From our April sale of 'Modern Masters', this spectacular ceiling light is one of three unique plaster ceiling lights that Alberto Giacometti created for his close friend, the editor Tériade. Originally installed in Tériade's dining room in his apartment on rue de Rennes in Paris, it is exceptional in its originality but also in its large size, spanning 129 cm in diameter. The other two smaller ceiling lights hung in villa Natacha, Tériade's seaside residence in Saint-Jean-Cap-Ferrat: one in the famous 'Matisse' dining room (now at the Musée départemental Matisse, Le Cateau-Cambrésis) and the other, 'Petit Lustre avec Figurines' in the salon, which sold in October 2007.

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Giacometti treated plaster as a noble material, valuing it for its malleability and sense of fragility.
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Alberto Giacometti Unique and large conic chandelier with four small cones, from the Tériade apartment, Paris, circa 1954

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For most sculptors, plaster is an intermediary material used in the lost wax process. Giacometti, however, treated plaster as a noble material, valuing it for its malleability and sense of fragility. The filmmaker Ernst Scheidegger, who documented Giacometti's studio from the 1940s-1960s, also highlighted plaster's natural tendency towards chiaroscuro: "As a white material, plaster is superbly well-suited to bringing a figure to life using light and shade...the plaster casts reproduced Alberto's work in a much more differentiated and lively way than many of the bronzes could." Giacometti in fact chose to apply a matte-white patina to some of his bronzes, such as Femme couchée qui rêve (1929), an interesting reversal, with bronze imitating a supposedly more base material.

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Alberto Giacometti at his studio with the chandelier from the sale © The Estate of Alberto Giacometti (Fondation Giacometti, Paris and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2016

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This ceiling light would have been created in much the same way as Giacometti's plaster sculptures; as Scheidegger described his working method, "Diego set up a wire frame — an armature — which the brothers discussed together, and then Alberto began to work on it with plaster." Scheidegger went on to describe Giacometti's chaotic studio on rue Hippolyte-Maindron: "There were piles of plaster scraps and chaos reigned. In the middle of this muddle Alberto continued to work imperturbably, as if it was nothing to do with him." Indeed, a Denise Colomb photograph from 1954 shows this work hanging above Giacometti in his studio, the artist perched on a stool and surrounded by plaster figurines, tools and fragments.
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\nGiacometti had begun designing plaster lighting in the late 1920s, a period of intense collaboration with Jean-Michel Frank. The designer is believed to have discovered Giacometti's work at the 1929 Salon de Tuileries exposition held at the Palais de Bois. Giacometti went on to design over seventy objects for Frank, including seventeen lamps, eleven floor lamps, thirteen vases, ten wall lights and other small accessories.

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Among the more notable Frank interiors to include Giacometti designs were Elsa Schiaparelli's showroom on Place Vendôme (1934); Jean-Pierre Guerlain's apartment (1935) and Jorge Born’s villa, Buenos Aires (1939). Giacometti assigned equal importance to his decorative works and sculptures. As he explained in a 1962 interview with André Parinaud, "For my livelihood, I accepted to make anonymous utilitarian objects for a decorator at that time, Jean-Michel Frank...it was mostly not well seen. It was considered a kind of decline. I nevertheless tried to make the best possible vases, for example, and I realized I was developing a vase exactly as I would a sculpture and that there was no difference between what I called a sculpture and what was an object, a vase"!

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(Above) Henri Cartier-Bresson Alberto Giacometti at his studio on Rue Hippolyte Maindron with French publisher E. Tériade, 1952 © Henri Cartier-Bresson/Magnum Photo; (Below) Martine Franck Tériade and Henri Cartier-Bresson depicted with the present lot in situ, Tériade’s apartment, Paris © Martine Franck / Magnum Photos

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Following his collaboration with Jean-Michel Frank, Giacometti continued to produce decorative objects, but only for very close friends such as Tériade. Only an exceptional person could have forged such strong friendships with the most important, innovative and exacting artists and writers of the twentieth century, and Tériade was an editor who facilitated the publication of Chant des morts by Reverdy and Picasso, Cirque by Chagall, Divertissement by Rouault, L'enfance d'Ubu by Miró, Paris sans _n by Giacometti, Poème de l’angle droit by Le Corbusier, Images à la sauvette by Cartier-Bresson and Jazz by Matisse, inevitably playing a powerful role in the evolution of the modern art book. He also boasted friends in poetry and photography circles including Hemingway, Sartre, Cartier-Bresson and Blumenfeld.

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In addition to the three plaster ceiling lights, Tériade owned bowls, floor lamps and a 'Flambeau' table lamp which Giacometti included, rather prominently, in the foreground of a portrait of him from circa 1939.

\n","publishDate","2017-04-07T19:40:10.000000Z","authorCredit",[],"coverPosX",50,"coverPosY","articleUrl","https://www.phillips.com/article/10682378/alberto-giacomettis-work-in-plaster","auctionEditorialID",109,"editorialID",119,"flocklerID",10682378,{"_1361":1385,"_1363":233,"_1364":1386,"_131":1387,"_1367":1388,"_1369":1389,"_1371":103,"_464":1390,"_1373":1374,"_1375":453,"_1376":1391,"_443":198,"_1378":1392,"_1380":1393,"_1382":1394},"https://flockler.com/thumbs/sites/889/217_002_s600x0.jpg","A work of light and grace, Young Sook Park's 'Moon Jar' conveys certainty and paradox.","The 'Moon Jar': A Transcendent Ceramic Form","

Mrs. Young Sook Park's Moon Jar is a work of heft and a light-grace. It seems both to settle on its base as well as float into a lunar arc. It is grounded and airy, with a contradictory resonance of stillness and motion. It is a pot of certainty and paradox.
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\nIt is impossible, perhaps, for any contemporary Korean ceramic artist to represent the Moon Jar as a form without a deliberate acknowledgment of its complex, textured place in the country's long ceramic history. This is both a national history, and also an international one, as the Moon Jar has fascinated many living makers, especially in the UK. The contemporary Moon Jar, whether made in Seoul by Young Sook Park or Adam Buick, working in rural Wales, will always consciously refer back to the early Korean exemplars.

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A perfect union happens when the top and the bottom surrender their indivdual selves and reach a compromise to exist forever as 'one'.
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— Young Sook Park
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Moon Jars were originally made during the Joseon Dynasty (1392-1910). They are curvaceous, plain white porcelain jars resembling a full moon. They were made customarily to contain flowers or wine, but they are also ritual, votive vessels. The finest historical examples date to the 18th century, and during the first half of the 18th century the Royal kilns at Gwangju, Gyeongyi province specialised in producing examples of exceptional quality, all made in a characteristic, milky-white porcelain. Moon Jars, due to their size, were made in two halves, joined together so that the line of the join is often visible.
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\nThe line is visible in one remarkable example, purchased by Bernard Leach in Seoul in 1935 and bonded to Plymouth for customs examination in a consignment of 'old Korean Pots' that he gathered together for his personal collection. He described this work as a 'very large white jar' (18 ½ inches tall and 56 inches in circumference) with a value of 10 yen. Leach eventually asked Lucie Rie to look after the pot for him, and it remained in her Albion Mews studio throughout the Second World War — altogether for some fifty years, when she bequeathed it to Janet Leach. This Moon Jar stood quietly in a corner of Rie's showroom, displayed as a counterpoint to her own modernist ceramics. Famously sold as the signature lot of 'the Janet Leach collection' in 1998, the Moon Jar was acquired by the British Museum. Following, it was commented that "Leach's acquisition of this masterpiece is significant, for behind the apparent simplicity of colour and form lies a complex philosophy and iconography deeply rooted in Korea's culture."
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\nLeach's Moon Jar played out a particular narrative: it represented the apogee of work by the anonymous craftsman and thus took its place in the pantheon of Korean 'folk craft'; and it echoed the reticence of European modernism, such that its loan to Rie seemed inevitable. It may also have carried an emotional message: a gift to a deeply-loved friend.
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\nThe Moon Jar's public and museum life enabled it to become a lodestone for contemporary ceramic artists in the United Kingdom — notably Akiko Hirai and Adam Buick, and for a more limited period, Gareth Mason who has referred to its 'haptic wisdom'. These makers presented examples of their 'translations' of the form in a major exhibition at the Korean Cultural Centre in 2013, framed by the British Museum's Moon Jar. The show made explicit the tangible connection from the historic exemplar to the contemporary reworking of the form, including the more radical work of the Korean potter Yee Sookyung.
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\nKorean Moon Jars are held in many of the great public ceramic collections; in the National Museum of Korea and The Fitzwilliam Museum Cambridge, for example. The British Museum has recently acquired a large Moon Jar by Adam Buick as a 'partner' to the Joseon dynasty vessel in the Korea galleries. The Victoria and Albert Museum displays a fine example, made in 2008, by Young Sook Park.

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Young Sook Park 'Moon Jar', no. 16, 2007

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Like the version seen here from our sale, it reflects, quite deliberately, its antecedent form. It is an honouring pot. She echoes the full shape of the moon, yet in this version, the form is tapered and slightly elongated. The glazed white of the porcelain seems in certain lights to have a complex, shifting, celadon-blue-grey hue. The tight-fitting glaze is faintly and randomly speckled here and there. The joining of the two halves is just barely visible: a marker of the consummate technical skill of the potter. Yet this is a work whose virtuosity is displayed with modesty.

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The Moon Jar in Young Sook Park's deeply skilled hands is both a singular example and a type. It is a symbol of purity through reticence, of an august serenity that has respected the past and yet might appeal to a present hope for calm and reflection. The Moon Jar plays a vital part in her repertoire of vessels: perhaps now at the core of her practice. Her Moon Jars, in graduated sequences of sizes up to the largest-possible, are universally recognized to be the purest representations of a singular and deeply symbolic form. This is a pot of tranquil force; a pot of the night sky.
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\nProfessor Simon Olding is Director, Crafts Study Centre at the University for the Creative Arts.

\n","2017-04-07T18:24:31.000000Z",[],"https://www.phillips.com/article/10680842/the-moon-jar-a-transcendent-ceramic-form",108,118,10680842,{"_1361":1396,"_1363":233,"_1364":1397,"_131":1398,"_1367":1399,"_1369":1400,"_1371":103,"_464":1401,"_1373":1374,"_1375":453,"_1376":1402,"_443":491,"_1378":1403,"_1380":1404,"_1382":1405},"https://flockler.com/thumbs/sites/889/213_002_s600x0.jpg","A rare Giacometti table lamp from the collection of Lauren Bacall conjures the elegance of Egyptian motifs and Hollywood's Golden Age.","Tête de Femme: Lauren Bacall & Alberto Giacometti","

Alberto Giacometti 'Tête de femme' table lamp, designed 1937 (detail)

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Recalling elements of an architectural caryatid, the form of Alberto Giacometti's Tête de femme table lamp simultaneously features an unevenness and softness that reveals the artist's hand. The dark brown patina of the bronze gives the object a subtle richness, whilst enhancing its sculptural quality. The use of bronze also links the lamp to a second classical form, the bust — a theme that preoccupied Giacometti throughout his career.

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However, it is the artistic intent behind the object's considered detail and simplicity that gives the modern work its value.

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The Tête de femme lamp comprises part of the collection of decorative objects that Giacometti created for the influential interior designer Jean-Michel Frank between 1932 and 1940. These objects became integral to the designer's celebrated minimalist interiors, and Frank's fashionable clientele became great admirers of the sculptor's work. Frank positioned Giacometti's lamps and vases prominently throughout his stark interiors, which were renowned for such luxurious materials as leather, marble, ivory and parchment. Translating the spirit of Frank's 'anonymity' of forms and space, Giacometti worked from ancient forms. Giacometti traced the genesis of these forms, emptying them of their meaning, in order to retain only the essential.

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Alberto Giacometti 'Tête de femme' table lamp, designed 1937

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Evoking forms from ancient Greek, Roman and Egyptian excavations, Giacometti's decorative works reflect his admiration of these civilizations and his study of their utilitarian objects. However, devoid of any direct historical reference, these works retain a sense of mysterious anonymity, allowing the viewer to unconsciously construct the work's form and meaning. Giacometti had joined the Surrealists in 1931, and although he parted ways with the group by 1935, elements of the movement remained in his work. By the mid-1930s, Giacometti had returned his attention back to the depiction of the human figure, and specifically to the human head — the exploration of which would remain central to the artist's work throughout his life.

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During this period, the British painter and designer Isabel Rawsthorne became one of Giacometti's primary models. Rawsthorne acted as a muse for several of her avant-garde contemporaries, and ultimately it is through these relationships that she has become largely remembered historically. Whilst the two artists developed a personal relationship, Giacometti and Rawsthorne shared artistic interests, including a commitment to a modern form of representational painting. Both artists were inspired by ancient figures, in particular Egyptian sculpture, which provided a model for Giacometti's exploration of the individual versus the universal. These interests are expressed in the formal simplicity of the Tête de femme lamp's totemic form, whilst the lamp's stylised face bears a resemblance to Rawsthorne, whose face Giacometti likened to that of an Egyptian head.

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Lauren Bacall circa 1945 © John Kobal Foundation/ Getty images

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Giacometti first conceived of his Tête de femme lamp in plaster around 1937, from which he later cast an edition in bronze. The original plaster model of the lamp is now held in the collection of the Museum of Decorative Arts in Paris.

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This lot from our Modern Masters sale belonged to the American actress Lauren Bacall, who made her film debut in 1944 playing opposite Humphrey Bogart, her eventual husband. Through her roles as a film noir femme fatale, Bacall became an icon of Hollywood's Golden Age. It is largely through the mystique of this persona that Bacall, like Rawsthorne, is foremost celebrated. As modeled by ancient Egyptian artifacts, the individual has become an idealised universal symbol.

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The inherent contrast of the archetypal recognition of the individual finds parallels in Giacometti's work; the anonymous and the specific, the ancient and the modern, and the functional and art object, are each evoked by Giacometti's Tête de femme.

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This piece is registered by the Fondation Alberto and Annette Giacometti in the online Alberto Giacometti Database (AGD) under the number AGD 3497.

\n","2017-04-24T18:59:22.000000Z",[],"https://www.phillips.com/article/11396594/tete-de-femme-lauren-bacall-and-alberto-giacometti",117,128,11396594,{"_1361":1407,"_1363":233,"_1364":1408,"_131":1409,"_1367":1410,"_1369":1411,"_1371":103,"_464":1412,"_1373":1374,"_1375":453,"_1376":1413,"_443":238,"_1378":1414,"_1380":1415,"_1382":1416},"https://flockler.com/thumbs/12746/bbgfmplk6yg1o8bvkfckrecg5flmes8ypqxffradqituhm7imjcfvp-qggwot7wuk-2lxzt_vux5xgjxckixgxichaliuk3wa7r5_s600x0.jpg","Teaming software engineers and highly skilled craftsmen, Laarman's designs achieve a rare harmony between the engineered and the organic.","Joris Laarman: High Tech & High Design","

Joris Laarman Important 'Bridge' table, 2010

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Boundaries between disciplines are ever more blurred and distinctions less obvious. Where does design practice stop and engineering begin? Does science influence design, or design inform science?

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In response, Joris Laarman has implemented an interdisciplinary structure in his studio combining technology and craft. In his studio, a meticulously selected group of code-writers, often with an architectural background, work alongside craftsman in realizing Laarman's labyrinthine designs. "The studio is like a mini-society where software engineers work together with traditional craftsmen," says Laarman, "I am very careful choosing people."

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Those afraid of heavy machinery and robots need not apply. Laarman elaborates that "most of them come from the same European universities or local craft schools. This is little surprising given that the studio practice needs very specific skills and knowledge, and these schools seem to cherish and most importantly teach them."

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Despite the use of industrial materials, Laarman's final objects demonstrate the fineness of the hand-crafted and hand-finished. Nothing could be a better of example of this than his Bridge Table, a product of his decade-long endeavor, "The Bone Furniture." Described by Laarman as "a series of objects that represent a world of thinking," the collection was inspired by the natural growth structures in bones. The monumental Bridge table is constructed with aluminum — a lightweight and easily malleable material that protects against corrosion. The construction of the large sculptural table was quite seamless even with its complicated design. However, it was the finish that proved to be a greater challenge for Laarman and team.

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Due to the aluminum's naturally soft composition, Laarman needed to discover a technique that would protect the table from the daily wear it was sure to receive. His fascination with the technique High Velocity Oxygen Fuel (HVOF) spray coating led him to choose tungsten carbide, one of the hardest materials on earth possessing ceramic-like qualities. The table took two months of polishing day and night to get the mirrored finish of the final product. Able to be polished by only the hardest and most rigid materials, the process led to the development of a robotic arm for high-pressure polishing.

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If Ikea or anyone else wants to pick up the challenge of mass producing my work, it would be a great compliment...
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Laarman's fascination with technology doesn't simply lead to a celebration of the new and possible, but aims at finding forms and aesthetics with a fundamental combination of coding and crafting, of studio and workshop practice. His past collaborations include tech companies, scientific and academic institutions. With little interest in developing his designs into mass manufactured products, Laarman is open to others doing so: "If Ikea or anyone else wants to pick up the challenge of mass producing my work, it would be a great compliment, but I believe that will only happen once digital fabrication is fully implemented."

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It is unpredictable what will catch Laarman's attention next.

\n","2017-04-23T16:29:04.000000Z",[],"https://www.phillips.com/article/11300039/joris-laarman-high-tech-and-high-design",115,126,11300039,{"_1361":1418,"_1363":233,"_1364":1419,"_131":1420,"_1367":1421,"_1369":1422,"_1371":103,"_464":1423,"_1373":1374,"_1375":453,"_1376":1424,"_443":151,"_1378":1425,"_1380":1426,"_1382":1427},"https://flockler.com/thumbs/sites/889/225_002_s600x0.jpg","Designed for post-war sites around the world, Jean Prouvé's prefabricated homes combine art and industry.","Prouvé's Monuments to Modernism","

The godson of Emile Gallé and son of a founding member of the Ecole de Nancy, Jean Prouvé was a twentieth century pioneer and an innovative designer of furniture and architecture. Prouvé was imbued with a creative and industrious philosophy from a group whose principal aim was the democratic alliance between art and industry.

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The house of my dreams is made in a factory
\n—Jean Prouvé
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Jean Prouvé with an example of Demountable House © Bibliothèque Kandinsky, Centre Pompidou / ADAGP, Paris and DACS, London 2016

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Determined to be a man of his time, Prouvé explored all the current technical resources in metalworking, abandoning wrought iron for bent sheet steel. In the 1930s he produced metal joinery, furniture, architectural components and demountable buildings, all of which were from a limited production. Prouvé stated that "in their construction there is no difference between a piece of furniture and a house," and he developed his philosophy on construction further based upon functionality and rational fabrication.

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Free of all artifice, the result was aesthetically concurrent with the doctrine of the Union des Artistes Modernes of which Prouvé was a founding member. Members of U.A.M. also included the French pioneers Le Corbusier, Pierre Jeanneret and Charlotte Perriand.
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\nPost-war furniture and architecture, which was produced and often intended for public use, applied Prouvé's aforementioned ideas. These works included astute assembly systems for durable structures, buildings and furniture, all of which were germane to the principles of adaptation, modification and deconstruction. The significance of Jean Prouvé's humanist concerns and avant-garde spirit has lost none of its relevance. There has been renewed discovery of the originality from his prolific career, spanning many decades. These achievements include the University dormitory, Nancy, in 1932; a similar facility for the university in Antony, 1954; demountable post-war schools and the 'little architecture machines' from the 1960s; furniture and buildings for Brazzaville, Congo, and Cansado, Mauritania.

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Collaborating with esteemed architects, Jean Prouvé has left a prestigious lineage of twentieth century building, many of which are now considered historic monuments to modernism.
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\nIn response to an order from the state at the end of the war, Jean Prouvé began designing temporary houses for the homeless in Lorraine and Franche-Comté. He fine-tuned his already patented axial portal frame, which was a quick, economical and adaptable solution to an urgent priority. The area of 6 x 6 meters (388 sq ft) was mandated by the Ministry of Reconstruction and Town Planning, and then later increased in size to 6 x 9 meters (581 sq ft). The construction was partitioned into three rooms that were immediately habitable on the day of assembly. This meant that families did not need to move while construction took place.

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Designed to be rapidly constructed on the sites of destroyed homes, these architectural structures were produced with wood and metal prefabricated components. At the time of fabrication steel was subjected to strict quotas, which was reserved for the bent steel skeleton, for the insertion of simple standardised wood panels. The roof was made of bitumen-coated building paper, conducive to Prouvé's constructional rebuilding principles.
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\nGalerie Patrick Seguin will release a five volume set of monographs dedicated to the demountable architecture of Jean Prouvé, which will include this particular lot from our upcoming sale, the '6 x 9' demountable house.

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Alberto Giacometti Unique and large conic chandelier with four small cones, from the Tériade apartment, Paris, circa 1954

Alberto Giacometti at his studio with the chandelier from the sale © The Estate of Alberto Giacometti (Fondation Giacometti, Paris and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2016

Young Sook Park 'Moon Jar', no. 16, 2007

Alberto Giacometti 'Tête de femme' table lamp, designed 1937

Lauren Bacall circa 1945 © John Kobal Foundation/ Getty images

Joris Laarman preparatory drawing of the 'Bridge' table © Joris Laarman Lab

Jean Prouvé with an example of Demountable House © Bibliothèque Kandinsky, Centre Pompidou / ADAGP, Paris and DACS, London 2016

Overview

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