices and terms printed in other places in this

catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue

or other written material posted by Phillips de Pury & Company in the saleroom, in each case

as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as

so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty

contain all the terms on which Phillips de Pury & Company and the seller contract with

lotthe buyer.

2 PHILLIPS de PURY & COMPANY AS AGENT

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in

this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own

a lot, in which case we will act in a principal capacity as a consignor, or may have a legal,

beneficial or financial interest in a lot as a secured creditor or otherwise.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

such description is changed or supplemented, as provided in Paragraph 1 above) and in the

condition that they are in at the time of the sale on the following basis.

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

dependent on information provided to us by the seller, and Phillips de Pury & Company

is not able to and does not carry out exhaustive due diligence on each lot. Prospective

buyers acknowledge this fact and accept responsibility for carrying out inspections

and investigations to satisfy themselves as to the lots in which they may be interested.

Notwithstanding the foregoing, we shall exercise such reasonable care when making

express statements in catalogue descriptions or condition reports as is consistent with our

role as auctioneer of lots in this sale and in light of (i) the information provided to us by the

seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of

relevant experts, in each case at the time any such express statement is made.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on

the basis that bidders (and independent experts on their behalf, to the extent appropriate

given the nature and value of the lot and the bidder’s own expertise) have fully inspected the

lot prior to bidding and have satisfied themselves as to both the condition of the lot and the

accuracy of its description.

(c) Prospective buyers acknowledge that many lots are of an age and type which means

that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company

may prepare and provide condition reports to assist prospective buyers when they are

inspecting lots. Catalogue descriptions and condition reports may make reference to

particular imperfections of a lot, but bidders should note that lots may have other faults not

expressly referred to in the catalogue or condition report. All dimensions are approximate.

Illustrations are for identification purposes only and cannot be used as precise indications

of size or to convey full information as to the actual condition of lots.

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

estimate, whether written or oral, and information in any catalogue, condition or other

report, commentary or valuation, is not a representation of fact but rather a statement of

opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as

a prediction of the selling price or value of the lot and may be revised from time to time by

Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company

nor any of our affiliated companies shall be liable for any difference between the pre-sale

estimates for any lot and the actual price achieved at auction or upon resale.

4 BIDDING AT AUCTION

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction

or participation in the sale. All bidders must register for a paddle prior to bidding, supplying

such information and references as required by Phillips de Pury & Company.

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de

Pury & Company may, if so instructed by the bidder, execute written absentee bids on a

bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,”

a copy of which is printed in this catalogue or otherwise available from Phillips de Pury &

Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate

the maximum amount he or she intends to bid, excluding the buyer’s premium and any

applicable sales or use taxes. The auctioneer will not accept an instruction to execute an

absentee bid which does not indicate such maximum bid. Our staff will attempt to execute

an absentee bid at the lowest possible price taking into account the reserve and other

bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the

event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy

of which is printed in this catalogue or otherwise available from Phillips de Pury &

Company. Telephone bidding is available for lots whose low pre-sale estimate is at least

$1,000. Phillips de Pury & Company reserves the right to require written confirmation of

a successful bid from a telephone bidder by fax or otherwise immediately after such bid

is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the

telephone, a bidder consents to the recording of the conversation.

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

accepts personal liability to pay the purchase price, as described more fully in Paragraph

6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing

with Phillips de Pury & Company before the commencement of the auction that the bidder

is acting as agent on behalf of an identified third party acceptable to Phillips de Pury &

Company and that we will only look to the principal for such payment.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury

& Company to prospective buyers. While we undertake to exercise reasonable care in

undertaking such activity, we cannot accept liability for failure to execute such bids except

where such failure is caused by our willful misconduct.

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

auctioneer, may bid at the auction by placing absentee bids so long as they do not know

the reserve when submitting their absentee bids and otherwise comply with our employee

bidding procedures.

5 CONDUCT OF THE AUCTION

(a) Unless otherwise indicated by the symbol • each lot is offered subject to a reserve,

which is the confidential minimum selling price agreed by Phillips de Pury & Company with

the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

lot for sale (including after the fall of the hammer) if he or she believes there may be error or

dispute and take such other action as he or she deems reasonably appropriate.

(c) The auctioneer will commence and advance the bidding at levels and in increments he

or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may

place one or more bids on behalf of the seller up to the reserve without indicating he or she

is doing so, either by placing consecutive bids or bids in response to other bidders.

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the

benefit of international clients, pre-sale estimates in the auction catalogue may be

shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates.

Accordingly, estimates in pounds sterling or euros should be treated only as a guide.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

highest bid and the conclusion of a contract for sale between the seller and the buyer.

lotRisk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”

“returned to owner” or “bought-in.”

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of

Sale and Authorship Warranty as if sold in the auction.

6 PURCHASE PRICE AND PAYMENT

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s

premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25%

of the hammer price up to and including $50,000, 20% of the portion of the hammer price

above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price

above $1,000,000. Phillips reserves the right to pay from our compensation an introductory

commission to one or more third parties for assisting in the sale of property offered and

sold at auction.

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable

law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted

exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale

certificates from US dealers as proof of exemption from sales tax. All foreign buyers should

contact the Client Accounting Department about tax matters.

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

following the auction regardless of any intention to obtain an export or import license or

other permit for such lot. Payments must be made by the invoiced party in US dollars either

by cash, check drawn on a US bank or wire transfer, as follows:

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount

paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should

do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during

regular weekday business hours.

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer

provides to us acceptable government issued identification. Checks and banker’s drafts

should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,

please send the check or banker’s draft to the attention of the Client Accounting Department

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is

written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

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

transfer details:


(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips

de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the

buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any

other property or money of the buyer in, or coming into, our possession or the possession of

one of our affiliated companies. We may apply such money or deal with such property as the

Uniform Commercial Code or other applicable law permits a secured creditor to do. In the

event that we exercise a lien over property in our possession because the buyer is in default

to one of our affiliated companies, we will so notify the buyer. Our security interest in any

individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

(c) In the event the buyer is in default of payment to any of our affiliated companies, the

buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property

in our possession by actual or constructive delivery to our affiliated company as security

for the payment of any outstanding amount due. Phillips de Pury & Company will notify the

buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

10 RESCISSION BY PHILLIPS de PURY & COMPANY

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

without notice to the buyer if we reasonably believe that there is a material breach of the

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

lot& Company and the seller with respect to such rescinded sale..

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS

Before bidding for any property, prospective buyers are advised to make their own inquiries

as to whether a license is required to export a lot from the United States or to import it into

another country. Prospective buyers are advised that some countries prohibit the import

of property made of or incorporating plant or animal material, such as coral, crocodile,

ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

Accordingly, prior to bidding, prospective buyers considering export of purchased lots

should familiarize themselves with relevant export and import regulations of the countries

concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any

necessary export, import and endangered species licenses or permits. Failure to obtain a

license or permit or delay in so doing will not justify the cancellation of the sale or any delay

in making full payment for the lot.

12 CLIENT INFORMATION

In connection with the management and operation of our business and the marketing and

supply of auction related services, or as required by law, we may ask clients to provide

personal information about themselves or obtain information about clients from third

parties (e.g., credit information). If clients provide us with information that is defined by law

as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may

use it for the above purposes. Phillips de Pury & Company and our affiliated companies will

not use or process sensitive information for any other purpose without the client’s express

consent. If you would like further information on our policies on personal data or wish to

make corrections to your information, please contact us at +1 212 940 1228. If you would

prefer not to receive details of future events please call the above number.

13 LIMITATION OF LIABILITY

(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company,

any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether

orally or in writing, in information provided to prospective buyers by Phillips de Pury &

Company or any of our affiliated companies or (ii) accepts responsibility to any bidder

in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury &

Company or any of our affiliated companies in connection with the conduct of the auction or

for any other matter relating to the sale of any lot.

(c) All warranties other than the Authorship Warranty, express or implied, including any

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips

de Pury & Company, our affiliated companies and the seller to the fullest extent permitted

lotby law.

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss

or damage is characterized as direct, indirect, special, incidental or consequential, or for

the payment of interest on the Purchase Price to the fullest extent permitted by law.

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of

Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any

fraud or fraudulent misrepresentation made by any of us or in respect of death or personal

injury caused by our negligent acts or omissions.

14 COPYRIGHT

The copyright in all images, illustrations and written materials produced by or for Phillips

de Pury & Company relating to a lot, including the contents of this catalogue, is and shall

remain at all times the property of Phillips de Pury & Company and such images and

materials may not be used by the buyer or any other party without our prior written consent.

Phillips de Pury & Company and the seller make no representations or warranties that the

buyer of a lot will acquire any copyright or other reproduction rights in it.

Citibank

322 West 23rd Street, New York, NY 10011

SWIFT Code: CITIUS33

ABA Routing: 021 000 089

For the account of Phillips de Pury & Company LLC

Account no.: 58347736

Please reference the relevant sale and lot number.

(d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

release a lot to the buyer until title in the lot has passed and appropriate identification has

been provided, and any earlier release does not affect the passing of title or the buyer’s

unconditional obligation to pay the Purchase Price.

7 COLLECTION OF PROPERTY

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding

amounts due to Phillips de Pury & Company or any of our affiliated companies, including

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

other terms as we in our sole discretion shall require, including completing any anti-money

laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the

foregoing conditions, and no later than five days after the conclusion of the auction, he or

she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange

for collection of purchased property.

(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09

37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected

at this location during our regular weekday business hours. As a courtesy to clients,

Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots

suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for

collection within 30 days following the date of the auction. Purchased lots are at the buyer’s

risk, including the responsibility for insurance, from the earlier to occur of (i) the date of

collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company

will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the

Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap

purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing,

handling, insurance and shipping services or coordinate with shipping agents instructed

by the buyer in order to facilitate such services for property bought at Phillips de Pury &

Company. Any such instruction, whether or not made at our recommendation, is entirely

at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of

third party packers or shippers. Third party shippers should contact us by telephone at +1

212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to

schedule pickup.

(d) Phillips de Pury & Company will require presentation of government issued

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 FAILURE TO COLLECT PURCHASES

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of

the auction, each lot will incur a late collection fee of $50, administrative charges of $10 per

day and insurance charges of .1% of the Purchase Price per month on each uncollected lot.

(b) If a purchased lot is paid for but not collected within six months of the auction, the

buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item

by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

reasonable discretion. The proceeds of such sale will be applied to pay for storage charges

and any other outstanding costs and expenses owed by the buyer to Phillips de Pury &

Company or our affiliated companies and the remainder will be forfeited unless collected by

the buyer within two years of the original auction.

9 REMEDIES FOR NON-PAYMENT

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

fails to make payment of the Purchase Price for a lot in cleared funds within five days of

the auction, Phillips de Pury & Company may in our sole discretion exercise one or more

of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or

elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8

(a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price

as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to

payment of a deposit; (iv) charge interest at 12% per annum from the date payment became

due until the date the Purchase Price is received in cleared funds; (v) subject to notification

of the buyer, exercise a lien over any of the buyer’s property which is in the possession of

Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over

any of the buyer’s property which is in their possession and, in each case, no earlier than 30

days from the date of such notice, arrange the sale of such property and apply the proceeds

to the amount owed to Phillips de Pury & Company or any of our affiliated companies after

the deduction from sale proceeds of our standard vendor’s commission and all sale-related

expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at

Phillips de Pury & Company’s reasonable discretion, it being understood that in the event

such resale is for less than the original hammer price and buyer’s premium for that lot, the

buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii)

commence legal proceedings to recover the hammer price and buyer’s premium for that

lot, together with interest and the costs of such proceedings; or (viii) release the name and

address of the buyer to the seller to enable the seller to commence legal proceedings to

recover the amounts due and legal costs.


15 GENERAL

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph

1 above, and Authorship Warranty set out the entire agreement between the parties

with respect to the transactions contemplated herein and supersede all prior and

contemporaneous written, oral or implied understandings, representations and

agreements.

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the

department in charge of the sale, quoting the reference number specified at the beginning

of the sale catalogue. Notices to clients shall be addressed to the last address notified by

them in writing to Phillips de Pury & Company.

(c) These Conditions of Sale are not assignable by any buyer without our prior written

consent but are binding on the buyer’s successors, assigns and representatives.

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

for any reason, the remaining provisions shall remain in full force and effect. No failure

by any party to exercise, nor any delay in exercising, any right or remedy under these

Conditions of Sale shall act as a waiver or release thereof in whole or in part.

16 LAW AND JURISDICTION

(a) The rights and obligations of the parties with respect to these Conditions of Sale and

Authorship Warranty, the conduct of the auction and any matters related to any of the

foregoing shall be governed by and interpreted in accordance with laws of the State of New

York, excluding its conflicts of law rules.

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction

of the (i) state courts of the State of New York located in New York City and (ii) the federal

courts for the Southern and Eastern Districts of New York to settle all disputes arising in

connection with all aspects of all matters or transactions to which these Conditions of Sale

and Authorship Warranty relate or apply.

(c) All bidders and sellers irrevocably consent to service of process or any other documents

in connection with proceedings in any court by facsimile transmission, personal service,

delivery by mail or in any other manner permitted by New York law or the law of the place of

service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY

Phillips de Pury & Company warrants the authorship of property in this auction catalogue

for a period of five years from date of sale by Phillips de Pury & Company, subject to the

exclusions and limitations set forth below.

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer

of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does

not extend to (i) subsequent owners of the property, including purchasers or recipients

by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii)

property created prior to 1870, unless the property is determined to be counterfeit (defined

as a forgery made less than 50 years ago with an intent to deceive) and has a value at the

date of the claim under this warranty which is materially less than the Purchase Price paid;

(iii) property where the description in the catalogue states that there is a conflict of opinion

on the authorship of the property; (iv) property where our attribution of authorship was on

the date of sale consistent with the generally accepted opinions of specialists, scholars or

other experts; or (v) property whose description or dating is proved inaccurate by means of

scientific methods or tests not generally accepted for use at the time of the publication of the

catalogue or which were at such time deemed unreasonably expensive or impractical to use.

(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company

reserves the right, as a condition to rescinding any sale under this warranty, to require

the buyer to provide to us at the buyer’s expense the written opinions of two recognized

experts approved in advance by Phillips de Pury & Company. We shall not be bound by any

expert report produced by the buyer and reserve the right to consult our own experts at

our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship

Warranty, we shall refund to the buyer the reasonable costs charged by the experts

commissioned by the buyer and approved in advance by us.

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a

claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips

de Pury & Company in writing within three months of receiving any information which

causes the buyer to question the authorship of the lot, specifying the auction in which the

property was included, the lot number in the auction catalogue and the reasons why the

authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury

& Company in the same condition as at the time of its auction and is able to transfer good

and marketable title in the lot free from any third party claim arising after the date of the

auction.

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

Authorship Warranty shall be rescission of the sale and refund of the original Purchase

Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against

Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of

any other remedy available as a matter of law. This means that none of Phillips de Pury &

Company, any of our affiliated companies or the seller shall be liable for loss or damage

beyond the remedy expressly provided in this Authorship Warranty, whether such loss or

damage is characterized as direct, indirect, special, incidental or consequential, or for the

payment of interest on the original Purchase Price.


PHILLIPS de PURY & COMPANY

Advisory Board

Maria Bell

Janna Bullock

Lisa Eisner

Lapo Elkann

Ben Elliot

Lady Elena Foster

H.I.H. Francesca von Habsburg

Marc Jacobs

Ernest Mourmans

Aby Rosen

Christiane zu Salm

Juergen Teller

Princess Gloria von Thurn und Taxis

Jean Michel Wilmotte

Anita Zabludowicz

Directors

Sean Cleary

Finn Schouenborg Dombernowsky

Patricia G. Hambrecht

Alexander Payne

Olivier Vrankenne

Chairman

Simon de Pury

Chief Executive Officer

Bernd Runge

Senior Directors

Michael McGinnis

Dr. Michaela de Pury

INTERNATIONAL SPECIALISTS

Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42

Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44

Bérénice Chef, Specialist, Contemporary Art +32 473 12 27 06

Buenos Aires & London Brooke Metcalfe, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 736 11

Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771

Milan Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671

Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22

Paris Thomas Dryll, Specialist, Contemporary Art +33 1 42 78 67 77

NEW YORK

450 Park Avenue, New York, NY 10022, USA

tel +1 212 940 1300 fax +1 212 940 1230

NEW YORK

450 West 15 Street, New York, NY 10011, USA

tel +1 212 940 1200 fax +1 212 924 5403

LONDON

Howick Place, London SW1P 1BB, United Kingdom

tel +44 20 7318 4010 fax +44 20 7318 4011

PARIS

6, avenue Franklin D. Roosevelt, 75008 Paris, France

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

BERLIN

Auguststrasse 19, 10117 Berlin, Germany

tel +49 30 8800 1842 fax +49 30 8800 1843

GENEVA

23 quai des Bergues, 1201 Geneva, Switzerland

tel +41 22 906 80 00 fax +41 22 906 80 01

MOSCOW

TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia

tel +7 495 225 88 22 fax +7 495 225 88 87

WORLDWIDE OFFICES

GENERAL COUNSEL

Patricia G. Hambrecht

MANAGING DIRECTORS

Sean Cleary, New York

Finn Schouenborg Dombernowsky, London/Europe


SPECIALISTS AND DEPARTMENTS

MODERN AND CONTEMPORARY EDITIONS

NEW YORK

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

Audrey Lindsey +1 212 940 1333

Jannah Greenblatt +1 212 940 1332

PHOTOGRAPHS

Vanessa Kramer, Worldwide Director +1 212 940 1243

NEW YORK

Shlomi Rabi +1 212 940 1246

Caroline Deck +1 212 940 1247

Sarah Krueger +1 212 940 1225

Deniz Atac +1 212 940 1245

Carol Ehlers, Consultant +1 212 940 1245

LONDON

Lou Proud, Head of Photographs, London +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4062

Emma Lewis +44 20 7318 4092

JEWELS

NEW YORK

Nazgol Jahan, Worldwide Director +1 212 940 1283

Joanna Bengoa +1 212 940 1302

Brittany Gersh +1 212 940 1365

LONDON

Ardavan Ghavami, Head of Jewels, Europe +44 20 7318 4064

Rose Curran +44 20 7318 4010

Lane McLean +44 20 7318 4032

Stephen Gilbert +44 20 7318 4104

THEME SALES

Henry Allsopp, Worldwide Director +44 20 7318 4060

NEW YORK

Corey Barr +1 212 940 1239

Steve Agin, Consultant +1 908 475 1796

Laura González +1 212 940 1216

Stephanie Max +1 212 940 1301

LONDON

Arianna Jacobs +44 20 7318 4054

Lisa de Simone +44 20 7318 4090

Eleanor Crabtree +44 20 7318 4040

Tamila Kerimova +44 20 7318 4085

PRIVATE SALES

Matt Langton +44 20 7318 4074

CONTEMPORARY ART

Michael McGinnis, Senior Director +1 212 940 1254

and Worldwide Head, Contemporary Art

NEW YORK

Zach Miner, Head of Part I +1 212 940 1256

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

Roxana Bruno +1 212 940 1229

Jean-Michel Placent +1 212 940 1263

Peter Flores +1 212 940 1223

Winnie Scheuer +1 212 940 1226

Alyse Serrell +1 212 940 1303

Amanda Stoffel +1 212 940 1261

Roxanne Tahbaz +1 212 940 1292

Jonathan Winter +1 212 757 0190

LONDON

Peter Sumner, Head of Evening Sale +44 20 7318 4063

George O’Dell, Head of Day Sale +44 20 7318 4093

Matt Langton +44 20 7318 4074

Raphael Lepine +44 20 7318 4078

Karen Levy +44 20 7318 4082

Paul de Bono +44 20 7318 4070

Henry Highley +44 20 7318 4061

Helen Rohwedder +44 20 7318 4042

Charlotte Salisbury +44 20 7318 4010

PARIS

Thomas Dryll +33 1 42 78 67 77

Edouard de Moussac +33 1 42 78 67 77

DESIGN

Alexander Payne, Director +44 20 7318 4052

and Worldwide Head, Design

NEW YORK

Alex Heminway, New York Director +1 212 940 1268

Marcus Tremonto +1 212 940 1268

Meaghan Roddy +1 212 940 1266

Alexandra Gilbert +1 212 940 1265

Lauren Sohn +1 212 940 1268

LONDON

Domenico Raimondo +44 20 7318 4016

Ben Williams +44 20 7318 4027

Marine Hartogs +44 20 7318 4021

Marcus McDonald +44 20 7318 4095

Megan McGee +44 20 7318 4023

NEW YORK

Andrea Koronkiewicz, Studio Manager

Steven Mosier, Graphic Designer

Orlann Capazorio, US Production Manager

LONDON

Mark Hudson, Deputy Art Director

Andrew Lindesay, Sub-Editor

Tom Radcliffe, Production Director

NEW YORK

Trish Walsh, Marketing Manager

LONDON

Giulia Costantini, Head of Communications

Fiona McGovern, Communications Assistant

Alex Godwin-Brown, Communications Assistant

ART AND PRODUCTION

Mike McClafferty, Consultant Art Director

MARKETING & COMMUNICATIONS

PRIVATE CLIENT SERVICES

Judith Hess, Director, London +44 20 7318 4075

Simon Tovey, Assistant +44 20 7318 4084

OFFICE OF THE CHAIRMAN

Anna Furney, New York +1 212 940 1238

Harmony Johnston, London +44 20 7318 4099

MUSEUM SERVICES DEPARTMENT NEW YORK

Lauren Shadford +1 212 940 1257

Cecilia Wolfson +1 212 940 1258


SALE INFORMATION

AUCTION

450 PARK AVENUE NEW YORK 10022

Tuesday, December 13, 2011, 4pm

VIEWING

450 PARK AVENUE NEW YORK 10022

Wednesday, December 7 – Tuesday, December 13

Monday – Saturday 10am – 6pm

Sunday 12pm – 6pm

SALE DESIGNATION

In sending in written bids or making enquiries please

refer to this sale as NY050311 or Design Masters.

WORLDWIDE DIRECTOR

Alexander Payne London +44 20 7318 4052

New York +1 212 940 1268

INTERNATIONAL CONSULTANT

Marcus Tremonto +1 212 940 1268

NEW YORK DIRECTOR

Alex Heminway +1 212 940 1268

SPECIALISTS

Meaghan Roddy +1 212 940 1266

Ben Williams London +44 20 7318 4027

Domenico Raimondo London +44 20 7318 4026

Marine Hartogs London +44 20 7318 4021

CATALOGUERS

Alexandra Gilbert +1 212 940 1265

Marcus McDonald London +44 20 7318 4014

ADMINISTRATORS

Lauren Sohn +1 212 940 1268

Megan McGee London +44 207 318 4023

PROPERTY MANAGERS

Eric Mingus +1 212 940 1364

Oliver Gottschalk London +44 20 7318 4033

PHOTOGRAPHY

Kent Pell

Byron Slater

Morten Smidt

SELECT ESSAYS

Alex Heminway

Meaghan Roddy

CATALOGUES

Barbara Escobar +1 212 940 1240

$35/€25/£22 at the gallery

[email protected]

ABSENTEE AND TELEPHONE BIDS

Main +1 212 940 1228 fax +1 212 924 1749 [email protected]

Marissa Piedra, Bid Manager +1 212 940 1304

Amanda Mazloom, Bid Clerk +1 212 940 1215

CLIENT ACCOUNTING

Sylvia Leitao +1 212 940 1231

Buyers Accounts

Nicole Rodriguez +1 212 940 1235

Seller Accounts

Barbara Doupal +1 212 940 1232

CLIENT SERVICES

450 Park Avenue +1 212 940 1300

450 West 15 Street +1 212 940 1200

SHIPPING

Beth Petriello +1 212 940 1373

Jennifer Brennan +1 212 940 1372


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