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Priority Bidding
\nDeadline to submit priority bids is Tuesday 28 April 2pm
\n
\nView Conditions of Sale >
\n
\nPriority Bidding is here! Secure a lower Buyer’s Premium. Learn more >
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\n","auctionDetailsSmall","London Auction 30 April 2026","extraInfo","

Antonia King
\nHead of Sale, Design
\naking@phillips.com

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392],"viewing",{"_243":244,"_245":246,"_48":247,"_248":249},"articles",[185,186,187,188],"departments",[180],"auctionCurrency",{"_177":72,"_178":179},{"_168":169,"_170":171,"_172":173,"_174":49,"_175":176},"totalLotCount",131,"auctionMobilityAuctionRowId","1-BRCZ3S","auctionUrl","https://www.phillips.com/auction/UK050126","auctionResultsFile","https://dist.phillips.com/content/web/auction-results/auctionResultsFile_UK050126.pdf","countryName","United Kingdom","countryCode","GB","line1","30 Berkeley Square","city","postCode","W1J 6EX","currencyCode","currencySign","£",{"_181":182,"_183":103,"_184":103},"departmentId",3,"departmentName","departmentDisplayName",{"_189":234,"_191":103,"_192":235,"_16":236,"_195":237,"_197":238,"_199":200,"_201":202,"_203":204,"_205":239,"_207":204,"_208":240,"_210":241,"_212":242},{"_189":224,"_191":103,"_192":225,"_16":226,"_195":227,"_197":228,"_199":200,"_201":202,"_203":204,"_205":229,"_207":230,"_208":231,"_210":232,"_212":233},{"_189":214,"_191":103,"_192":215,"_16":216,"_195":217,"_197":218,"_199":200,"_201":202,"_203":204,"_205":219,"_207":220,"_208":221,"_210":222,"_212":223},{"_189":190,"_191":103,"_192":193,"_16":194,"_195":196,"_197":198,"_199":200,"_201":202,"_203":204,"_205":206,"_207":182,"_208":209,"_210":211,"_212":213},"coverUrl","https://flockler.com/thumbs/sites/889/specialist-picks-lead-design-april-2026-24a9b69f-230e-4303-a19c-1cc9c7af0775_s600x0.jpg","section","summary","Our team share their favorites ahead of the April auction. ","Specialist Picks: Design London","body","

Marc du Plantier, Large carpet, 1947. Design London.

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Marc du Plantier

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Marc du Plantier, Large carpet, 1947. Design London.

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Elie Massaoutis, Head of Design, France, and Senior International Specialist

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The large carpet — likely a unique piece — that Marc du Plantier made for the Mirat Diego family is extraordinary in many ways. First for its scale, then for its simplicity and a “classical modernity” that perfectly reflects the artist’s work during his Madrid period during World War II. In contact with the local aristocracy, du Plantier devised decorations that draw on a vocabulary inherited from the late 18th century and the Louis XVI style, yet reinterpreted its modes with a modern sensibility and a twist. As seen in an archival photograph, he created a total decor, letting the gilded-iron furniture garlands converse with those depicted on the carpet: great art in the service of great patrons. Truly a must-have.

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The present model large carpet in the Mirat Diego family residence, Madrid, circa 1947. Image: Fondazione du Plantier · Montebello (Collezione Jérôme Zieseniss)

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Piero Bottoni

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Piero Bottoni, Modular dessert stand, circa 1929. Design London.

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Carlotta Pintucci, Cataloguer and Assistant to the Head of Design, Europe

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There is perhaps no gesture more quietly noble than keeping something sweet at home for those who arrive. A small offering, almost invisible, yet capable of turning an encounter into a ritual. Sweetness is not merely food: it is an invitation, a promise of welcome. And every ritual, to be fulfilled, requires its object. This modular dessert stand by Piero Bottoni emerges within that subtle space between function and meaning. Designed circa 1929, it belongs to a moment when design began to construct languages and to imagine new forms of everyday life.

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Yet the gesture it serves is older than the object itself. As early as the nineteenth century, in the drawing rooms of France and Italy, the bonbonnière held sugared almonds and chocolates as quiet tokens of attention, a discreet center of domestic life, never the protagonist, yet always essential. Bottoni inherits this lineage and refines it. When its elements are separated, they reveal themselves as pure forms: rational, almost archetypal geometries. But it is when they are assembled that a deeper meaning emerges: modularity as openness, as a readiness to adapt to the space and to the gestures that inhabit it.

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From a stand, the object becomes something else. It comes alive in space, exceeding function. Each configuration feels almost theatrical, a pose, a fragment of choreography. One is reminded of Oskar Schlemmer and his Triadic Ballet, where the human body is transformed into geometry through costumes that both constrain and reveal movement. In the same way, this object does not merely hold sweets: it composes a rhythm. Its parts, whether joined or dispersed, follow an internal logic, like slow mechanisms, or like marionettes without strings, finding balance within form itself. Function remains, but it expands, charged with a quiet, almost celebratory tension. And so, the initial gesture, offering a sweet, presenting a chocolate, is transformed. No longer simple courtesy, but a small domestic staging, a visible act of care. The object is not merely a support — it is an accomplice. It preserves the sweet, and above all, it preserves the moment.

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Ron Arad

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Ron Arad, Unique 'Sapporo Spring', 1990. Design London.

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Madalena Horta E Costa, Specialist, Design

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Ron Arad’s Unique ‘Sapporo Spring’ captures the raw energy and boundary-pushing experimentation that defined his early years at One Off London. It embodies the spirit of a time in his practice when the line between art and design was deliberately blurred. It is a masterpiece — one that boldly explores material, form, and an undeniable sense of movement.

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What makes this work particularly compelling is its sculptural presence — unapologetically daring and expressive. The play between rough, welded edges and the patinated, polished, and sprung steel creates a dynamic tension, emphasizing its industrial roots while still showcasing refined craftsmanship. There is a visceral quality in the visible traces of the artist’s hand, yet this rawness is balanced by an underlying elegance, which feels both elevated and almost resolved in its form.

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Beyond its bold sculptural force, the work also carries a sense of humor — one edge is shaped like a tongue, with “chaise tongue” welded into the seat. It’s a piece with real attitude — instinctive and unrestrained — yet, at the same time, it remains remarkably refined and, in moments, almost poetic in its resolution.

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Osvaldo Borsani and Lucio Fontana

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Osvaldo Borsani and Lucio Fontana, Rare modular wall-mounted shelving unit with drop front cabinet, model no. L60, circa 1952. Design London.

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Margherita Manca, Senior Cataloguer, Design

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I would love to live with this work by Osvaldo Borsani in collaboration with Lucio Fontana. It perfectly captures post-war Italian design at its most experimental and refined. Borsani, founder of Tecno, approached furniture with an architect’s logic, developing highly flexible modular systems that could adapt to a modern lifestyle. What makes this example exceptional is Fontana’s intervention: a striking hand-painted glass panel over a drop-front cabinet door that introduces a singular, artistic gesture into an otherwise rational, industrial framework.

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The component parts of the L60 system are made from a varied and innovative combination of finishes. The brass wall uprights, warm wood shelves with vinyl-clad ends, and a painted glass cabinet door all bring together industrial precision and material experimentation typical of the period. These elements form a modular composition that can be reconfigured with ease, creating an adaptable structural rhythm. This sense of order is complemented by the presence of a drop-front cabinet, which folds open to reveal a potential writing or bar surface alongside concealed storage — an elegant and practical feature that speaks directly to mid-century ideals of compact, multifunctional design suited to modern living.

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What I find most compelling is this tension: Borsani’s precise, repeatable system versus Fontana’s expressive, one-off surface. The result is both machine-age and deeply personal. It is not just shelving, but a composition on the wall, where art and design meet seamlessly, and where utility becomes something quietly extraordinary.

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Lucie Rie

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Lucie Rie, Footed bowl, 1969. Design London.

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Freya Wood, Intern, Design

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Ceramics often carry a certain tension to them, derived from the time and care invested in them, juxtaposed with their fragility. Lucie Rie’s ‘Footed bowl’ falls firmly into this category. Its fragility, although inherent to its medium, is further amplified through its form: the wide-flaring body poised on a slim foot, threatening to tip over. This feeling of uncertainty is counteracted by Rie’s painstaking process of creation, which can be read in those exceptionally delicate repeating lines of sgraffito, hand-incised with great care and precision. These concentric bands are reminiscent of the growth rings of a tree — a visual indicator of its age and lived experience, each ring representing a specific time period and its conditions. Rings, bands and circles are a continuous presence in Rie’s work throughout her career, inviting us to consider her own growth and evolution as a ceramicist, culminating in the present footed bowl — a repetitive meditation on time dynamically offsetting the bowl’s threat to topple.

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Discover more from Design >

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\n","publishDate","2026-04-15T18:00:39.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/167676626/specialist-picks-london-design-auction-april-2026","displayOrder","auctionEditorialID",9799,"editorialID",5274,"flocklerID",167676626,"https://flockler.com/thumbs/sites/889/scarpa-lead-final-172e4b54-7b44-4e30-ae83-9dc64ede0b71_s600x0.jpg","A mini-survey of the master's glass works comes into sight at Phillips London. ","Carlo Scarpa and Murano: Vivid and Varied","

Carlo Scarpa (Right) with glassmaker Arturo Biasutto in the Venini Factory, Murano 1943. Credit: Luce Cinecitta Historical Archive - Foto Attualita

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Long before he became internationally renowned for buildings such as the Brion Cemetery or the transformation of the Museo di Castelvecchio, a young Carlo Scarpa was a fixture in the furnaces of Murano, taking a hands-on approach to his collaborations with glassblowers. Between the late 1920s and the early 1940s, he developed a language that fundamentally reshaped modern Venetian glass, working first with M.V.M. Cappellin, and later with Venini, where he became creative director in 1934.

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Scarpa’s collaborative sense was rooted in true partnership. Like a great composer working with virtuoso performers, he was eager to learn from the highly trained craftsmen of Venini and M.V.M. Cappellin. He engaged in long conversations with them to understand their techniques and traditions, often staying after closing time to sift through the residues left by the day’s work in search of new approaches to materials.

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Scarpa’s work stands out for its ability to transform materials and traditions rich in historical associations, integrating them into the modern world. He approached glass not as a decorative medium but as a material of architecture, a material capable of structure, rhythm, and spatial presence. With Murano’s master glassblowers, he reinterpreted historical techniques such as murrine, lattimo threads, and pasta vitrea through a modernist sensibility that emphasized geometry, surface pattern, and the interplay of light.

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The works gathered here illustrate the breadth of Scarpa’s early experimentation, from sculptural objects to architectural lighting and mirrors. Together, they reveal three recurring themes in his glass practice: the translation of traditional techniques into modern abstraction, the transformation of light into structure, and the idea of glass as an architectural surface.

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Modernizing Murano: Tradition reimagined at Cappellin

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Carlo Scarpa, Ceiling light, 1930. Design London.

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Scarpa’s earliest works for M.V.M. Cappellin demonstrate his fascination with historic Venetian glass techniques and his reinterpretation of them through modern form. As he once explained, “A master is he who expresses the new which can be understood by others.”

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A ceiling light decorated with murrine, dating to around 1930, shows how Scarpa transformed this ancient mosaic technique into a graphic surface. Rather than using murrine purely as ornament, he arranged them in rhythmic patterns that are even more striking when illuminated.

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Carlo Scarpa, Octopus sculpture, model no. 4747, circa 1929. Design London.

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Equally emblematic of this early period is the striking Octopus sculpture in red pasta vitrea (model no. 4747, circa 1929). Here, Scarpa explores the sculptural potential of dense colored glass, allowing the creature’s tentacles to emerge as fluid extensions of the material itself. The object embodies the dialogue between craft and experimentation that defined Murano in the interwar years.

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These Cappellin works mark a moment when Scarpa was testing the expressive limits of glass, discovering how traditional processes could be adapted to modern aesthetics.

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Glass as architecture: Light at Venini

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Carlo Scarpa, Pair of rare ceiling lights, circa 1935. Design London.

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When Scarpa began collaborating with Venini in the early 1930s, his work shifted increasingly toward the architectural role of glass. Lighting fixtures became laboratories for exploring how transparency, structure, and illumination interact.

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Carlo Scarpa, Pair of wall lights, from the 'Blown Ribbon' series, circa 1940. Design London.

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A pair of ceiling lights from around 1935 and a later pair of wall lights from circa 1940 reveal Scarpa’s ability to transform functional lighting into carefully composed volumes. Their geometric clarity reflects the designer’s growing architectural sensibility: glass becomes both diffuser and structural element, organizing light within the surrounding space.

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The rare ceiling light model no. 5300 exemplifies this approach. Its composition balances decorative detail with an underlying structural logic, reflecting Scarpa’s belief that even ornamental glass should possess an architectural coherence.

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Carlo Scarpa, Ceiling light, model no. 5300, circa 1939. Design London.

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Mirrors: Reflection and surface

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Scarpa’s mirrors represent another dimension of his glass experimentation. Rather than simple reflective objects, they serve as framed architectural surfaces that shape our perception of space.

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Carlo Scarpa, Rare illuminated mirror, circa 1940. Design London.

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The rare pink illuminated mirror from around 1940 demonstrates Scarpa’s sensitivity to color and atmosphere. A softly tinted and ribbed glass frame complements the work’s reflective surface, creating a luminous field and subtly altering the surrounding atmospheric light.

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Similarly, the mirror model no. 30 (circa 1937) reflects Scarpa’s fascination with framing and layered surfaces, an interest that would later appear in his architectural detailing. The mirror becomes a composition of glass planes and edges, where reflection and structure are carefully balanced.

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Carlo Scarpa, Mirror, model no. 30, circa 1937. Design London.

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Where craft meets Modernism

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Glassware designed by Carlo Scarpa and exhibited at the Venini exhibition within the 21st Venice Biennale (1938), period photograph.

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Across these works, from Cappellin’s sculptural experiments to Venini’s architectural lighting, Scarpa’s approach remains remarkably consistent. Each piece reveals his conviction that modern design could emerge from the deep knowledge of traditional craft.

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By working directly with Murano’s artisans, Scarpa developed a vocabulary in which the historical techniques seen in these works became vehicles for modern abstraction. Light, colour, and surface were treated not as decoration but as structural elements within the design.

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Seen together, these objects illustrate the extraordinary range of Scarpa’s early glass production and the formative role it played in shaping one of the most distinctive design languages of the twentieth century.

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Discover more from Design London >

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\n","2026-04-09T08:34:55.000000Z","https://www.phillips.com/article/167539095/carlo-scarpa-murano-venetian-glass-auction-london-april-2026",2,9798,5271,167539095,"https://flockler.com/thumbs/sites/889/ponti-lead-750f8b36-8bf4-4cc2-87d4-ab61118d15b3_s600x0.jpg","Brian Kish on the Important 'Fiori e farfalle' low table. ","Ponti and Fornasetti Among Flora's Butterflies","

Gio Ponti and Piero Fornasetti, Important 'Fiori e farfalle' low table, circa 1951. Design London.

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By Brian Kish, art historian, curator, specialist in 20th Century Italian Architecture and Design, and senior consultant to the Gio Ponti Archives, since 2006.

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“Surface design is the illustration of illusiveness that Ponti considered an indispensable quality of architecture.”
\n—Salvatore Licitra
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Gio Ponti's relationship with Piero Fornasetti went beyond transforming the design object into decor. It involved a more complex dynamic, where a particular Milanese culture is evident in avant-garde art and architecture. Within this privileged context Ponti embarked on a singular, yet universal design trajectory. Piero Fornasetti's artistic creations transcended his lithographic transfer technique to become a living embodiment of Ponti's concept of the furnished environment, the casa attrezzata.

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The present 'Fiori e farfalle' low table is a highlight of his collaborative oeuvre. Alongside tall trumeaus and related furnishings, it was one of a small number of exceptionally crafted designs executed with an artisanal cabinetmaker’s skill that stands apart from industrial production. Later Fornasetti modified some of the Ponti versions and produced them under his newly formed company which remains active today.

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The present rare 'Fiori e farfalle' low table. Image: Courtesy Archivio Fornasetti

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This table is an early example of this type at the height of the Ponti–Fornasetti collaboration; records suggest relatively few were produced, and the lithographic application of flowers and butterflies has a variegated pattern distribution with subtle tonal variation suggesting possible hand-colouring, further distinguishing it.

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While there had been an intense, surrealist-inspired collaboration between Ponti and Fornasetti at Fontana Arte in the early 1940s, it is around 1950 that the Ponti-Fornasetti synergy reached its climax in three critically acclaimed interior design projects: the Italy At Work exhibition for the Brooklyn Museum, the Dulciora sweet shop, and Casa di fantasia. In the dining room installation for the Italy At Work exhibition. Ponti relied on the transformative energies of his younger colleague, leaving him free reign to curate the display of their jointly designed multifunctional furniture and objects. The overall exhibition design was a microcosm of Ponti's universe wrapped in the aura of Fornasetti's enigmatic drawings. This installation also featured a standalone Ponti designed glass-topped coffee table, made of a solid brass frame with an irregularly cut antique marble slab. This table’s form was initially seen in the Casa Cresmashi in 1948, and in 1951 can be seen as the starting point for the present table.

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Gio Ponti, coffee table, exhibited at the Italy at Work exhibition at the Brooklyn Museum, 1950. Image: © Gio Ponti Archives

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Clearly, these tables share structural features: four tapering legs connected by crossbars that support an elongated rectangular element, beneath a tempered glass top secured at four corners by brass caps. In both tables, all emphasis is on the hovering rectangle under the glass top which acts like a lens focused on the image. That they appear as two unrelated table concepts demonstrates Ponti's ability to achieve two divergent readings that paradoxically evolve from the same source, as is his focus on the Metaphysical art of the brothers Giorgio De Chirico and Alberto Savinio. For those with a contemplative mind, Ponti meticulously examined the emblems found in De Chirico and Savinio's world, where antique Roman marble fragments or untethered floral patterning recur, appearing romantic and funereal while suspended "in everlasting abandonment." Thus, fundamentally static structures become animated in the mind's eye, whether they are stone slabs of ancient Mediterranean heritage or atomized flowers and butterflies. In European culture butterflies are often associated with transformation and more specifically the notion of Anima, the soul moving freely between the living and the dead. Meanwhile flowers embody not just fertility (the Goddess Flora) but also serve as bridges between the human and the divine.

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Ponti's 1951 Fiori e farfalle table serves as a coda to a range of specific surrealist projects that Fornasetti promptly developed into his magnum opus. A galaxy of images grafted onto endless typologies of domestic items. This defined the Fornasetti principle where form dissolves into patterns, gaining ever greater appeal and relevance well into the 21st century.

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Discover more from Design London >

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\n","2026-04-16T13:39:18.000000Z","https://www.phillips.com/article/167731886/ponti-and-fornasetti-among-floras-butterflies-design-auction-london-april-2026",1,9796,5275,167731886,"https://flockler.com/thumbs/sites/889/ron-arad-lead-78e650df-9870-4229-af3a-bd5e2611ce86_s600x0.jpg","Sitting with some contemporary works in our upcoming London Design auction.","How a Chair Can Be Conceptual","

Ron Arad, Unique 'Sapporo Spring', 1990. Design London.

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“I’m not very interested in policing the border between art and design,” says Ron Arad. “I prefer to distinguish between what is boring and what is exciting.”

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Considering a few contemporary works by Arad and others in our upcoming London Design auction, we see his point. Across these works, boundaries between art and function collapse. But what’s more, comparing them invites broad conversations, both when they’re considered within a collection or within the scope of broader art and design currents.

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It is with a sense of open curiosity that these works truly sing, posing as many questions as answers. And these are age-old, Duchampian questions, like: At what point does an object’s function augment its status as art? How much does the space these works are placed in, and the other works that surround them, impact our understanding or experience of them? How much of the artist or maker’s hand must be present for the work to be considered art? And importantly for us, when the idea is as important as the object’s function or appearance, can we say that a chair, a table, or a mirror is conceptual?

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Erasing borders with Ron Arad

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Portrait of Ron Arad, 1993. Image/Artwork: Ron Arad and Associates Limited.

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On offer in the sale are four Arad works that provide a window into the fascinating maker’s practice. Two unique steel chairs are among the rarest of his works on offer, and each shows how well they can be viewed alongside contemporary art. For example, it is easy to imagine these chairs reflecting colorful contemporary paintings, or standing alongside other mirror-like works by artists such as Jeff Koons or Anish Kapoor in a gallery or home. Their very nature further defies categorization, as they can easily be seen as sculptures, even though they remain functional.

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Ron Arad, Unique armchair, circa 1990. Design London.

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Early Arad works like these were often fabricated in small numbers or unique examples and are the result of hands-on experimentation with industrial materials rather than industrial production, pushing furniture towards sculpture. The rarity of these works, dating from before Arad achieved wider recognition, makes them particularly desirable to collectors.

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Ron Arad, Rare 'Split Chair', circa 1990. Design London.

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Arad’s Rare ‘Split Chair’ and ‘Table no. 2’, from the ‘38 Tables’ series, are equally as sculptural and equally as rare. Considering all these works closely, we see much of what draws Arad lovers in — a relentless sense of experimentalism in a quest to discover the new, and the presence of the artist’s hand.

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Ron Arad, 'Table no. 2', from the '38 Tables' series, 1995. Design London.

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Embracing discomfort with Rick Owens

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Rick Owens, 'Stag T' side table, 2018. Design London.

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For Rick Owens, the level of comfort available in today’s world offers him something to counter, and his approach often questions the roles furniture and design can play in our lives. As he’s explained, “My furniture is almost anti-cozy — it’s solid, heavy, and hard to move. If you like it, you have to like it forever. But people who buy my furniture don’t live in concrete warehouses; they have a normal house and maybe have just one piece because they think it’s attractive.” He has described his furniture design as ceremonial, borrowing from brutalist design and possesing a spirtual aura reminicent of ancient sculpture, remarking that “there’s a lot of casualness out there, but every once in a while, don’t you want life to be a little more formal?”

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Rick Owens, 'Single Prong', 2016. Design London.

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Like Arad, Rick Owens’ furniture production is often controlled and limited, maintaining a sense of exclusivity despite his global profile as a fashion designer. Owens, who originally trained in pattern-cutting before becoming a fashion designer, brings a couturier’s understanding of structure to furniture design: forms are reduced to prongs, antlers, and primitive supports, as seen in Rare 'Stag T' and 'Single Prong'. Materially, Owens favors solid wood, bronze, and marble, often pairing them with brutal, linear supports that give the works a monolithic presence. But it’s perhaps the intriguing blend of the industrial with the organic, either in material or in form, that is the most captivating and thought-provoking aspect of his works.

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The Campana brothers’ poetry of ideas

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Fernando Campana and Humberto Campana, 'Fata Morgana' mirror, 2010. Design London.

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Encountering the incredible 'Fata Morgana' mirror by Fernando and Humberto Campana invites striking comparisons within this selection. Like Rick Owens’ side table, this work marries the organic and the industrial; like many of Ron Arad’s designs, it masters mirror-polished stainless steel. But here, the conceptual angle is clearer than ever — the mirage-like reflections overtly shift our focus from the object’s utility to its idea.

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This work perhaps serves as a commentary on clashes within contemporary Brazilian life that long fascinated the artists — clashes between industrial production and traditional craft, between urban and rural classes, and between identity and perception. The “mirage” is perhaps the illusion that all these dichotomies are separate and opposing or that our own vision of the world is ever truly fixed.

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We are storytellers at heart, only we use materials instead of words. Our pieces are like actors looking for an author, like Luigi Pirandello's drama. Our perception of everyday life and the creative gaze infuse each object with poetry, soul and character.
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—Fernando and Humberto Campana
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There’s always more to discover

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Philippe Anthonioz, Pair of andirons, 2010. Design London.

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There’s so much more to explore in our upcoming auction — take Philippe Anthonioz’s Pair of andirons or Eric Schmitt’s Pair of 'Fingi' ceiling lights, for example. We can see these works as asserting the underlying idea is as vital to the object’s identity as its ability to illuminate a room or support burning logs — be it in how Schmitt’s work diffuses light like a kind of organic, botanical canopy, or how the unrealized state of Anthonioz’s complete edition, like much conceptual art, can be seen to privilege the conception of a work as much as the execution.

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Eric Schmitt, Pair of 'Fingi' ceiling lights, designed 2000, produced circa 2022. Design London.

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It is difficult to categorize these artists and makers as their work defies easy classification. Such codification into neat buckets of art or design — though helpful in a market sense — is of no particular interest to these artists, as they each erase strict lines as quickly as they draw new ones. For Ron Arad, his work has been shown in contemporary art spaces as much as in design spaces, and it lives in design-focused collections as often as in visual art collections. The same is true for an artist like Rick Owens, whose body of work moves fluidly through art, design, and fashion. And for the Campana brothers, the conceptual nature of their work not only defies categorization but also challenges our perceptions of waste, luxury, and identity with as much of a jolt as many of the most confrontational contemporary artists.

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A wide array of further concepts can be unpacked in the contemporary works in the auction, but there’s only one way to know for sure.

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Phillips’ spring Design sale will be on view from 24–30 April at 30 Berkeley Square, ahead of the auction on 30 April.

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Discover more from Design London >

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