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Auction 17 December 2pm EST

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450 Park Avenue, New York (map)

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Viewing 13-16 December

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Friday-Saturday 10am-6pm

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Sunday 12pm-6pm

\n","auctionDetailsSmall","New York Auction 17 December 2019","extraInfo","

DesignNewYork@phillips.com
\n+1 212 940 1265

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414,415,416,417,418,419,420,421,422,423,424,425,426,427,428,429,430,431,432,433,434,435,436,437,438,439,440,441,442,443,444,445,446,447,448,449,450,451,452],"articles",[165,166,167,168,169,170,171,172,173],"departments",[160],"auctionCurrency",{"_157":72,"_158":159},"totalLotCount",177,"auctionMobilityAuctionRowId","1-2FI0HM","auctionUrl","https://www.phillips.com/auction/NY050219","auctionResultsFile","https://www.dist.phillips.com/content/web/auction-results/auctionResultsFile_NY050219.pdf","currencyCode","currencySign","$",{"_161":162,"_163":96,"_164":96},"departmentId",3,"departmentName","departmentDisplayName",{"_174":267,"_176":96,"_177":268,"_16":269,"_180":270,"_182":271,"_184":185,"_186":187,"_188":272,"_190":187,"_192":273,"_194":274,"_196":275},{"_174":257,"_176":96,"_177":258,"_16":259,"_180":260,"_182":261,"_184":185,"_186":187,"_188":262,"_190":263,"_192":264,"_194":265,"_196":266},{"_174":247,"_176":96,"_177":248,"_16":249,"_180":250,"_182":251,"_184":185,"_186":187,"_188":252,"_190":253,"_192":254,"_194":255,"_196":256},{"_174":238,"_176":96,"_177":239,"_16":240,"_180":241,"_182":242,"_184":185,"_186":187,"_188":243,"_190":162,"_192":244,"_194":245,"_196":246},{"_174":228,"_176":96,"_177":229,"_16":230,"_180":231,"_182":232,"_184":185,"_186":187,"_188":233,"_190":234,"_192":235,"_194":236,"_196":237},{"_174":218,"_176":96,"_177":219,"_16":220,"_180":221,"_182":222,"_184":185,"_186":187,"_188":223,"_190":224,"_192":225,"_194":226,"_196":227},{"_174":208,"_176":96,"_177":209,"_16":210,"_180":211,"_182":212,"_184":185,"_186":187,"_188":213,"_190":214,"_192":215,"_194":216,"_196":217},{"_174":198,"_176":96,"_177":199,"_16":200,"_180":201,"_182":202,"_184":185,"_186":187,"_188":203,"_190":204,"_192":205,"_194":206,"_196":207},{"_174":175,"_176":96,"_177":178,"_16":179,"_180":181,"_182":183,"_184":185,"_186":187,"_188":189,"_190":191,"_192":193,"_194":195,"_196":197},"coverUrl","https://flockler.com/thumbs/sites/889/163_001-aed99878-4774-49c2-a0d5-1819d0909c8c_s600x0.jpg","section","summary","Phillips is pleased to offer a strong selection of Italian lighting this December ranging in style, date—from the late 1920s to the 1960s—and size. ","Scarpa, Sarfatti & More: Highlights in Italian Lighting","body","

Carlo Scarpa Monumental chandelier, circa 1927. Estimate: $30,000 - 40,000.
\nDesign at Phillips New York, 17 December.

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Within the larger offering of 20^th century design, Phillips is delighted to be showcasing twenty-five examples of Italian lighting in its December Design sale. These works represent some of the most innovative examples of lighting design by the top manufacturers in Italy such as Stilnovo, Arredoluce, and Fontana Arte, among others. This selection includes both classic examples of Italian lighting by masters such as Max Ingrand and Angelo Lelii, as well as rarer pieces such as Gino Sarfatti’s ceiling light, model no. 2041 (lot 29), which he produced for his lighting company Arteluce. Other rare examples include Paolo Venini’s table lamp (lot 24), which features Zanfirico glass, a technique in which the internal colored glass rods are stretched and then twisted to create an exquisite and colorful spiral pattern.

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Max Ingrand Pair of table lamps, model no. 2228, circa 1963. Estimate: $10,000 - 15,000.

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Though united in their Italian origin and expert craftsmanship, this offering of lighting ranges in style, date—from the late 1920s and into the 1960s—and size. The selection of ceiling lights, floor and table lamps, and wall lamps includes pieces that are intimate, such as Max Ingrand’s pair of table lamps (lot 28), as well as works that verge on the monumental, as seen in Carlo Scarpa’s chandelier (lot 163) which features a dramatic and breathtaking 7 ft. (2.1 m) drop. This offering is an exciting opportunity to view a substantial selection demonstrating why Italy has historically been the forerunner in modern lighting design.

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More Highlights in Italian Lighting

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Paolo Venini Rare table lamp, circa 1950. Estimate: $5,000 - 7,000.

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Gino Sarfatti Rare ceiling light, model no. 2041, 1950s. Estimate: $30,000 - 40,000.

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Stilnovo Set of four wall lights, model no. 2128, circa 1959. Estimate: $8,000 - 12,000.

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Angelo Lelii Pair of ceiling lights, model no. 12697, circa 1958. Estimate: $18,000 - 24,000.

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Luigi Caccia Dominioni "Mikado" table lamp, circa 1962. Estimate: $10,000 - 15,000.

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Stilnovo Rare nine-arm ceiling light, 1950s. Estimate: $8,000 - 12,000.

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Pietro Chiesa Floor lamp, circa 1937. Estimate: $6,000 - 8,000.

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\n","publishDate","2019-12-06T19:12:12.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/52233352/scarpa-sarfatti-and-more-highlights-in-italian-lighting","displayOrder",8,"auctionEditorialID",728,"editorialID",835,"flocklerID",52233352,"https://flockler.com/thumbs/sites/889/130263-a_uc206282-d565e052-2267-48a3-9d0b-5f46994a0b81_s600x0.jpg","A group of nineteenth-century weathervanes from the collection of Florence Knoll Bassett turns out to be strikingly modern.","Consider the Weathervane","

A large full-bodied molded gilt copper "Hackney" horse weathervane

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I am not a decorator. The only place I decorate is my own house. — Florence Knoll Bassett
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Florence Knoll and her dog, Cartree, at the 575 Madison Avenue Knoll Associates Showroom, 1956. Image courtesy of Knoll Archive. Artwork: © 2019 Calder Foundation, New York/ Artists Rights Society (ARS), New York.

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On first thought, it may seem surprising that Florence Knoll Bassett, the pioneer of the sleek aesthetic that came to define the postwar American office interior, collected nineteenth-century weathervanes. What place, exactly, did these trotting horses, glistening gilded fowl and verdigris patinated roosters have in the home of one of the leading exponents of modernism?

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Though these sculptures may seem incongruous, it's worth remembering that so-called primitive art and modernism go way back. Wassily Kandinsky mined Russian folk art for inspiration while Pablo Picasso and other artists working in Paris collected African carvings. Meanwhile, in New York, artists such as Elie Nadelman and Charles Sheeler, looking to define a distinctly American brand of modernism, found their native artistic roots in early American folk art. As Helen Appleton Read wrote for the Brooklyn Daily Eagle in 1924, "A group of our younger artists…have poked about in antique shops, in old saloons and chophouses and brought back quaint pictures and statues. These are now serving as decorations and inspiration in the studios of many of them. Why bother about French Gothic or the frescoes of Santa Croce when we have material primitive at hand that has the humor and tang of our native soil?"

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From left: A full-bodied molded copper and zinc "Horse and Hoop" weathervane. A carved painted and giltwood dog weathervane mold.

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Into the late 1950s, which is when Florence discovered weathervanes "on a whim" while on a trip to Paris with her second husband Harry Hood Bassett, early America continued to serve as inspiration for American artists as well as prominent collectors such as Abby and John Rockefeller. To name a few, David Smith had drawn on farm implements and machinery parts gleaned from his upstate New York property for his "Agricola" series of the 1950s, while Andrew Wyeth represented rural America in an entirely different manner.

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At the same time, the magazine Art in America, with the dedicated folk art collector Jean Lipman at the helm, published articles about the leading contemporary artists of the time alongside articles on Shaker design and New England gravestones. Albert Barnes' installations of Van Goghs and Matisses next to ornamental strap hinges come to mind as a visual of the same approach of conferring non-traditional art on equal footing with modern masters. Among these writings for Art in America, an article published by Alice Winchester titled "Antiques for the Avant Garde" (1961) is of particular relevance. "There seems to be today among people of advanced taste," she wrote, "a considerable interest in antiques. Dwellers in glass houses, for instance, will fill them with period furniture." Listing nineteenth-century American weathervanes among the potential objects for inspiration she continued, "Such things stir modern taste not because of their age but in spite of it, and are appreciated not for quality or rarity but because they 'look modern.'"

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From left: Entryway towards the living room of Florence Knoll’s home, Coral Gables, Florida. Image courtesy of Florence Knoll Bassett papers, 1932-2000. Archives of American Art, Smithsonian Institution. Living room of Florence Knoll, Coconut Grove, Florida, 1985. Image © Christoph Kicherer/Vogue Décoration.

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While Florence Knoll Bassett does not seem to have included weathervanes in any of her office interiors, they do appear in images of her summer home in Vermont. She acquired the vanes in Vermont as well as in the many antiques stores located near the Knoll showroom in midtown Manhattan and treasured her collection enough to bring it with her when she and Bassett relocated to Coral Gables, Florida, in 1965 and finally to her last residence in Coconut Grove, where she displayed a group to striking effect in a custom grid-shaped display.

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"Cocks have always been seen, but never as well as in American weathervanes," Pablo Picasso once said, and we might well add that weathervanes have never been as well seen as in the home of Florence Knoll Bassett.

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From left: A full-bodied molded copper gamecock weathervane. A large full-bodied molded and cast-iron Rooster weathervane.

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More Collection Highlights

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A full-bodied molded gilt copper Peacock weathervane

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A full-bodied molded gilt copper and zinc "Index" horse weathervane

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A primitive sheet iron stag weathervane

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Making Modern: Property from the Collection of Florence Knoll Bassett >

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A Symphony of Curves: A Jeroen Verhoeven Masterwork >

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Precious Metalwork: Alexander Calder's Jewelry >

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\n","2019-11-21T15:37:14.000000Z","https://www.phillips.com/article/51210592/florence-knoll-bassett-americana-weathervanes",7,709,816,51210592,"https://flockler.com/thumbs/sites/889/60_002-0d16d6c3-50d4-4f27-976d-f444acfd5911_s600x0.jpg","A 1985 exhibition of postmodern designers including Sottsass, Venturi and Mendini explored new ideas for radical living.","Alessandro Mendini and Giorgio Gregori at the XVII Milan Triennale","

The XVII Milan Triennale included a special exhibition titled "Le Affinità Elettive" ("The Elective Affinities"), which presented 21 displays by Italian and foreign designers such as Ettore Sottsass, Robert Venturi and Michael Graves. The aim of the exhibition was twofold: to support the region's furniture industry, historically known for its high level of craftsmanship, and to allow the "twenty-one designers [to] research their affinities," as the exhibition catalogue explained. This open-ended prompt resulted in experimental tableaux that explored themes of psychoanalysis and proposed new, radical ways of living. The Italian postmodernist designer Alessandro Mendini presented a range of household furniture, including the present cabinet that he designed with Studio Alchimia co-founder Giorgio Gregori.

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"Black-Out" display at the XVII Triennale di Milano, including the present lot and a hyper-realistic sculpture of Alessandro Mendini in wax, 1985. Image courtesy of Alessandro Mendini Archive.

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Mendini called his exhibition "Black-Out" and divided his display into two levels. The top of the display, called "Black," contained various pieces of furniture—a table, bar cart, chairs, lamps and a rug—that he designed with other Studio Alchimia associates. Central to the display was a hyper-realistic wax sculpture of Mendini (what he called a "counter-monument") that sat in one of his chairs and acted as a tongue-in-cheek criticism of the "deification of design…and designers." The lower component, called "Out," featured a small opening in the platform through which visitors viewed a mirror-lined room created by Anna Gili that included a fashion design for a human from the future. According to Mendini, the entire display was meant to question "the paradox of mass avant-garde."

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The pixelated motif made in inlaid woods...appears throughout Mendini's work.
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Alessandro Mendini and Giorgi Gregori Unique cabinet, 1985

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Though this cabinet from our Design auction in December is a unique piece rather than an object of mass production, it still addresses this "paradox." The pixelated motif made in inlaid woods on the top and sides appears throughout Mendini's work, including the rug in his display. These patterns come from what the designer called his "Mendinigraph." As an ironic gesture, it was meant to be used as a stencil that designers could use and re-use to construct avant-garde forms, further poking fun at what Mendini perceived to be an emptiness in the avant-garde of the mid-1980s.

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Despite this pessimism, this one-of-a-kind piece of furniture is truly a pinnacle expression of Italian design from the second half of the twentieth century.

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\n","2019-11-21T17:44:34.000000Z","https://www.phillips.com/article/51265530/alessandro-mendini-giorgio-gregori-postmodern-cabinet",6,710,818,51265530,"https://flockler.com/thumbs/sites/889/calderlead1-81a6920e-e13d-48ae-9fe4-082633b2652d_s600x0.jpg","Known for his multidisciplinary and prolific oeuvre, Calder had a uniquely personal relationship with these wearable pieces. ","Precious Metalwork: Alexander Calder’s Jewelry","

Created at the height of Alexander Calder’s recognition, when his designs adorned the fashionable intelligentsia of Europe and the United States, Calder’s delicate Cape Clasp and Six Circles brooch are paradigmatic of the artist’s ability to yield a universal, abstract lexicon within intimate objects of wearable art. Delicately handcrafted, each unique piece adds another dimension to the cerebral experience of Calder’s work, allowing for a tangible, portable, and highly personal level of engagement. It is in these exquisite works, where the artist delicately hammered radiant planes of silver and brass into elegantly undulating forms, that we see Calder forming a direct relationship with his patrons, both past and present.

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Alexander Calder Cape clasp, circa 1936. Estimate: $30,000 - 50,000.
\nDesign at Phillips New York, 17 December.

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Born in 1898 to the painter Nanette Lederer Calder and the sculptor Alexander Stirling Calder, the young Calder used beads and leftover copper wire to create jewelry for his sister’s dolls. As he grew, Calder nurtured his interests in physics and construction, graduating from Stevens Institute of Technology with a degree in mechanical engineering in 1919. He combined these skills with his creative impulses upon moving to New York, first enrolling in drawing classes at New York Public School 1922 and then at the Art Students League. Throughout his career, making jewelry provided Calder the perfect confluence of mechanics and artistic experimentation. His tactile appreciation of metalwork progressed into a refined understanding of compositional balance and geometric harmony. After first leaving to study in Paris in 1926, Calder’s continued contact with the French capital, and the relationships he built with seminal Surrealists and Abstractionists such as Joan Miró made him a crucial bridge between Abstract Expressionism in New York and European Modernism.

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Alexander Calder "Six Circles" brooch, circa 1940. Estimate: $45,000 - 65,000.
\nDesign at Phillips New York, 17 December.

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Calder’s sustained practice of delicately manipulating metals into evocative forms marks him as a pioneer of studio jewelry. Inspired by his milieu, his pieces were often personal gifts to friends, family, and patrons. In 1931, he made a triple banded ring with a spiral plaque as an engagement ring for his wife Louisa. The spiral motif would remain an enduring formal trope that he would reimagine in copper, brass, silver, and gold. Created circa 1940, Six Circles is emblematic of the artist’s technical capability. Elegance and order is maintained while the minute indentations of Calder’s hammer caress the surface, enabling it to shimmer with the record of his hand. The piece once belonged to artist Aviva Baal-Teshuva and her husband Jacob—a renowned critic of modern and contemporary art who later authored a publication on Calder. Tracing a single line of thinly hammered brass that aligns and overlaps to compose an eloquently gathered pyramid of loops, the piece speaks to the artist’s overriding concerns regarding movement and geometry, as expressed in the interlocking patterns of his lithographs and the motion of his mobiles.

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Alexander Calder Cape clasp, circa 1936. Estimate: $30,000 - 50,000.
\nDesign at Phillips New York, 17 December.

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As a statement of allegiance to avant-garde artistic practice, Calder’s jewelry was collected avidly by influential contemporaries such as Peggy Guggenheim, Millicent Rogers, and Mary Rockefeller, each beguiled by its enigmatic effect. Created in 1936 and boasting outstanding provenance, Cape Clasp once formed part of Mary Rockefeller Morgan’s collection, having been originally acquired by Nelson A. Rockefeller—the renowned collector, philanthropist, and 41st Vice President of the United States who also served a as Trustee, Treasurer, and President of the Museum of Modern Art, New York when the museum began to draw an equivalence between jewelry and contemporary art. An early work crafted in silver—which became scarcer in Calder’s œuvre as the war progressed—the elegant clasp plays with sculptural possibilities within the realm of functional attire. A seemingly infinite loop of glistening silver speaks to the conceptual rigor of geometry while the asymmetrical fluted ends and hand-formed rivets recall the endearing whimsy of Calder’s early representational wire sculptures. Here, Calder manipulates an ancient, precious metal, inviting the collector to revel in the free abandon of consciously naive forms and “join with him in eschewing the facile and pretentious.” As noted by Calder’s grandson Alexander S. C. Rower, “In my grandfather’s day and today, when his jewelry owners wear his pieces, it sets them apart and they make unspoken recognition as members of the Calder clan.”

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\n","2019-11-19T22:22:20.000000Z","https://www.phillips.com/article/51155645/precious-metalwork-alexander-calders-jewelry",5,707,812,51155645,"https://flockler.com/thumbs/sites/889/65_001-80c72eba-a4d5-478f-9eb2-6eea09de88f2_s600x0.jpg","We sat down with the Swedish sculptor to learn more about her practice and lifelong preoccupation with clay. ","Single-Track: An Interview with Eva Hild","

Eva Hild "Single Track", 2008. Estimate: $30,000 - 40,000.
\nDesign at Phillips New York, 17 December.

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Eva Hild is a sculptor known for making monochromatic works with swooping organic forms. Hild's work does not focus on a utilitarian purpose, but rather, she meditates on her own life through the clay, making use of her own inherent sense of geometry and space. Compared to a diverse range of artists from Jean Arp to Louise Bourgeois, Hild continues to live and work in southwestern Sweden and has been the subject of solo exhibitions across Europe, North America and Asia. "Single Track" comes to Phillips from the collection of Trudie Styler & Sting, and will be presented at auction this December in New York.

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PHILLIPS: Why is clay one of your preferred mediums and how does it enhance your overall design concept?

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EVA HILD: Clay is sticky, heavy, plastic, and multifaceted—a wonderful material in every aspect. Clay has been my main material since I started my artistic education and career. It has been the prerequisite for my exploration of themes ending up in sculptural shapes. I like how the material can be used in different ways and transformed into something totally new and unexpected. I like the bodily connection—working with my body, working with abstract bodies—and the long-term relationship during the process, from the first clay-lump to the ready-made sculpture. My shapes have strong spatial and architectural qualities; from smaller clay models I develop my large scale outdoor sculptures in metal materials.

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Eva Hild "Single Track", 2008

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P: You have described your sculptures as expressive of both “strength and fragility” as well as “presence and absence.” How does 'Single-Track' represent these seemingly contradictory ideas?

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EH: I am fascinated by the relation between inner and outer reality and the dualism between inside and outside. The actual sculpture is the membrane, the in-between. I use my own life, experiences, and emotions and describe this relation. On one hand, it is the mass in thin layers, running in a meandering movement. On the other hand, it is the empty space, air and light forming the volumes. The construction is really made of the absent. The clay material also contributes to this duality. The actual wall of the sculpture is strong and fragile like an eggshell.

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Eva Hild "Single Track", 2008

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P: Many collectors may be familiar with your organic forms in which thin layers of clay delicately envelope and fold onto each other. How has this practice evolved over the last two decades? And where does 'Single-Track' fall within this trajectory?

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EH: My work is very much connected to my life—the everyday practice and overall happenings. It is a constant and slow change and an ongoing development. I am continuously exploring my themes in different materials. My starting points could vary, but I do have a red thread in my storytelling. I work with the material in a close, intimate, planned, and still intuitive way. It is an interaction between brain, body and material. Single-Track is a sculpture from an early stage of the “Loop” series of work, where one line is moving around in the piece. The structure is open and airy with a strong and clear movement.

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Eva Hild "Single Track", 2008

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P: How did you decide on the title of this piece?

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EH: I strive for titles that are easy to perceive and that describe something in the actual sculpture, both visually and in content. Preferably I find different meanings in one word. Single-Track has a strong, circular movement kept together without deviations.

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\n","2019-11-20T17:11:41.000000Z","https://www.phillips.com/article/51200263/single-track-an-interview-with-eva-hild",4,706,813,51200263,"https://flockler.com/thumbs/sites/889/121-122-123_002-fe439ce6-4fd3-4dc7-befd-b445a6a935da_s600x0.jpg","Learn more about a seminal group of artists whose work came to define Art Deco and Art Nouveau aesthetics. ","Turning the Centuries: Works from the Ann and Robert Fromer Collection ","

Lots 121-123: three Gourd-form vases by Paul Jeanneney. Estimates: $4,000 - 6,000 each.
\nDesign at Phillips New York, 17 December.

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Prescient collectors with a shared passion, Ann and Robert Fromer began acquiring decorative arts spanning the late 19th through early 20th centuries almost fifty years ago. The Fromers' collection aptly narrates the historicism and innovative spirit of this period, demonstrating how naturalism, Japanese influences and historic revivals of the late 19th century gave way to the progressively graphic and pictorial styles of Art Deco. A predilection for layered textures and richly evocative color palettes further define the collection, which unites critical makers such as Pierre-Adrien Dalpayrat & Alphonse Voisin-Delacroix, Taxile Doat, Auguste Delaherche, Paul Jeanneney, Tiffany Studios and Gabriel Argy-Rousseau, among others.

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Pierre-Adrien Dalpayrat and Alphonse Voisin-Delacroix Gourd form inkwell with toads, 1893-1906. Estimate: $6,000 - 8,000.
\nDesign at Phillips New York, 17 December.

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Pierre-Adrien Dalpayrat and Alphonse Voisin-Delacroix signed a working contract in 1892, shortly after which the pair likely produced the present work. Voisin-Delacroix was responsible for the form while Dalpayrat perfected the glaze. The exact date of production is uncertain, as Voisin-Delacroix died in 1893, but his forms may have been posthumously recreated. During their brief collaboration, the pair created a range of works that featured motifs verging on the macabre, such as body parts and small animals. The gourd-form inkwell shown here is an example of this type of work, which combines a whimsical form with a mesmerizing glaze. Dalpayrat’s glazes typically combined multiple colors, most famously his sang de bœuf glaze—sometimes called “Dalpayrat red”—which he used in his inkwell with silver mount (lot 125).

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Lots 130-132: Three works by Taxile Doat. Design at Phillips New York, 17 December.

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In his treatise on ceramic-making, Taxile Doat wrote “[in my] experimental laboratory...I win from the fire the wares which have brought me a gratifying success." The present works reveal both the experimental nature of the artist’s work as well as his success as a ceramist at the turn of the 20th century. Whereas other ceramists benefited from a division of labor, Doat preferred to experiment with every stage of the production process—from modeling to firing. He advocated for the use of grand feu ceramics as well as the pâte-sur-pâte technique, which involves creating relief designs by applying multiple layers of slip onto an unfired body. The present works are marked "Sèvres," which is an indication of the artist's workshop's location rather than the Manufacture nationale de Sèvres—though Doat did produce work for the national manufactory until 1950 as well. Doat’s works demonstrate his expert control over these complex techniques and also reveal the artist’s taste for motifs from Greek mythology, such as Minerva and the Amazons, as well as nature, both popular sources of imagery in fin-de-siècle France.

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Auguste Delaherche Vase with peacock feather decoration, circa 1889. Estimate: $12,000 - 18,000. Design at Phillips New York, 17 December.

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In 1889, Auguste Delaherche won a gold medal at the Exposition Universelle in Paris, where he showcased ceramic vases with peacock feather decorations, including the present model. This show established Delaherche as one of the preeminent ceramists of his generation and helped to usher in the Art Nouveau style. Later in his career, Delaherche preferred to use drip glazes rather than representational imagery, but the style of his work remained indebted to Eastern influences. These works demonstrate a shift from the figural to the abstract in Delaherche’s œuvre, and also reveal mastery at each iteration of his artistic practice. Notably, an example of the present model is in the permanent collection of the Musée d'Orsay, Paris.

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Paul Jeanneney Gourd-form vase, circa 1900. Estimate: $4,000 - 6,000.
\nDesign at Phillips New York, 17 December.

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Paul Jeanneney was an avid ceramist as well as a collector of art and design. Early in his career, he began to acquire works by his contemporaries such as the aforementioned Dalpayrat and Delaherche. Jeanneney also collected objects from countries such as China, Korea and Japan, which greatly influenced his production of Art Nouveau ceramics. The artist often worked with drip glazes that produced a beautiful peau de serpent (or snakeskin) effect, as seen in the present work. The elegance of these forms, paired with his dynamic use of glaze, result in quietly complex pieces that continue to delight today just as much as they did when he revealed them at the turn of the century.

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Tiffany Studios "Diatreta" vase, circa 1907. Estimate: $7,000 - 9,000.
\nDesign at Phillips New York, 17 December.

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Louis Comfort Tiffany’s career as an artist, designer, and businessman can best be summarized as an exploration of beauty through innovation and relentless experimentation. The collected works from the Fromer Collection speak to the diversity of design that Tiffany Studios produced at the beginning of the 20th century. The Diatreta vase (lot 142) is an example of Tiffany’s groundbreaking invention of Favrile glass, the term that he used for his iridescent glassware. “Diatreta” refers to the cup’s form, originating from Ancient Roman glassmaking traditions in which the lace-like exterior of the vessel is detached from the inner beaker. As time passed, Tiffany began exploring ceramics with his lamp bases, such as lot 139, in which he imitated the appearance of metalsmithing techniques. Tiffany Studios' later pottery was often monochromatic and relied on motifs from nature, as seen in the vase with seed pods (lot 141).

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Tiffany Studios "Horse Chestnut" vase, circa 1901. Estimate: $20,000 - 30,000.
\nDesign at Phillips New York, 17 December.

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As the “EL” mark on the underside of the present work indicates, this “Horse Chestnut” vase was executed by Edith Lautrup. A talented and experienced decorator, Lautrup served as the director of Tiffany Studios from around 1900 until she relocated to her native Denmark in 1902. In the following years, Tiffany Studios created the same form in enameled copper, which the present lot is perhaps meant to emulate through its glaze, making the vase a particularly rare and important early example of Tiffany pottery.

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Gabriel Argy-Rousseau "La Danse" vase, circa 1923. Estimate: $15,000 - 20,000.
\nDesign at Phillips New York, 17 December.

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In 1921 Gabriel Argy-Rousseau established his firm the Société Anonyme des Pâtes de Verre d’Argy-Rousseau, which popularized the pâte-de-verre glassmaking tradition in France. In this technique, the artist applies a paste made from glass powder to a mold before firing, a highly complex process that Argy-Rousseau perfected after months of training and experimentation. His pieces were expensive to make, yet they were commercially successful and received critical acclaim throughout the 1920s. As these pieces reveal, Argy-Rousseau’s decorative work often featured motifs from Classical art and antiquity as well as scenes from nature, all in highly colorful arrangements that were fashionable in the 1920s and remain striking today.

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The most active years of the Fromers’ collecting, the 1980s, took place when this ground-breaking period of creativity from one century earlier was just beginning to be re-examined by a new generation. Since then, the scholarship has only continued to advance. In those early years of rediscovery, without the wealth of scholarship and market history now at our disposal, the Fromers nevertheless assembled a museum-worthy collection of the finest and most representative works of the period. Perhaps most of all, this collection offers a new perspective into this crucial era through the eyes of Ann and Robert Fromer.

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\n","2019-11-21T19:13:50.000000Z","https://www.phillips.com/article/51270085/fromer-collection-art-deco-art-nouveau-ceramics-french-design",711,819,51270085,"https://flockler.com/thumbs/sites/889/66_002-9402e460-093a-4f9a-9cdc-9edaddc0a0a1_s600x0.jpg","Glenn Adamson explains the surprisingly historical roots of a Jeroen Verhoeven masterwork. ","A Symphony of Curves","

Joeroen Verhoeven "Lectori Salutem", 2010. Estimate: $120,000 - 180,000.
\nDesign at Phillips New York, 17 December.

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by Glenn Adamson

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“It’s hard to amaze people.” I had to laugh when Jeroen Verhoeven said that to me, back in 2013, because amazement is his stock in trade. I was interviewing the designer and his twin brother Joep about Lectori Salutem, then on its way to a triumphant unveiling at Blain / Southern Gallery. The point that Verhoeven was making to me—and it’s a good one—is that technology is now whipping along so fast that we are becoming inured to it. It’s a textbook case of diminishing returns: the latest digital wonder comes along, and is met by a collective shrug. Achieving escape velocity from this dynamic, as Verhoeven so clearly has done over the course of his career, requires more than just technical genius. It demands true creativity.

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Lectori Salutem exemplifies this future-facing instinct, but to understand the work, it’s necessary to take a step back. Jeroen Verhoeven made his name several years earlier with the Cinderella Table, first realized in 2005-2006. Though a bellwether in the then-nascent field of digital design, it began its life in an old-fashioned library, at the Stedelijk Museum. While researching there, Verhoeven became interested in the silhouettes of antique furniture. From this starting point, he created an object of disarming conceptual simplicity. Working in virtual space, he simply placed two different profiles—those of a commode and a dressing table—at a 90-degree angle. Then he charted point-to-point paths between them. This produced a set of gorgeous, rippling curves, far more complex than anything he could have drawn. Once the shape was fully rendered, it was executed in plywood with a CNC-controlled robotic carving arm, and then hand-finished. As its title implied, a workaday robot had been liberated into an aesthetic tool, like a humble servant brought to the ball.

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Jeroen Verhoeven Cinderella Table, 2007. Sold in 2014 at Phillips New York, achieving $137,000.

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Lectori Salutem is the successor to the Cinderella Table, and like many Hollywood sequels, involves higher production values brought to the same basic premise. Working with Joep’s collaborative support (the twins have since become a formal design partnership), Jeroen conceived a desk which would again be based on a historic silhouette, in this case taken from a drawing by the fin-de-siècle ébeniste François Linke. The shape sweeps outward from a single contour line at one end, curving in a wide arc to full three-dimensionality at the other. This makes for an even more voluptuous volume than that of the Cinderella Table, but the more important difference is in the process and materials. Instead of being carved subtractively out of a solid material, the piece was built of many individually formed parts, in recalcitrant stainless steel.

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This ambitious plan required tooling far beyond that available to an independent designer. What Verhoeven needed was a cutting-edge factory, with the capability to achieve extremely precise results in several different processes (laser-cutting, stamping, and welding). Taking advantage of the economic downturn—which made companies much more open to extracurricular activities—he persuaded an automotive factory to take it on. As he told me in our 2013 interview, “a process normally used to make ten thousand of the same thing [was] now used to make only one. We wanted to compress all this attention and put it into one thing.”

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Jeroen Verhoeven "Lectori Salutem", 2010. Estimate: $120,000 - 180,000.
\nDesign at Phillips New York, 17 December.

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When finally completed, Lectori Salutem included no less than 150 separate panels of steel, assembled using 2,300 bolts. Like the Cinderella Table, it also required extensive hand finishing, in this case to polish the surface to a state of high reflectivity. It has an extraordinary intensity, which is partly (as Verhoeven suggests) the result of a whole factory’s worth of capacity being concentrated into a domestically-scaled object. The incredible intricacy of the object is emphasized by the open back, exposing a complex interior scaffolding that contrasts with the seamless fluidity of the outer surface.

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It would be wrong, however, to see Lectori Salutem only as a feat of production. The title provides a clue to the work’s deeper meaning. Latin for “greetings, reader,” the phrase (often abbreviated to L.S.) was once commonly used to begin correspondence. It is now archaic, and Verhoeven’s use of it here is consistent with his interest in historicism. He is, after all, making furniture; so his practice has as much to do with that of Linke, or the great Art Nouveau maker Hector Guimard, as it does with an aircraft or racecar, which it superficially resembles. In this respect, the design is a thoughtful response to Marc Newson’s Lockheed Lounge, which was so important in establishing an ambitious, atelier-led model for design practice. Both objects partake equally of the antique and the futuristic.

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Jeroen Verhoeven "Lectori Salutem", 2010. Estimate: $120,000 - 180,000.
\nDesign at Phillips New York, 17 December.

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Another level of meaning in the desk is more personal. When Jeroen and Joep graduated from the Design Academy Eindhoven in 2004, they set up a design studio called Demakersvan together with a third student, Judith de Grauuw. As a tribute to his two creative partners, Jeroen configured Lectori Salutem to incorporate the contours of their faces, in the two moldings that bookend the desk’s top. “It is almost like freezing a moment where everything was perfect and polished,” he has said. “For me it symbolizes a moment in life where the perfect balance between myself, Joep and Judith existed.” This touching feature is further extended by an inscription, visible in the desk’s interior, giving credit to all the other people who helped realize the project—a gesture that calls to mind the way that builders will sign their names on the inside of a wall before sealing it up.

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Such personalization is extremely uncommon in design. One of the few things that still distinguishes the field from contemporary fine art is the studious separation that designers tend to maintain between their private lives and their public projects. This perhaps reflects an inheritance from the profession’s formative years. Back then, it was expected that industrial designers would subsume their own identities under that of their corporate clients. Then too, there is the modernist argument that good design should not even be noticed, but should instead provide silent service, giving rational shape to experience without bringing undue attention to its own narratives.

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These notions have of course been thoroughly demolished in recent years. Curator Gareth Williams’ exhibition Telling Tales at the Victoria and Albert Museum, which included Verhoeven’s work, focused particularly on story-telling in contemporary design. Even so, it’s rare that a designer brings much of their own life into a project, perhaps for fear of interfering with the associations of a future prospective owner. Verhoeven realized, though, that there was another way of thinking. Right from the start, Lectori Salutem was conceived as a conversation. It began with Linke’s drawing, and continued throughout the design and production process. By the time it was finished, the object already contained many stories; its ideal use would be to write letters to families and friends, and so generate many more. Scriptori salutem.

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\n","2019-11-20T20:34:21.000000Z","https://www.phillips.com/article/51208449/jeroen-verhoeven-curves",2,708,814,51208449,"https://flockler.com/thumbs/sites/889/152-153_001-4d9860fc-bc51-485a-95e7-44cf46d29b13_s600x0.jpg","Rediscovered in the 1970s and held in private collections until now, a unique dining room suite recalls modern American art and Wiener Wertstätte design tenets.","Claggett Wilson: The Lewisohn Commission","

From Design this December, lots 151, 152 and 153 comprise a set of furnishings designed by Claggett Wilson for the dining room of Mr. and Mrs. Sam Lewisohn. Wealthy and progressive young members of New York society, the Lewisohns found in Wilson a creative partner who conceived a highly original interior scheme. Discovered in the 1970s and held in private collections until now, this is the first time the present suite of furniture has come to public market since 1939.
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\nSam Lewisohn was the son of Adolph Lewisohn, patriarch of the New York branch of the Lewisohn family. Lewisohn senior arrived in the United States in 1867 to join his brothers in the New York branch of his family's business, the origins of which dated to eighteenth-century Hamburg. The various Lewisohn enterprises dealt primarily in animal-based products and, in New York, expanded to include metals. Within a few decades, the brothers had become extraordinarily successful in copper mining, processing and trading. Adolph Lewisohn established himself in American society through his advocacy and philanthropy, his political affiliations and, not least of all, his art collecting. Sam Lewisohn followed in his father's footsteps as a prominent businessman and philanthropist, and together with his wife Margaret Valentine Seligman, an accomplished advocate for education and patron of the arts in her own right, also amassed a considerable art collection. Works from the Lewisohn family collections are in the permanent collections of a number of New York museums, including the Brooklyn Museum, The Museum of Modern Art and The Metropolitan Museum of Art.

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Dining room of Mr. and Mrs. Sam Lewisohn, New York, as seen in Town & Country magazine, June 15th, 1930. Photograph by Sara Parsons.

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In 1915, Adolph Lewisohn commissioned C.P.H. Gilbert to renovate his 881 Fifth Avenue residence, and it was on a floor of this mansion that the young Sam and Margaret Lewisohn established their home. They enlisted Claggett Wilson to convert a former governess' room into a dining room that would draw inspiration from and complement their modern art collection. An article about the dining room by Wilson's friend and colleague Augusta Owen Patterson appeared in the June 15, 1930 issue of Town and Country and praised its thoughtful and modernist approach which provided an elegant backdrop to the Lewisohn's exceptional paintings and views of Central Park. An article about Claggett Wilson, probably published circa 1933 in the Boston Evening Transcript (a photocopy survives in the archives of one of Wilson's heirs), quotes Henri Matisse remarking on the room: "It is perhaps the most ideal background for my paintings I have yet seen."

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From top: Console table from the home of Mr. and Mrs. Sam Lewisohn, New York, as seen in Town & Country magazine, June 15th, 1930. Photograph by Sara Parsons. Detail of dining room table and chairs from the home of Mr. and Mrs. Sam Lewisohn, New York, as seen in Town & Country magazine, June 15th, 1930. Photograph by Sara Parsons.

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Wilson was a modernist American artist best known for his work documenting World War I, for which he was nominated for a Nobel Prize. His paintings are now in the collections of the Smithsonian American Art Museum and The Metropolitan Museum of Art. Like many artists in New York at this time, Wilson did not discriminate among mediums, and in addition to painting and illustrating, he also designed costumes and sets. The Lewisohn dining room has been falsely described as his only known residential commission, when in fact he also worked as an interior decorator, painting murals and selecting interior furnishings for clients such as the actors Alfred Lunt and Lynn Fontanne. The diversity of his projects suggests he may have designed other pieces of furniture in addition to those for the Lewisohn dining room, now the only known extant examples.
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\nWilson's theatre design background was apparent in the iridescent walls (silver leaf applied with "transparent blue green lacquer"), the upper silvered geometric molding behind which uplights illuminated a yellow ceiling, and window niches containing large cactus plants framed by silver gauze curtains with appliques in blue, pink and green. A Paul Cézanne still life with fruit was literally and figuratively reflected in a fruit-filled, mirrored and lacquered glass surtout de table, also designed by Wilson. The whereabouts of this centerpiece as well as a set of chromium-plated and enameled candlesticks also by Wilson remain unknown.
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\nAmidst this glamorous setting, the present dining room suite of sideboard, dining table and chairs took center stage. Each displays a motif of interlocking cactus-inspiring ovals, evocative of the Opuntia (paddle) cacti situated in the window niches. The motif is expressed in an openwork design on the chair backs and table base and as satinwood marquetry on the sideboard. The metal drawer pulls of the sideboard, which were also used as the door handles, are formed as overlaid ovals framed with the tiny points of cactus needles.

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The stylized design of the cactus motif is reminiscent of Wiener Wertstätte designs of earlier decades, of which Wilson would have been familiar. However the motif and color scheme also point in an entirely different direction: the Southwest, a region that had captured the imagination of American artists and their patrons during this period. A 1929 painting by Georgia O’Keeffe, Porcelain Rooster, originally belonging to Alfred Stieglitz, and later owned by Sam Lewisohn—and notably completed the same year as the dining room, which is also the year O'Keeffe began spending part of her year in the Southwest—reflects the blues, greens and silver accented by brown and pink of the Lewisohn dining room.

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In 1939 the contents of 881 Fifth Avenue were offered at auction by Parke-Bernet Galleries. The dining room was illustrated in a full-page photograph, and by this time it appears that the Cézanne had been replaced by a painting by Moise Kisling. The curtains were sold together with the furniture and the table's centerpiece was offered but went unsold. The original set of fourteen chairs, of which twelve are now on offer here, were described as having seats upholstered in "old rose velours."

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The furniture was acquired by William Henry Vanderbilt III and was then passed down to his daughter. One of the two chairs now separated from the set was included in the exhibition The Jazz Age: American Style in the 1920s, at the Cooper Hewitt, Smithsonian Design Museum and the Cleveland Museum of Art in 2017 and 2018.

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\n","2019-11-21T16:35:37.000000Z","https://www.phillips.com/article/51262342/claggett-wilson-the-lewisohn-commission-dining-suite",1,712,817,51262342,"https://flockler.com/thumbs/sites/889/fc_001-f3263a9d-8cda-41ef-b02c-e13188883981_s600x0.jpg","Four iconic works, all coming to auction this December at Phillips, typify the designer's playful, organic forms. ","Jean Royère: A Whimsical Approach","

Jean Royère "Ours Polaire" sofa, 1950s. Estimate: $300,000 - 500,000.
\nDesign at Phillips New York, 17 December.

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Royère first designed one of his most recognizable pieces, the Ours Polaire sofa, for the rooms he occupied in his mother’s apartment at 234 rue du Faubourg-Saint-Honoré on the occasion of redecorating her residence in 1947. This example now resides in the collection of the Musée des Arts Décoratifs, Paris. Later that year he presented the sofa at La Résidence française, an exhibition organized by the publication Art et Industrie. The sofa became ubiquitous in Royère’s interiors of the late 1950s and early 1960s. Today it is recognized as one of his most iconic and sought-after designs.

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Jean Royère "Ours Polaire" sofa, 1950s. Estimate: $300,000 - 500,000.
\nDesign at Phillips New York, 17 December.

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The soft round form of the Ours, which practically eliminates the typical parts and structure of most seating in favor of one continuous curve, is in keeping with Royère’s whimsical aesthetic as well as the biomorphic style already in full force in the 1950s. Yet while other designers worked with new materials and techniques to achieve their organic forms—Eero Saarinen’s fiberglass Womb chair and the Eameses' use of molded plywood come to mind—the Ours relied on traditional cabinetmaking methods to achieve its novel shape. Photographs of an Ours frame, likely taken in the courtyard of an artisan in the Faubourg Saint-Antoine, show the complex wooden understructure that served as the initial armature. To this carcass, a metal frame padded with horsehair further defined the form, which was finally covered by the fabric upholstery, typically a plush velvet sourced from Italy.

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Jean Royère Projet pour le grand salon de la Légation de France à Helsinki en Finlande, 1950. Paris, musée des Arts décoratifs. Image © MAD, Paris. Artwork © 2019 Artists Rights Society (ARS), New York/ADAGP, Paris.

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The present lot retains the original thick red upholstery, a color that Royère particularly favored for this design. He used it for the Ours sofas he created for the French legation in Helsinki, depicted in a beautifully rendered gouache in the collection of the Musée des Arts Décoratifs (1950), as well as for the salon at the Maison de France in Rio de Janeiro (1955-1960).

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Jean Royère "Boule" armchair, circa 1957. Estimate: $120,000 - 180,000.
\nDesign at Phillips New York, 17 December.

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The form of the present Boule armchair, a variation of the lower-back version now commonly referred to as the Ours Polaire armchair, had been exhibited by Royère as early as 1942 in the Salon des artistes décorateurs.

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This particular armchair was acquired in 1957 from the architect Nadim Majdalani in Beirut. Majdalani had met Royère in Paris and subsequently, in the late 1940s, the two opened an office of decoration and architecture together under both their names on Avenue des Français in Beirut. The collaboration would continue into the 1960s. Majdalani also owned a furniture workshop and began to execute Royère’s designs according to the detailed plans he had sent over from Paris. Nadine Begdache, the daughter of Majdalani, recounted that Royère’s furniture was “distinguished by their originality and their audacity…Everything he imagined was of great freshness and above all great comfort .”

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Jean Royère "Boule" armchair, circa 1957. Estimate: $120,000 - 180,000.
\nDesign at Phillips New York, 17 December.

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Royère and Majdalani would go on to collaborate on a large number of both residential and commercial interiors throughout Lebanon, which at the time was experiencing a great deal of growth and new construction. These interiors appeared in French publications throughout the period, with Nadim Majdalani noted as a collaborator in the captions. For his part, Royère loved to travel and, throughout his career, sought out new markets across the world. As he recounted in 1963, “What you have to remember is that in these new and developing countries, cooperation between architect and decorator is facilitated by the fact that, unlike in France, people don’t spend their time patching up and modernizing old buildings.”

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Jean Royère Rare "Œuf" chest of drawers, circa 1956. Estimate: $100,000 - 150,000.
\nDesign at Phillips New York, 17 December.

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Taking the extant Œuf chair as a point of departure, Royère later created a range of related Œuf furniture that included the present work as well as a sofa, a tabouret, a bed, bedside tables and a coiffeuse. In each example, a soft upholstered shell envelops the inner structure, in this case, a chest of six drawers. Royère designed the Œuf chair in 1954 and it became a regular fixture in his interiors. The other Œuf furniture, however, is much less ubiquitous, documented in only a few places. The November 1958 issue of Mobilier et Décoration illustrated the bedroom suite, noting the “voluptuous rotundity” of the armchairs and bed and the “energetic contrast” of the two-toned upholstery.

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Jean Royère "Persane" floor lamp, circa 1954. Estimate: $60,000 - 80,000.
\nDesign at Phillips New York, 17 December.

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Royère featured his Persane floor lamp in the 1954 Salon des arts ménagers as part of a bedroom setting alongside an Œuf chair in fuzzy gray and red upholstery and a Flaque coffee table in black straw marquetry with a constellation of golden straw stars. Against a large light green curtain in the background, the long graceful arms of the Persane stood “gushing like meteors to carry off the light,” in the words of René Chavance, who reviewed the Salon for the April 1954 issue of Mobilier et Décoration.

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In the same article, Chavance praised Royère for having a refined taste that “blends…with a spiritually fanciful invention.” One of the key characteristics of this fanciful inventiveness was Royère’s use of shaped metal rods, which he explored throughout his lighting repertoire. Sometimes they appear, like in the Persane, as a tidy bundle of branches, while in other instances they undulate across the wall, or, in the case of the Liane, sprawl like an unkempt vine or a hand-drawn line.

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Max Ingrand Pair of table lamps, model no. 2228, circa 1963. Estimate: $10,000 - 15,000.

More Highlights in Italian Lighting

Paolo Venini Rare table lamp, circa 1950. Estimate: $5,000 - 7,000.

Gino Sarfatti Rare ceiling light, model no. 2041, 1950s. Estimate: $30,000 - 40,000.

Stilnovo Set of four wall lights, model no. 2128, circa 1959. Estimate: $8,000 - 12,000.

Angelo Lelii Pair of ceiling lights, model no. 12697, circa 1958. Estimate: $18,000 - 24,000.

Luigi Caccia Dominioni "Mikado" table lamp, circa 1962. Estimate: $10,000 - 15,000.

Stilnovo Rare nine-arm ceiling light, 1950s. Estimate: $8,000 - 12,000.

Pietro Chiesa Floor lamp, circa 1937. Estimate: $6,000 - 8,000.

Florence Knoll and her dog, Cartree, at the 575 Madison Avenue Knoll Associates Showroom, 1956. Image courtesy of Knoll Archive. Artwork: © 2019 Calder Foundation, New York/ Artists Rights Society (ARS), New York.

From left: A full-bodied molded copper and zinc "Horse and Hoop" weathervane. A carved painted and giltwood dog weathervane mold.

From left: A full-bodied molded copper gamecock weathervane. A large full-bodied molded and cast-iron Rooster weathervane.

More Collection Highlights

A full-bodied molded gilt copper Peacock weathervane

A full-bodied molded gilt copper and zinc "Index" horse weathervane

A primitive sheet iron stag weathervane

Read More

"Black-Out" display at the XVII Triennale di Milano, including the present lot and a hyper-realistic sculpture of Alessandro Mendini in wax, 1985. Image courtesy of Alessandro Mendini Archive.

Alessandro Mendini and Giorgi Gregori Unique cabinet, 1985

Alexander Calder Cape clasp, circa 1936. Estimate: $30,000 - 50,000.\nDesign at Phillips New York, 17 December.

Alexander Calder "Six Circles" brooch, circa 1940. Estimate: $45,000 - 65,000.\nDesign at Phillips New York, 17 December.

Alexander Calder Cape clasp, circa 1936. Estimate: $30,000 - 50,000.\nDesign at Phillips New York, 17 December.

Eva Hild "Single Track", 2008

Eva Hild "Single Track", 2008

Eva Hild "Single Track", 2008

Pierre-Adrien Dalpayrat and Alphonse Voisin-Delacroix Gourd form inkwell with toads, 1893-1906. Estimate: $6,000 - 8,000.\nDesign at Phillips New York, 17 December.

Lots 130-132: Three works by Taxile Doat. Design at Phillips New York, 17 December.

Auguste Delaherche Vase with peacock feather decoration, circa 1889. Estimate: $12,000 - 18,000. Design at Phillips New York, 17 December.

Paul Jeanneney Gourd-form vase, circa 1900. Estimate: $4,000 - 6,000.\nDesign at Phillips New York, 17 December.

Tiffany Studios "Diatreta" vase, circa 1907. Estimate: $7,000 - 9,000.\nDesign at Phillips New York, 17 December.

Tiffany Studios "Horse Chestnut" vase, circa 1901. Estimate: $20,000 - 30,000.\nDesign at Phillips New York, 17 December.

Gabriel Argy-Rousseau "La Danse" vase, circa 1923. Estimate: $15,000 - 20,000.\nDesign at Phillips New York, 17 December.

Jeroen Verhoeven Cinderella Table, 2007. Sold in 2014 at Phillips New York, achieving $137,000.

Jeroen Verhoeven "Lectori Salutem", 2010. Estimate: $120,000 - 180,000.\nDesign at Phillips New York, 17 December.

Jeroen Verhoeven "Lectori Salutem", 2010. Estimate: $120,000 - 180,000.\nDesign at Phillips New York, 17 December.

Dining room of Mr. and Mrs. Sam Lewisohn, New York, as seen in Town & Country magazine, June 15th, 1930. Photograph by Sara Parsons.

Jean Royère "Ours Polaire" sofa, 1950s. Estimate: $300,000 - 500,000.\nDesign at Phillips New York, 17 December.

Jean Royère Projet pour le grand salon de la Légation de France à Helsinki en Finlande, 1950. Paris, musée des Arts décoratifs. Image © MAD, Paris. Artwork © 2019 Artists Rights Society (ARS), New York/ADAGP, Paris.

Jean Royère "Boule" armchair, circa 1957. Estimate: $120,000 - 180,000.\nDesign at Phillips New York, 17 December.

Jean Royère "Boule" armchair, circa 1957. Estimate: $120,000 - 180,000.\nDesign at Phillips New York, 17 December.

Jean Royère Rare "Œuf" chest of drawers, circa 1956. Estimate: $100,000 - 150,000.\nDesign at Phillips New York, 17 December.

Jean Royère "Persane" floor lamp, circa 1954. Estimate: $60,000 - 80,000.\nDesign at Phillips New York, 17 December.

Alexander Calder Cape clasp, circa 1936. Estimate: $30,000 - 50,000.
\nDesign at Phillips New York, 17 December.

Alexander Calder "Six Circles" brooch, circa 1940. Estimate: $45,000 - 65,000.
\nDesign at Phillips New York, 17 December.

Alexander Calder Cape clasp, circa 1936. Estimate: $30,000 - 50,000.
\nDesign at Phillips New York, 17 December.

Pierre-Adrien Dalpayrat and Alphonse Voisin-Delacroix Gourd form inkwell with toads, 1893-1906. Estimate: $6,000 - 8,000.
\nDesign at Phillips New York, 17 December.

Paul Jeanneney Gourd-form vase, circa 1900. Estimate: $4,000 - 6,000.
\nDesign at Phillips New York, 17 December.

Tiffany Studios "Diatreta" vase, circa 1907. Estimate: $7,000 - 9,000.
\nDesign at Phillips New York, 17 December.

Tiffany Studios "Horse Chestnut" vase, circa 1901. Estimate: $20,000 - 30,000.
\nDesign at Phillips New York, 17 December.

Gabriel Argy-Rousseau "La Danse" vase, circa 1923. Estimate: $15,000 - 20,000.
\nDesign at Phillips New York, 17 December.

Jeroen Verhoeven "Lectori Salutem", 2010. Estimate: $120,000 - 180,000.
\nDesign at Phillips New York, 17 December.

Jeroen Verhoeven "Lectori Salutem", 2010. Estimate: $120,000 - 180,000.
\nDesign at Phillips New York, 17 December.

Jean Royère "Ours Polaire" sofa, 1950s. Estimate: $300,000 - 500,000.
\nDesign at Phillips New York, 17 December.

Jean Royère "Boule" armchair, circa 1957. Estimate: $120,000 - 180,000.
\nDesign at Phillips New York, 17 December.

Jean Royère "Boule" armchair, circa 1957. Estimate: $120,000 - 180,000.
\nDesign at Phillips New York, 17 December.

Jean Royère Rare "Œuf" chest of drawers, circa 1956. Estimate: $100,000 - 150,000.
\nDesign at Phillips New York, 17 December.

Jean Royère "Persane" floor lamp, circa 1954. Estimate: $60,000 - 80,000.
\nDesign at Phillips New York, 17 December.

22

Jacques Ruelland and Dani Ruelland

Four bottles

完整圖錄內容

Jacques Ruelland and Dani Ruelland