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Auction 17 October 2pm BST
\n30 Berkeley Square, London (map)

\n\n

Viewing 12-17 October

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Monday-Saturday 10am-6pm
\nSunday 12pm-6pm

\n","auctionDetailsSmall","London Auction 17 October 2019","extraInfo","Antonia King
\nInterim Head of Sale
\n+44 20 7901 7944
\nantonia.king@phillips.com
","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385],"articles",[164,165,166,167,168],"departments",[159],"auctionCurrency",{"_156":72,"_157":158},"totalLotCount",155,"auctionMobilityAuctionRowId","1-22P6WI","auctionUrl","https://www.phillips.com/auction/UK050219","currencyCode","currencySign","£",{"_160":161,"_162":96,"_163":96},"departmentId",3,"departmentName","departmentDisplayName",{"_169":222,"_171":96,"_172":223,"_16":224,"_175":225,"_177":226,"_179":180,"_181":182,"_183":227,"_185":182,"_187":228,"_189":229,"_191":230},{"_169":212,"_171":96,"_172":213,"_16":214,"_175":215,"_177":216,"_179":180,"_181":182,"_183":217,"_185":218,"_187":219,"_189":220,"_191":221},{"_169":202,"_171":96,"_172":203,"_16":204,"_175":205,"_177":206,"_179":180,"_181":182,"_183":207,"_185":208,"_187":209,"_189":210,"_191":211},{"_169":193,"_171":96,"_172":194,"_16":195,"_175":196,"_177":197,"_179":180,"_181":182,"_183":198,"_185":161,"_187":199,"_189":200,"_191":201},{"_169":170,"_171":96,"_172":173,"_16":174,"_175":176,"_177":178,"_179":180,"_181":182,"_183":184,"_185":186,"_187":188,"_189":190,"_191":192},"coverUrl","https://flockler.com/thumbs/sites/889/39_002-9e168849-68fe-48da-b905-7579936abc36_s600x0.jpg","section","summary","Reinterpreted from traditional Chinese models, Wegner’s meticulous armchair design incorporates an integrated construction to achieve simplicity of form. ","Hans J. Wegner's 'Chinese' Armchair","body","

Hans J. Wegner 'Chinese' armchair, circa 1944

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The present armchair designed by Hans J. Wegner in 1944 is a rare example from a series of chairs, reinterpreted from traditional Chinese models, reflecting twentieth-century Danish design theory and Wegner’s own highly prolific and inventive re-working of furniture, specifically chair, typologies. The high back of the present design comprises of a gently curved bent-wood back splat and organic, out-ward turning top rail, a shape also expressed through the chair’s sculptural armrests. These elements relate to characteristics of a Chinese chair dating from circa 1800 acquired by the Designmuseum Danmark in 1937, while Wegner was attending the Cabinetmaker Day School at the School of Arts and Crafts. Established in 1930, the Cabinetmaker Day School, located at the design museum, trained designers, foremen and cabinetmakers. The curriculum was largely informed by the ideas of the architect Kaare Klint, who founded and taught at the furniture school of the Royal Danish Academy of Fine Arts, and who advocated for the study of historical furniture types as a model for functionalist design.

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Hans J. Wegner 'Chinese' armchair, circa 1944

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Assembled using interlocking mortise and tenon joints, the Chinese chair in the museum’s collection provided Wegner with an example of rational, integrated construction and simplicity achieved through meticulous craftsmanship. Having trained in the cabinetmaking tradition, Wegner’s early designs already demonstrate an understanding of material and skillful use of joinery, which he applied to create sculptural forms in wood. In the present example, Wegner integrated the seat into the overall construction of the armchair giving the frame a greater lightness, while it’s curved, expressive shape responds to the human body. Transforming the restrained base of the Chinese model, in Wegner’s version, the vertical support of the armrests no longer extends straight through the front legs. However, he retains the original configuration of the back supports and legs by introducing a curved form that responds to the shape of the back splat. In addition to the armchair’s general construction, Dr. Craig Clunas discusses how Wegner preserved several classical details of Chinese carpentry, including the curve of the apron and its recessed panels, thus stressing the parentage of his designs (Craig Clunas, ‘The Chinese Chair and the Danish Designer,’ The V&A Album 4).

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Hans J. Wegner 'Chinese' armchair, circa 1944

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Wegner designed the present armchair, in addition to working on several variant models for Fritz Hansen, the year after he established his own studio. Preceding this, Wegner had worked in the architecture office of Arne Jacobsen and Erik Møller, who had won the commission to design the Aarhus City Hall, for which they entrusted Wegner to design the building’s furniture. During this time, Wegner spent his evenings working on his own projects and participating in competitions, which led to his partnership with master cabinetmaker Johannes Hansen in 1940, a distinguished and productive collaboration that would last half a century. Of great importance were Wegner’s furniture designs for Johannes Hansen’s stands at the Copenhagen Cabinetmaker’s Guild’s annual exhibitions, which he contributed to from 1941 until 1966. At the 1944 exhibition, Wegner presented a 1:5 scale model of an armchair, whose design closely relates to the present armchair, as well as to a drawing dating from the same year Wegner had submitted to the forerunner exhibition competition. Wegner may have made the scale model to help convey the design to the merchant E. Knuth Nielsen, who commissioned a set of four armchairs of the present design and four side chairs for his home in Aarhus, where Wegner also lived during this time. A period image of Mr. Nielsen’s dining room exists, and it is probable that the present armchair originates from this commission. Another known example of the armchair model was included in the 1965 exhibition at Johannes Hansen, celebrating the 50th year of the workshop and the 25th year of collaboration with Wegner.

\n\n

\n","publishDate","2019-10-07T16:31:45.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/48337586/hans-j-wegners-chinese-armchair","displayOrder",4,"auctionEditorialID",641,"editorialID",743,"flocklerID",48337586,"https://flockler.com/thumbs/sites/889/8_0022-718635d9-03ae-4a8d-ba84-d25a2ce1b278_s600x0.jpg","Inspired by the rise of Surrealism in Paris, the Italian designer sought to create biomorphic forms in his favored material. ","Pietro Chiesa: Modernity in Glass","

Portrait of Pietro Chiesa holding ‘The star of Italy’ small glass sculpture executed by Erwin Burger. Photograph by Toure Christiansson Göteborg, 1942. © Editoriale Domus S.p.A.

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In March 1949, Gio Ponti dedicated an extensive article in Domus to the work of his friend Pietro Chiesa, following the Milanese designer’s death the previous year. The opening pages of the article featured a portrait of Chiesa looking out through one of his small carved glass sculptures, capturing his investigative spirit, on which Ponti commented that the image, "…symbolizes in a touching way the extreme relentless need for perfection and quality that was the central rule in his work within the field [of glass]." Chiesa’s enduring interest in glass, both for its celebrated history throughout Italian design and its inherent material qualities, developed during the 1920s when he established his own studio in Milan creating stained-glass windows, and continued to inform and inspire his work at Fontana Arte. Appointed co-artistic director of the firm with Ponti in 1934, Chiesa designed masterfully-crafted lighting and furniture, greatly contributing to Fontana Arte’s preeminent artistic glass production. Describing a series of "Mobili Essenziali," which comprised of mirrored glass table and cabinet designs, including the present model, Ponti wrote in his 1949 article that, "In these works Pietro Chiesa has achieved … that 'essentiality' in which the lines are ‘pulled' to their most absolute expression and do not require any additions or modifications" (Gio Ponti, 'L'opera di Pietro Chiesa', Domus, no. 234).

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Pietro Chiesa Important and rare illuminated drinks cabinet, circa 1939

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Designed by Chiesa in the late 1930s, the present illuminated drinks cabinet elegantly combines a modernist and functionalist visual language, emphasizing a "purity of line" that equally embraces a curvilinear, organic form. The undulating shape of the cabinet’s curved glass doors extends from an otherwise purely rationalist structure comprising a mahogany-veneered wood frame and sturdy tubular brass feet. The chromatic quality of the extraordinary mirrored plate glass replaces earlier classical decoration, for example the intricate inlays and gilding found in traditional Italian cabinetry, which is subtly evoked by the outline of the cabinet’s form and preserved through its modern interpretation by Chiesa’s use of the sophisticated processing techniques required to produce both curved and mirrored glass. Experimenting with both the aesthetic and technical possibilities of the modern material, Chiesa embellished entire surfaces of his furnishings using glass, sometimes incorporating vibrant colors, exploiting the expressive potential of the medium. He also explored the thickness of cut glass, innovatively allowing the material to play a weight-bearing role in several large tables, as demonstrated by the designer’s rare table (lot 26).

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Pietro Chiesa Important and rare illuminated drinks cabinet, circa 1939

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The present cabinet illustrates a duality in Chiesa’s work. In uniting artisan and semi-industrial production, while subverting the rationalism of the rectilinear frame through the introduction of curvilinear forms, Chiesa underscores Ponti’s identification of the "extreme essentialness" of these designs. In the late 1930s, a vocabulary of organic Modernism had been adopted by several architects and designers, informed by the Surrealist movement, which had emerged in Paris during the 1920s and developed through the 1930s. In addition to providing formal inspiration, Surrealism's exploration of the emotional and the psychological offered a means to examine the humanizing of technology. The undulating cabinet doors of the present cabinet have a biomorphic quality, a visual language that developed from Surrealism. In the 1936 exhibition Cubism and Abstract Art, Surrealist art was described as, "organic or biomorphic rather than geometric in its forms; curvilinear rather than rectilinear, decorative rather than structural and romantic rather than classical in its exaltation of the mystical, the spontaneous and the irrational" (Barr, Alfred H., Jr., Cubism and Abstract Art, exh. cat., The Museum of Modern Art, New York). Underscoring this contextualization is the distortion of the viewer’s reflection in the curved glass of the cabinet doors, which appears to collapse the distinction between object, subject and the surrounding space. Reflecting his pursuit of modernity, the present drinks cabinet is "specifically organic and essential," the words used by André Breton in his 1937 Surrealist text Mad Love to describe Paris - described by Ponti in his article as Chiesa’s favorite city, where he often visited to collect rare books from the Romantic period (André Breton, Mad Love, Mary Ann Caws, trans., Lincoln, 1987, and Gio Ponti, 'L'opera di Pietro Chiesa', Domus, no. 234).

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\n","2019-10-01T18:40:45.000000Z","https://www.phillips.com/article/47900351/pietro-chiesa-drinks-cabinet",640,734,47900351,"https://flockler.com/thumbs/sites/889/17_004-1a61c357-b6a5-4ffb-b1a5-ba8f3cb614aa_s600x0.jpg","Gio Ponti scholar Brian Kish explains the history behind an executive desk of grand scale with playful tectonic elements. ","Solemnity on Pinwheels","

Gio Ponti Important executive desk, circa 1951 (detail)

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An expressive statement in formalist design that alludes to the commanding position of its intended user, this monumental desk demonstrates Gio Ponti's endless virtuosity of invention. The architect designed this unique piece as a fresh iteration of an earlier model designed in 1948 for the publisher of Domus, Gianni Mazzocchi, and made by Giordano Chiesa.

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The seductive and vivacious variation at hand was executed a few years later by Egidio Prosperio. Both Chiesa and Prosperio were renowned ebanisti who had been lauded by Ponti in his book Amate l'architettura of 1957, as the two artigiani Ponti felt most confident with to handle private commissions or pezzi unici.

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Gio Ponti Important executive desk, circa 1951

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This ‘1951 Desk’ designed for a Como industrialist is not just a cluster of organic forms as it would occur in Alvar Aalto or even Carlo Mollino, but a manifestation of Ponti’s unique sensibility and obsession with the imaginary: "I believe that all furniture, while being functional, must also touch the imagination of both he who designs it and he who also observes it" (Gio Ponti, Amate l'architettura, Genova, 1957).

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The outline of both the Mazzochi and the 1951 desks within their context in an office was first sketched out in four cartoon-like drawings published in the September 1949 issue of Domus. There we can see how the desk is engaged with one of Ponti's "organized walls," another invention that paved the way for his large scale architectural works of the later 1950s. With its suspended top, the desk immediately recalls the Villa Planchart of 1953 with its floating roof. Its overall profile is further lightened by two rectangular apertures that open a sightline to lateral drawer units below. Like the villa, both desks are icons of weightlessness and movement.

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Gio Ponti Important executive desk, circa 1951 (detail)

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The early desks turned out to be a template of Ponti’s serial production designs for Singer & Sons 1952, Altamira 1953, and Rima 1954. The serial pieces inherited his idiosyncratic synthesis of the programmatic and the poetic. His unrelenting umorismo is plain to see in both prototype desks and their serial offspring: it can be read in the tension between an imposing overall grand scale and playful tectonic elements such as the vertical supports akin to four large girandole. Unique to the 1951 version, the brass sabots are all connected in pairs with lower brass strips imparting additional momentum as well as a graphic elegance that enhances the pinwheel effect.

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\n","2019-10-02T14:40:37.000000Z","https://www.phillips.com/article/47905702/gio-ponti-executive-desk",2,636,735,47905702,"https://flockler.com/thumbs/sites/889/124_001-93c58984-8533-4cd8-9c0a-a51346daa244_s600x0.jpg","Laarman’s innovative chair design explores the intersections of design, technology and science.","Joris Laarman's 'Bone' Armchair","

Joris Laarman 'Bone' armchair, 2008

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In an effort to bring together thinkers and makers from seemingly disparate disciplines, Joris Laarman and Anita Star established Joris Laarman Lab in 2004. The Lab executes works that range in scale from furniture such as the present lot to larger architectural projects. Beginning around 2006, Laarman became particularly interested in the biological processes of tree and bone growth as well as the possibilities of 3-D fabrication. These intellectual fascinations of Laarman’s coalesced in his first ‘Bone Chair’, a precursor to the present lot.

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Joris Laarman 'Bone' armchair, 2008 (detail)

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Describing these works, Laarman has said, "If Mother Nature wanted to create a chair, it would probably look something like [this]" (Anita Star, ed., Joris Laarman Lab, exh. cat., Cooper Hewitt, Smithsonian Design Museum). Inspired by the way in which bones grow, Laarman developed a computer algorithm that similarly minimizes mass where less support is needed. He described the algorithm by saying, "This is done by creating a virtual 3-D model and simulating the application of stress to specific points on the design. Then the algorithm takes away all of the material that isn’t necessarily needed, without weakening that part" (ibid, p. 66). For the present lot, Laarman used this biologically-inspired algorithm to create a 3-D mold. He then cast the chair using a mixture of marble powder and resin. Whereas his first ‘Bone Chair’ was made with aluminum, the chalky and smooth quality of the marble resin has a bone-like appearance that visually reinforces Laarman’s design concept.

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Joris Laarman 'Bone' armchair, 2008

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Though this chair’s conceptual undergirding and formal production mark a radical shift in the possibilities of design — from its point of inspiration to its novel use of emergent technologies — it remains grounded in the larger historical trajectory of designers creating works inspired by nature. From Art Nouveau at the turn of twentieth century to ‘Biomorphic Design’ of the post-World War II period, many of the most innovative designs have been inspired by the natural world.

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Joris Laarman 'Bone' armchair, 2008

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By exploring the intersections of design, technology, and science and by expanding our very understanding of these disciplines, Laarman has become one of the most groundbreaking and innovative designers of the twenty-first century. The ‘Bone Armchair’ proves this point: it is theoretically complex yet straightforward, visually robust yet delicate, and aesthetically minimal yet dynamic.

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\n","2019-10-02T16:15:03.000000Z","https://www.phillips.com/article/47979396/joris-laarman-bone-chair",1,635,736,47979396,"https://flockler.com/thumbs/sites/889/70_005-af4df2c7-9931-40ed-83dd-2179ffd866cc_s600x0.jpg","Curator and art historian Brian Kish delves into some of the Italian master's final work as a designer.","Gio Ponti's Apta Tables and the Ecstasy of Movement","

Lots 71 and 70: Gio Ponti Unique prototype folding coffee tables, 1970

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For seven decades until the very end of his life in 1979, Gio Ponti was a tireless inventor of numerous concepts and realities. "From the spoon to the city," he was the supreme exponent of that 1950s methodology, first articulated by Ernesto Nathan Rodgers in the Charter of Athens, CIAM in 1952.

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Lots 71 & 70: Gio Ponti Unique prototype folding coffee table, 1970

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In 1970 when he was almost eighty years old, he came up with his last masterpieces, the highly reductive furniture built by Walter Ponti of Mantua. In this series, named "Apta," all basic domestic typologies were turned on their head in favor of pieces that were both mobile and collapsible thanks to casters and hinges. This which made them mobile when used and compact enough to stow away or transport, thus achieving an object that could be gloriously three dimensional one moment and dead flat the next but always radiant with color.

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Lots 71 & 70: Gio Ponti Unique prototype folding coffee table, 1970

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The two prototype tables presented here are the definitive gems from that series. One is red and white, the other aqua blue and dark grey and as such both emblematic of his color methodology… "he always contrasted a pure color with black, white or grey" (Lisa Ponti in conversation with Brian Kish, January 2001 at her Studio, Via Randaccio 9, Milan). Meanwhile, his ever-recurring graphic motifs were either the diamond or the obelisk and they became Ponti's essential matrix. "A perfection in architecture" he once proclaimed, "(is)the ecstasy of movement" (Gio Ponti, Amate l'architettura, Genova,1957). In this respect, the wheels and hinges are key to allowing endless positions in any room as well as multiple exciting geometric configurations enhanced by intense color contrasts.

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Lots 71 & 70: Gio Ponti Unique prototype folding coffee table, 1970

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As it happened, these two tables were created in tandem with large scale architectural projects, the unrealized "colored skyscrapers" and Centre Pompidou as well as a completed masterwork the Cattedrale in Taranto. Like the folding tables, all these projects clearly demonstrate his agility at switching between the complex demands of different situations and scales to ultimately invent new and compelling solutions.

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Lots 71 & 70: Gio Ponti Unique prototype folding coffee table, 1970

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Ponti began as a painter, and later often evoked his hope to return to his artistic activities. However, he never stopped drawing and essentially looped art into his work for industry. He kept aiming at a particular synthesis which continues to catch and hold our attention in the twenty-first century. Indeed, his reappraisal has barely just begun.

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To sum things up, his teaching assistant at the Politecnico di Milano from 1945 to 1969, Vittoriano Viganò provides us with an enlightening assessment of Ponti's method: "The impregnable weapon to which he always felt bound and which he always leveraged is 'art', art in its essence, as ethics, measure, strength, and action, indispensable for edifying man and his environment" (Vittoriano Viganò in Ugo La Pietra, ed., Gio Ponti, L'arte si innamora dell'industria, Milan, 1993).

\n\n

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127

Attributed to Umberto Bellotto

Large ceiling light

完整圖錄內容

Attributed to Umberto Bellotto