Download - 20/21 Design: 1900 to Now
28 OCTOBER 2014 SOUTH KENSINGTON
20
/21 D
ES
IGN
19
00
TO
NO
W
AUCTION
Tuesday 28 October 2014
at 2.00 pm. Lots 1-150
85 Old Brompton Road
London SW7 3LD
VIEWING
Friday 24 October 9.00 am - 5.00 pm
Saturday 25 October 11.00 am - 5.00 pm
Sunday 26 October 11.00 am - 5.00 pm
Monday 27 October 9.00 am - 7.30 pm
Tuesday 28 October 9.00 am - 12.00 noon
AUCTIONEER
Jeremy Morrison
AUCTION CODE AND NUMBER
In sending absentee bids or making
enquiries, this sale should be referred
to as AND-5868
AUCTION RESULTS
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US: +1 212 703 8080
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CONDIT IONS OF SALE
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Important Notices,
Conditions of Sale and
to reserves.
[20]
These auctions feature
Bid live in Christie’s salerooms worldwide
register at www.christies.comFront Cover: Lot 42 detail Inside Front Cover: Lot 18 detail Page 2: Lot 39 detailIndex Page: Lot 70 detailBack Cover: Lot 8
20 /21 DE SIGN 1900 TO N OW
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I N T E R N A T I O N A L D E P A R T M E N T
20/21 DES IGN
25/02/14
I N T E R N A T I O N A L AU C T I O N C A L E N D A R
20/21 DES IGN
LONDON
28 OCTOBER
20/21 DESIGN:
1900 TO NOW
SOUTH KENSINGTON
16 - 30 OCTOBER
LALIQUE
ONLINE
30 OCTOBER - 16 NOVEMBER
LINE VAUTRIN
ONLINE
4 NOVEMBER
LUXURY-COLOUR-TEXTURE
THE ESTATE OF
DAVID COLLINS
KING STREET
4 NOVEMBER
20/21 DESIGN
KING STREET
Subject to change.11/09/14
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OR A REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
Jeremy MorrisonSenior Director+44 (0)20 7752 3274
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Joy McCallDirector+44 (0)20 7752 3237
Raffaella GoffrediAssociate Specialist+44 (0)20 7752 3015
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SPECIAL ISTS
FOR THIS AUCTION
First initial followed by last name @christies.com (eg. Jeremy Morrison = [email protected].) For general enquiries about this auction, email should be addressed to Kelsey Preston, [email protected].
PARIS
24 NOVEMBER
20/21 DESIGN
PARIS
PRIVATE SALES
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NEW YORK
9 DECEMBER
20/21 DESIGN
NEW YORK
9 DECEMBER
TIFFANY STUDIOS
NEW YORK
4
2
PIERO FORNASETTI (1913-1988)A ‘TESTE ANTICHE’ UMBRELLA STAND, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated metal
28æ in. (73 cm.) high; 18Ω in. (47 cm.) wide; 7 in. (18 cm.) deep
Fornasetti label to reverse
£800-1,200 $1,400-2,000 €1,100-1,500
L I T E R A T U R E :
Similar example illustrated:
P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, p. 163.
PROPERTY FROM A PRIVATE ITALIAN COLLECTION (LOTS 1-13)
1
PIERO FORNASETTI (1913-1988)A ‘LIBRI’ MAGAZINE RACK, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated metal
and brass
15¡ in. (39 cm.) high; 16æ in. (42.5 cm.) wide; 8æ in. (22 cm.) deep
Fornasetti label to underside
£600-800 $980-1,300 €760-1,000
P R O V E N A N C E :
This lot and the following 13 lots were purchased from the Atelier
Fornasetti in the late 1980s.
L I T E R A T U R E :
Similar example illustrated:
P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, pp. 124-125.
The objects I went on to create over a period of forty years are based on extremely simple and clean-cut forms,
even though they are decorated with overflowing imagination.
PIERO FORNASETTI
5
n3
PIERO FORNASETTI (1913-1988)AN ‘ARCHITETTURA’ CHEST OF DRAWERS, ORIGINALLY DESIGNED 1953, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated lacquered wood
33 in. (84.5 cm.) high; 39Ω in. (100.5 cm.) wide; 21æ in. (55.5 cm.) deep
Fornasettti label to first drawer
£8,000-12,000 $14,000-20,000 €11,000-15,000
L I T E R A T U R E :
Similar example illustrated:
P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, pp. 104, 132.
6
n4
PIERO FORNASETTI (1913-1988)A ‘LIBRERIA’ BOOKCASE, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated wood
79 in. (200.5 cm.) high; 59º in. (150.5 cm.) wide; 14º in. (36 cm.) deep
£8,000-12,000 $14,000-20,000 €11,000-15,000
7
n5
PIERO FORNASETTI (1913-1988)A ‘LIBRI’ WASTE PAPER BASKET, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated metal
11º in. (28.5 cm.) high; 10º in. (26 cm.) diameter
Fornasetti label to underside
£400-600 $660-980 €510-750
n6
PIERO FORNASETTI (1913-1988)A ‘LIBRI E OGGETTI SPARSI’ DESK AND A ‘MUSICALE’ CHAIR, ORIGINALLY DESIGNED 1951, EXECUTED 1988-1989
produced by Ateliers Fornasetti, lithographically-decorated wood,
brass and enamelled metal
desk: 32 in. (81 cm.) high; 47º in. (120 cm.) wide;
23æ in. (60.5 cm.) deep;
chair: 37æ in. (96 cm.) high; 16 in. (40.5 cm.) wide; 17æ in. (45 cm.) deep
signed in lithography Fornasetti, Milano, Made in Italy, 1989 to top; the chair with Fornasetti label to underside (2)
£7,000-9,000 $12,000-15,000 €8,800-11,000
L I T E R A T U R E :
Similar example of the chair illustrated:
P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, p. 167.
8
n7
PIERO FORNASETTI (1913-1988) A PAIR OF ‘CAPITELLO CORINZIO’ CHAIRS, ORIGINALLY DESIGNED CIRCA 1955, EXECUTED IN 1988-1989
produced by Atelier Fornasetti, lithgraphically-decorated plywood and
enamelled metal
37Ω in. (95 cm.) high; 16º in. (41 cm.) wide; 20æ in. (52.5 cm.) deep
Fornasetti label to underside (2)
£2,000-3,000 $3,300-4,900 €2,600-3,800
L I T E R A T U R E :
Similar example illustrated:
B. Fornasetti, Piero Fornasetti, Cento Anni di Follia Pratica, exh. cat.,
Milan, 2013, p. 175;
P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, p. 163.
n8
PIERO FORNASETTI (1913-1988)AN ‘ARCHITETTURA’ TRUMEAU CABINET, ORIGINALLY DESIGNED 1951, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated surfaces,
the interior fitted with glass shelves and internal lighting
81æ in. (228 cm.) high; 32º in. (82 cm.) wide; 16º in. (41 cm.) deep
Fornasetti label to drawer
£12,000-18,000 $20,000-29,000 €16,000-23,000
L I T E R A T U R E :
Similar example illustrated:
B. Fornasetti, Piero Fornasetti, Cento Anni di Follia Pratica, exh. cat.,
Milan, 2013; p. 175;
P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, p. 100.
9
10
n9
PIERO FORNASETTI (1913-1988)A SET OF SEVEN ‘CAPITELLO IONICO’ CHAIRS, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithgraphically-decorated plywood and
enamelled metal
37º in. (94.5 cm.) high; 16 in. (40.5 cm.) wide; 21º in. (54 cm.) deep
Fornasetti label to underside (7)
£6,000-8,000 $9,800-13,000 €7,600-10,000
L I T E R A T U R E :
Similar example illustrated:
P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, p. 120.
11
n10
PIERO FORNASETTI (1913-1988) AN ‘ARCHITETTURA’ TABLE, ORIGINALLY DESIGNED CIRCA 1955, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated wood and
painted metal
30º in. (76.5 cm.) high; 67 in. (170 cm.) diameter
Fornasetti label to underside
£8,000-12,000 $14,000-20,000 €11,000-15,000
L I T E R A T U R E :
Similar example illustrated:
B. Fornasetti, Piero Fornasetti, Cento Anni di Follia Pratica, exh. cat., Milan, 2013,
p. 179;
12
11
PIERO FORNASETTI (1913-1988)A GROUP OF FOUR TABLE LAMPS, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated and gilt metal,
comprising Architettura, Viso, Libri and Colonna classica (the latter two not
illustrated); each with a shade
tallest 36 in. (91.5 cm.) high
three with Fornasetti label to underside (4)
£2,000-3,000 $3,300-4,900 €2,600-3,800
n12
PIERO FORNASETTI (1913-1988)‘VISO’ AND ‘ARCHITETTURA’ CUBE OCCASIONAL TABLES, ORIGINALLY DESIGNED 1956, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated metal,
each with a side drawer
19Æ in. ( 50 cm.) square
Fornasetti label to inside (2)
£2,000-3,000 $3,300-4,900 €2,600-3,800
L I T E R A T U R E :
Similar example illustrated:
P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, p. 117.
12 (part)
11 (part)
11 (part)
12 (part)
13
n13
PIERO FORNASETTI (1913-1988)A ‘LIBRERIA’ BOOKCASE, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated wood
79 in. (200.5 cm.) high; 59º in. (150.5 cm.) wide; 14º in. (36 cm.) deep
£8,000-12,000 $14,000-20,000 €11,000-15,000
n15
ROBERTO PAMIO (B. 1937), RENATO TOSO (B. 1928) & NOTI MASSARI (B. 1939)A COAT STAND, DESIGNED 1968
produced by Stillwood
painted wood and plastic, on castors
71 in. (181 cm.) high; 24º in. (62 cm.) wide
£800-1,200 $1,400-2,000 €1,100-1,500
VARIOUS PROPERTIES
14
TOBIA SCARPA (B. 1935) FOR VENINI (EST. 1925)AN ‘OCCHI’ VASE, CIRCA 1960
fused murrine glass
11æ in. (30 cm.) high
acid-stamp Venini Murano Italia
£2,000-3,000 $3,300-4,900 €2,600-3,800
15
n16
NELLO PINI (ITALIAN)A PAIR OF LOUNGE CHAIRS, CIRCA 1960
produced by Novarredo, black painted metal, brass and velvet upholstery
39¡ in. (100 cm.) high; 26 in. (66 cm.) wide; 27Ω in. (69.5 cm.) deep (2)
£3,000-5,000 $4,900-8,100 €3,800-6,300
L I T E R A T U R E :
Similar example illustrated:
Rivista dell’arredamento, #88, Milan, 1962.
17
DINO MARTENS (1894-1970) FOR AURELIANO TOSO (EST. 1938)AN ‘ ORIENTE’ VASE, 1950s
cased glass with aventurine inclusions and pin-wheel
12º in. (31 cm.) high
£4,000-6,000 $6,600-9,800 €5,100-7,500
17
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
18
PAOLO VENINI (1895-1959) FOR VENINI (EST. 1925)A ‘PEZZATO’ BOTTLE VASE, CIRCA 1955
fused mosaic glass
14Ω in. (36.8 cm.) high
acid-stamp Venini Murano Italia
£7,000-9,000 $12,000-15,000 €8,800-11,000
P R O V E N A N C E :
Rainer & Ursula Losch, Bonn.
18
VARIOUS PROPERTIES
n19
CARLO PAGANI (ITALIAN)A SET OF FOUR ‘CAMPANULA’ CHAIRS, DESIGNED 1952
produced by Arflex, velvet upholstery, on brass supports
32Ω in. (82.5 cm.) high; 22¡ in. (57.5 cm.) wide; 18Ω in. (47 cm.) deep (4)
£2,000-3,000 $3,300-4,900 €2,600-3,800
L I T E R A T U R E :
Similar example illustrated:
G. Gramigna ‘1950/1980 Repertorio’, Milan, 2001, p. 71.
19
PROPERTY FROM A PRIVATE INTERNATIONAL COLLECTION
n20
GIO PONTI (1891-1979)A PAIR OF HIGH-BACK CHAIRS, CIRCA 1950
painted wood, upholstery
45º in. (115 cm.) high; 18º in. (46.3 cm.) wide; 19 ¬ in. (49.8 cm.) deep (2)
£5,000-7,000 $8,200-11,000 €6,300-8,800
L I T E R A T U R E :
These chairs illustrated:
U. La Pietra, Gio Ponti, New York, 1995, p. 203, fig. 438.
20
VARIOUS PROPERTIES
†21
NICOLAY DIULGHEROFF (1901-1982) & TULLIO D’ALBISOLA (1899-1971)A FUTURIST TEA SERVICE, CIRCA 1935
produced by Torido Mazzotti, glazed earthenware, comprising teapot, milk jug,
covered sugar bowl and six cups and saucers,
teapot 6º in. (15.8 cm. ) high
painted to underside M. G. A. (17)
£3,000-5,000 $4,900-8,100 €3,800-6,300
L I T E R A T U R E :
Similar example illustrated:
K. McCready, Art Deco and Modernist Ceramics, London 1995, p. 102;
C. Chilosi & L. Ughetto, La Ceramica de Novocento in Liguria, 1997, p. 119.
21
†22
NICOLAY DIULGHEROFF (1901-1982) & TULLIO D’ALBISOLA (1899-1971)A COFFEE SERVICE, CIRCA 1935
produced by Torido Mazzotti, glazed earthenware, comprising coffee pot, sugar
bowl, ten coffee cups and saucers
cofee pot 6æ in. (17.1 cm.) high
painted to underside M. G. A.
£3,000-5,000 $4,900-8,100 €3,800-6,300
L I T E R A T U R E :
Similar example illustrated:
K. McCready, Art Deco and Modernist Ceramics, London 1995, p. 102;
C. Chilosi & L. Ughetto, La Ceramica de Novocento in Liguria, 1997, p. 119.
23
ANGELO MANGIAROTTI (B. 1921)A GROUP OF ARCHITECTURAL VASES, CIRCA 1968
produced by Fratelli Brambilla, glazed earthenware
10 in. (25.4 cm.) high and smaller
each stamped to underside, four with additional manufacturer’s label Made in Italy
Fratelli Brambilla Milano Design Mangiarotti (11)
£1,500-2,000 $2,500-3,300 €1,900-2,500
L I T E R A T U R E :
Similar examples illustrated:
B. Finessi, Su Mangiarotti, Milan, 2002, p. 152.
n24
LINA ZERVUDAKI FOR ELSA SCHIAPARELLI (1890-1973)A LOUNGE CHAIR, CIRCA 1935
black painted metal, rattan, bamboo canes
27 in. (68.5 cm.) high; 28 in. (71 cm.) wide; 88æ in. (225.5 cm.) long
£4,000-6,000 $6,600-9,800 €5,100-7,500
24
n25
OSVALDO BORSANI (1911-1985)A TABLE, 1950s
ebonised wood, brass sabots, with marble top
30æ in. (78 cm.) high; 43º in. (109.5 cm.) diameter
£2,500-3,500 $4,100-5,700 €3,200-4,400
L I T E R A T U R E :
Similar example illustrated:
I. de Guttry, M. P. Maino, Il mobile Italiano degli anni ’40 e ’50,
Bari, 2010, p. 113, fig. 17.
25
n26
GIO PONTI (1891-1979)A PAIR OF ARMCHAIRS, MODEL N. 516, CIRCA 1950
produced by Cassina, Italy, walnut, upholstery
31 in. (78.8 cm.) high; 25 in. (63.5 cm.) wide;
28Ω in. (72.4 cm.) deep
each with Cassina label to stretcher (2)
£8,000-12,000 $14,000-20,000 €11,000-15,000
26
n28
ICO PARISI (1916-1996)A GROUP OF FURNISHINGS, DESIGNED 1959
produced by Stildomus, Indian rosewood, glass, aluminium, including a ‘Dione’
coffee table, a coat rack and an umbrella stand (both illustrated online)
table 15æ in. (40 cm.) high; 31Ω in. (80 cm.) wide; 31 ¿ in. (79 cm.) deep
coat rack stamped to reverse stildomuselezione Ico Parisi (3)
£2,000-3,000 $3,300-4,900 €2,600-3,800
L I T E R A T U R E :
Similar example illustrated:
F. Gualdoni, Ico Parisi & Architetture, Bologna, 1990, pp. 219 (umbrella stand
illustrated), 221 (cofee table illustrated);
M. Winter, ‘Luisa & Ico Parisi’, Berlin, ex. cat., 2009, pp. 28-30 (all examples illustrated).
†27
MARCELLO FANTONI (B. 1915)AN ABSTRACT SCULPTURE, 1960
patinated bronze, on an iron base
15 in. (38 cm.) high
pencil mark and date 1960
£3,000-5,000 $4,900-8,100 €3,800-6,300
P R O V E N A N C E :
Marcello Fantoni, Florence;
Christie’s London, 20th Century Decorative Art & Design, 26 October 2006, lot 14;
Private Collection, United States,
E X H I B I T E D :
Fiesole Museum, Etrusco, 2005.
L I T E R A T U R E :
E. Gradi, Marcello Fantoni, Compiobbi, 2005, pp.144, 102 (illustrated).
27
28 (part)
27
n29
GIO PONTI (1891-1979)A SET OF TWELVE ‘LEGGERA’ CHAIRS, DESIGNED CIRCA 1965
produced by Cassina, for the Hotel Parco dei Principi, Italy, ebonised wood and Alcantara
33º in. (84.5 cm.) high; 17 in. (43 cm.) wide; 17º in. (43.5 cm.) deep (12)
£4,000-6,000 $6,600-9,800 €5,100-7,500
L I T E R A T U R E :
Similar example illustrated:
L. Licitra Ponti, Gio Ponti, The Complete Work 1923-1978, London, 1990, p. 170;
U. La Pietra, Gio Ponti, Milan, 1995, p. 204.
28
n30
GILBERT POILLERAT (1902-1988)A DINING SUITE, CIRCA 1943
patinated and gilt wrought-iron, marble, comprising a table and eight chairs,
the chairs with cloven-hoof feet
table: 30æ in. (78 cm.) high; 35Ω in. (90 cm.) wide; 74¡ in. (189 cm.) long
chairs: 38æ in. (98.5 cm.) high; 15Ω in. (39.4 cm.) wide; 18 in. (46 cm.) deep (9)
£20,000-25,000 $33,000-41,000 €26,000-31,000
L I T E R A T U R E :
F. Baudet, Gilbert Poillerat, Mâitre Ferronnier, Paris, p. 90 (for a very close variant of this
table dated 1943).
29
30
31
31
n31
FRED BROUARD (1944-1999)AN ILLUMINATING WALL APPLIQUE, CIRCA 1970
bronze, mounted on stainless steel
26æ x 37Ω in. (68 x 95 cm.)
£3,000-5,000 $4,900-8,100 €3,800-6,300
P R O V E N A N C E :
Private collection, Paris.
n32
MAISON LELEU (1922-1970)A LOUNGE SUITE, CIRCA 1960
upholstery, steel with patinated gun-metal finish and brass,
comprising a sofa and two armchairs
sofa: 31Ω in. (80 cm.) high; 73 in. (185.4 cm.) wide; 37 in. (94 cm.) deep;
armchair: 31¿ in. (79 cm.) high; 29Ω in. (75 cm.) wide; 35 in. (89 cm.) deep (3)
£6,000-9,000 $9,800-15,000 €7,600-11,000
L I T E R A T U R E :
Similar example illustrated:
V. Jutheau, Jules et André Leleu, Neuchâtel, 1996, p. 158;
F. Siriex, Leleu, décorateurs ensembliers, Château de Saint-Rémy-en-l’Eau, 2007.
Another suite of this design was sold Christie’s Paris, Arts Décoratifs du XXe Siècle et Design, 20 May 2014, lot 56.
32
n34
ANDRE ARBUS (1903-1969)AN OCCASIONAL TABLE, ORIGINALLY DESIGNED CIRCA 1950, EXECUTED 1980s
number three from an edition of fifty, patinated bronze and oak
stamped AA 3/50
25 in. (63.5 cm.) high; 23¬ in. (60 cm.) diameter
£3,000-5,000 $4,900-8,100 €3,800-6,300
L I T E R A T U R E :
An original example illustrated:
Y. Brunhammer, André Arbus, Architecte-Décorateur des Années 40,
Paris, 1996, p. 257.
33
JULES LELEU (1883-1961)A SET OF FOUR ‘ACANTHE’ APPLIQUES, DESIGNED 1947
gilt-bronze
13 in. (33 cm.) high
reverse stamped Leleu Paris,
Made in France and numbered 1, 2, 3, 5 (4)
£5,000-8,000 $8,200-13,000 €6,300-10,000
L I T E R A T U R E :
Similar examples illustrated:
V. Jutheau, Jules et André Leleu, Paris, 1989, pp. 95, 100, 171.
33
36
EDGAR BRANDT (1880-1960)A TABLE LAMP, CIRCA 1925
wrought-iron, with an alabaster shade
23 in. (58.4 cm.) high
stamped BRANDT
£2,500-3,500 $4,100-5,700 €3,200-4,400
35
LOUIS MAJORELLE (1859-1926) & DAUM FRéRES (EST. 1878)A VASE, CIRCA 1925
glass, deeply acid-etched, wrought-iron
13æ in. (35 cm.) high
engraved Daum Nancy France, with Cross of Lorraine and L. Majorelle
£4,000-6,000 $6,600-9,800 €5,100-7,500
n37
ART DECO A MODERNIST CARPET, CIRCA 1935
possibly made in Donegal, wool
19 ft. 4.in. (5.9 m.) long, 9 ft. 7 in. (2.93 m.) wide
£5,000-8,000 $8,200-13,000 €6,300-10,000
n38
JOSEPH CSAKY (1888-1971)‘PEACOCKS’, A CONSOLE TABLE, CIRCA 1927
white and black marble (restorations)
31¬ in. (80.3 cm.) high; 38 in. (96.5 cm.) wide; 11√ in. (30.3 cm.) deep
£8,000-12,000 $14,000-20,000 €11,000-15,000
P R O V E N A N C E :
Private Collection, Paris;
Artcurial, Paris, Art Déco, 8 June 2010, lot 109;
Christie’s Paris, Les Collections Du Chateau De Gourdon, 29 March 2011, lot 1000.
L I T E R A T U R E :
F. Marcilhac, Joseph Csaky du Cubisme Historique à la Figuration Réaliste, les
Editions de l’Amateur, Paris, 2007, pp. 142, 342 (FM. 121).
The design of this lot is is related to, and possibly a preliminary study for, the Cubist sculpture of a stylised peacock which Csaky installed in the entrance hall of Jaques Doucet’s esteemed Studio Saint Jacques in 1928.
35
36
n39
SUZANNE LALIQUE (1892-1989)A UNIQUE THREE PANEL SCREEN, 1920s
oil on canvas, birds-eye maple frame
each panel: 65¬ in. (159 cm.) high; 27Ω in. (70 cm.) wide
signed Suzanne Lalique
£30,000-50,000 $49,000-81,000 €38,000-63,000
P R O V E N A N C E :
European collection .
This rare screen is a fine example of Suzanne’s inspiration. Like her father, she translated nature into her distinct vision – stylized compositions of colour and line. The dynamic arrangements of the tree branches and the use of black, blue and silver as dominant colours situate the screen to around 1920.
Suzanne Lalique was a talented, multi-faceted artist capable of transforming the various materials she experimented with – glass, porcelain, fabric or paint – into true works of art. Born in 1892, the daughter of René Lalique enjoyed a career worthy of her name. Her distinct achievements were largely overlooked however until the 1912 Musée Lalique exhibition Suzanne Lalique-Haviland – Le décor réinventé. The original design drawing for this screen is in the collection of the Musée Lalique and is illustrated on page 27 of the catalogue of the above exhibition.
From the age of 17, encouraged by her father, Suzanne contributed to the development of the family glassworks, creating her first design of a powder box for Coty in 1910. There followed a prolific period of work, attracting important private clients, surely the most distinguished being Jacques Doucet, the famous couturier, art patron and collector, who became her client in 1913 and commissioned four decorative screens.
Records confirm the execution by Suzanne Lalique, between 1914 and 1927, of more than a dozen painted screens. Only a few of the original designs and two screens, however, are known to have survived – one in the collection of the Musée Lalique and the present lot, acquired by the family of the current owner directly from Lalique at the Exposition
Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925.
Christie’s would like to thank Véronique Brumm for her assistance cataloguing this lot.
38
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION (LOTS 40-42)
~40
DEMETRE CHIPARUS (1886-1947)‘LES AMIS TOUJOURS’, CIRCA 1925
cold-painted and gilt-bronze and ivory, on an onyx base
24º in. (62.2 cm.) high; 25Ω in. (65 cm.) wide
base signed Chiparus, reverse stamped 195
£20,000-30,000 $33,000-49,000 €26,000-38,000
P R O V E N A N C E :
Christie’s New York, An Important Collection of Art Deco Sculpture,
27 May 1982, lot 11.
L I T E R A T U R E :
Similar examples illustrated:
V. Arwas, Art Deco Sculpture, London, 1975, p.28;
V. Arwas, Art Deco Sculpture, London, 1992, p. 66;
A. Shayo, Chiparus Master of Art Deco, New York, 1999, p. 81;
B. Catley, Art Deco and Other Figures, Woodbridge, 2003, p. 58.
40
~41
DEMETRE CHIPARUS (1886-1947)‘TANGO’, CIRCA 1925
cold-painted and gilt-bronze, and ivory, on onyx base
24Ω in. (62.2 cm.) high
base signed Chiparus, reverse incised Made in France, right foot stamped Made in France, 6
£60,000-90,000 $98,000-150,000 €76,000-110,000
P R O V E N A N C E :
Christie’s New York, An Important Collection of Art Deco Sculpture,
27 May 1982, lot 5.
L I T E R A T U R E :
Similar examples illustrated:
V. Arwas, Art Deco Sculpture, London, 1992, p. 22;
A. Shayo, Chiparus Master of Art Deco, New York, 1993, p. 85.
41
~42
DEMETRE CHIPARUS (1886-1947)‘FAN DANCER’, CIRCA 1925
cold-painted, patinated and gilt-bronze, and ivory,
on an onyx and marble base
22º in. (57 cm.) high; 24Ω in. (62.2 cm.) wide
base signed Chiparus, with Les Neveux de J Lehmann foundry seal to underside
£70,000-90,000 $120,000-150,000 €88,000-110,000
P R O V E N A N C E :
Christie’s New York, An Important Collection of Art Deco Sculpture,
27 May 1982, lot 4.
L I T E R A T U R E :
Similar examples illustrated:
A. Shayo, Chiparus, Master of Art Deco, New York, 1993, p. 150;
M. Okroyan, Sculpture: From Root to Flourishing, Vol. II,
Moscow, 2011, p. 279.
42
44
VARIOUS PROPERTIES
~43
DEMETRE CHIPARUS (1888-1950)‘STARFISH’, CIRCA 1925
patinated and cold-painted bronze, and ivory,
on onyx and marble base
29æ in. (75.5 cm.) high
base signed D. H. Chiparus
£50,000-70,000 $82,000-110,000 €63,000-88,000
L I T E R A T U R E :
Similar examples illustrated:
V. Arwas, Art Deco Sculpture, London, 1992, p. 54;
A. Shayo, Chiparus, Master of Art Deco, New York, 1993, p. 152;
B. Catley, Art Deco and other figures, Sufolk, 2003, p.71.
45
46
~45
DEMETRE CHIPARUS (1888-1950)‘RUSSIAN DANCERS’, CIRCA 1925
patinated, gilt and cold-painted bronze, and ivory, on marble base
16Ω in. (42 cm.) high
base engraved D. H. Chiparus
£30,000-50,000 $49,000-81,000 €38,000-63,000
P R O V E N A N C E :
Private collection, Paris.
L I T E R A T U R E :
Similar example illustrated:
A. Shayo, Chiparus, Master of Art Deco, New York, 1993, p. 148, pl. 79.
44
CLAIRE-JEANNE-ROBERTE COLINET (1880-1950)‘DANCE OF CARTHAGE’, CIRCA 1920
cold-painted gilt bronze, on marble base
11Ω in. (29.2 cm.) high
signed Cl. Jr. Colinet, stamped Les Neveux de J Lehmann
£6,000-8,000 $9,800-13,000 €7,600-10,000
L I T E R A T U R E :
Similar example illustrated:
B. Catley, Art Deco and Other Figures, Woodbridge, 1978, p. 115.
44
47
45
48
47
MAURICE GUIRAUD-RIVIERE (1881-1947)‘THOUGHTS’, CIRCA 1925
patinated bronze, on a marble base
14º in. (36 cm.) high; 16º in. (41 cm.) wide
base signed Guiraud Riviere and Etling Paris
£3,000-5,000 $4,900-8,100 €3,800-6,300
L I T E R A T U R E :
Similar example illustrated:
B. Catley, Art Deco and Other Figures, Woodbridge,
1978, p. 173.
~46
GERDAGO (1906-2004)‘DANCER’, CIRCA 1925
cold-painted bronze and ivory, with brass chain,
on green onyx base
12Ω in. (31.7 cm.) high
signed in cast GERDAGO, with foundry stamp
£3,000-5,000 $4,900-8,100 €3,800-6,300
49
48
PIERRE LE FAGUAYS (1892-1935)‘LES PORTEUSES D’EAU’, A FIGURAL LAMP, CIRCA 1930
patinated bronze, alabaster shade, with gilt-foil mosaic, on marble base
15æ in. (40 cm.) high
base signed Le Faguays
£8,000-12,000 $14,000-20,000 €11,000-15,000
L I T E R A T U R E :
This piece illustrated:
V. Arwas, Art Deco Sculpture, London, 1992, p. 124.
50
~49
FERDINAND PREISS (1882-1943)‘HOOP GIRL’ AND ‘SONNY BOY’, CIRCA 1925
cold-painted bronze and ivory, on onyx bases
8º in. (21 cm.) high
each base signed F. Preiss, underside of skirt stamped with Preiss & Kassler foundry mark (2)
£6,000-8,000 $9,800-13,000 €7,600-10,000
~50
FERDINAND PREISS (1882-1943)‘JAVELIN THROWER’, CIRCA 1925
cold-painted bronze and ivory,
on green onyx and black marble base
12º in. (31 cm.) high
stamped Preiss & Kassler foundry mark
£10,000-15,000 $17,000-24,000 €13,000-19,000
L I T E R A T U R E :
Similar examples illustrated:
B. Catley, Art Deco and Other Figures, Sufolk, 1978, p. 264;
V. Arwas, Art Deco Sculpture, London, 1992, p. 170;
A. Shayo, Ferdinand Preiss, Art Deco Sculptor, The Fire and the Flame,
Sufolk, 2005, p. 142.
51
52
~51
FERDINAND PREISS (1882-1943)‘DREAMING’, CIRCA 1925
ivory, on green onyx and black marble base
6æ in. (17 cm.) high
base signed F. Preiss
£5,000-8,000 $8,200-13,000 €6,300-10,000
L I T E R A T U R E :
Similar example, but in reverse, illustrated:
A. Shayo, Ferdinand Preiss Art Deco Sculptor, The Fire and The Flame,
Woodbridge, 2005, p. 93.
~52
FERDINAND PREISS (1882-1943)‘GIRL WITH FROG’, A FIGURAL LAMP, CIRCA 1925
gilt and cold painted bronze, carved ivory
21Ω in. (54.6 cm.) high
£6,000-8,000 $9,800-13,000 €7,600-10,000
A similar example was ofered in in these rooms: 20th Century Decorative Art & Design, 26 October 2010, lot 43.
54
53
FERDINAND PARPAN (1902-2004)‘CHAT ALLONGÉ’, DESIGNED 1950
patinated bronze, number 4 from the edition of 8
6 in. (15.2 cm.) high, 17Ω in. (44.5 cm.) long
F. PARPAN 4/8 with cypher and foundry mark GB fondeur
£10,000-15,000 $17,000-24,000 €13,000-19,000
L I T E R A T U R E :
J.C. Hachet, Ferdinand Parpan, Paris, 2001, p. 106.
54
FERDINAND PARPAN (1902-2004)‘LE GUITARISTE’, DESIGNED CIRCA 1935, LATER EXECUTED
number three of an edition of eight, patinated bronze
16 in. (40.35 cm.) high
signed F. Parpan, ¡, and with artist’s cipher
£10,000-15,000 $17,000-24,000 €13,000-19,000
L I T E R A T U R E :
J.C. Hachet, Ferdinand Parpan, Paris, 2001, p. 239.
55
FERDINAND PARPAN (1902-2004)‘LE GRAND TAUREAU CHARGEANT’, DESIGNED 1945, EXECUTED 1961
carved walnut
16 in. (41 cm.) high; 24º in. (62 cm.) wide; 9æ in. (24.5 cm.) deep
incised 1961, artist monogram FP and signed F Parpan
£7,000-9,000 $12,000-15,000 €8,800-11,000
P R O V E N A N C E :
Lombrail & Teucquam Paris, Vente de Fonds de Sculpteur
Ferdinand Parpan, 15 March 2006, lot 93.
L I T E R A T U R E :
J.C. Hachet, Ferdinand Parpan, Paris, 2001, p. 128.
56
56
RENE GRUAU (1904-2004)A COVER DESIGN FOR INTERNATIONAL TEXTILES, AUGUST 1968
gouache and pencil, on paper
13º x 16º in. (33.5 x 41.2 cm.)
signed in gouache G*, pencil annotations
£5,000-7,000 $8,200-11,000 €6,300-8,800
57
57
RENE GRUAU (1909-2004)A COVER DESIGN FOR INTERNATIONAL TEXTILES, CIRCA 1980
gouache, ink and pencil, on paper
12º x 17º in. (31 x 43.8 cm.)
signed in gouache G*, pencil annotations
£5,000-7,000 $8,200-11,000 €6,300-8,800
58
RENE GRUAU (1909-2004)A MOLYNEUX DRESS DESIGN FOR FEMINA, 1947
pen and watercolour, on paper, with chalk
13 x 19æ in. (33 x 50 cm.)
signed in ink G*, in pencil MOLYNEUX, and in chalk Page 111, in chalk on the reverse Molyneux page 111
£2,000-3,000 $3,300-4,900 €2,600-3,800
59
RENE GRUAU (1904-2004)A DESIGN FOR CRESCENDOE GLOVES, 1950s
gouache on paper
14º x 19æ in. (36.2 x 50.2 cm.)
signed in gouache Gruau* and in pencil 16¬ x 20Ω
£3,000-5,000 $4,900-8,100 €3,800-6,300
60
RENE GRUAU (1909-2004)A COVER DESIGN FOR INTERNATIONAL TEXTILES, 1970s
gouache on paper
16Ω x 21æ in. (42 x 55.3 cm.)
signed in gouache G*
£5,000-7,000 $8,200-11,000 €6,300-8,800
58
59
60
61
62
WIWEN NILSSON (1897-1974)A JEWELLERY SUITE, 1940-1961
silver and rock crystal,
comprising: necklace, ring, pair of earrings and bracelet
necklace: 16º in. (41.2 cm.) long; ring: æ in. (2 cm.) diameter;
earrings 2 in. (5 cm.) long; bracelet: 2Ω in. ( 6.3 cm.) diameter
each stamped with designer, maker and Swedish assay mark, STERLING, MADE IN SWEDEN (5)
£5,000-8,000 $8,200-13,000 €6,300-10,000
61
JOHAN RHODE (1856-1935) FOR GEORG JENSENA JUG, CIRCA 1918
silver, with ebony handle
8√ in. (20 cm.) high
stamped GEORG JENSEN, COPENHAGEN, GI 830 S, 1918, 5 GABF, with Swedish import marks
£3,500-4,500 $5,800-7,300 €4,400-5,700
L I T E R A T U R E :
Similar example illustrated:
Janet Drucker, Georg Jensen: A Tradition of Splendid Silver,
Atglen, 1997, p. 243.
n63
GERRIT THOMAS RIETVELD (1888-1964)A MATCHED SET OF SIX ‘ZIG ZAG’ CHAIRS, EXECUTED AFTER 1971
executed by an unknown maker, by repute under the instruction of Wim Rietveld, ash
tallest 29¡ in. (74.5 cm.) high; 14 in. (35.6 cm,) wide; 15.3 in. (40 cm.) deep;
dimensions variable (6)
£3,000-5,000 $4,900-8,100 €3,800-6,300
P R O V E N A N C E :
By repute commissioned for an interior by Wim Rietveld.
L I T E R A T U R E :
Similar examples illustrated:
P. Vöge, The Complete Rietveld Furniture, Amsterdam, 1993, pp. 82-83, no. 120.
62
63
n64
CHARLOTTE PERRIAND (1903-1999)A SIDEBOARD, DESIGNED 1958
retailed by Steph Simon, pine, aluminium and enamelled aluminium
31Ω in. (80 cm,.) high; 70Ω in. (179 cm.) wide; 18 in. (46 cm.) deep
£6,000-8,000 $9,800-13,000 €7,600-10,000
P R O V E N A N C E :
Private collection, Paris.
L I T E R A T U R E :
Similar example illustrated:
J. Barsac, Charlotte Perriand, un Art d’Habiter 1903-1959, Norma, 2005, p. 440.
Charlotte Perriand, exh. cat., Centre Georges-Pompidou Paris,
7 Décembre 2005 - 27 Mars 2006, p. 162.
64
65
AXEL SALTO (1889-1961), FOR ROYAL COPENHAGEN (EST. 1775)A SOLIFLEUR VASE, 1944
glazed porcelain
5º in. (13.4 cm.) high
incised SALTO 1944, stamped ROYAL COPENHAGEN DENMARK
and painted blue waves
£3,000-5,000 $4,900-8,100 €3,800-6,300
n66
GEORGE NELSON (1908-1986)AN ‘MAA’ ARMCHAIR, DESIGNED 1958
manufactured by Herman Miller, fibreglass, chrome-plated steel, rubber
29æ in. (75.6 cm.) high; 27Ω in. (69.4 cm.) wide; 26æ in. (68 cm.) deep
£1,000-1,500 $1,700-2,400 €1,300-1,900
66 (alternative views)
66
n67
GEORGE NELSON (1908-1986)A PAIR OF ‘THIN EDGE’ CHESTS OF DRAWERS, MID-1950s
manufactured by Herman Miller, walnut veneer, on tapering aluminium legs
30æ in. (78 cm.) high; 24 in. (61 cm.) wide; 19¬ in. (49.8 cm.) deep
maker’s plaque to inside of top drawer Herman Miller-Zeeland-Michigan (2)
£1,500-2,000 $2,500-3,300 €1,900-2,500
67
n68
CHARLES (1907-1978) & RAY (1912-1988) EAMES A MATCHED SET OF FOUR ‘DCW’ CHAIRS, DESIGNED 1945, EXECUTED LATE 1940s
produced by Evans Products Co. for Herman Miller, ash veneered plywood
29 in. (73.7 cm.) high; 19º in. (48.7 cm.) wide; 20æ in. (52.8 cm.) deep
three chairs with paper label ‘Herman Miller, Evans, Charles Eames’, one chair with transfer label ‘Herman Miller, Evans, Charles Eames’ (4)
£2,000-3,000 $3,300-4,900 €2,600-3,800
68
n69
JULES WABBES (1919-1974)A LOW TABLE, CIRCA 1970
wengé woodblock, bronze
13 in. (33 cm.) high; 34æ in. (88.5 cm.) square
£4,000-6,000 $6,600-9,800 €5,100-7,500
l70
LUCIE RIE (1902-1995)A VASE, CIRCA 1980
porcelain, manganese glaze with sgrafitto
9¬ in. (24.5 cm.) high
impressed seal
£7,000-9,000 $12,000-15,000 €8,800-11,000
69
70
n71
ERNEST RACE (1913-1964)A SET OF FOUR ‘SPRINGBOK’ CHAIRS AND A TABLE, 1951
the chairs manufactured by Race Furniture for the Festival of Britain, 1951,
the table probably a unique custom commission, painted steel,
plastic-coated sprung seats and glass (replaced)
table: 24¡ in. (62 cm.) high; 41º in. (104.2 cm.) diameter;
chairs: 30æ in. (78 cm.) high; 19 in. (48.2 cm.) wide; 23Ω in. (59.4 cm.) deep (5)
£4,000-6,000 $6,600-9,800 €5,100-7,500
P R O V E N A N C E :
Bonhams London, 15 October 2002, lot 65.
L I T E R A T U R E :
Similar example of the chairs illustrated:
L. Jackson, Modern British Furniture, Design Since 1945, Hong Kong, 2013, p. 104, fig. 109.
This suite is from a Hampstead house designed and furnished by Moiret & Wood in 1952, which was featured in Ideal Home, October 1955.
71
l72
EDMUND DE WAAL (B.1964)A COVERED VESSEL, CIRCA 2001
celadon glazed porcelain
10º in. (26 cm.) high
impressed seal (2)
£3,000-5,000 $4,900-8,100 €3,800-6,300
P R O V E N A N C E :
Purchased directly from the artist in 2001.
72
n73
MARK BRAZIER-JONES (B. 1956)A CENTRE TABLE, 1993
limed waxed oak, steel, bronze and glass
31¡ in. (79.5 cm.) high; 84 in. (213.5 cm.) wide; 60 in. (152 cm.) deep
engraved signature Mark. Brazier-Jones 1993
£3,500-4,500 $5,800-7,300 €4,400-5,700
73
n74
MARIO SCHEICHENBAUER (ITALIAN)A ‘YETI’ ROCKING CHAIR, 1968
produced by Elam, Italy, oak and long-pile-hide upholstery
33 in. ( 84 cm.) high; 45Ω in. (115.5 cm.) wide; 50 in. (127 cm.) deep
£6,000-9,000 $9,800-15,000 €7,600-11,000
L I T E R A T U R E :
Similar example illustrated:
G. Gramigna, Repertorio 1950-2000, Turin, 2003, p. 143.
An example of this model is in the permanent collection of the Cooper Hewitt, Smithsonian Design Museum, New York, Object ID 18638247.
74
n75
MARC NEWSON (B. 1963)A PAIR OF ‘HELICE’ FLOOR LAMPS, 1993
manufactured by Flos, Italy, lacquered aluminium and glass
74 in. (188. cm.) high (2)
£1,500-2,000 $2,500-3,300 €1,900-2,500
n76
RON ARAD (B. 1951)A ‘ROUND RAIL’ DOUBLE BED, DESIGNED 1981
produced by One Off, tubular steel frame, structural wire base
and Key-Klamp joints
26¡ in. (67 cm.) high; 78 in. (198 cm.) long; 54æ in. (139 cm.) wide
partial One/Off label to one leg
£2,000-3,000 $3,300-4,900 €2,600-3,800
L I T E R A T U R E :
Similar examples illustrated:
P. Antonelli, Ron Arad: No Discipline, exh. cat. , Pompodou Centre,
Paris, 19 November 2008 - 16 March 2009, p. 52;
D. Sudjic, Ron Arad: Restless Furniture, New York,
1989, pp. 28 and 45.
n77
MARC NEWSON (B. 1963)A ‘SUPER GUPPY’ LAMP, DESIGNED 1987
manufactured by Idée, Japan, tubular aluminium,
aluminium, glass
73 in. (185.5 cm.) high; 34 in. (86.2 cm.) wide;
29º in. (74.2 cm.) deep
maker’s label to top ‘IDÉE’
£3,000-5,000 $4,900-8,100 €3,800-6,300
L I T E R A T U R E :
Similar examples illustrated:
A. Rawsthorn, Marc Newson, London, 1999, pp. 31-33,
p. 212 for a drawing;
C. Lloyd Morgan, Marc Newson, London, 2002,
pp. 167, 179.
75
76
77
n79
AMANDA LEVETE (B. 1955)A ‘DRIFT’ BENCH, DESIGNED 2006
produced by Established & Son, glass reinforced polyester, with high-gloss finish
17 in. (43 cm.) high; 113Ω in. (288 cm.) wide; 16Ω in. (42 cm.) deep
£2,000-3,000 $3,300-4,900 €2,600-3,800
L I T E R A T U R E :
Similar example illustrated:
L. Jackson, Modern British Furniture, Design since 1945, Hong Kong, 2013, p. 262, fig. 296.
n78
RODY GRAUMANS (B. 1968) FOR DROOG DESIGN A PAIR OF ‘85 LAMPS’ CHANDELIERS, DESIGNED 1993
of early production, light bulbs, wires
30Ω in. (95 cm.) high; 21 in. (54 cm.) diameter approx. (2)
£3,000-5,000 $4,900-8,100 €3,800-6,300
The design of this work uses only what is essential in making light bulbs, wire and connectors. Acclaimed since its creation, it now features in the permanent collection of design museums globally, including the Museum of Modern Art, New York, and Die Neue Sammlung, Munich.
78
80
FAURÉ‘NU’, A WALL PLAQUE, POST 1956
number three from an edition of eight, enamelled copper,
mounted on smoky translucent acrylic
torso 19º in. (49 cm.) high
signed in gilt FAURÉ Limoges FRANCE No. 3/8, reverse with certificate and seals, written ‘Nu’ Jade
£6,000-8,000 $9,800-13,000 €7,600-10,000
L I T E R A T U R E :
Similar example illustrated:
A. Shayo, Camille Fauré, Limoges Art Deco Enamels, The Geometry of Joy,
Woodbridge, 2007, p. 263.
n81
JOHANNA GRAWUNDER (B. 1961)A BOOKCASE, 1997
produced by Post Design, Italy, number fourteen from an edition
of ninety-nine, painted wood and steel, with four adjustable shelves
and light fitting
85Ω in. (127 cm.) high; 46æ in. (118.6 cm.) wide; 21 in. (53 cm.) deep
maker’s metal tag to reverse Post Design, j. grawunder, ‘97, 14/99, made in italy
£3,000-5,000 $4,900-8,100 €3,800-6,300
79
80
82
IVAN MĔSTROVIC (1883-1962)‘DESTINO, VOLONTA DI POTENZA’, A BUST, 1911
marble, on mahogany-veneered base
incised ROMA MCMXI to reverse, label to the underside Ivan Mestrovic, Roma
19Ω in (49.7 cm.) high
£25,000-30,000 $41,000-49,000 €32,000-38,000
By the time of his death in 1962, Ivan Mĕstrovic was acknowledged as one of the leading sculptors of the 20th Century, lauded by August Rodin as “the greatest phenomenon amongst the sculptors”. Born in 1883 in Otavice, a poor village in Croatia, Mĕstrovic moved to Vienna to study sculpture at the Academy of Art in 1901. Here, the young artist was inspired by the energy and ideals expressed by the Vienna Secession and began exhibiting with them in 1903. This was the start of a hugely successful career which saw Mĕstrovic exhibiting in many European cities including London, Paris ,Venice and Rome, and becoming the first living artist to have a solo show at the Metropolitan
Museum of Art in New York in 1947. The turning point of his career was in 1911,when he was awarded the Grand Prix for sculpture for his contribution to the Serbian Pavilion at the International Exhibition in Rome.
The artist created a powerful installation which included pieces from his most ambitious project the Vidovdan Temple; a mausoleum symbolic of the secular struggles for freedom of the Slavian people of Kosovo. The exhibition included emblematic pieces representing characters, such as The Widow, The Memory and slaves, depicted trying to free themselves from chains as in the present lot. Dated 1911, the sculpture was in all probability included in the installation in Rome and represents an important example of Mĕstrovic style during that period. While permeated with the elements of the Secession and Symbolism, the pieces marked the beginning of a monumental and heroic style which Mĕstrovic employed to express his political and spiritual ideals in the plastic medium. The sculpture carries a motto Destino Volonta’ Di Potenza – Destiny, Will to Power – which is a reference to the philosopher Frederic Nietzsche and is a further indication of Mĕstrovic’s ideals.
“Throughout life I carried with me an
incomparable inheritance: poverty;
poverty of my family and my nation.
The first helped me to never be afraid of
material dificulties, for I could never have
less than at the beginning. The second
drove me to persevere in my work, so
that at least in my own field my nation’s
poverty would be diminished”
Ivan Mĕstrovic
81
n*83
LOUIS MAJORELLE (1859-1926)A ‘LES CLÉMATITES’ SALON SUITE, CIRCA 1900
carved walnut, upholstery,
comprising: settee, pair of armchairs and pair of chairs
settee: 42Ω in. (108 cm.) high; 51Ω in. (131 cm.) wide; 25 in. (63 cm.) deep
armchairs: 41Ω in. (105.4 cm.) high; 21Ω in. (54.7 cm.) wide; 20 in. (51 cm.) deep
chairs: 37º in. (94.3 cm.) high; 17Ω in. (44.4 cm.) wide; 16 in. (40.7 cm.) deep (5)
£5,000-8,000 $8,200-13,000 €6,300-10,000
L I T E R A T U R E :
Similar example illustrated:
A. Duncan, Louis Majorelle: Master of Art Deco, London, 1991, pp. 110, 172 figs
21-29.
83
n*84
LOUIS MAJORELLE (1859-1926)AN ÉTAGÈRE, CIRCA 1903
carved walnut, burr-maple, stained burr-maple, burr-walnut,
the upper convex marquetry-inlaid door above a pair of
shaped cupboard doors, enclosing adjustable shelves
63æ in. (162 cm.) high; 24 in. (61 cm.) wide, 17 in. (43.2 cm.) deep
£12,000-18,000 $20,000-29,000 €16,000-23,000
L I T E R A T U R E :
Similar examples illustrated:
A. Duncan, Louis Majorelle: Master of Art Deco, London,
1991, p. 58, figs 13-15;
A. Duncan, The Paris Salons 1895-1914, Volume III: Furniture,
Sufolk, 1996, p. 390.
Comparable examples are held in the permanent collections of the Indianapolis Museum of Art, the Victoria & Albert
Museum, London and the Museum of Fine Art, Boston.
84
85
LÉO LAPORTE-BLAIRSY (1865-1923)A ‘LA PENSÉE’ INKWELL, 1901
edited by Eugene Houdebine, gilt-bronze
12Ω in. (32 cm.) high
signed Léo Laporte-Blairsy
£3,000-5,000 $4,900-8,100 €3,800-6,300
L I T E R A T U R E :
Similar examples illustrated:
A. Duncan, The Paris Salons, 1895-1914, Vol. V: Objets d’Art & Metalware,
Sufolk, 1988, p. 364.
Other examples exhibited:
Galeries Nationales du Grand Palais, La Societé des Artistes Français, Paris, 1901;
Galeries Nationales du Grand Palais, 1900, Paris, 14 March - 6 June 2000.
86
DAUM FRÈRES (EST. 1878)A ‘PERCE-NEIGE’ CAMEO VASE, CIRCA 1900
mottled glass, overlaid, acid-etched and carved
12º in. (31 cm.) high
engraved Daum Nancy, with Cross of Lorraine
£7,500-10,000 $13,000-17,000 €9,500-13,000
87
ÉMILE GALLÉ (1846-1904)A MARQUETERIE-SUR-VERRE INTERCALAIRE VASE, CIRCA 1900
internally decorated glass, with marquetrie, wheel-carved
10 in. (25.5 cm.) high
engraved signature Gallé
£8,000-12,000 $14,000-20,000 €11,000-15,000
85
86
n~*88
EMILE GALLÉ (1846-1904)A TWO-TIER TABLE, CIRCA 1900
carved walnut, the top and undertier inlaid with foliate marquetry
in various woods, including rosewood
30 in. (76 cm.) high; 36æ in. (93.4 cm.) wide; 24 in. (61 cm.) deep
signed in marquetry Gallé
£3,000-5,000 $4,900-8,100 €3,800-6,300
87
n~*89
LOUIS MAJORELLE (1859-1926)A SIDE-CABINET, CIRCA 1900
carved walnut, the lower door inlaid with various woods,
including rosewood, enclosing an adjustable shelf
71º in. (181 cm.) high; 24Ω in. (62.3 cm.) wide; 18Ω in. (47 cm.) deep
£10,000-15,000 $17,000-24,000 €13,000-19,000
88
90
EMILE GALLE (1846-1904)AN ‘ÉCUREUIL’ PLAFONNIER, CIRCA 1900
glass, overlaid and acid-etched with a red squirrel, with brass mounts
19º in. (48.9 cm.) diameter
signed in cameo Gallé
£12,000-18,000 $20,000-29,000 €16,000-23,000
L I T E R A T U R E :
Similar example illustrated:
A. Duncan, G. De Bartha, Gallé Lamps, Woodbridge, 2014, p. 223, pls 9.190-192.
(view from underside)
89
91
GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘LOUPS DANS LA NEIGE’ VASE, DESIGNED 1926
pâte-de-verre
9æ in. (24.8 cm.) high
signed in the mould G. ARGY-ROUSSEAU 18812
£15,000-20,000 $25,000-33,000 €19,000-25,000
P R O V E N A N C E :
Christie’s London, 20th Century Decorative Art & Design,
7 April 2009, lot 37.
L I T E R A T U R E :
Similar example illustrated:
J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art, London,
1991, p. 208.
90
92 (view from underside)
93 (view from underside)
93
GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘GROSSE FLEUR’ PLAFONNIER, DESIGNED 1923
pâte-de-verre
12º in. (31 cm.) diameter
signed in the mould G. Argy-Rousseau
£6,000-8,000 $9,800-13,000 €7,600-10,000
L I T E R A T U R E :
Similar example illustrated:
J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art,
London, 1991, p. 194.
PROPERTY FROM AN ITALIAN PRIVATE COLLECTION
92
GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘GROSSE FLEUR’ PLAFONNIER, DESIGNED 1923
pâte-de-verre
12º in. (31 cm.) diameter
moulded G. Argy-Rousseau
£6,000-8,000 $9,800-13,000 €7,600-10,000
L I T E R A T U R E :
Similar example illustrated:
J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art,
London, 1991, p. 194.
94
GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘GROSSE FLEUR’ PLAFONNIER, DESIGNED 1923
pâte-de-verre
12º in. (31 cm.) diameter
signed in the mould G. Argy-Rousseau
£6,000-8,000 $9,800-13,000 €7,600-10,000
L I T E R A T U R E :
Similar example illustrated:
J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art,
London, 1991, p. 194.
9194 (view from underside)
PROPERTY FROM A DISTINGUISHED INTERNATIONAL
PRIVATE COLLECTION (LOTS 95-120)
95
ÉMILE GALLÉ (1846-1904)A ‘NÉNUPHARS’ VASE, CIRCA 1920
glass, mould-blown, overlaid and acid-etched in relief
10º in. (26 cm.) high
signed in cameo Gallé
£5,000-7,000 $8,200-11,000 €6,300-8,800
96
ÉMILE GALLÉ (1846-1904)A ‘CALLA LILY’ VASE, CIRCA 1920
glass, mould-blown, acid-etched and triple overlaid
14 in. (35.5 cm.) high
signed in cameo Gallé
£15,000-20,000 $25,000-33,000 €19,000-25,000
P R O V E N A N C E :
Christie’s London, British Decorative Arts, 8 June 1993, lot 11.
92
93
94
98
ÉMILE GALLÉ (1846-1904)A ‘PEONY’ CAMEO VASE, CIRCA 1900
glass, overlaid and acid-etched, wheel-carved
10º in. (26 cm.) high
cameo Gallé
£10,000-15,000 $17,000-24,000 €13,000-19,000
97
ÉMILE GALLÉ (1846-1904)A MARQUETERIE-SUR-VERRE GOBLET, CIRCA 1900
internally decorated glass, overlaid and acid-etched,
with foil inclusions
5 in. (13 cm.) high
signed Emile Gallé
£6,000-8,000 $9,800-13,000 €7,600-10,000
P R O V E N A N C E :
Christie’s New York, 20th Century Decorative Arts,
18 March 1989, lot 12.
L I T E R A T U R E :
Similar example illustrated:
A. Duncan, G. De Bartha, Glass by Gallé, London, 1984,
p. 100, pl. 142.
95
96
99
EMILE GALLÉ (1846-1904)A ‘GERANIUM’ CAMEO VASE, CIRCA 1900
glass, of compressed form, overlaid, acid-etched and enamelled,
with gilt highlights
8Ω in. (21.5 cm.) high
cameo Gallé
£2,000-3,000 $3,300-4,900 €2,600-3,800
100
EMILE GALLÉ (1846-1904)A ‘JASMINE’ CAMEO VASE, CIRCA 1900
glass, with trefoil neck, overlaid, acid-etched and enamelled
8Ω in. (21.5 cm.) high
cameo Gallé
£1,500-2,000 $2,500-3,300 €1,900-2,500
97
101
DAUM FRéRES (EST.1878)A ‘PAYSAGE’ CAMEO VASE, CIRCA 1900
mottled glass, acid-etched and enamelled,
with trefoil neck and gilt highlights to rims
8 in. (20 cm.) high
traces of gilt-painted Daum Nancy, with Cross of Lorraine
£9,000-12,000 $15,000-20,000 €12,000-15,000
98
103
DAUM FRéRES (EST. 1878)A ‘TULIPE’ CAMEO VASE, CIRCA 1903
glass, double overlaid and acid-etched, with martelé decoration
8 in. (20 cm.) high
engraved Daum Nancy, with Cross of Lorraine
£3,000-5,000 $4,900-8,100 €3,800-6,300
102
DAUM FRéRES (EST. (1878)A ‘WISTERIA’ CAMEO VASE, CIRCA 1900
glass, overlaid, acid-etched and carved, against a martelé ground
9 in. (22.9 cm.) high
engraved DAUM NANCY
£4,000-6,000 $6,600-9,800 €5,100-7,500
102 103
99
104
DAUM FRERES (EST. 1878)A ‘CROCUS’ CAMEO VASE, CIRCA 1910
internally decorated glass, overlaid, acid-etched and carved,
with martelé
12 in. (30.5 cm.) high
cameo DAUM NANCY, with Cross of Lorraine
£5,000-7,000 $8,200-11,000 €6,300-8,800
105
DAUM FRéRES (EST. 1878)A ‘ROSE’ CAMEO VASE, CIRCA 1910
mottled glass, overlaid, acid-etched and wheel-carved
3Ω in. (9 cm.) high
wheel-engraved Daum Nancy, with Cross of Lorraine
£3,000-4,000 $4,900-6,500 €3,800-5,000
P R O V E N A N C E :
Christie’s London, Decorative Arts, 16 February 1994, lot 341.
104 105
100
107
DAUM FRéRES (EST. 1878)A ‘MARGUERITES’ CAMEO VASE, CIRCA 1910
internally decorated glass, overlaid, acid-etched and carved,
with appliques
11 in. (28 cm.) high
wheel-engraved DAUM NANCY, with Cross of Lorraine
£4,000-6,000 $6,600-9,800 €5,100-7,500
106
DAUM FRéRES (EST. 1878)A ‘VIOLETS’ CAMEO VASE, CIRCA 1900
mottled glass, overlaid, acid-etched and enamelled, with gilt highlights
9¬ in. (24.5 cm.) high
gilt Daum Nancy, with Cross of Lorraine
£3,000-5,000 $4,900-8,100 €3,800-6,300
P R O V E N A N C E :
Sotheby’s London, 3 May 1991, lot 99.
110
DAUM FRéRES (EST. 1878)A ‘FRUITING VINE’ CAMEO VASE, CIRCA 1910
internally decorated glass, overlaid with vitrified cameo and acid-etched,
with appliques
21Ω in. (54.5 cm.) high
cameo DAUM NANCY, with Cross of Lorraine
£3,000-5,000 $4,900-8,100 €3,800-6,300
109
DAUM FRéRES (EST. 1878)A ‘ MARGUERITES’ VASE, CIRCA 1910
internally decorated glass, overlaid, acid-etched and carved,
and with appliques
17 in. (43.2 cm.) high
engraved DAUM NANCY, with Cross of Lorraine
£2,000-3,000 $3,300-4,900 €2,600-3,800
108
DAUM FRéRES (EST. 1878)A ‘VIOLETS’ CAMEO VASE, CIRCA 1900
mottled glass, overlaid, acid-etched and enamelled, with gilt highlights
21æ in. (55.3 cm.) high
cameo DAUM NANCY, with Cross of Lorraine
£3,000-5,000 $4,900-8,100 €3,800-6,300
106
107
101
108
109
110
111
DAUM FRéRES (EST. 1878)A ‘SWEETPEA’ FIRE-POLISHED CAMEO VASE, CIRCA 1900
opalescent glass, overlaid and acid-etched, against a martelé ground
15æ in. (40.5 cm.) high
wheel-engraved DAUM NANCY, with Cross of Lorraine
£4,000-6,000 $6,600-9,800 €5,100-7,500
P R O V E N A N C E :
Christie’s New York, Barbra Streisand, Part I, 3 March 1994, lot 9.
102
112
DAUM FRéRES (EST. 1878)A ‘PISSENLIT’ FIRE-POLISHED CAMEO VASE, CIRCA 1900
opalescent glass, overlaid and acid-etched, against a martelé ground
19Ω in. (49.5 cm.) high
engraved DAUM NANCY, with Cross of Lorraine
£5,000-7,000 $8,200-11,000 €6,300-8,800
113
DAUM FRéRES (EST. 1878)A ‘CLEMTATIS’ FIRE-POLISHED CAMEO VASE, CIRCA 1900
opalescent glass, over-laid and acid-etched, against a martelé ground
23æ in. (60.4 cm.) high
engraved DAUM NANCY, with Cross of Lorraine
£5,000-7,000 $8,200-11,000 €6,300-8,800
103
104
114
115
116
114
GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘CHRYSANTHÈMES’ VASE, DESIGNED 1919
pâte-de-verre
5æ in. (14.5 cm.) high
signed in the mould G. Argy-Rousseau, 8286
£2,000-3,000 $3,300-4,900 €2,600-3,800
L I T E R A T U R E :
Similar example illustrated:
J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art,
London, 1991, p. 180.
115
GABRIEL ARGY-ROUSSEAU (1883-1953)A ‘MASQUES’ SMALL VASE, DESIGNED 1914
pâte-de-verre
4Ω in. (11.5 cm.) high
signed in the mould G. Argy-Rousseau, France
£1,200-1,800 $2,000-2,900 €1,600-2,300
L I T E R A T U R E :
Similar example illustrated:
J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art,
London, 1991, p. 178.
116
GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘CRABES ET ALGUES’ VASE, DESIGNED 1919
pâte de verre
6 in. (15.5 cm.) high
signed in the mould G. Argy-Rousseau, France
£3,000-5,000 $4,900-8,100 €3,800-6,300
L I T E R A T U R E :
Similar example illustrated:
J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art,
London, 1991, p. 181.
105
118
GABRIEL ARGY-ROUSSEAU (1885-1953)‘LE JARDIN DES HESPÉRIDES’ VASE, DESIGNED 1926
pâte-de-verre
9æ in. (24.7 cm.) high
signed in the mould G. Argy-Rousseau and France
£8,000-12,000 $14,000-20,000 €11,000-15,000
L I T E R A T U R E :
Similar example illustrated:
J. Bloch-Dermant, G. Argy-Rousseau: Glassware as Art,
London, 1991, p. 182.
117
GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘LA COUPE FLEURIE’ VEILLEUSE, DESIGNED 1923
pâte-de-verre, wrought-iron mount with gilt highlights
6 in. (15.2 cm.) high
signed in the mould G. Argy-Rousseau, France
£4,000-6,000 $6,600-9,800 €5,100-7,500
L I T E R A T U R E :
Similar example illustrated:
J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art,
London, 1991, p. 193.
118
117
106
120
GUSTAV GURSCHNER (1873-1971)A TABLE LAMP, CIRCA 1900
patinated bronze, with mottled glass shade
23æ in. (60.5 cm.) high
£5,000-7,000 $8,200-11,000 €6,300-8,800
P R O V E N A N C E :
Sotheby’s London, 19 December 1986, lot 288.
119
JOSEF LORENZL (1892-1950)‘DIANA’, CIRCA 1920
silvered and lacquered bronze
18 in. (45.8 cm.) high
signed in the cast Lorenzl
£4,000-6,000 $6,600-9,800 €5,100-7,500
L I T E R A T U R E :
Similar example illustrated:
B. Catley, Art Deco and Other Figures, Woodbridge, 1978, p. 209.
VARIOUS PROPERTIES
n~121
LUDWIG SCHMITT (AUSTRIAN) A CABINET, CIRCA 1900
macassar ebony, rosewood, marquetry,
mother-of-pearl and brass inlay
70 in. (177.5 cm.) high; 70¡ in. (180 cm.) wide; 18 in. (46 cm.) deep
maker’s label to interior
£7,000-10,000 $12,000-16,000 €8,800-13,000
107
122
C. F. A. VOYSEY (1857-1941)A RARE TIMEPIECE, EARLY 20TH CENTURY
oak, with a pewter-inlaid dial reading TEMPUS FUGIT (restorations)
19æ in. (50 cm.) high
£30,000-50,000 $49,000-81,000 €38,000-63,000
L I T E R A T U R E :
Similar examples illlustrated:
The Studio, vol. 7, May 1896, p. 126;
John Brandon-Jones, C. F. A. Voysey: Architect and Designer, London, 1978, p. 84;
J. Cooper, Victorian and Edwardian Furniture and Interiors, London, 1978, pl. 481;
D. Simpson, C. F. A. Voysey: An Architect of Individuality, London 1979;
W. Hitchmough, C. F. A. Voysey, London, 2004, p. 51.
The prolific designer and architect Charles Francis Annesley Voysey is today celebrated as one of the most important designers of the turn of the twentieth century. The first clock of this rare form was designed in 1895 by Voysey for his own home, The Orchard, in Chorleywood. With a decorated face, the design for this piece is now in the collection of the R.I.B.A. London, and the clock itself is in the Victoria & Albert Museum, London. Another decorated example is in the Virginia Museum of Fine Arts, Richmond, USA. Of the very few oak examples known, one is illustrated in Cooper (op.cit., 1978, where listed as having been made by Liberty & Co, which is no longer considered to be the case). Only two other variants are known, one in ebony and one in aluminium.
As Simpson notes (p. 58), this clock is one of the most distinctive and best known of Voysey’s output. The current piece is a welcome addition to the scarce examples known.
108
109
110
n123
ARCHIBALD KNOX (1864-1933)AN IMPORTANT SIDE TABLE, 1902
pine, pewter inlay, the rear backboard above a rectangular top with central shaped pewter inset flanked by open
end apertures, on a shaped base
38Ω in. (98 cm.) high; 53æ in. (136.cm.) wide; 17æ in. (45 cm.) deep
the backboard carved ‘A.Knox’ and ‘1902’
£15,000-20,000 $25,000-33,000 €19,000-25,000
It was during his years in Sulby, 1900 through 1904, that Archibald Knox was at the peak of his creativity while working as a designer for Liberty & Co, London. Though Knox is not known to have produced commercial furniture designs, it appears as though he commissioned some, likely from a local craftsman. This worktable belongs to that small grouping. Included among them is a wooden clock case, inscribed designed by Archibald Knox. Sulby I.O.M. A.D. 1904 in his distinctive style, now in the Manx Museum and an intricately crafted chest that might have housed drawings and drafting materials inscribed A Knox 1903, also in typical Knox fashion, now in a private collection. Besides its inscription that links this table to Knox is its design sensibility. Its distinctive overall outline is similar to some of his great clock designs where he uses elegant sculpted flanges; the incorporates his signature entrelacs carved into the backboard and includes an inlaid pewter plaque on the table’s surface that is nearly identical in shape to those used in a variety of graphic designs throughout his career. As such the worktable is a fascinating example of Knox’s creative versatility.
Dr. Stephen A. Martin
Ardmore, PennsylvaniaEditor, Archibald Knox, London, 2001.
The present table was recently discovered by the current owner as part of the residual contents of a newly-acquired cottage in Sulby, Isle of Man, located opposite the house where Knox lived between 1900 and 1904.
111
112
n125
W. A. S. BENSON (1854-1924)A EIGHT-BRANCH FLOOR-STANDING CANDELABRUM, CIRCA 1900
brass and copper
60 in. (152.5 cm.) high
£6,000-9,000 $9,800-15,000 €7,600-11,000
L I T E R A T U R E :
Similar stands illustrated:
I Hamerton (ed.), W. A. S. Benson, Arts and Crafts Luminary
and Pioneer of Modern Design, Woodbridge, 2005, p. 71,
pl. 44, p, 249, pls 7 and 8, p. 259 pls 19 and 20.
The foot of the stand is similar in form to stands which Benson employed for kettle-stand model 558, and lamp-stand models 226, 226B, 919/s and 1074/s. It is also closely comparable to his original coat stands used in the Victoria & Albert Museum, London.
124
MARTIN BROTHERS (BRITISH)AN EARLY MANTLE CLOCK, 1878-1879
glazed stoneware, flanked by grotesque beasts,
the front incised with a flying house martin,
with a decorated reverse
12Ω in. (31.8 cm.) high
incised R. W. Martin - Southall 8 - 1878 and 79
£3,000-5,000 $4,900-8,100 €3,800-6,300
113
n126
PHILIP WEBB (1831-1915) FOR MORRIS & CO.A SIDEBOARD, CIRCA 1870
walnut, with brass pulls
60 in. (152.5 cm.) high; 62 in. (157.5 cm.) wide; 17º in. (43.5 cm.) deep
£8,000-12,000 $14,000-20,000 €11,000-15,000
L I T E R A T U R E :
A drawing of a similar example illustrated:
J. Cooper, Victorian and Edwardian Furniture and Interiors,
London, 1987, pl. 418.
The lot featured in the Morris & Company catalogue and was described as “No. 181. Walnut sideboard desgined by Mr. Philip Webb 5 ft. 2 in. wide x 5 ft. 2 in. high” and priced at £25/0/0.
114
nW127
MORRIS & CO. (1875-1940), DESIGNED BY JOHN HENRY DEARLE (1859-1932)A ‘MONTREAL’ CARPET, DESIGNED 1890-1891, MANUFACTURED CIRCA 1926, COMMISSIONED BY TOM E. BARR-SMITH, FOR THE SMOKING ROOM AT THE ADELAIDE CLUB, ADELAIDE, SOUTH AUSTRALIA
hand-knotted wool
185Ω in. (471 cm.) long; 177 in. (449.5 cm.) wide
£20,000-30,000 $33,000-49,000 €26,000-38,000
P R O V E N A N C E :
Commissioned by Tom E. Barr-Smith for the Adelaide Club (until 1985);
Christie’s London, 20th Century Decorative Arts, 16 November 1994, lot 63;
Private Collection, New York.
L I T E R A T U R E :
The Adelaide Club, Minutes from the Committee Meetings, 10 February 1926 and 27 October 1926;
The Adelaide Club, Annual General Meeting, Committee’s Report, for the year ending 31 December 1926
Christopher Menz, Morris & Company, Pre-Raphaelites and the Arts & Crafts Movement in South Australia,
Art Gallery of South Australia, 4 February - 8 May 1994, pp. 44-46.
This carpet was ordered by Tom E. Barr-Smith in February 1926 at the request of the Adelaide Club (of which he was then Vice President) and was presented by him as a gift to the Club in late October of that year.
Tom E. Barr-Smith was the eldest son of Robert and Joanna Barr-Smith, a family that was perhaps the most important and committed patrons of Morris & Co. from the 1880s through to the 1920s. Their three Adelaide homes - Torrens Park, Auchendarroch and Birkdale (later to become the home of Tom Barr-Smith) were all extensively furnished with Morris & Co. fabrics, either ordered through the mail or during visits to England. Joanna was a friend of May Morris and this was no doubt an influential factor in directing her taste, at least in the early days of the Barr-Smith’s patronage.
Production at the Merton Abbey workshops ceased in 1912, and subsequent manufacture was transferred to the Royal Wilton Carpet Factory. This carpet, from the nature of both its construction and the materials used, indicate that India was the most likely place of its manufacture, where there existed a long tradition of hand-knotted carpet production. Given the ultimate destination of the carpet, it would seem logical that a decision would have been made to have it woven in India rather than in England, thereby reducing the delivery time by at least two months.
The ‘Montreal’ design was originally conceived by J.H. Dearle in the early 1890s and was first used at that date by Morris & Co. for the Drawing Room at Stanmore Hall, owned by William Knox D’Arcy. The design continued to be available through Morris & Co. at least until the 1920s, with studio copies of this and other designs on display at the Morris & Co. shop in Oxford Street, from which prospective clients could make their selection for carpets. A copy of this design was given to the Victoria & Albert Museum and remains in the permanent collection. Another example of this design was commissioned by Peterhouse College, Cambridge, against a blue ground.
115
116
128
DR CHRISTOPHER DRESSER (1834-1904) FOR HUKIN AND HEATHA RARE ‘CROW’S-FOOT’ CLARET JUG, MODEL 4321, 1879
electroplate, cut-glass
9Ω in. (24 cm.) high
stamped H & H, with registration diamond and 4321
£5,000-7,000 $8,200-11,000 €6,300-8,800
L I T E R A T U R E :
Similar example with clear glass body illustrated:
M. Whiteway (ed.), Christopher Dresser, A Design Revolution, London,
2004, p. 146, pl. 180.
This is an unusual example, with a cut glass body rather than the usual clear glass body. The only other documented of this form is held in the Shefield Museum, accession number 1978.525.
117
n129
DR CHRISTOPHER DRESSER (1834-1904), FOR THE ART FURNISHERS’ ALLIANCE, ATTRIBUTED TOA PAIR OF CHAIRS, CIRCA 1875
executed by W. Booty, ebonised walnut, gilt highlights and upholstery
35Ω in. (90 cm.) high; 18√ in. (48 cm.) wide; 20 in. (51 cm.) deep (2)
£10,000-15,000 $17,000-24,000 €13,000-19,000
Another example of this chair, in an international collection, is labelled W. Booty, London and Dr Christopher Dresser is known to have designed for them. The form of the chair has much in common with chairs Dresser designed for Bushloe House, while the decorative motifs employed are similar to those employed on Dresser’s highly regarded ‘Elephant’ chair (cf. M. Whiteway, Christopher Dresser 1834-1904, Milan, 2001, pp. 158 and 160, pls 187 and 191).
n130
E. W. GODWIN (1833-1886)AN OCCASIONAL TABLE, DESIGNED 1867-1868
ebonised mahogany, coromandel-veneered, parcel-gilt highlights
28Ω in. (72.5 cm.) high; 20º in. (51.5 cm.) square
£6,000-9,000 $9,800-15,000 €7,600-11,000
L I T E R A T U R E :
Similar examples illustrated:
E. Aslin, E. W. Godwin, Furniture and Interior Decoration, Fine Art Society, London,
1986, pp. 51 and 52, figs 18 and 19;
S. Weber Soros, The Secular Furniture of E.W. Godwin, Yale, 1999, p. 143;
S. Weber Soros, E. W. Godwin, Aesthetic Movement Architect and Designer, Yale, 1999,
p. 10, fig. ii and p. 251, fig. 8-39;
G. Cooke, A. Stapleton, D. Park Curry, Whistler & Godwin, Fine Art Society, London,
2001, pp. 69 and 70.
A further example of this model was sold Christie’s London: 20th Century Decorative Art & Design, 23 October 2012, lot 119.
118
119
n131
E. W. GODWIN (1833-1886) FOR WILLIAM WATTA SIDE CHAIR, CIRCA 1880
ebonised mahogany, upholstery
33 in. (83.5 cm.) high; 17 in. (43 cm.) wide; 19 in. (48 cm.) deep
£7,000-10,000 $12,000-16,000 €8,800-13,000
L I T E R A T U R E :
W. Watt, Art Furniture from Designs by E. W. Godwin, F. S. A, London,
pl. 6 (drawing);
S. Soros, The Secular Furniture of E. W. Godwin, New Haven, 1999,
no. 137 (variant).
An identical example, bearing a maker’s plaque, was sold Sotheby’s London, 20 March 2008, Lot 34.
120
n132
GOTHIC REVIVALA IMPRESSIVE ARCHITECTURAL CHANDELIER, 1870s
wrought and painted steel, the upper corona above
linked chain suspension, the cylidrical frame with
medieval turrets and armorial crests
38 in. (96.5 cm.) diameter
£8,000-12,000 $14,000-20,000 €11,000-15,000
P R O V E N A N C E :
The Drawing Room, Lingholm, Cumbria.
This chandelier is from Lingholm, in the Lake District, England, a house designed by Alfred Waterhouse in the 1870s, which overlooks Derwentwater. The house was designed for Colonel J. Greenall.
n133
ERNEST GIMSON (1864-1919)A FINE CABINET, COMMISSIONED BY ADAM BLACK, 1917
solid macassar ebony, burr-yew, with elaborate cornice
and shaped astragal bars, the canted cupboard doors
enclosing a three shelves with rear plate-rest, the
lower section with a pair of central cupboard doors
enclosing a shelf
87¬ in. (222.5 cm.) high; 49¬ in. (126 cm.) wide;
18Ω in. (47 cm.) deep (max.)
£15,000-25,000 $25,000-41,000 €19,000-31,000
The original signed design drawing by Gimson for this cabinet, dated August 1917, is held in the collection of Cheltenham Art Gallery & Museum, Gloucestershire.
The present cabinet, with its use of high quality timbers matched with the finest hand-craftsmanship, exemplifies the aims of the Cotswold School of craftsmen. The Arts and Crafts ideals of truth to materials, honesty of construction and fitness for purpose are fundamental principles of Gimson’s work, together with that of his close associates Ernest and Sidney Barnsley. Produced at his Daneway workshop, this large-scale commission was produced at a time Gimson was beset with dificulties in workshops in operation throughout the First World War. Details regarding its patron and commission remain elusive but its bold styling and presence underline that it was a high-profile work, intended for prominent display. Described by Sir Nikolaus Pevsner as ‘the greatest of the English artist-craftsman’, Gimsons’s high calibre output and fastidious attention to detail, clearly demonstrated on the current piece, provided an inspiration both for contemporaries and successive generations of craftsmen and designers.
121
122
123
LA
LIQ
UE
124
134
RENE LALIQUE (1860-1945)A ‘PERRUCHES’ VASE, NO. 876, DESIGNED 1919
teal green glass, with white staining
10 º in (26 cm.) high
engraved R. Lalique France, moulded R. LALIQUE
£18,000-22,000 $30,000-36,000 €23,000-28,000
L I T E R A T U R E :
Simlar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 410.
125
135
RENE LALIQUE (1860-1945)A ‘PERRUCHES’ VASE, NO. 876, DESIGNED 1919
electric blue glass, with white staining
10º in. (26 cm.) high
engraved R. Lalique No. 876
£25,000-30,000 $41,000-49,000 €32,000-38,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 410.
136
RENE LALIQUE (1860-1945)A ‘SERPENT’ VASE, NO. 896, DESIGNED 1924
clear and frosted glass, with traces of sepia staining
9æ in. (24.7 cm.) high
intaglio R. LALIQUE
£12,000-18,000 $20,000-29,000 €16,000-23,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 416.
126
137
RENE LALIQUE (1860-1945)A ‘SERPENT’ VASE, NO. 896, DESIGNED 1924
deep amber glass
9√ in. (25 cm.) high
intaglio moulded R. LALIQUE
£20,000-30,000 $33,000-49,000 €26,000-38,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 416.
127
128
*138
RENE LALIQUE (1860-1945)AN ‘ELEPHANTES’ COUPE, NO. 411, DESIGNED 1930
clear and frosted glass
2æ in. (7 cm.) high, 15º in. (38.7 cm.) diameter
wheel-carved R. Lalique France
£10,000-15,000 $17,000-24,000 €13,000-19,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 300.
139
RENE LALIQUE (1860-1945)A PAIR OF ‘MERLES ET RAISINS’ PANELS, NO. 4-A, DESIGNED 1928
clear and frosted glass, in later frames
20Ω in. (52 cm.) high; 5º in. (13 cm.) wide
stencilled R. LALIQUE FRANCE (2)
£8,000-12,000 $14,000-20,000 €11,000-15,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 866.
138 (detail)
138
129
130
140
RENE LALIQUE (1860-1945)A ‘BACCHANTES’ VASE, NO. 997, DESIGNED 1927
clear and frosted glass, with sepia staining, on a patinated bronze modern base
overall 12æ in. (32.4 cm.) high; vase 9æ in. (24.7 cm.) high
stencilled R. LALIQUE FRANCE
£10,000-15,000 $17,000-24,000 €13,000-19,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre, Bologne, 2011, p. 438.
131
141
RENE LALIQUE (1860-1945)A ‘OISEAU DE FEU’ CENTREPIECE, NO. 1111, DESIGNED 1922
clear and frosted glass, on bronze base,
17º in. (43.8 cm.) wide (2)
£8,000-12,000 $14,000-20,000 €11,000-15,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre, Bologne, 2011, p. 481.
132
142
RENE LALIQUE (1860-1945)A ‘SOPHORA’ VASE, NO. 977, DESIGNED 1926
deep amber glass, with white staining
10 in. (25.4 cm.) high
stencilled R. LALIQUE FRANCE
£12,000-18,000 $20,000-29,000 €16,000-23,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 434.
133
PROPERTY FROM A PRIVATE COLLECTION, PARIS
143
RENE LALIQUE (1860-1940)A ‘POISSONS’ VASE, NO. 925, DESIGNED 1921
emerald green glass
9º in. (23.5 cm.) high
moulded R. LALIQUE
£10,000-15,000 $17,000-24,000 €13,000-19,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 422.
PROPERTY FROM A DISTINGUISHED
INTERNATIONAL PRIVATE COLLECTION
144
RENE LALIQUE (1860-1945)A ‘DEUX SIRÈNES’ BOX COVER AND BASE, NO. 43, DESIGNED 1921
butterscotch / opalescent amber glass, with original
cardboard base
10º in. (26 cm.) diameter
moulded R. LALIQUE
£1,500-2,000 $2,500-3,300 €1,900-2,500
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de
l’Oeuvre de Verre, Bologne, 2011, p. 230.
VARIOUS PROPERTIES
145
RENE LALIQUE (1860-1945)AN ‘ESCARGOT’ VASE, NO. 931, DESIGNED 1920
electric blue glass
8º in. (21 cm.) high
engraved R. Lalique (faintly)
£12,000-18,000 $20,000-29,000 €16,000-23,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de
l’Oeuvre de Verre, Bologne, 2011, p. 424.
134
146
RENE LALIQUE (1860-1945)A ‘SAUTERELLES’ VASE, NO. 888, DESIGNED 1912
electric blue glass, with white staining
10æ in. (27.3 cm.) high
underside engraved R. Lalique
£18,000-22,000 $30,000-36,000 €23,000-28,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de
Verre, Bologne, 2011, p. 414.
135
136
PROPERTY FROM A PRIVATE COLLECTION, PARIS
147
RENE LALIQUE (1860-1940)A ‘PERRUCHES’ VASE, NO. 876, DESIGNED 1919
deep amber glass, with white staining
10 in. (25.5 cm.) high
moulded R. LALIQUE
£20,000-25,000 $33,000-41,000 €26,000-31,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 410.
VARIOUS PROPERTIES
148
RENE LALIQUE (1860-1945)A PAIR OF ‘SOLIEL’ PLAFONNIERS, NO. 2466, DESIGNED 1926
opalescent glass
12 in. (30.5 cm.) diameter
wheel-engraved R. LALIQUE FRANCE (2)
£12,000-18,000 $20,000-29,000€16,000-23,000
L I T E R A T U R E :
Simliar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 674.
(views from underside)
137
138
149
RENE LALIQUE (1860-1945)A ‘PERRUCHES’ VASE, NO. 876, DESIGNED 1919
double cased opalescent glass, with blue staining
10 in. (25.4 cm.) high
engraved R. Lalique France No. 876 and faintly moulded R. LALIQUE
£15,000-20,000 $25,000-33,000€19,000-25,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 410.
139
150
RENE LALIQUE (1860-1945)AN ‘ALICANTE’ VASE, NO. 998, DESIGNED 1927
cased opalescent glass, with blue staining
10¡ in. (26.5 cm.) high
engraved R. Lalique France No. 998
£25,000-30,000 $41,000-49,000€32,000-38,000
L I T E R A T U R E :
Similar example illustrated:
F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,
Bologne, 2011, p. 438.
END OF SALE
Sale Information
Highlights from 20/21 Online Lalique Sale16 - 30 OctoberChristies.com/20/21Design
Viewing:
85 Old Brompton Road
London SW7 3LD
Friday 24 October 9.00 am - 5.00 pm
Saturday 25 October 11.00 am - 5.00 pm
Sunday 26 October 11.00 am - 5.00 pm
Monday 27 October 9.00 am - 7.30 pm
Tuesday 28 October 9.00 am - 12.00 noon
Contact Information:
Joy McCall
+44 (0)20 7839 9060
This is not a sale catalogue for the auction. This summary is
provided as a courtesy to you. Please see the catalogue for
full descriptions, the conditions of sale and other important
sale information regarding the auction.
BID ONLINE Chr is t ies .com/2021Design
RONCE VASE, NO. 946DESIGNED 1921, DEEP AMBER
£2,000-3,000 $3,300-4,900 €2,600-3,800
P R O V E N A N C E :
Property from a Private Collection
RONCE VASE, NO. 946DESIGNED 1921, RED AND WHITE STAINED
£3,000-5,000 $4,900-8,100 €3,800-6,300
P R O V E N A N C E :
Property from a Private Collection
POISSONS VASE, NO. 925DESIGNED 1921, ELECTRIC BLUE
£6,000-8,000 $9,800-13,000 €7,600-10,000
ORMEAUX VASE, NO. 984DESIGNED 1926, CASED JADE GREEN
£3,000-5,000 $4,900-8,100 €3,800-6,300
MOISSAC VASE, NO. 992DESIGNED 1927, TURQUOISE
£2,000-3,000 $3,300-4,900 €2,600-3,800
P R O V E N A N C E :
Property from a Private Collection
ARCHERS VASE, NO. 893DESIGNED 1921, DEEP AMBER
£6,000-8,000 $9,800-13,000 €7,600-10,000
TOURBILLONS VASE, NO. 973DESIGNED 1926, YELLOW
£8,000-12,000 $14,000-20,000 €11,000-15,000
ESTREL VASE, NO. 941DESIGNED 1923, DEEP AMBER AND
WHITE STAINED
£1,500-2,000 $2,500-3,300 €1,900-2,500
BELIERS VASE, NO. 904DESIGNED 1925, SMOKY, WITH SEPIA STAINING
£1,400-1,800 $2,300-2,900 €1,800-2,300
DAVOS VASE, NO. 1079DESIGNED 1932, ALEXANDRITE
£3,000-5,000 $4,900-8,100 €3,800-6,300
ONLINE LAL IQUE 16-30 OCTOBER 2014
SIX FIGURINES ET MASQUES VASE, NO. 886DESIGNED 1912, CLEAR, FROSTED AND SEPIA STAINED
£1,000-1,500 $1,700-2,400 €1,300-1,900
FOUGéRES VASE, NO. 923DESIGNED 1912, CLEAR, FROSTED AND GREY STAINED
£800-1,200 $1,400-2,000 €1,100-1,500
AVALLON VASE, NO. 986DESIGNED 1927, CLEAR, FROSTED AND BLUE STAINED
£1,000-1,500 $1,700-2,400 €1,300-1,900
PENTHIEVRE VASE, NO. 1011DESIGNED 1928, CLEAR AND FROSTED
£4,000-6,000 $6,600-9,800 €5,100-7,500
AVALLON VASE, NO. 986DESIGNED 1927, EXECUTED POST-1945, CLEAR AND FROSTED
£1,000-1,500 $1,700-2,400 €1,300-1,900
DAHLIAS VASE, NO. 938DESIGNED 1923, CLEAR, FROSTED, BLUE STAINED AND BLACK ENAMELLED
£2,000-3,000 $3,300-4,900 €2,600-3,800
FORMOSE VASE, NO. 934DESIGNED 1924, CLEAR, FROSTED AND GREEN STAINED
£1,500-2,000 $2,500-3,300 €1,900-2,500
SOPHORA VASE, NO. 977DESIGNED 1926, GREY WITH WHITE STAINING
£4,000-6,000 $6,600-9,800 €5,100-7,500
CHEVREUSE VASE, NO. 1081DESIGNED 1930, CLEAR AND FROSTED
£800-1,200 $1,400-2,000 €1,100-1,500
DOMRÉMY VASE, NO. 979DESIGNED 1926, CLEAR AND FROSTED
£800-1,200 $1,400-2,000 €1,100-1,500
BID ONLINE Chr is t ies .com/2021Design
PAPILLONS VASE, NO. 10-899DESIGNED 1936, CLEAR, FROSTED AND BLUE STAINED
£4,000-6,000 $6,600-9,800 €5,100-7,500
P R O V E N A N C E :
Property from a Private Collection
FLAME VASE, NO. 12233DESIGNED 1951, CLEAR AND FROSTED
£3,000-4,000 $4,900-6,500 €3,800-5,000
MASQUES DECANTER, NO. 3156DESIGNED 1913, CLEAR, FROSTED AND SEPIA STAINED
£2,000-3,000 $3,300-4,900 €2,600-3,800
SIX SIX FIGURINES GLASSES, NO. 3400DESIGNED 1911, CLEAR, FROSTED AND SEPIA STAINED (6)
£1,000-1,500 $1,700-2,400 €1,300-1,900
JAFFA TRAY, NO. 3680DESIGNED 1931, CLEAR AND FROSTED
£1,000-1,500 $1,700-2,400 €1,300-1,900
FOUGéRES ICE BUCKET, NO. 3701DESIGNED 1924, CLEAR, FROSTED AND GREEN STAINED
£2,600-3,000 $4,300-4,900 €3,300-3,800
CHÊNE LEMONADE SETDESIGNED POST-WAR, CLEAR AND FROSTED, COMPRISING PITCHER AND SIX GLASSES
(7)
£1,000-1,500 $1,700-2,400 €1,300-1,900
BACCHANTES VASE, NO. 997DESIGNED 1927, EXECUTED POST-WAR, CLEAR AND FROSTED
£1,200-1,800 $2,000-2,900 €1,600-2,300
CARIATIDES VASE, NO. 924DESIGNED 1920, CLEAR, FROSTED AND GREEN STAINED (2)
£1,000-1,500 $1,700-2,400 €1,300-1,900
P R O V E N A N C E :
Property from a Private Collection
MÉANDRES VASE, NO. 10-876DESIGNED 1934, EXECUTED POST-WAR, CLEAR AND FROSTED
£1,000-1,500 $1,700-2,400 €1,300-1,900
ST HUBERT JARDINIéRE, NO. 3461DESIGNED 1927, CLEAR AND FROSTED
£1,500-2,000 $2,500-3,300 €1,900-2,500
THREE ST JAMES CANDLESTICKS NO. 2126DESIGNED 1935, CLEAR AND FROSTED, ONE ADAPTED AS A LAMP (3)
£1,000-1,500 $1,700-2,400 €1,300-1,900
EGLANTINE PLATE, NO. 415DESIGNED 1931, COBALT
£1,500-2,000 $2,500-3,300 €1,900-2,500
DANS LA NUIT, WORTH - 3DESIGNED 1924, CLEAR AND BLUE-PAINTED
£700-900 $1,200-1,500 €880-1,100
FEUILLES DE LIERRE NECKLACE, NO. 1505DESIGNED 1919, EMERALD GREEN, WITH SILK
£1,500-2,000 $2,500-3,300 €1,900-2,500
LA RENOMMÉE D’ORSAYCLEAR, FROSTED AND GREY STAINED, IN ORIGINAL BOX (7)
£2,500-3,000 $4,100-4,900 €3,200-3,800
DAHLIA BRACELET, NO. 1326DESIGNED 1927, CLEAR, FROSTED AND BLUE STAINED
£1,000-1,500 $1,700-2,400 €1,300-1,900
CALYPSO SHALLOW BOWL, NO. 413DESIGNED 1930, EXECUTED POST-WAR
£2,000-3,000 $3,300-4,900 €2,600-3,800
PAIR OF MÉSANGES CANDLESTICKS, NO. 2126DESIGNED 1943, CLEAR, FROSTED AND BLUE STAINED (4)
£1,400-2,000 $2,300-3,300 €1,800-2,500
MUGUETS TIMEPIECE, NO. 768DESIGNED 1926, EXECUTED POST-WAR, CLEAR, FROSTED AND GREEN STAINED
£2,000-3,000 $3,300-4,900 €2,600-3,800
ONLINE LAL IQUE 16-30 OCTOBER 2014
BID ONLINE Chr is t ies .com/2021Design
SIX COQUILLES PLATES, NO. 3011,DESIGNED 1924, OPALESCENT; A LARGE COQUILLE PLATE, NO. 3009, DESIGNED 1924, OPALESCENT; AND A COQUILLES BOWL, NO. 3200, DESIGNED 1924, OPALESCENT (8)
£1,800-2,200 $3,000-3,600€2,300-2,800
SUZANNE STATUETTE, NO. 833DESIGNED 1925, OPALESCENT, WITH ILLUMINATING PATINATED BRONZE BASE (2)
£6,000-8,000 $9,800-13,000€7,600-10,000
NEMOURS BOWL, NO. 404DESIGNED 1929, OPALESCENT AND BLUE STAINED
£1,400-2,000 $2,300-3,300€1,800-2,500
OEILLETS SHALLOW BOWL, NO. 422DESIGNED 1932, OPALESCENT
£1,000-1,500 $1,700-2,400€1,300-1,900
HOUPPES BOX AND COVER, NO. 29DESIGNED 1921, OPALESCENT (2)
£1,800-2,200 $3,000-3,600€2,300-2,800
PERRUCHES BOWL, NO. 419DESIGNED 1931, OPALESCENT AND GREEN STAINED
£3,000-5,000 $4,900-8,100€3,800-6,300
DOMREMY VASE, NO. 948DESIGNED 1926, CASED OPALESCENT AND BLUE STAINED
£1,400-2,000 $2,300-3,300€1,800-2,500
DRUIDES VASE, NO. 937DESIGNED 1924, CASED OPALESCENT AND GREEN STAINED
£1,200-1,800 $2,000-2,900€1,600-2,300
CEYLAN VASE, NO. 905DESIGNED 1924, OPALESCENT
£2,500-3,500 $4,100-5,700€3,200-4,400
ST FRANÇOIS VASE, NO. 1055DESIGNED 1930, OPALESCENT AND GREY STAINED
£2,000-3,000 $3,300-4,900€2,600-3,800
EUCALYPTUS VASE, NO. 936DESIGNED 1925, OPALESCENT
£1,200-1,800 $2,000-2,900€1,600-2,300
AVALLON VASE, NO. 986DESIGNED 1927, OPALESCENT AND BLUE STAINED
£1,200-1,800 $2,000-2,900€1,600-2,300
CEYLAN VASE, NO. 905DESIGNED 1924, OPALESCENT AND BLUE STAINED
£2,000-3,000 $3,300-4,900€2,600-3,800
SPIRALES VASE, NO. 1060DESIGNED 1930, OPALESCENT AND BLUE STAINED
£2,500-3,000 $4,100-4,900€3,200-3,800
FERRIERES VASE, NO. 1019DESIGNED 1929, CASED OPALESCENT
£1,000-1,500 $1,700-2,400€1,300-1,900
CEYLAN VASE, NO. 905DESIGNED 1924, OPALESCENT
£3,000-5,000 $4,900-8,100€3,800-6,300
MÛRES VASE, NO. 1058DESIGNED 1930, OPALESCENT AND BLUE STAINED
£3,800-4,500 $6,200-7,300€4,800-5,700
RONCE VASE, NO. 946DESIGNED 1921, CASED OPALESCENT AND GREY STAINED
£1,000-1,500 $1,700-2,400€1,300-1,900
ONLINE LAL IQUE 16-30 OCTOBER 2014
BID ONLINE Chr is t ies .com/2021Design
TWO DAHLIAS PLAFONNIERS, NO. 2459DESIGNED 1921, CLEAR, FROSTED AND SEPIA STAINED, AND MOULDED GLASS CEILING ROSES
£2,000-3,000 $3,300-4,900 €2,600-3,800
CHAMPS ELYSÉES BOWL, NO. 11216DESIGNED AND EXECUTED POST-WAR, CLEAR AND FROSTED
£1,000-1,500 $1,700-2,400 €1,300-1,900
PERLES PLAFONNIER, NO. 2913DESIGNED 1931, CLEAR AND FROSTED, WITH ‘SATURN’ RING REFLECTOR
£1,000-1,500 $1,700-2,400 €1,300-1,900
PAIR OF LIERRE WALL APPLIQUES, NO. 2027DESIGNED 1927, CLEAR AND FROSTED (2)
£2,000-3,000 $3,300-4,900 €2,600-3,800
LAUSANNE PLAFONNIER, NO. 2479DESIGNED 1929, YELLOW
£1,800-2,200 $3,000-3,600 €2,300-2,800
CHAMPS ELYSÉES CHANDELIERDESIGNED AND EXECUTED POST-WAR, CLEAR AND FROSTED
£3,000-5,000 $4,900-8,100 €3,800-6,300
CHARMES PLAFONNIER, NO. 2458DESIGNED 1924, CLEAR, FROSTED AND SEPIA STAINED
£1,800-2,200 $3,000-3,600 €2,300-2,800
HIRONDELLE PAPERWEIGHT, NO. 1143DESIGNED 1928, CLEAR AND FROSTED
£1,200-1,800 $2,000-2,900 €1,600-2,300
ONLINE LAL IQUE 16-30 OCTOBER 2014
150
IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE
IMPORTANT NOTICES
CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION
From time to time, Christie’s may offer a lot which it owns in whole or in part. Such property is identified in the catalogue with the symbol ∆ next to its lot number. On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Such property is identified in the catalogue with the symbol º next to the lot number. This symbol will be used both in cases where Christie’s holds the financial interest on its own, and in cases where Christie’s has financed all or part of such interest through third parties. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk. The third party may also bid for the lot. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest at the front of the catalogue.In this catalogue, if property has º u next to the lot number, Christie’s guarantee of a minimum price has been financed through third parties.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION Christie’s catalogues include references to condition only in descriptions of multiple works (such as prints, books and wine). For all other property, only alterations or replacement components are listed. Please contact the Specialist Department for a condition report on a particular lot. The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.
11/04/14
PROPERTY INCORPORATING MATERIALS
FROM ENDANGERED AND OTHER
PROTECTED SPECIESProperty made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife are marked with the symbol ~in the catalogue. Such material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whale bone and certain species of coral, together with Brazilian rosewood. Prospective purchasers are advised that several countries prohibit altogether the importation of property containing such materials, and that other countries require a permit (e.g., a CITES permit) from the relevant regulatory agencies in the countries of exportation as well as importation. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered and other protected wildlife material. The inability of a client to export or import property containing endangered and other protected wildlife material is not a basis for cancellation or rescission of the sale. Please note also that lots containing potentially regulated wildlife material are marked as a convenience to our clients, but Christie’s does not accept liability for errors or for failing to mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the import of property made of or containing elephant ivory. Only Asian Elephant ivory may be imported into the USA, and imports must be accompanied by DNA analysis and confirmation the object is more than 100 years old. We have not obtained a DNA analysis on any lot prior to sale and cannot indicate whether the elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any DNA analysis or other report required in connection with their proposed import of such property into the USA.
The USA is also currently requiring all imports of property made of or containing wildlife material to be accompanied by a scientific confirmation of species and in some cases an additional confirmation of age. We have not obtained such confirmations prior to sale (unless specifically indicated) and buyers will be responsible for the costs of any such additional confirmations or opinions required for their proposed import into the USA.
A buyer’s inability to export or import any lot containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITUREAll items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the “Regulations”). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.
ELECTRICAL GOODS
All electrical goods offered in this catalogue have either been tested and certified by an appropriately qualified electrician or have been operationally disabled. We would strongly advise that any intended re-commissioning is undertaken by an appropriately
qualified electrician.
EXPLANATION OF
CATALOGUING PRACTICE
Terms referred to in paragraph 2 are as follows:-
A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist.
In other cases, the following expressions, with the following meanings are used:
“By . . .”
in our opinion a work by the artist.
“Cast from a model by . . .”
in our opinion a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter.
“Attributed to . . .”
in our opinion probably a work by the artist in whole or in part.
“In the style of . . . ”
in our opinion a work of the period of the artist and closely related to his style.
“Manner of . . .”
in our opinion a work executed in the artist’s style but of a later date.
“After . . .”
in our opinion a copy (of any date) of a work of the artist.
“Signed . . .” “Dated” . . .”. “Inscribed . . .” “Stamped . . .”
in our opinion the signature/date/inscription/stamp is by the artist or manufacturer.
“Bearing the signature. . .” “Bearing the date . . .” “Bearing the inscription . . .” “Bearing the stamp . . .”
in our opinion the signature/date/inscription/stamp is not by the artist or manufacturer.
Measurements are taken where possible from the platemark (“P”), otherwise they record the size of the sheet (“S”) or the borderline of the subject (“L”). All measurements are in centimetres to the nearest centimetre and are approximate.
151
BUYING AT CHRISTIE’S
CONDITIONS OF SALEChristie’s Conditions of Sale and Limited Warranty are set out later in this catalogue. Bidders are strongly encouraged to read these as they set out the terms on which property is bought at auction.
ESTIMATES Estimates are based upon prices recently paid at auction for comparable property, condition, rarity, quality and provenance. Estimates are subject to revision. Buyers should not rely upon estimates as a representation or prediction of actual selling prices. Estimates do not include the buyer’s premium or VAT. Where “Estimate on Request” appears, please contact the Specialist Department for further information.
RESERVESThe reserve is the confidential minimum price the consignor will accept and will not exceed the low pre-sale estimate. Lots that are not subject to a reserve are identified by the symbol • next to the lot number.
BUYER’S PREMIUMChristie’s charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot. VAT is payable on the premium at the applicable rate.
PRE-AUCTION VIEWINGPre-auction viewings are open to the public free of charge. Christie’s specialists are available to give advice and condition reports at viewings or by appointment.
BIDDER REGISTRATIONProspective buyers who have not previously bid or consigned with Christie’s should bring:• Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement.• Corporate clients: a certificate of incorporation.• For other business structures such as trusts, offshore companies or partnerships, please contact Christie’s Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply.• A financial reference in the form of a recent bank statement or a reference from your bank in line with your expected purchase level. Christie’s can supply a form of wording for the bank reference if necessary.• Persons registering to bid on behalf of someone who has not previously bid or consigned with Christie’s should bring identification documents not only for themselves but also for the party on whose behalf they are bidding, together with a signed letter of authorisation from that party. To allow sufficient time to process the information, new clients are encouraged to register at least 48 hours in advance of a sale.Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Clients who have not made a purchase from any Christie’s office within the last one year and those wishing to spend more than on previous occasions, will be asked to supply a new bank reference. For assistance with references, please contact Christie’s Credit Department at +44 (0)20 7389 2862 (London, King Street) or at +44 (0)20 7752 3137 (London, South Kensington). We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSE’S BEHALFPersons bidding on behalf of an existing client should bring a signed letter from the client authorising the bidder to act on the client’s behalf. Please note that Christie’s does not accept payments from third parties. Christie’s can only accept payment from the client, and not from the person bidding on their behalf.
BIDDINGThe auctioneer accepts bids from those present in the sale-room, from telephone bidders, or by absentee written bids left with Christie’s in advance of the auction. The auctioneer may also execute bids on behalf of the seller up to the amount of the reserve. The auctioneer will not specifically identify bids placed on behalf of the seller. Under no circumstances will the auctioneer place any bid on behalf of the seller at or above the reserve. Bid steps are shown on the Absentee Bid Form at the back of this catalogue.
ABSENTEE BIDSAbsentee bids are written instructions from prospective buyers directing Christie’s to bid on their behalf up to a maximum amount specified for each lot. Christie’s staff will attempt to execute an absentee bid at the lowest possible price, taking into account the reserve price. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate.The auctioneer may execute absentee bids directly from the rostrum, clearly identifying these as “absentee bids”, “book bids”, “order bids” or “commission bids”. Absentee Bids Forms are available in this catalogue, at any Christie’s location, or online at christies.com.
TELEPHONE BIDSTelephone bids cannot be accepted for lots estimated below £2,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at +44 (0)20 7389 2658 (London, King Street) or +44 (0)20 7752 3225 (London, South Kensington). Arrangements to bid in languages other than English must be made well in advance of the sale date. Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation.
SUCCESSFUL BIDSWhile Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges. Successful bidders will pay the price of the final bid plus premium plus any applicable VAT.
PAYMENTBuyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer. Lots purchased in London may be paid for in the following ways: wire transfer, credit card: Visa and MasterCard & American Express only (up to £25,000), and cash (up to £5,000 (subject to conditions)), bankers draft (subject to conditions) or cheque (must be drawn in GBP on a UK bank; clearance will take 5 to 10 business days). Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 72 Lombard Street, London EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for international transfers, SWIFT LOYDGB2LCTY. For banks asking for an IBAN: GB81 LOYD 3000 0200 1727 10. Credit Card: Visa and MasterCard & American Express only. A limit of £25,000 for credit card payments will apply. This limit is inclusive of the buyer’s premium and any applicable taxes. Credit card payments at London sale sites will only be accepted for London sales. Christie’s will not accept credit card payments for purchases made in any other sale site. The fax number to send completed CNP (Card Member not Present) authorisation forms to is +44 (0) 20 7389 2821. The number to call to make a CNP payment over the phone is +44 (0) 20 7752 3388. Alternatively, clients can mail the authorisation form to the address below. Cash is limited to £5,000 (subject to conditions). Bankers Draft should be made payable to Christie’s (subject to conditions). Cheques should be made payable to Christie’s (must be drawn in GBP on a UK bank, clearance will take 5 to 10 business days).In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions.All mailed payments should be sent to:Christie’s, Cashiers’ Department, 8 King Street, St James’s, London, SW1Y 6QTPlease direct all inquiries to King Street Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863
VAT†VAT payable at 20% on hammer price and buyer’s premium* These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.Ω
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 20%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. Where applicable Customs duty will be charged (per rate specified by HMRC guidance) on the Hammer price and VAT will be payable at 20% on duty. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.α �Buyers�from�within�the�EU:�
VAT payable at 20% on just the buyer’s premium (NOT the hammer price). Buyers�from�outside�the�EU:�VAT payable at 20% on hammer price and buyer’s premium. If a buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Christie’s to this effect immediately
q Zero rated No VAT charged.
(no symbol) Auctioneers’ Margin Scheme In all other circumstances no VAT will be charged on the hammer price, but VAT payable at 20% will be added to the buyer’s premium which is invoiced on a VAT inclusive basis.
Wine�Auctions‡ This wine is in bond. You can choose to take the wine
in bond or duty paid. See the additional conditions of sale relating to wine for further details.
VAT�RefundsRefunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ωsymbol) if lots are exported within 30 days of collection. Valid export documents must be returned within the stipulated time frame. No refund will be paid out where the total amount is less than £100. UK & EU private buyers cannot reclaim VAT. Christie’s will charge £35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] non-EU buyers have failed to export their lots outside of the EU within the required time, HM Revenue & Customs will not allow a VAT refund to be made. This is a requirement of UK legislation and Christie’s do not have discretion to make exceptions to the rule. UK and EU private buyers cannot reclaim any VAT charged.
ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)If a lot is affected by this right it will be identified with the symbol λ next to the lot number. The buyer agrees to pay to Christie’s an amount equal to the resale royalty. Resale royalty applies where the Hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows:
Royalty For the portion of the Hammer Price (in Euro) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 0.25% in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.
SHIPPINGIt is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s request and expense. Buyers should request an estimate for any large items or property of high value that require professional packing. A shipping form is enclosed with each invoice, alternatively buyers can visit www.christies.com/shipping to request a shipping estimate. For more information please contact the Shipping Department at + 44 (0)20 7389 2712 or via [email protected] for both London, King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EUIf you are proposing to take purchased items outside the EU the following applies:Christie’s�Art�Transport:�If you use Christie’s Art Transport you will not be required to pay the VAT at the time of settlement.Christie’s�VAT�authorised�Shipper:If you use a Christie’s VAT authorised shipper you will not be required to pay the VAT at the time of settlement.Own�Shipper:VAT will be charged on the invoice, refundable by the VAT Department upon receipt of the appropriate official documents sent to us by your shipper.Hand-Carried:VAT will be charged on the invoice.This will be refunded by the VAT Department upon receipt of the appropriate official document.*, Ωor †Starred, Omega or Daggered lots – A C88 can be obtained from Christie’s Shipping Department .This document must be stamped by UK Customs on leaving the UK.(no symbol)Margin Scheme lots – Please obtain GB Tax Free form from the Cashiers. This document must be stamped by UK Customs on leaving the UK.Starred or Omega lots must be exported within 30 days of the date of collection. All other lots not subject to import VAT must be exported within three months of collection, and proof of export provided in the appropriate form.
EXPORT/IMPORT PERMITSBuyers should always check whether an export licence is required before exporting. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the rescission of any sale nor any delay in making full payment for the lot.Christie’s can advise buyers on the detailed provisions of the export licensing regulations and will submit any necessary export licence applications on request. However, Christie’s cannot ensure that a licence will be obtained. Local laws may prohibit the import of some property and/or may prohibit the resale of some property in the country of importation. For more information, please contact Christie’s Shipping Department at +44 (0)20 7389 2828 or the Museums, Libraries and Archives Council: Acquisitions, Export and Loans Unit at +44 (0)20 7273 8269/8267.
20/11/13
152
STORAGE AND COLLECTION
Cadogan TaTe Warehouse
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: [email protected]
STORAGE & COLLECTION CHARGESSpecified lots, marked with a filled square ( ■ ) not cleared from Christie’s by 5.00 pm on the day of the sale and all sold and unsold lots not cleared from Christie’s by 5.00 pm on the fifth Friday following the sale will be removed to the warehouse of:Cadogan Tate Fine Art Logistics Ltd241 Acton Lane, Park RoyalLondon NW10 7NPTelephone: +44 (0)800 988 6100Email: [email protected] will be available for collection on the first full business week after transfer to Cadogan Tate Fine Art Logistics Ltd and every business weekday from 9.00 am to 5.00 pm.
Property, once paid, can be released to Christie’s
Fine Art Storage Services (CFASS) in London, New York or Singapore FreePort at any time for environmentally controlled long term storage, per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com, or contact [email protected]. Telephone: +44 (0)20 7622 0609 for details.
TRANSFER, STORAGE & RELATED
CHARGES (PER LOT)
CHARGES Furniture/ Pictures/ Large Objects Small Objects
Transfer/Admin £42.00 £21.00
Storage per day £5.25 £2.65
Extended The lower amount of 0.6% of Liability Charge: Hammer Price or 100% of the
above charges
All charges are subject to VAT. Very large or heavy items may be subject to a surcharge.
Please note that there will be no charge to
purchasers who collect their lots within two
weeks of this sale.
COLLECTION & PAYMENT OF ANY
CHARGES DUELots will be available for collection from Cadogan Tate at Cadogan Tate Fine Art Logistics Ltd241 Acton Lane, Park RoyalLondon NW10 7NPTelephone: +44 (0)800 988 6100Email: [email protected] every business day after the day of transfer, from 9.00 am until 5.00 pm. Lots may only be released by Cadogan Tate upon a) production of the ‘Collection Order’ obtained from the cashier’s office at Christie’s, 85 Old Brompton Road, London SW7 or Christie’s, 8 King Street, London SW1 b) payment of any charges that may be due to Cadogan Tate To assist Cadogan Tate to provide a swift release please telephone on the business day prior to collection to ensure that Lots are available and to ascertain any charges due. If sending a carrier please ensure that they are provided with all necessary information, your written authority to collect, the Collection Order and the means to settle any charges.
COLLECTION FROM CADOGAN TATEPlease note that Cadogan Tate’s opening hours are Monday to Friday 9.00 am to 5.00 pm, and purchases transferred to their warehouse are not
available for collection at weekends.
10/06/14
EXTENDED LIABILITY CHARGESAll services provided by Fine Art Logistics Ltd (“Cadogan Tate”) will be subject to their standard Conditions of Business, copies of which are available at Christie’s South Kensington. Please note in particular that Cadogan Tate• does not accept any liability for damage or loss, due to its negligence or otherwise, exceeding the Hammer Price of a Lot plus associated Buyer’s Premium, or, at its sole option, the cost of repairing or replacing the damaged or missing Lot and• it reserves a lien over all goods in its possession for payment of storage and all other charges due to it and• it automatically arranges on behalf of the Lot’s owner and at the owner’s cost, insurance of the Lot for the sum of the Hammer price plus Buyer’s Premium. The Extended Liability Charge covers the Lot from the time of collection from the saleroom until release of the Lot to the owner or the owner’s agent. The Extended Liability Charge payable by the owner of the Lot is 0.6% of the sum of the Hammer Price and Buyer’s Premium or 100% of the transfer and storage charges, whichever is the smaller. This Extended Liability will not be arranged and no charge will be payable only on receipt by Cadogan Tate of advance written notice from the owner of the lot together with formal waiver of subrogation from the owners insurers.
Christie’s Fine Art Storage Services (CFASS) also offers storage solutions for fine art, antiques and collectibles in New York and Singapore FreePort. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.
153
CONDITIONS OF SALE
These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms governing the legal relationship of Christie’s and the seller with the buyer. You should read them carefully before bidding.
1. CHRISTIE’S AS AGENTExcept as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.
2. CATALOGUE DESCRIPTIONS
AND CONDITIONLots are sold as described and otherwise in the condition they are in at the time of the sale, on the following basis.
(a) ConditionThe nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.
(b) Cataloguing PracticeOur cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice, which appear after the catalogue entries.
(c) Attribution etcAny statements made by Christie’s about any lot, whether orally or in writing, concerning attribution to, for example, an artist, school, or country of origin, or history or provenance, or any date or period, are expressions of our opinion or belief. Our opinions and beliefs have been formed honestly and in accordance with the standard of care reasonably to be expected of an auction house of Christie’s standing, due regard having been had to the estimated value of the item and the nature of the auction in which it is included. It must be clearly understood, however, that, due to the nature of the auction process, we are unable to carry out exhaustive research of the kind undertaken by professional historians and scholars, and also that, as research develops and scholarship and expertise evolve, opinions on these matters may change. We therefore recommend that, particularly in the case of any item of significant value, you seek advice on such matters from your own professional advisers.
(d) EstimatesEstimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.
(e) Fitness for PurposeLots sold are enormously varied in terms of age, category and condition, and may be purchased for a variety of purposes. Unless otherwise specifically agreed, no promise is made that a lot is fit for any particular purpose.
3. AT THE SALE(a) Refusal of admissionChristie’s has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.
(b) Registration before biddingProspective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. Prospective buyers must complete and sign a registration form with his or her name and permanent address, and provide identification before bidding. We may require the production of bank details from which payment will be made or other financial references.
(c) Bidding as principalWhen making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment.
(d) Absentee bidsWe will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and provided that we have exercised reasonable care in the handling of written bids, the volume of goods is such that we cannot accept liability in any individual instance for failing to execute a written bid or for errors and omissions in connection with it arising from circumstances beyond our reasonable control.
(e) Telephone bidsIf a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone but we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding arising from circumstances beyond our reasonable control.
(f) Currency converterAt some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter. Where these arise from circumstances beyond our reasonable control we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.
(g) Video or digital imagesAt some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image. We do not accept liability for such errors where they arise for reasons beyond our reasonable control.
(h) ReservesUnless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol • next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.
(i) Auctioneer’s discretionThe auctioneer has the right to exercise reasonable discretion in refusing any bid, advancing the bidding in such a manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of riskSubject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier.
4. AFTER THE SALE(a) Buyer’s premiumIn addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax. The buyer’s premium is 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot, VAT is payable at the applicable rate.
(b) Artist’s Resale Right (“Droit de Suite”)If the Artist’s Resale Right Regulations 2006 apply to the lot the buyer also agrees to pay to us an amount equal to the resale royalty provided for in those Regulations. Lots affected are identified with the symbol λ next to the lot number.
(c) Payment and ownershipThe buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes or resale royalty) immediately after the sale. This applies even if the buyer wishes to export the lot and an export licence is, or may be, required. The buyer will not acquire title to the lot until all amounts due to us from the buyer have been received by us in good cleared funds even in circumstances where we have released the lot to the buyer.
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(d) Collection of purchasesWe shall be entitled to retain items sold until all amounts due to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, have been received in full in good cleared funds or until the buyer has performed any other outstanding obligations as we, at our sole discretion, shall require, including, for the avoidance of doubt, completing any anti-money laundering or anti-terrorism financing checks we may require to our satisfaction. In the event a buyer fails to complete any anti-money laundering or anti-terrorism financing checks to our satisfaction, Christie’s shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this, the buyer shall collect purchased lots within two calendar days from the date of the sale unless otherwise agreed between us and the buyer.
(e) Packing, handling and shippingAlthough we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot and in selecting third parties for these purposes, we are not responsible for the acts or omissions of any such third parties. Similarly, where we suggest other handlers, packers or carriers if so requested, our suggestions are made on the basis of our general experience of such parties in the past and we are not responsible to any person to whom we have made a recommendation for the acts or omissions of the third party concerned.
(f) Export licenceUnless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately after the sale nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export licence is required.
(g) Remedies for non paymentIf the buyer fails to make payment in full in good cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to, the following: (i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;(ii) to hold the defaulting buyer liable for the
total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law;
(iii) to cancel the sale;(iv) to resell the property publicly or privately on
such terms as we shall think fit;(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid by the defaulting buyer;
(vi) to set off against any amounts which we, or Christie’s International plc, or any of its affiliates, subsidiaries or parent companies worldwide, may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer;
(vii) where several amounts are owed by the buyer to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, in respect of different
transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs;
(viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;
(ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us;
(x) to take such other action as we deem necessary or appropriate.
If we resell the property under paragraph (iv) above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all reasonable costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the seller under paragraph (v) above, the buyer acknowledges that Christie’s shall have all of the rights of the seller, however arising, to pursue the buyer for such amount.
(h) Failure to collect purchasesWhere purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us.
(i) Selling Property at Christie’sIn addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTYIn addition to Christie’s liability to buyers set out in clause 2 of these Conditions, but subject to the terms and conditions of this paragraph, Christie’s warrants for a period of five years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. headings having all capital-letter type) in this catalogue (as such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in this catalogue. Only UPPER CASE TYPE headings of lots in this catalogue indicate what is being warranted by Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s is not responsible for any errors or omissions in such material. The terms used in the headings are further explained in Important Notices and Explanation of Cataloguing Practice. The warranty does not apply to any heading which is stated to represent a qualified opinion. The warranty is subject to the following:
(i) It does not apply where (a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (b) correct identification of a lot can be demonstrated only by means of either a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.
(ii) The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Christie’s when the lot was sold at auction.
(iii) The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party.
(iv) The buyer’s sole and exclusive remedy against Christie’s and the seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither Christie’s nor the seller will be liable for any special, incidental or consequential damages including, without limitation, loss of profits nor for interest.
(v) The buyer must give written notice of claim to us within five years from the date of the auction. It is Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognised experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty.
(vi) The buyer must return the lot to the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.
6. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it.
7. SEVERABILITYIf any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.
8. LAW AND JURISDICTIONThe rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of England. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of the United Kingdom.
05/01/10
155
• DENOTES SALEROOM ENQUIRIES— Call the Saleroom or Office EMAIL— [email protected]
For a complete salerooms & offices listing go to christies.com
AUSTRIA
VIENNA
+43 (0)1 533 8812
Angela Baillou
BELGIUM
BRUSSELS
+32 (0)2 512 88 30
Roland de Lathuy
DENMARK COPENHAGEN
+45 3962 2377
Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 (0)9 608 212
Barbro Schauman
(Consultant)
FRANCE
• PARIS
+33 (0)1 40 76 85 85
GERMANY
DÜSSELDORF
+49 (0)21 14 91 59 30
Arno Verkade
FRANKFURT
+49 (0)61 74 20 94 85
Anja Schaller
HAMBURG
+49 (0)40 27 94 073
Christiane Gräfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Gräfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
INDIA
• MUMBAI
+91 (22) 2280 7905
Sonal Singh
DELHI
+91 (98) 1032 2399
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ISRAEL
TEL AVIV
+972 (0)3 695 0695
Roni Gilat-Baharaff
ITALY
• MILAN
+39 02 303 2831
ROME
+39 06 686 3333
Marina Cicogna
Business Development
Director
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
• AMSTERDAM
+31 (0)20 57 55 255
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900
• HONG KONG
+852 2760 1766
• SHANGHAI
+86 86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
+351 919 317 233
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Coutinho
(Independent
Consultant)
RUSSIA
MOSCOW
+7 495 937 6364
+44 20 7389 2318
Katya Vinokurova
SPAIN
BARCELONA
+34 (0)93 487 8259
Carmen Schjaer
MADRID
+34 (0)91 532 6626
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Dalia Padilla
SWEDEN
STOCKHOLM
+46 (0)70 5368 166
Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhlén
(Consultant)
SWITZERLAND
• GENEVA
+41 (0)22 319 1766
Eveline de Proyart
• ZURICH
+41 (0)44 268 1010
Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514
Eda Kehale Argün
(Consultant)
UNITED ARAB EMIRATES
• DUBAI
+971 (0)4 425 5647
UNITED KINGDOM
• LONDON
+44 (0)20 7839 9060
LONDON,
• SOUTH KENSINGTON
+44 (0)20 7930 6074
NORTH
+44 (0)20 7752 3004
Thomas Scott
SOUTH
+44 (0)1730 814 300
Mark Wrey
EAST
+44 (0)20 7752 3004
Thomas Scott
NORTHWEST AND
WALES
+44 (0)20 7752 3004
Jane Blood
SCOTLAND
+44 (0)131 225 4756
Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032
CHANNEL ISLANDS
+44 (0)1534 485 988
Melissa Bonn
IRELAND
+353 (0)59 86 24996
Christine Ryall
UNITED STATES
• NEW YORK
+1 212 636 2000
04/09/14
WORLDWIDE SALEROOMS AND EUROPEAN OFFICES
156
CHRISTIE’S SPECIALIST DEPARTMENTS AND SERVICES
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
DEPARTMENTS
AMERICAN FURNITURENY: +1 212 636 2230
AMERICAN INDIAN ARTNY: +1 212 606 0536
AMERICAN PICTURESNY: +1 212 636 2140
ANGLO-INDIAN ARTKS: +44 (0)20 7389 2570
ANTIQUITIESSK: +44 (0)20 7752 3219
ARMS AND ARMOURSK: +44 (0)20 7752 3119
ASIAN 20TH CENTURY AND CONTEMPORARY ARTNY: +1 212 468 7133
AUSTRALIAN PICTURESKS: +44 (0)20 7389 2040
BOOKS AND MANUSCRIPTSKS: +44 (0)20 7389 2674SK: +44 (0)20 7752 3203
BRITISH & IRISH ARTKS: +44 (0)20 7389 2682NY: +1 212 636 2084SK: +44 (0)20 7752 3257
BRITISH ART ON PAPERKS: +44 (0)20 7389 2278SK: +44 (0)20 7752 3293NY: +1 212 636 2085
BRITISH PICTURES 1500-1850KS: +44 (0)20 7389 2945
CARPETSKS: +44 (0)20 7389 2370SK: +44 (0)20 7389 2776
CHINESE WORKS OF ARTKS: +44 (0)20 7389 2577SK: +44 (0)20 7752 3239
CLOCKSKS: +44 (0)20 7389 2357
CONTEMPORARY ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502
COSTUME, TEXTILES AND FANSSK: +44 (0)20 7752 3215
EUROPEAN CERAMICS AND GLASSSK: +44 (0)20 7752 3026
FURNITUREKS: +44 (0)20 7389 2482SK: +44 (0)20 7389 2791
IMPRESSIONIST PICTURESKS: +44 (0)20 7389 2638SK: +44 (0)20 7752 3218
INDIAN CONTEMPORARY ARTKS: +44 (0)20 7389 2700NY: +1 212 636 2189
INTERIORSSK: +44 (0)20 7389 2236NY: +1 212 636 2032
ISLAMIC WORKS OF ARTKS: +44 (0)20 7389 2700SK: +44 (0)20 7752 3239
JAPANESE WORKS OF ARTKS: +44 (0)20 7389 2591SK: +44 (0)20 7752 3239
JEWELLERYKS: +44 (0)20 7389 2383SK: +44 (0)20 7752 3265
LATIN AMERICAN ARTNY: +1 212 636 2150
MARITIME PICTURESSK: +44 (0)20 7752 3284NY: +1 212 707 5949
MINIATURES KS: +44 (0)20 7389 2650
MODERN DESIGNSK: +44 (0)20 7389 2142
MUSICAL INSTRUMENTSSK: +44 (0)20 7752 3365
NINETEENTH CENTURY FURNITURE AND SCULPTUREKS: +44 (0)20 7389 2699
NINETEENTH CENTURY EUROPEAN PICTURESKS: +44 (0)20 7389 2443SK: +44 (0)20 7752 3309
OBJECTS OF VERTUKS: +44 (0)20 7389 2347SK: +44 (0)20 7752 3001
OLD MASTER DRAWINGSKS: +44 (0)20 7389 2251
OLD MASTER PICTURESKS: +44 (0)20 7389 2531SK: +44 (0)20 7752 3250
ORIENTAL CERAMICS AND WORKS OF ARTSK: +44 (0)20 7752 3235
PHOTOGRAPHSKS: +44 (0)20 7389 2292
POPULAR CULTURE AND ENTERTAINMENTSK: +44 (0)20 7752 3275
POST-WAR ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502
POSTERSSK: +44 (0)20 7752 3208
PRINTSKS: +44 (0)20 7389 2328SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESKS: +44 (0)20 7389 2343
RUSSIAN WORKS OF ARTKS: +44 (0)20 7389 2057
TRAVEL, SCIENCE AND NATURAL HISTORYSK: +44 (0)20 7752 3291
SCULPTURE KS: +44 (0)20 7389 2331SK: +44 (0)20 7389 2794
SILVERKS: +44 (0)20 7389 2666SK: +44 (0)20 7752 3262
SWISS ARTZUR: +41 (0) 44 268 1012
TOPOGRAPHICAL PICTURESKS: +44 (0)20 7389 2040SK: +44 (0)20 7752 3291
TRIBAL AND PRE-COLUMBIAN ARTPAR: +33 (0)140 768 386
TWENTIETH CENTURY BRITISH ARTKS: +44 (0)20 7389 2684SK: +44 (0)20 7752 3311
TWENTIETH CENTURY DECORATIVE ART & DESIGNKS: +44 (0)20 7389 2140SK: +44 (0)20 7752 3236
TWENTIETH CENTURY PICTURESSK: +44 (0)20 7752 3218
VICTORIAN PICTURESKS: +44 (0)20 7389 2468SK: +44 (0)20 7752 3257
WATERCOLOURS AND DRAWINGSKS: +44 (0)20 7389 2257SK: +44 (0)20 7752 3293
WINEKS: +44 (0)20 7752 3366
AUCTION SERVICES
CORPORATE COLLECTIONSTel: +44 (0)20 7389 2548 Email: [email protected]
FINANCIAL SERVICESTel: +44 (0)20 7389 2624Fax: +44 (0)20 7389 2204
HERITAGE AND TAXATIONTel: +44 (0)20 7389 2101Fax: +44 (0)20 7389 2300 EmIL:[email protected]
PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESTel: +44 (0)20 7389 2343Fax: +44 (0)20 7389 2225 Email: [email protected]
MUSEUM SERVICES, UKTel: +44 (0)20 7389 2570 Email: [email protected]
PRIVATE SALESUS: +1 212 636 2034Fax: +1 212 636 2035
VALUATIONSTel: +44 (0)20 7389 2464Fax: +44 (0)20 7389 2038Email: [email protected]
OTHER SERVICES
CHRISTIE’S EDUCATIONLondonTel: +44 (0)20 7665 4350Fax: +44 (0)20 7665 4351Email: [email protected]
New YorkTel: +1 212 355 1501Fax: +1 212 355 7370Email: [email protected]
Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: [email protected]
CHRISTIE’S FINE ART STORAGE SERVICESLondon +44 (0)20 7622 0609 [email protected]
New York +1 212 974 4570 [email protected]
Singapore Tel: +65 6543 5252 Email: [email protected]
CHRISTIE’S INTERNATIONAL REAL ESTATENew YorkTel +1 212 468 7182Fax +1 212 468 [email protected]
LondonTel +44 20 7389 2551Fax +44 20 7389 [email protected]
Hong KongTel +852 2978 6788Fax +852 2845 [email protected]
27/05/14
157
christies.comContactSimon Andrews [email protected] +44 (0)20 7752 3380
20/21 Design
London, King Street • 4 November 2014
INCLUDING A SELECTION OF FRENCH MID-CENTURY DESIGN FROM AN IMPORTANT INTERNATIONAL PRIVATE COLLECTION, FEATURING WORKS BY JEAN ROYÈRE, CHARLOTTE PERRIAND, JEAN PROUVÉ AND ANDRE ARBUS.
Viewing31 October –4 November 8 King Street London SW1Y 6QT
158
ContactXavier Brunswick [email protected] +44 (0)20 7752 3183
Viewing31 October–4 November 8 King Street London SW1Y 6QT
Luxury–Colour–Texture:
The Estate of David Collins
London, King Street • 4 November 2014
FEATURING 200 LOTS OF FURNITURE, LIGHTING, PHOTOGRAPHS, CERAMICS, GLASS AND WORKS OF ART,
FROM THE LONDON HOME OF ONE OF THE WORLD’S MOST CELEBRATED INTERIOR ARCHITECTS
159
PIERRE CHAREAU (1883-1950) MS 418, 419, BIS, TER, CIRCA 1926
A sycamore and patinated iron psyché coiffeuse – coffre à bijoux
€100,000 – 150,000
ContactPauline De Smedt
+33 (0)1 40 76 83 54
Viewing20-22, 24 November
9, avenue Matignon
Paris 8e
20/21 Design
Paris • 24 November 2014
160
christies.comContactCarina Villinger [email protected] +1 212 636 2240
Viewing5–8 December 2014 20 Rockefeller Plaza New York, NY 10020
20/21 Design
New York • 9 December 2014
FRANCOIS-XAVIER LALANNE (1927-2008) ‘MOUTONS DE PIERRE’, A PAIR OF SHEEP, DESIGNED CIRCA 1979
Bronze, epoxy stone
Each: 33Ωin. (85 cm.) high, 15 in. (38.1 cm.) wide, 37 in. (93.9 cm.) deep
One marked FXL LALANNE 153/250, the other FXL LALANNE 156/250, both impressed LALANNE 90
Estimate $150,000 – 200,000
161
PLEASE PRINT CLEARLY
If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMSPlease quote number below:
Lot number Maximum Bid UK£ Lot number Maximum Bid UK£ (in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)
Please also refer to the information contained in Buying at Christie’s. I request Christie’s to bid on the following lots up to the maximum price I have indicated for each lot. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus a buyer’s premium of 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000, together with any VAT chargeable on the final bid and the buyer’s premium. VAT is chargeable on the purchase price of daggered (†) lots, and for buyers outside the EU on (α) lots, at the standard rate. VAT is chargeable on the purchase price of starred (*) lots at the reduced rate. Christie’s South Kensington is not able to notify successful bidders by telephone. While Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges.I understand that Christie’s provides the service of executing absentee bids for the convenience of clients and that Christie’s is not responsible for failing to execute bids or for errors relating to execution of bids. On my behalf, Christie’s will try to purchase these lots for the lowest possible price, taking into account the reserve and other bids. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If identical absentee bids are received for the same lot, the written bid received first by Christie’s will take precedence. Please contact the Telephone Bid office at least 24 hours in advance of the sale to make arrangements for telephone bidding. Tel: +44 (0)20 7752 3225All bids are subject to the terms of the Conditions of Sale and Limited Warranty printed in each Christie’s catalogue.
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 interval.
UK£50 to UK£1,000 by UK£50s
UK£1,000 to UK£2,000 by UK£100s
UK£2,000 to UK£3,000 by UK£200s
UK£3,000 to UK£5,000 by UK£200, 500, 800
(ie: UK£4,200, 4,500, 4,800)
UK£5,000 to UK£10,000 by UK£500s
UK£10,000 to UK£20,000 by UK£1,000s
UK£20,000 to UK£30,000 by UK£2,000s
UK£30,000 to UK£50,000 by UK£2,000, 5,000, 8,000
(ie: UK£32,000, 35,000,
38,000)
UK£50,000 to UK£100,000 by UK£5,000s
UK£100,000 to UK£200,000 by UK£10,000s
above UK£200,000 at auctioneer’s discretion
The auctioneer may vary the increments during the course of the auction at his or her own discretion.
Auction Results: +44 (0)20 7839 9060
ABSENTEE BIDS FORM CHRISTIE’S SOUTH KENSINGTON
Absentee bids must be received at least 24 hours before the auction begins.
Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com
5868
Client Number (if applicable) Sale Number
Billing Name (please print)
Address
Post Code
Daytime Telephone Evening Telephone
Fax (Important) Email
Please tick if you prefer not to receive information about our upcoming sales by e-mail
Signature
If you have not previously bid or consigned with Christie’s, please attach copies of the following documents. Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore companies or partnerships: please contact the Credit Department at + 44 (0)20 7752 3137 for advice on the information you should supply. If you are registering to bid on behalf of someone who has not previously bid or consigned with Christie’s, please attach identification documents for yourself as well as the party on whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients, clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions may be asked to supply a bank reference. We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also request that you complete the section below with your bank details:
Name of Bank(s)
Address of Banks(s)
Account Number(s)
Name of Account Officer(s)
Bank Telephone Number
20/21 DESIGN 1900 TO NOW
TUESDAY 28 OCTOBER 2014 AT 2.00 PM
85 Old Brompton Road, London SW7 3LD
CODE NAME: AND
SALE NUMBER: 5868
(Dealers billing name and address must agree with tax exemption certificate. Invoices cannot be changed after they have been printed.)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM
09/08/13
162
christies.comContactJoy McCall [email protected] +44 (0)20 7389 9060
Viewing24–28 October 85 Old Brompton Road London SW7 3LD
Lalique Online Sale
16-30 October 2014
PENTHIEVRE VASE NO. 1011 designed 1928 · clear and frosted · engraved R. Lalique France · (26 cm.) high
£4,000–6,000
163
CHRISTIE’S
CHRIST IE ’S INTERNATIONAL PLC
Patricia Barbizet, ChairmanSteven P. Murphy, Chief Executive OfficerStephen Brooks, Chief Operating OfficerLoïc Brivezac, Gilles Erulin, Gilles Pagniez, François-Henri Pinault
Sophie Carter, Company Secretary
CHRIST IE ’S EXECUTIVE
Steven P. Murphy, Stephen Brooks, Kerry Chandler, François Curiel, Marc Porter, Jussi Pylkkänen, Doug Woodham
Charles Cator, Deputy Chairman, Christie’s International
CHRIST IE ’S EUROPE
CHAIRMAN’S OFF ICE
Jussi Pylkkänen, PresidentOrlando Rock, Deputy Chairman
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni, Olivier Camu, Philippe Garner, Richard Knight, Francis Outred, Andreas Rumbler, François de Ricqles
DIRECTORS
Prof. Dr. Dirk Boll, Roland de Lathuy, Eveline de Proyart, Roni Gilat-Baharaff, Paul Hewitt, Clarice Pecori Giraldi, Christiane Rantzau, Jop Ubbens, Juan Varez
CHRIST IE ’S EUROPEAN
ADVISORY BOARD
Pedro Girao, Chairman, Christopher Balfour, Patricia Barbizet, Arpad Busson, Loula Chandris, Kemal Has Cingillioglu, Ginevra Elkann, I. D. Fürstin zu Fürstenberg, H.R.H. Prince Pavlos of Greece, Alicia Koplowitz, Viscount Linley, Robert Manoukian, Rosita, Duchess of Marlborough, Dimitri Mavrommatis, Countess Daniela Memmo d’Amelio, Usha Mittal, Leopoldo Rodés, Çigdem Simavi
08/08/14
CHRIST IE ’S UK
CHAIRMAN’S OFF ICE
Viscount Linley, Chairman Noël Annesley, Honorary Chairman; Richard Roundell, Vice Chairman; Robert Copley, Deputy Chairman; The Earl of Halifax, Deputy Chairman; Francis Russell, Deputy Chairman; Julia Delves Broughton, James Hervey-Bathurst, Amin Jaffer, Orlando Rock, Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Daniel Baade, Philip Belcher, Jeremy Bentley, Ellen Berkeley, Jill Berry, Giovanna Bertazzoni, Prof. Dr. Dirk Boll, Peter Brown, James Bruce-Gardyne, Olivier Camu, Sophie Carter, Benjamin Clark, Christopher Clayton-Jones, Karen Cole, Isabelle de La Bruyere, Leila de Vos, Nicole Dembinska, Paul Dickinson, Harriet Drummond, Julie Edelson, Hugh Edmeades, David Elswood, David Findlay, Margaret Ford, Daniel Gallen, Philippe Garner, Jane Griffiths, Karen Harkness, Philip Harley, James Hastie, Paul Hewitt, Rachel Hidderley, Mark Hinton, Nick Hough, Michael Jeha, Hugues Joffre, Donald Johnston, Erem Kassim-Lakha, William Lorimer, Catherine Manson, John McDonald, Nic McElhatton (Chairman, South Kensington), Alexandra McMorrow, Jeremy Morrison, Nicholas Orchard, Francis Outred, Clarice Pecori-Giraldi, Benjamin Peronnet, Henry Pettifer, Steve Phipps, Will Porter, Paul Raison, Tara Rastrick, William Robinson, John Stainton, Alexis de Tiesenhausen, Lynne Turner, Jay Vincze, Andrew Ward, David Warren, Andrew Waters, Harry Williams-Bulkeley, Martin Wilson, André Zlattinger
DIRECTORS
Richard Addington, Zoe Ainscough, Georgiana Aitken, Marco Almeida, Maddie Amos, Simon Andrews, Helen Baker, Karl Barry, Rachel Beattie, Sven Becker, Jane Blood, Piers Boothman, David Bowes-Lyon, Anthony Brown, Lucy Brown, Robert Brown, Grace Campbell, Lucy Campbell, Jason Carey, Romilly Collins, Ruth Cornett, Sigrun Danielsson, Armelle de Laubier-Rhally, Adrian Denton, Sophie DuCret, Anna Evans, Arne Everwijn, Adele Falconer, Nick Finch, Peter Flory, Elizabeth Floyd, Christopher Forrest, Giles Forster, Patricia Frost, Sarah Ghinn, Zita Gibson, Alexandra Gill, Sebastian Goetz, John Green, Simon Green, David Gregory, Mathilde Heaton, Annabel Hesketh, Sydney Hornsby, Peter Horwood, Simon James, Robert Jenrick, Sabine Kegel, Hans-Peter Keller, Jeffrey Kerr, Tjabel Klok, Quincy Kresler, Robert Lagneau, Nicholas Lambourn, Joanna Langston, Tina Law, Darren Leak, Adriana Leese, Brandon Lindberg, Laura Lindsay, David Llewellyn, Murray Macaulay,
Sarah Mansfield, Nicolas Martineau, Roger Massey, Joy McCall, Neil McCutcheon, Daniel McPherson, Neil Millen, Edward Monagle, Jeremy Morgan, Leonie Moschner, Giles Mountain, Chris Munro, Rupert Neelands, Mark Newstead, Liberte Nuti, Beatriz Ordovás, Rosalind Patient, Keith Penton, Romain Pingannaud, Sara Plumbly, Caroline Porter, Michael Prevezer, Anne Qaimmaqami, Marcus Rädecke, Pedram Rasti, Amjad Rauf, Sandra Romito, Tom Rooth, Alice de Roquemaurel, Francois Rothlisberger, Tim Schmelcher, Rosemary Scott, Tom Scott, Nigel Shorthouse, Dominic Simpson, Nick Sims, Katie Siveyer, Nicola Steel, Robin Stephenson, Kay Sutton, Rakhi Talwar, Nicolette Tomkinson, Jane Turner, Thomas Venning, Sophie Wiles, Mark Wilkinson, Bernard Williams, Georgina Wilsenach, Toby Woolley, Geoff Young
ASSOCIATE DIRECTORS
Guy Agazarian, Cristian Albu, Jennie Amos, Ksenia Apukhtina, Katharine Arnold, Alexis Ashot, Alexandra Baker, Fiona Baker, Virginie Barocas-Hagelauer, Carin Baur, Sarah Boswell, Nina Bowden, Mark Bowis, Clare Bramwell, John Caudle, Dana Chahine, Marie-Louise Chaldecott, Sophie Churcher, Marion Clermont, Helen Culver Smith, Laetitia Delaloye, Charlotte Delaney, Cristiano De Lorenzo, Freddie De Rougemont, Grant Deudney, Claudia Dilley, Eva-Maria Dimitriadis, Howard Dixon, Virginie Dulucq, Joe Dunning, Antonia Essex, Kate Flitcroft, Eva French, Pat Galligan, Keith Gill, Andrew Grainger, Leonie Grainger, Julia Grant, Pippa Green, Angus Granlund, Ciaran Grealish, Christine Haines, Coral Hall, Charlotte Hart, Evelyn Heathcoat Amory, Anke Held, Valerie Hess, Carolyn Holmes, Amy Huitson, Adrian Hume-Sayer, James Hyslop, Helena Ingham, Pippa Jacomb, Mark Jordan, Guady Kelly, Clementine Kerr, Hala Khayat, Alexandra Kindermann, Mark Henry Lampé, Tom Legh, Timothy Lloyd, Scott Macdonald, Graeme Maddison, Stephanie Manstein, Astrid Mascher, Michelle McMullan, Kateryna Merkalenko, Susanne Meyer-Abich, Toby Monk, Sarah O’Brien, William Paton, Samuel Pedder-Smith, Suzanne Pennings, Louise Phelps, Sarah Rancans, Lisa Redpath, David Rees, Alexandra Reid, Simon Reynolds, Sumiko Roberts, Sangeeta Sachidanantham, Pat Savage, Catherine Scantlebury, Julie Schutz, Hannah Schweiger, Mark Silver, James Smith, Graham Smithson, David Stead, Mark Stephen, Annelies Stevens, Charlotte Stewart, Dean Stimpson, Gemma Sudlow, Dominque Suiveng, Cornelia Svedman, Nicola Swain, Iain Tarling, Sarah Tennant, Timothy Triptree, Flora Turnbull, Lisa Varsani, Julie Vial, Anastasia von Seibold, Amelia Walker, Tony Walshe, Chris White, Rosanna Widen, Ben Wiggins, Annette Wilson, Julian Wilson, Elissa Wood, Neal Young
Catalogue photo credits:
Chris Denehy
Mike Bascombe
© Christie, Manson & Woods Ltd. (2014)
164
INDEX
AArad, R., 76Arbus, A., 34Argy-Rousseau, G., 91, 92, 93, 94, 114, 115, 116, 117, 118
BBenson, W. A. S., 125Borsani, O., 25Brandt, E., 36Brazier-Jones, M., 73Brouard, F., 31
CChiparus, D., 40, 41, 42, 43, 45Colinet, C.-J.-R., 44Csaky, J., 38
DDaum, 86, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113De Waal, E., 72Dresser, C., 128, 129
EEames, C. & R., 68
FFantoni, M., 27Fauré, 80Fornasetti, P., 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13
GGallé, E., 87, 88, 90, 95, 96, 97, 98, 99, 100Gerdago, 46Gimson, E., 133Godwin, E. W., 130, 131Graumans, R., 78Gruau, R., 56, 57, 58, 59, 60Guiraud-Riviere, M., 47Gurschner, G., 120
JJensen, G., 61
KKnox, A., 123
LLalique, R., 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150Lalique, S., 39Laporte-Blaisry, L., 85Le Faguays, P., 48Leleu, J., 33Leleu, Maison, 32Levete, A., 79Lorenzl, J., 119 Ludwig Schmidt, 121
MMajorelle, L., 83, 84, 89Majorelle, L.; Daum Frères, 35Mangiarotti,.A., 23Martens, D., 17Martin Brothers, 124Městrovic, I., 82Morris & Co., 127
NNelson, G., 66, 67Newson, M., 75, 77Nilsson, W., 62
PPagani, C., 19Parisi, I., 28Parpan, F., 53, 54, 55Perriand, C., 64Pini, N., 16Poillerat, G., 30Ponti, G., 20, 26, 29Preiss, F., 49, 50, 51, 52
RRace, E., 71Rie, L., 70Rietveld, G. T., 63
SSalto, A., 65Scarpa, T., 14Scheichenbauer, M., 74
VVenini, P., 18Voysey, C. F. A., 122
WWabbes, J., 69Webb, P., 126
ZZervudaki, L., 24
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