[{"_1":2,"_3":-5,"_4":-5},"loaderData",{"_5":6,"_7":8},"actionData","errors","root",{"_664":665,"_666":667,"_668":19,"_669":670,"_671":19,"_672":673,"_674":675,"_676":677,"_678":679,"_680":681,"_682":683,"_684":685,"_24":686},"routes/($lang).detail.($maker).($seoName).($auctionCode).$lotOrObjectNumber",{"_9":10,"_11":-5,"_12":13,"_14":15,"_16":17,"_18":19,"_20":21,"_22":23,"_24":25},"lot",{"_415":58,"_594":595,"_91":92,"_596":597,"_598":47,"_417":418,"_566":570,"_599":600,"_601":107,"_602":109,"_603":604,"_198":595,"_60":61,"_605":606,"_568":76,"_607":195,"_608":19,"_609":19,"_610":19,"_611":612,"_613":614,"_615":19,"_139":19,"_140":125,"_616":19,"_617":19,"_618":125,"_132":125,"_619":19,"_120":121,"_620":621,"_622":623,"_624":625,"_626":627,"_628":629,"_630":631,"_93":94,"_149":632,"_138":125,"_633":-7},"sanityLotElc","auction",{"_91":92,"_93":94,"_95":96,"_97":49,"_98":99,"_100":101,"_102":103,"_104":105,"_106":107,"_108":109,"_110":111,"_112":113,"_114":115,"_116":117,"_118":119,"_120":121,"_122":19,"_123":19,"_124":125,"_126":19,"_127":19,"_128":19,"_129":125,"_130":19,"_131":19,"_132":125,"_133":19,"_134":125,"_135":19,"_136":19,"_137":125,"_138":125,"_139":19,"_140":125,"_141":142,"_143":144,"_145":146,"_147":148,"_149":150,"_48":151,"_152":153,"_154":155,"_156":157},"messageBanners",[],"title","Mario Asnago and Claudio Vender - Design, London Wednesday, June 30, 2021 at GMT+1 | Phillips","isPreview",false,"COOKIE_DOMAIN","phillips.com","conditionsOfSalePdfLinkConfig",{"_89":90},"metadata",[26,27,28,29,30,31,32,33,34,35,36,37],{"_16":83},{"_38":87,"_40":88},{"_38":60,"_40":81},{"_38":86,"_40":83},{"_38":85,"_40":81},{"_38":84,"_40":77},{"_78":82,"_40":83},{"_78":80,"_40":81},{"_78":79,"_40":77},{"_50":51},{"_42":43,"_44":45,"_46":47,"_48":49},{"_38":39,"_40":41},"name","apple-itunes-app","content","app-id=397496674","tagName","link","rel","canonical","href","https://www.phillips.com/detail/mario-asnago-and-claudio-vender/145022","location","London","script:ld+json",{"_52":53,"_54":55,"_38":56,"_57":58,"_59":47,"_60":61,"_62":63,"_64":65,"_66":67},"@context","https://schema.org","@type","Product","Mario Asnago and Claudio Vender - Design","sku","145022","url","description","Rare armchair","image",[77],"brand",{"_54":75,"_38":76},"offers",{"_54":68,"_69":70,"_71":72,"_73":74,"_59":47},"Offer","price",5000,"priceCurrency","GBP","availability","https://schema.org/SoldOut","Brand","Mario Asnago and Claudio Vender","https://dist.phillips.com/auction-assets/UK050121/145022_001.jpg?fit=cover&optimize=medium&width=1302","property","og:image","og:description","Discover Mario Asnago and Claudio Vender's Rare armchair featured in Phillips' Design Auction in London. Browse, bid, and explore art, design, and luxury at Phillips.","og:title","Mario Asnago and Claudio Vender Design","twitter:image","twitter:description","twitter:title","keywords","Phillips Auctioneers LLC, auction, Lot, Mario Asnago and Claudio Vender, London Auction 30 June 2021","NY080126","https://www.dist.phillips.com/content/web/docs/forms/NY_Conditions_of_Sale_NY080126.pdf","auctionId",1275,"auctionCode","UK050121","auctionName","Design","auctionLocation","auctionTimezone","Europe/London","auctionStartDateTime","2021-06-30T13:00:00.000000Z","lowestEstimate",1200,"highestEstimate",2000000,"auctionStatus","PAST","saleTypeId","Auction","bannerImage","https://dist.phillips.com/auction-assets/UK050121/UK050121.jpg?fit=cover&optimize=medium&width=1302","contactEmail","Antonia.King@phillips.com","conditionRequestEmail","sgarbagnati@phillips.com","auctionDetails","

Viewing 23 – 30 June

\n\n

Monday-Saturday 10am – 6pm

\n\n

Sunday 12pm-6pm

\n\n

Download the catalogue for Jean Dunand’s LES PALMIERS

\n\n

Our live auctions continue to operate virtually. All bidding is conducted by telephone, online, or via our iOS or Google Play app.

\n","auctionDetailsSmall","London Auction 30 June 2021","extraInfo","

Antonia King

\n\n

Head of Sale, Design

\n\n

Antonia.King@phillips.com

\n\n

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414],"viewing",{"_48":244},"articles",[175,176,177,178,179],"departments",[170],"auctionCurrency",{"_167":72,"_168":169},{"_158":159,"_160":161,"_162":163,"_164":49,"_165":166},"totalLotCount",170,"auctionMobilityAuctionRowId","1-4BUXID","auctionUrl","https://www.phillips.com/auction/UK050121","countryName","United Kingdom","countryCode","GB","line1","30 Berkeley Square","city","postCode","W1J 6EX","currencyCode","currencySign","£",{"_171":172,"_173":96,"_174":96},"departmentId",3,"departmentName","departmentDisplayName",{"_180":235,"_182":96,"_183":236,"_16":237,"_186":238,"_188":239,"_192":193,"_194":195,"_196":240,"_198":195,"_200":241,"_202":242,"_204":243},{"_180":225,"_182":96,"_183":226,"_16":227,"_186":228,"_188":229,"_190":191,"_192":193,"_194":195,"_196":230,"_198":231,"_200":232,"_202":233,"_204":234},{"_180":215,"_182":96,"_183":216,"_16":217,"_186":218,"_188":219,"_190":191,"_192":193,"_194":195,"_196":220,"_198":221,"_200":222,"_202":223,"_204":224},{"_180":206,"_182":96,"_183":207,"_16":208,"_186":209,"_188":210,"_190":191,"_192":193,"_194":195,"_196":211,"_198":172,"_200":212,"_202":213,"_204":214},{"_180":181,"_182":96,"_183":184,"_16":185,"_186":187,"_188":189,"_190":191,"_192":193,"_194":195,"_196":197,"_198":199,"_200":201,"_202":203,"_204":205},"coverUrl","https://flockler.com/thumbs/sites/889/6_dunand-ec0dc480-ec07-4f3f-ab8b-cb1d08285c87_s600x0.jpg","section","summary","In conversation with Elie Massaoutis, boiseries expert Patrick Gavelle takes us inside the exquisite Jean Dunand fumoir. ","Moving a National Treasure ","body","

Jean Dunand, Les Palmiers smoking room, from the residence of Mademoiselle Colette Aboucaya, Paris, 1930-1936.

\n\n

Elie Massaoutis, Head of Design, France, takes us on a tour of Jean Dunand’s art deco masterpiece, Les Palmiers. Commissioned by Mademoiselle Colette Aboucaya, this elaborate smoking room is a time capsule containing the highest social and cultured interactions of Paris in the 1930s.

\n\n

\n\n

EM: Monsieur Gavelle, how did you become a specialist in boiseries and their assembly and disassembly?

\n\n

PG:  Originally, I was focused on 18th-century boiseries. I was fortunate enough to work at a company that worked on 18th-century paneling and the restoration of historical monuments. So this is my original apprenticeship. I never worked nor was trained in 20th-century or Art Deco panels.

\n\n

EM: And what were the first boiseries that really attracted your interest? What have been the most important works that you have encountered?

\n\n

PG:  The King’s Bedchamber at Versailles, the Renaissance ceilings of the Louvre Colonnade, the Élysée Palace, Matignon and other very prestigious works...

\n\n

EM: Mostly historical works. When you worked on these different projects, have you discovered hidden details that you were not expecting to find?

\n\n

PG:  Yes, and strangely, it’s not really related to the boiseries, but more to the people who have completed them—because we regularly find traces left from their authors, the carpenters, and the architects, sometimes we even find political graffiti from the period.

\n\n

\n
It’s almost like being part of a larger universal team working for the Art.
\n

\n\n

EM: In the historical works or in the 20th-century works?

\n\n

PG:  Always in the historical works, notably those at the Louvre. In the Napoleon III apartments displayed at the Louvre where Renaissance ceilings have been remounted, the Emperor is blasted in graffiti, which we discovered while restoring them. We also found addresses and names from the craftsmen who participated in re-installing the work. But this is a tradition of the Compagnons du Devoir. There is always the notion of transmission that is very closely linked to our apprenticeship.

\n\n

EM: It’s something that you encounter somewhat regularly—it’s part of the historical process. And what do you feel when you install or de-install these precious interiors? Do you feel you are part of their history?

\n\n

PG:  It’s perhaps pretentious to say this, but to be the person who touched the boiseries Les Palmiers after Jean Dunand installed them and to know the paneling as well as he did, it is flattering! It’s almost like being part of a larger universal team working for the Art. And that’s intoxicating! Entering in Notre Dame, and touching the columns and thinking about the Compagnons who laid and chiselled the stones and received the same training I did; we pass and share our knowledge from generation to generation, since the beginning of time. For me, it has always been linked to my work, since the first time I used a wood chisel.

\n\n

EM: Could you tell us a little more about your training?

\n\n

PG:  I completed an apprenticeship. After leaving school at 16, I joined the Compagnons du Devoir. I did my tour de France for five years, I studied cabinet-making. I presented my masterpiece and passed at age 21, and today, I teach my craft, I share my knowledge and my work.

\n\n

EM: With Les Palmiers  of Jean Dunand, what did you feel when you visited them for the first time?

\n\n

PG:  Ah, Jean Dunand! The Dunand boiseries are special to me…In my training, we considered cabinet-making in art to run until the 1930s. For us, the cubist period is already contemporary, and Jean Dunand is modern. We didn’t study that period as much, so we didn’t have formal training in this period. I knew about the painters of this period but I had to learn on my own. When I discovered Les Palmiers and their cubist style, I thought it was extraordinary. For me, it’s time travel. Even more so when I entered the apartment for the first time, after it had been entirely closed. It was a fifth dimension; it was like I had traveled to before the war.

\n\n

\n
For me, it’s time travel.
\n

\n\n

EM: When you say it was totally closed…?

\n\n

PG:  It was extraordinary. No one lived there. All the shutters had been closed many years ago. Newspapers dating from the 1960s were blocking the blinds, since the last time the flat was opened was to be photographed for an article published in Vogue in 1961. Nothing had been touched since. When we dismantled it, Ms. Aboucaya’s young nephew told us that apart from a party celebrating its unveiling, she never used that part of the apartment.

\n\n

EM: What an extraordinary experience. It’s like walking into Tutankhamun’s tomb.

\n\n

PG:  Yes, it’s exactly like that. We had the impression of a discovery! It’s time travel. We leave our daily life. When I left, I had to catch my breath. I was totally stunned.

\n\n

EM: What is unique about Dunand’s design? Was there anything that surprised you, something that was different than the 18th-century boiseries you more commonly work on?

\n\n

PG:  The construction had nothing to do with 18th-century boiseries. We have here an object constructed by a cabinetmaker, not by a carpenter, even if the two métiers are very similar. We are using the same assemblies, but one approaches the piece of wood totally differently. And it’s constructed like a cabinet, the grooves, tongues, and assemblies fit perfectly with each other. With traditional boiseries the construction is different. They are composed of primary and secondary elements, all of which are important to the design; the secondary elements support the primary ones, but they can be separated from one another. Here, the four sides form a whole. If there is only one side, it is wobbly, lopsided. You cannot remove any element to it.

\n\n

\n\n

Daybed in Les Palmiers smoking room, from the residence of Mademoiselle Colette Aboucaya, Paris, 1930-1936.

\n\n

EM: In fact, the conception of the structure demands a great deal of freedom.

\n\n

PG:  Yes and no, when they constructed Les Palmiers, they were unlimited by dimensions—which is to say, one could make panels that could be kilometers long. The construction process is one of freedom; it is limited only by the quality of the material. Here, like any renowned artist of the time, the cabinet-makers created their own supports. Small brackets were placed next to each other, then they were fastened with plywood (2-3mm thickness). And then the veneer was added (20mm thickness). There’s even another way—the brackets, instead of being brackets, are made from plywood, bonded together. The wood cannot move because small pieces, bonded to each other, were used. It’s extremely avant-garde. You can see a modern gymnasium with laminated wood forming the beams—it’s exactly the same principle on a smaller scale, and as a consequence, the supports are very stable and of an extraordinary quality.

\n\n

EM: That explains why the boiseries are in such a pristine condition today.

\n\n

PG:  And there isn’t a single crack. Because each time we changed the room’s location, we knew there were small pieces of wood that fit with each other. So, the wood never moves, nor do the great mouldings. One can see that they are perfectly set. The doors have not moved despite the fact that they are in their original position—and they are functional. Even if one took out the supports, the doors would stay stable, but if one tried this with today’s materials, they would immediately become flimsy. The quality here is in the construction, but also in the materials that were used and its representation.

\n\n

EM: It was like that from its conception. We can think of it really as a masterpiece in which Jean Dunand and his team put the best into everything.

\n\n

PG:  Not only that, but it was conceived to last. When it was made, Dunand could have used other supports and materials. And even in thinking about how the apartment was updated and sold, it could have been cleared away, as sometimes happens. But it wasn’t the case, fortunately. It was conceived to last and has lasted.

\n\n

\n
As far as I’m concerned, I always look at the room with joy.
\n

\n\n

EM: Extraordinary! And you have had these  boiseries  pass through your hands a few times now, first in 1997, then in 2001, 2002 and even at the Palais de Tokyo in 2011 when they were last sold.

\n\n

PG:  Yes, when they were re-installed in 2011, I had the joy of rediscovering them. It was a bit like seeing a lover that I never really left, to whom I was always loyal. As far as I’m concerned, I always look at the room with joy.

\n\n

EM: It’s a story of a lasting love.

\n\n

PG:  Yes, absolutely. I have kept archives from the first time I encountered these boiseries, I have all the plans. I even kept some exchanges with the owner, with different owners, pictures of the building site. The auction house who then sold it to the castle kept images to make greeting cards, and I kept the card with the images of the boiseries in a file, just to have in my archives. I have all the catalogues, books, everything that is related to them. It has become almost an obsession.

\n\n

EM: It is becoming that way. You are happy to come and install it one more time for us, to have it constructed for the last time.

\n\n

PG:  Yes, I would like to put the room in a place where it can stay the rest of its life, because it will start to suffer from all these installations and de-installations. Because even if it is of great quality and doesn’t show wear and tear, it is still fragile.

\n\n

EM : To conclude our interview you mentioned to me earlier a story you tell your students that one of your teachers told you many years ago?

\n\n

PG:  Yes indeed, when I was a young apprentice, in order to make me understand the importance of the application of my work, one of my teachers told me an anecdote of a man walking by a cathedral construction site. He asks the first worker with a cold chisel that he meets “What are you doing?” The worker responds “I am carving a stone.” He continues and asks the same question to the second worker he sees who responds to him “I am participating in the elevation of a wall” and up to the third one who responds to him “I am participating in the elaboration of a work of art.” It is this mindset that drives us: to participate in the complete realization of a work of art, not only a simple task! It is with that goal that the workers, the Compagnons, surpass and deliver the best of themselves: for the realization of a masterpiece like  Les Palmiers.

\n\n

Contact
\nElie Massaoutis
\nHead of Design, France and Senior International Specialist
\nemassaoutis@phillips.com
\n+33 786 34 53 15

\n\n

Discover More from Design >

\n\n

\n\n

Recommended Reading

\n\n

In Conversation with Collector Enea Righi >

\n\n

How Genieve Figgis Inspired ‘Bridgerton’ >

\n\n

\n","publishDate","2021-02-18T17:36:06.000000Z","authorCredit","Sarah Bochicchio","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/70559355/jean-dunand-elie-massaoutis-conversation-auction-design-paris","displayOrder",4,"auctionEditorialID",1293,"editorialID",3399,"flocklerID",70559355,"https://flockler.com/thumbs/sites/889/149806-6_uc336908-843ed8ab-18fc-45a8-8425-127e8c16c681_s600x0.jpg","Scarpa’s designs exemplify his ability to harmoniously unite the past with the present.","Creating and Defining Space: A Pair of Vitrines Designed by Carlo Scarpa","

Carlo Scarpa, Pair of vitrines, designed 1957, executed circa 1963. Estimate £150,000 - 200,000. Design London.

\n\n

Carlo Scarpa originally conceived the design of the present vitrines for the extension of the Gipsoteca Canoviana in Possagno. To commemorate the bicentenary of the Italian neoclassical sculptor Antonio Canova’s birth, the Superintendent of Fine Arts commissioned Scarpa to extend the existing museum. Built during the 1830s, the basilica-like building housed the plaster and terracotta models from Canova’s studio in Rome, which following the sculptor’s death in 1822 were brought back to his birthplace of Possagno, a small village in the Veneto region. Completed between 1955-1957, Scarpa’s comparatively small extension of the museum’s plaster-cast galleries embodies his sensitive understanding of materials, resolute interest in the essential, and above all, the Venetian architect’s mastery of light. Scarpa built his reputation as an architect through his re-imagining of historical museum interiors and his innovative approach to exhibition design that have had a lasting influence on the field. In addition to his many museum projects, Scarpa designed exhibition spaces for commercial interiors that exemplify his ability to harmoniously unite the past with the present.

\n\n

\n\n

The present model vitrines illustrated at the Museo Gypsotheca Antonio Canova, Possagno. Photography Lorenzo Pennati. Courtesy of the Museo Gypsotheca Antonio Canova, Possagno.

\n\n

The commission for the Gipsoteca Canoviana is rare among the architect’s many remarkable museum interiors in that Scarpa’s placement of natural light sources was largely unconstrained by the existing historical building. Scarpa’s use of glass and steel gave the building an expressive quality through which light became more nuanced, allowing for the study of subtle changes and its effects on the surfaces and volumes of the artwork and the surrounding architecture. The smooth plaster walls, marble floors with floating steps, and white painted steel posts and beams create layered abstract planes into which Scarpa situated Canova’s plaster casts without spatial hierarchy: on low pedestals, mounted to the walls and displayed in a series of vitrines. Scarpa’s focus on essential lines and use of limited materials allowed his designs to respond to the variety of forms and scale of the artwork, while retaining a visual and spatial continuity within the galleries. The supports and their placement within the multileveled plan ensure the sculptures are in intimate connection with the viewer, informally guiding their movement throughout the space and offering moments of pause. Scarpa closely studied the works in a collection in order to infuse the objects with renewed life through a dialogue with the viewer and their architectural context. He conceived the exhibition in response to the specificities of each artwork in order to facilitate a direct intellectual and emotional response from the viewer.

\n\n

\n\n

Carlo Scarpa, Pair of vitrines (detail), designed 1957, executed circa 1963. Estimate £150,000 - 200,000. Design London.

\n\n

Scarpa conceived the design of the present free-standing vitrines for the display of Canova’s small figurative sculptures. The vitrine’s glass-walled form is supported by a thin wooden frame set on a steel base, elevating the floating volume to the viewer’s eye-line. The relative transparency and lightness of the rectilinear design enabled Scarpa to integrate the delicate sculptures into the spatial structure of the galleries. In response to the layout and light sources, for some examples Scarpa angled the glass at 45 degrees to the base. Within the galleries, the voluminous glass cases become another layer, creating and defining space occupied by both the viewer and the historical objects. This sense of layering is enhanced by Scarpa’s choice of materials, which is repeated in the large steel and wooden frame windows in the “horizontal” gallery. Similarly, the base’s double vertical form, which Scarpa often incorporated into his designs, references the frames of the pair of inward-penetrating windows in the “vertical” gallery. The use of materials in the design of the vitrines and the galleries delineate their junctions, reflecting Scarpa’s interest in the border or edge, and how they act to clarify individual volumes and how the objects within them are perceived. The design also highlights Scarpa’s characteristic attention to joints. The five planes of glass never meet and are fixed by small brass clips at each corner and secured by a delicate wire. Within the highly articulated galleries, the layered horizontal and vertical planes of the vitrines create additional space, activated by a continual interplay of light and shadow, line and volume.

\n\n

\n\n

Carlo Scarpa, Pair of vitrines (detail), designed 1957, executed circa 1963. Estimate £150,000 - 200,000. Design London.

\n\n

Scarpa’s work stands out among modern architecture for its ability to transform a particular historical place and integrate it into the larger contemporary world. In addition to his many museum projects, Scarpa designed exhibition spaces for commercial interiors. Having been awarded the Olivetti prize in 1956 in recognition of his architecture, the following year Scarpa received the commission to design the new Olivetti store (1957-58) on Piazza San Marco. It was in 1958 at the XXIX Venice Biennale that Scarpa met the designer and entrepreneur Dino Gavina. One of the great protagonists of Italian industrial design, Gavina was an early manufacturer of furniture by many of the country’s influential modernist architects, including Scarpa, Achille and Pier Giacomo Castiglioni, Ignazio Gardella, Luigi Caccia Dominioni and Marco Zanuso. In 1960, Gavina founded the furniture production company Gavina S.p.A, and later Flos co- founded with Cesare Cassina in 1962 and Simon International with Maria Simoncini in 1968. In the first years of what would become a lifelong friendship, Gavina appointed Scarpa as the company’s president and commissioned the architect to design the first Gavina store, located on via Altabella in the historic center of Bologna.

\n\n

\n\n

One of the vitrines from the present lot illustrated in the former Gavina store, Bologna. Photography Lorenzo Pennati.

\n\n

Located on the ground floor of a historic three-story building, Scarpa’s architectural intervention to the external facade appeared radically new within the existing urban context. Extending across the width of the facade’s masonry structure, Scarpa installed a reinforced concrete panel with chiseled texture, divided geometrically by three recessed gold leaf bands. The concrete facade is punctuated by three large apertures: a circular window, an L-shaped entrance and second window composed of two large interlocking circles— the vesica piscis motif that the architect employed in nearly all his projects. Scarpa approached the design of the store’s interior as he did with exhibitions for painting or sculpture, setting the furniture against an individual background that would enhance each of the industrial objects. In order to create a more unified space, Scarpa replaced the existing partitions with five large concrete pillars, each with different surface treatment, that geometrically defined the interior. From the golden-colored plaster ceiling to the mosaic of enameled tiles made by Mario De Luigi, the interior’s richness of colors and materials evoke the Byzantine art of Scarpa’s native Venice. Within the framework of the historical building, Scarpa created a complexly layered space through which contemporary design could be clearly presented. In an interview published in Stile Industria in 1960, Scarpa explained, “The store I have designed for [Gavina] in Bologna...I hope it will prove worthy of the things he produces and that it may endure for those he intends to make in the future.”

\n\n

Discover More from Design London >

\n\n

Gallery Tour: Design

\n\n

Join Domenico Raimondo on a tour of the June Design sale in London, with an amazing array from the Distex chair owned by Gio Ponti to Jean Dunand’s epic Les Palmiers fumoir, long regarded a French national treasure. An exceptionally strong showing is made by Jean Royére, with an entire collection from its mid-century commission in Lebanon.

\n\n

\n\n

Recommended Reading

\n\n

Moving a National Treasure >

\n\n

Les Palmiers de l’élégance: Quintessence de l’Art Déco >

\n\n

\n","2021-06-22T21:13:16.000000Z","https://www.phillips.com/article/78483280/creating-and-defining-space-a-pair-of-vitrines-designed-by-carlo-scarpa-design-london",1318,3587,78483280,"https://flockler.com/thumbs/sites/889/151979-27_uc344840-5416fd20-9a97-4230-aed5-64cde50ce817_s600x0.jpg","Decorator Jean Royère and architect Nadim Majdalani opened an office together in the 1940s, which became a center of collaboration. Today, the Majdalani family parts with an extraordinary group of works by Royère, which have remained in the family for decades. ","Phillips in Conversation with the Majdalani Family ","

Jean Royère, Rare sofa, 1955-1958. Estimate £150,000 - 250,000. Design London.

\n\n

Throughout his career, the French decorator Jean Royère travelled extensively to explore new markets across the world. Following the success of the Jean Royère et Aladin gallery established in Cairo in 1946, Royère opened an office with the Lebanese architect Nadim Majdalani on avenue des Français in Beirut. The decorator and architect had met in Paris and subsequently decided to open an office under both their names in the late 1940s. Their collaboration, which continued through the 1960s, comprised a large number of both residential and commercial projects throughout Lebanon, which at that time was experiencing a great deal of growth. Royère established a thriving international practice in Lebanon and his commissions there were featured in French publications during the period with Nadim Majdalani noted as a collaborator.

\n\n

In response to his growing success within Beirut, Royère sent detailed plans from Paris to be produced locally, including in the furniture workshop owned by Nadim Majdalani. In 1955, Nadim Majdalani constructed L’Atelier gallery on Avenue Sleiman-Boustani, which provided a permanent space for the exhibition of Royère’s most recent designs. Through Nadim Majdalani, Royère was introduced to many prospective clients in Lebanon, including the architect’s cousin Dr. Oscar Majdalani, who following his recent marriage commissioned Royère to design the interiors of his home in Beirut. Royère worked on this commission between 1955 and 1958, which included the present group of works that until present have remained with the family of Dr. Oscar Majdalani.

\n\n

\n\n

What is your memory of the commission that Jean Royère designed for your family’s home?

\n\n

In 1955, Nadim Majdalani, a cousin of our family, began in collaboration with Jean Royère the renovation of our home in Beirut. According to family recollection, Royère furnished the house in two stages, first of which included the sofa, armchairs, “flaque” coffee table and bedroom furniture. The rest of the furniture and the lighting followed, including a console, benches, side tables, a ceiling and wall lights, which were all acquired from L’Atelier gallery.

\n\n

Did your family provide Jean Royère with a specific brief for the project?

\n\n

No, Royère was given full freedom on the project and visited the residence several times during its completion. However, the house itself was already in existence as it had been built for my family in 1870. The building featured internal and external arches with a red brick roof, characteristic of architecture in Beirut of that period.

\n\n

\n\n

Jean Royère, Flaque coffee table, 1955-1958. Estimate £120,000 - 180,000. Design London.

\n\n

Did Jean Royère collaborate on other projects with the Majdalani family?

\n\n

Through their cousin Nadim Majdalani, Oscar Majdalani’s older brother, Dr. Ernest Majdalani, had also commissioned Royère to design the interiors for his family’s home in 1951. Additionally, following the great success of the present project, other members of the Majdalani family commissioned Royère to design interiors for their houses.

\n\n

How were Jean Royère’s designs received in Beirut?

\n\n

In my opinion, at the beginning Royère worked for families who were known for their Western-orientated taste, families who spent time in Europe. Then, following the success of these interiors, Royère received commissions for the grand hotels and palaces in Beirut.

\n\n

Following the completion of the project, did the interiors change at any point?

\n\n

The interior remained the same as when Royère originally conceived it, with a significant feeling of being timeless.

\n\n

\n\n

Jean Royère, Side Table (two), 1955-1958. Estimate £12,000 - 15,000 (each). Design London.

\n\n

Are there any interesting family recollections or anecdotes about what it was like living with this furniture?

\n\n

In 1989 my mother-in-law, who was not aware at that time of the value of the collection, gifted two or three armchairs to the family’s chauffeur. It is far too late to regret it though.

\n\n

How are you feeling about now parting with the collection?

\n\n

We have kept hold of our collection for so long because of its historical and sentimental value. However, following the recent tragic explosion in the port of the city of Beirut, we have made the decision to sell this exceptional ensemble in order to ensure its preservation and allow other collectors to enjoy living with these works.

\n\n

Discover More from Design London >

\n\n

\n\n

Jean Royére: The Majdalani Collection

\n\n

This astounding collection of works by the French decorator Jean Royére comes fresh from the Beirut home of its original commission in the late 1950s. Among the many highlights include the only known mirrored ‘Flaque’ coffee table and a rare sofa that is only three of a kind.

\n\n

\n\n

Recommended Reading

\n\n

Les Palmiers de l’élégance: Quintessence de l’Art Déco >

\n\n

Creating and Defining Space: A Pair of Vitrines Designed by Carlo Scarpa >

\n\n

\n","2021-06-22T21:12:51.000000Z","https://www.phillips.com/article/78483213/phillips-in-conversation-with-the-majdalani-family-design-london",2,1317,3588,78483213,"https://flockler.com/thumbs/sites/889/147364-6_uc338466-d90daf51-42e4-4732-8b56-18333f2a8af8_s600x0.jpg","An expression of savoir-vivre, an appetite for modernity, a spirit of travel, a taste for the original and luxury: these are the ingredients that define the Art Deco period and that are united in the commission realized for this Parisian patron. ","Les Palmiers de l’élégance: Quintessence de l’Art Déco ","

Jean Dunand, Les Palmiers smoking room, from the residence of Mademoiselle Colette Aboucaya, Paris, 1930-36. Estimate £1,500,000 - 2,000,000. Design London.

\n\n

Written by Alexandra Jaffré

\n\n

An invitation to travel...to sail through the waves of luxury in the vessel of modernity, this is what Jean Dunand promised to Mlle Colette Aboucaya when she commissioned the decoration of the smoking room of her Parisian apartment. When she discovered the final work installed, the patron could never have imagined this unique interior would enter the pages of the history of decorative arts as an iconic expression of French luxury. An expression of savoir-vivre, an appetite for modernity, a spirit of travel, a taste for the original and luxury: these are the ingredients that define the Art Deco period and that are united in the commission realized for this Parisian patron.

\n\n

The savoir-vivre of the roaring twenties elevated the privilege of time to the level of art. The lacquering and sanding process are synonymous with patience and meticulous work, which can last for many months or even years depending on the ambition of the project. Once prepared the base then requires between ten and twenty layers of lacquer that need to be dried between each step and then sanded in a suitable environment. During this period, elite collectors understood that opulent interiors required patience on their part. In this smoking room—in which time is suspended among the billows of smoke—guests could find refuge far from the trepidation of city life, in an environment conducive to intimacy.

\n\n

\n\n

Jean Dunand, Les Palmiers smoking room, from the residence of Mademoiselle Colette Aboucaya, Paris, 1930-36. Estimate £1,500,000 - 2,000,000. Design London.

\n\n

The appetite for modernity reigns in this interior in which Dunand created a decor characterized by vigorously geometric lines. This is the spirit of Art Deco, which worships the inventions of the engineer. However, the resulting strength is tempered by the softness of the powdered pink color chosen for the furniture by the decorator Gérard Mille, which reflected the tones of the carpet by Ivan da Silva Bruhns. Dunand offered here with his masculine stylistic approach his own interpretation of the apartments of the hôtels particuliers during the reign of Louis XV, in which the ornamentation, consisting of organic curves enhanced by gold and color, expressed an ode to femininity. Dunand adhered to the prayers of his intellectual contemporaries who aspired for the decorative arts to reach the same degree of excellence achieved during the eighteenth century, so that France could shine again in Europe. As such the masculine elegance of the present interior embodies the essence of French Art Deco.

\n\n

Awaiting the host and his visitors, distant islands covered with palm trees can be reached by the gondola-shaped daybed. Born from Katsu Hamanaka’s imagination, the refined lines of the daybed’s frame are covered with exotic shagreen and lacquered using the same-nuri technique, an alliance between yin and yang in the Far Eastern equilibrium. The solid and slender shape of the daybed evokes the Oceanian pirogues led by intrepid conquerors. It is difficult not to draw a parallel with the living room fully covered with lacquer panels and the pirogue designed a few years earlier by Eileen Gray for the millinery J. Suzanne Talbot. Gray and Dunand shared the same master, Seizô Sugawara, who taught them the ancestral techniques of lacquer, a closely guarded secret since immemorial times. They each transformed these techniques through the prism of modernity. Whilst Gray transferred her dreams of starlit spaces into lacquer, in the heart of Paris, Dunand transplanted an exotic cubist-inspired forest lacquered in silver, tempered with elements of gold and ochre. No figurative element disturbed the rhythm of the line and the circle, harmoniously combined by the symphony of tones. The decoration achieved a timelessness that becomes a support for an inner journey. Designed a few years after the 1925 International Exhibition, the interior’s decoration was the culmination of the smoking room Dunand had designed for the French Embassy, which had contributed to the glory of the exhibition.

\n\n

\n\n

Léon Aboucaya and his brother, the father and uncle of the patron, developed a taste for novelty and luxury having acquired the coachbuilding company of Henry Binder in 1928. Their ambition was to create the haute couture of automobiles. Executed in rare materials, each car was considered a work of art. The brothers entrusted Dunand’s workshop with the realization of lacquer imitating shagreen or covered with gold and applied on modernist motifs.

\n\n

Because of the visual effect and durable qualities of the lacquer when applied to this symbol of freedom and speed, the master coachbuilders further elevated this material as an art of living. Therefore, it is not surprising to find that Mlle Colette Aboucaya shared this passion for lacquer, a noble and precious material which can be combined with gold, shagreen and mother-of-pearl. A poem for the eyes and an invitation to caress. Similarly, the wife of the coachbuilder Jean Henri-Labourdette commissioned Dunand to decorate the living room of her Paris apartment but in this case based on the exotic theme of hunting.

\n\n

\n\n

Jean Dunand testing the durability of the lacquer with a blowtorch, 1931. Photograph by Albin Salaün.

\n\n

The modernity of the present smoking room was not conceived to please the most aristocratic members of the Parisian circles, who were conservative and cautious towards change. To mark their social standing and earn the acceptance of the upper classes, many industrialists and those who had made new fortunes preferred to build more classic collections focusing on eighteenth-century painting, furniture, and objets d’art—a conservative and safe investment, but not very ambitious. A spirit of independence and contempt for commonly followed paths was required to resist this pressure. By choosing the bet of modernity, Mlle Colette Aboucaya belonged to a lineage of women who conquered the modern city. Among them were milliners, fashion designers and collectors who loved the freedom of movement of the body and were freed from convention; women such as Suzanne Talbot, Madame Agnès and Louise Boulanger who marked their time and who we continue to speak about today.

\n\n

Admiring the elegant palm trees creates a suggestive force that transports the contemporary traveller to a parenthesis of French excellence: the Art Déco period. In their sap the eternal youth of modernist poetry flows.

\n\n

Alexandra Jaffré is an Art Historian and author of Seizô Sugawara, maître laqueur d’Eileen Gray.

\n\n

Discover More from Design London >

\n\n

\n\n

Recommended Reading

\n\n

Moving a National Treasure >

\n\n

Creating and Defining Space: A Pair of Vitrines Designed by Carlo Scarpa >

\n\n

\n","2021-06-22T21:13:31.000000Z","https://www.phillips.com/article/78483303/les-palmiers-de-lelegance-quintessence-de-lart-deco-design-london",1,1319,3586,78483303,"https://flockler.com/thumbs/sites/889/isabella-mastrogiacomo-image-1624636795171-f5725639-5947-464e-ace3-eab9fc9f454f_s600x0.jpeg","Join us for a virtual walkthrough of our Design auction from 30 Berkeley Square. On view: Jean Royére, Gio Ponti, Carlo Scarpa, Jean Dunand, Ron Arad, and more. ","VR Walkthrough: Design, London | Auction, 30 June 2021","

Travel through our galleries at 30 Berkeley Square in London and browse our upcoming Design auction.

\n\n

Featuring leading pieces from the most sought-after designers of the 20th and 21st centuries, our Design Sale is comprised of works by Jean Dunand, Gio Ponti, Carlo Scarpa, Ico Parisi, Jean Royére, Isamu Noguchi, Venini, Ettore Sottsass, Jr., and more.

\n\n

Our Design auction preview is on view through 29 June at our London galleries, located at 30 Berkeley Square, ahead of the 30 June auction.

\n","2021-06-25T16:00:25.000000Z","https://www.phillips.com/article/78706670/vr-walkthrough-design-london-auction-30-june-2021",1316,3591,78706670,{"_158":159,"_160":161,"_162":163,"_164":49,"_165":166},{"_415":593,"_417":418},{"_415":592,"_417":418},{"_415":591,"_417":418},{"_415":590,"_417":418},{"_415":589,"_417":418},{"_415":588,"_417":418},{"_415":587,"_417":418},{"_415":586,"_417":418},{"_415":585,"_417":418},{"_415":584,"_417":418},{"_415":583,"_417":418},{"_415":582,"_417":418},{"_415":581,"_417":418},{"_415":580,"_417":418},{"_415":579,"_417":418},{"_415":578,"_417":418},{"_415":577,"_417":418},{"_415":576,"_417":418},{"_415":575,"_417":418},{"_415":574,"_417":418},{"_415":571,"_417":418,"_566":572,"_568":573},{"_415":58,"_417":418,"_566":570,"_568":76},{"_415":565,"_417":418,"_566":567,"_568":569},{"_415":564,"_417":418},{"_415":563,"_417":418},{"_415":562,"_417":418},{"_415":561,"_417":418},{"_415":560,"_417":418},{"_415":559,"_417":418},{"_415":558,"_417":418},{"_415":557,"_417":418},{"_415":556,"_417":418},{"_415":555,"_417":418},{"_415":554,"_417":418},{"_415":553,"_417":418},{"_415":552,"_417":418},{"_415":551,"_417":418},{"_415":550,"_417":418},{"_415":549,"_417":418},{"_415":548,"_417":418},{"_415":547,"_417":418},{"_415":546,"_417":418},{"_415":545,"_417":418},{"_415":544,"_417":418},{"_415":543,"_417":418},{"_415":542,"_417":418},{"_415":541,"_417":418},{"_415":540,"_417":418},{"_415":539,"_417":418},{"_415":538,"_417":418},{"_415":537,"_417":418},{"_415":536,"_417":418},{"_415":535,"_417":418},{"_415":534,"_417":418},{"_415":533,"_417":418},{"_415":532,"_417":418},{"_415":531,"_417":418},{"_415":530,"_417":418},{"_415":529,"_417":418},{"_415":528,"_417":418},{"_415":527,"_417":418},{"_415":526,"_417":418},{"_415":525,"_417":418},{"_415":524,"_417":418},{"_415":523,"_417":418},{"_415":522,"_417":418},{"_415":521,"_417":418},{"_415":520,"_417":418},{"_415":519,"_417":418},{"_415":518,"_417":418},{"_415":517,"_417":418},{"_415":516,"_417":418},{"_415":515,"_417":418},{"_415":514,"_417":418},{"_415":513,"_417":418},{"_415":512,"_417":418},{"_415":511,"_417":418},{"_415":510,"_417":418},{"_415":509,"_417":418},{"_415":508,"_417":418},{"_415":507,"_417":418},{"_415":506,"_417":418},{"_415":505,"_417":418},{"_415":504,"_417":418},{"_415":503,"_417":418},{"_415":502,"_417":418},{"_415":501,"_417":418},{"_415":500,"_417":418},{"_415":499,"_417":418},{"_415":498,"_417":418},{"_415":497,"_417":418},{"_415":496,"_417":418},{"_415":495,"_417":418},{"_415":494,"_417":418},{"_415":493,"_417":418},{"_415":492,"_417":418},{"_415":491,"_417":418},{"_415":490,"_417":418},{"_415":489,"_417":418},{"_415":488,"_417":418},{"_415":487,"_417":418},{"_415":486,"_417":418},{"_415":485,"_417":418},{"_415":484,"_417":418},{"_415":483,"_417":418},{"_415":482,"_417":418},{"_415":481,"_417":418},{"_415":480,"_417":418},{"_415":479,"_417":418},{"_415":478,"_417":418},{"_415":477,"_417":418},{"_415":476,"_417":418},{"_415":475,"_417":418},{"_415":474,"_417":418},{"_415":473,"_417":418},{"_415":472,"_417":418},{"_415":471,"_417":418},{"_415":470,"_417":418},{"_415":469,"_417":418},{"_415":468,"_417":418},{"_415":467,"_417":418},{"_415":466,"_417":418},{"_415":465,"_417":418},{"_415":464,"_417":418},{"_415":463,"_417":418},{"_415":462,"_417":418},{"_415":461,"_417":418},{"_415":460,"_417":418},{"_415":459,"_417":418},{"_415":458,"_417":418},{"_415":457,"_417":418},{"_415":456,"_417":418},{"_415":455,"_417":418},{"_415":454,"_417":418},{"_415":453,"_417":418},{"_415":452,"_417":418},{"_415":451,"_417":418},{"_415":450,"_417":418},{"_415":449,"_417":418},{"_415":448,"_417":418},{"_415":447,"_417":418},{"_415":446,"_417":418},{"_415":445,"_417":418},{"_415":444,"_417":418},{"_415":443,"_417":418},{"_415":442,"_417":418},{"_415":441,"_417":418},{"_415":440,"_417":418},{"_415":439,"_417":418},{"_415":438,"_417":418},{"_415":437,"_417":418},{"_415":436,"_417":418},{"_415":435,"_417":418},{"_415":434,"_417":418},{"_415":433,"_417":418},{"_415":432,"_417":418},{"_415":431,"_417":418},{"_415":430,"_417":418},{"_415":429,"_417":418},{"_415":428,"_417":418},{"_415":427,"_417":418},{"_415":426,"_417":418},{"_415":425,"_417":418},{"_415":424,"_417":418},{"_415":423,"_417":418},{"_415":422,"_417":418},{"_415":421,"_417":418},{"_415":420,"_417":418},{"_415":419,"_417":418},{"_415":416,"_417":418},"objectNumber","149813","lotType","AuctionLot","149809","145372","150515","150135","150871","150963","150520","149015","156547","150872","149752","151188","150519","150836","151185","144218","150815","150213","148709","148956","147906","145021","148850","150813","151186","151187","145024","149879","145028","150115","148131","148425","149903","150274","148398","148401","151071","149764","149829","144184","149012","138134","144219","150465","149924","149925","148002","150272","149026","150002","149978","150168","149979","152017","151648","152764","149863","150169","149981","149980","148847","150003","150986","153447","150004","152018","139761","149861","143928","149013","149828","148128","149827","150467","150862","149762","149900","144393","145023","150518","149755","152721","149896","150814","149960","149848","148396","149815","150812","150469","149849","154302","150647","150646","152987","150649","150170","150171","153762","149923","151412","137767","149811","145054","150870","153026","154301","147909","150705","155887","153025","151983","151996","152002","151985","155620","155619","151982","151992","151994","151997","151993","151979","151995","151991","152004","151999","151981","151980","152855","153761","149169","148323","154058","153755","152261","147364","146097","150769","152550","142872","150708","150704","148535","148942","148961","148001","lotNumberFull","23","makerName","Carlo Scarpa","22","150136","21","Luigi Zuccoli","145154","149753","150517","145373","150461","150460","149582","149583","149806","151176","151563","151562","151017","151064","151065","150861","151657","148962","151018","149017","lotNumber",22,"estimate",{"_637":638,"_639":640},"detailLink","lotStatus","Sold","parentAuctionStatus","parentAuctionType","auctionMobilityLotRowId","1-4ORULT","makerId",16437,"executedBidCount","currentlyEligibleForBids","priorityBiddingEnabled","reserveMet","startBidAmount",3500,"soldPrice",6300,"isNoReserve","is360View","isNoLot","showSoldLabel","isPremiumLot","circa","1930s","dimensions","86 x 66 x 60.8 cm (33 7/8 x 25 7/8 x 23 7/8 in.)","medium","Chestnut, straw.","provenance","Private collection, Como, commissioned directly from the designer, 1930s","mainImagePath","https://dist.phillips.com/auction-assets/UK050121/145022_001.jpg","additionalImagePaths",[634,635,636],{"_167":72,"_168":169},"enhancedLotComponents","https://dist.phillips.com/auction-assets/UK050121/145022_002.jpg","https://dist.phillips.com/auction-assets/UK050121/145022_003.jpg","https://dist.phillips.com/auction-assets/UK050121/145022_004.jpg","mainEstimate",{"_167":72,"_647":169,"_649":663,"_651":70},"otherEstimates",[641,642,643,644,645],{"_167":72,"_647":169,"_649":663,"_651":70},{"_167":659,"_647":660,"_649":661,"_651":662},{"_167":657,"_647":657,"_649":658,"_651":614},{"_167":653,"_647":654,"_649":655,"_651":656},{"_167":646,"_647":648,"_649":650,"_651":652},"HKD","currencySymbol","HK$","highEstimate",74100,"lowEstimate",52900,"USD","$",9500,6800,"CHF",8800,"EUR","€",8200,5900,7000,"ENV",{"_987":988,"_989":990,"_991":992,"_993":994,"_995":996,"_997":998,"_999":1000,"_1001":1002,"_1003":1004,"_20":21,"_1005":-7,"_1006":70,"_1007":1008,"_1009":125,"_1010":70,"_1011":125,"_1012":19,"_1013":1014,"_1015":1016,"_1017":125,"_1018":1019,"_1020":1021,"_1022":1023,"_1024":1016,"_1025":1026},"locale","en","sanityPreview","messageBannerData","","hideSiteFurniture","upcomingAuctions",[747,748,749,750,751,752,753,754,755,756],"flagHash","d7559c8ecea7786139fb961b20bd7bce57b2c5455466ce33a9c05ab7ec37deeb","serverKey","46a280d7-972b-49bb-aa32-4d36ffa0ade4","priorityBiddingConfig",{"_736":737,"_738":739,"_740":741,"_742":125},"soldPriceConfig",{"_727":613,"_728":613,"_729":730,"_731":730,"_732":733,"_734":733,"_735":613},"imagePathConfig",{"_722":723,"_724":723,"_725":723,"_726":723},"globalJsonLd",{"_52":53,"_690":691},[687,688],{"_42":43,"_44":45,"_46":47},{"_38":39,"_40":689},"app-id=6742061430","@graph",[692,693],{"_52":53,"_54":710,"_711":712,"_38":713,"_59":709,"_714":715,"_716":717},{"_52":53,"_54":694,"_695":696},"BreadcrumbList","itemListElement",[697,698,699,700],{"_54":701,"_702":231,"_38":708,"_703":709},{"_54":701,"_702":221,"_38":706,"_703":707},{"_54":701,"_702":172,"_38":704,"_703":705},{"_54":701,"_702":199,"_38":58,"_703":47},"ListItem","position","item","Mario Asnago And Claudio Vender","https://www.phillips.com/detail/mario-asnago-and-claudio-vender","Detail","https://www.phillips.com/detail","Home","https://www.phillips.com","Organization","@id","https://www.phillips.com/#organization","Phillips","foundingDate","1796","sameAs",[718,719,720,721],"https://www.instagram.com/phillipsauction/","https://www.linkedin.com/company/phillips/","https://www.facebook.com/phillipsauction/","https://x.com/phillipsauction","ELCsSource","fastly","highlightsSource","lotImagesSource","saleBannersSource","pdpDetailsRail","plpLotCard","saleroomBidStream","hammerPrice","saleroomResultsRail","accountBids","hammerPricePlusBP","accountFavorites","pdpBidForm","floorAmount","priority-activated","priorityBidColors",{"_743":744,"_745":746},"uiMode","priority","enabled","default","#6F4EEA","activated","#00CC3A",{"_93":976,"_91":977,"_95":978,"_97":811,"_106":969,"_98":813,"_156":979,"_100":980,"_765":981,"_147":982,"_129":19,"_110":983,"_138":125},{"_93":966,"_91":967,"_95":968,"_97":811,"_106":969,"_98":813,"_156":970,"_100":971,"_765":972,"_147":973,"_129":19,"_110":974,"_138":125},{"_93":950,"_91":951,"_95":96,"_97":49,"_106":761,"_98":99,"_156":952,"_100":953,"_147":954,"_129":125,"_110":955,"_138":125,"_143":956,"_48":957},{"_93":923,"_91":924,"_95":925,"_97":870,"_106":761,"_98":871,"_156":926,"_100":927,"_765":928,"_147":929,"_129":125,"_110":930,"_138":125,"_143":931,"_770":932,"_48":933},{"_93":894,"_91":895,"_95":896,"_97":870,"_106":761,"_98":871,"_156":897,"_100":898,"_147":899,"_129":125,"_110":900,"_138":125,"_143":901,"_770":902,"_48":903},{"_93":867,"_91":868,"_95":869,"_97":870,"_106":812,"_98":871,"_156":872,"_100":873,"_765":874,"_147":875,"_129":19,"_110":876,"_138":125,"_143":877},{"_93":852,"_91":853,"_95":854,"_97":811,"_106":812,"_98":813,"_156":855,"_100":856,"_147":857,"_129":125,"_110":858,"_138":125,"_143":859,"_48":860},{"_93":838,"_91":839,"_95":840,"_97":811,"_106":812,"_98":813,"_156":841,"_100":842,"_147":843,"_129":125,"_110":844,"_138":125,"_143":845,"_48":846},{"_93":808,"_91":809,"_95":810,"_97":811,"_106":812,"_98":813,"_156":814,"_100":815,"_147":816,"_129":125,"_110":817,"_138":125,"_143":818,"_48":819},{"_93":757,"_91":758,"_95":759,"_97":760,"_106":761,"_98":762,"_156":763,"_100":764,"_765":766,"_147":767,"_129":125,"_110":768,"_138":125,"_143":769,"_770":771,"_48":772},"HK080426",1984,"The Hong Kong Watch Auction: XXIII","Hong Kong","READY","Asia/Hong_Kong","https://www.phillips.com/auction/HK080426","2026-11-21T03:00:00.000000Z","auctionEndDateTime","2026-11-22T10:00:00.000000Z",[805],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/HK080426/HK080426.jpg",{"_782":790,"_791":792,"_48":793,"_794":795},"sessions",[780,781],{"_158":760,"_160":773,"_162":774,"_775":776,"_777":778,"_164":779},"HK","G/F, WKCDA Tower","line2","West Kowloon Cultural District","line3","No. 8 Austin Road West","Kowloon",{"_782":764,"_784":788,"_786":789},{"_782":783,"_784":785,"_786":787},"startDateTime","2026-11-22T03:00:00.000000Z","lotNumberStart","959","lotNumberEnd","1129","801","958","2026-11-15T16:00:00.000000Z","endDateTime","2026-11-21T16:00:00.000000Z",{"_158":760,"_160":773,"_162":774,"_775":776,"_777":778,"_164":779},"hourRanges",[796],{"_797":798,"_799":800,"_801":802,"_803":804},"dayEnd","Sunday","dayStart","Monday","startTime","10:00:00","endTime","19:00:00",{"_171":806,"_173":807,"_174":807},12,"Watches","NY011626",2090,"Modern & Contemporary Art: Afternoon Session","New York","HIGHLIGHTS_ONLY","America/New_York","https://www.phillips.com/auction/NY011626","2026-11-19T19:00:00.000000Z",[835],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY011626/NY011626.jpg",{"_782":826,"_791":827,"_48":828,"_794":829},{"_158":820,"_160":821,"_162":822,"_164":811,"_165":823,"_824":825},"United States","US","432 Park Avenue","10022","province","NY","2026-11-07T05:00:00.000000Z","2026-11-18T05:00:00.000000Z",{"_158":820,"_160":821,"_162":822,"_164":811,"_165":823,"_824":825},[830,831],{"_797":834,"_799":800,"_801":802,"_803":833},{"_797":798,"_799":798,"_801":832,"_803":833},"12:00:00","17:00:00","Saturday",{"_171":231,"_173":836,"_174":837},"Contemporary","Modern & Contemporary Art","NY011526",2021,"Modern & Contemporary Art: Morning Session","https://www.phillips.com/auction/NY011526","2026-11-19T15:00:00.000000Z",[851],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY011526/NY011526.jpg",{"_782":826,"_791":827,"_48":847,"_794":848},{"_158":820,"_160":821,"_162":822,"_164":811,"_165":823,"_824":825},{"_158":820,"_160":821,"_162":822,"_164":811,"_165":823,"_824":825},[849,850],{"_797":834,"_799":800,"_801":802,"_803":833},{"_797":798,"_799":798,"_801":832,"_803":833},{"_171":231,"_173":836,"_174":837},"NY010726",2043,"Modern & Contemporary Art Evening Sale","https://www.phillips.com/auction/NY010726","2026-11-17T21:30:00.000000Z",[866],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY010726/NY010726.jpg",{"_782":826,"_791":861,"_48":862,"_794":863},{"_158":820,"_160":821,"_162":822,"_164":811,"_165":823,"_824":825},"2026-11-17T05:00:00.000000Z",{"_158":820,"_160":821,"_162":822,"_164":811,"_165":823,"_824":825},[864,865],{"_797":834,"_799":800,"_801":802,"_803":833},{"_797":798,"_799":798,"_801":832,"_803":833},{"_171":231,"_173":836,"_174":837},"CH060326",2088,"Geneva Jewels: Online Auction","Geneva","Europe/Zurich","https://www.phillips.com/auction/CH060326","2026-11-04T09:00:00.000000Z","2026-11-12T13:00:00.000000Z",[888,889],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/CH060326/CH060326.jpg",{"_782":878,"_791":879,"_794":880},"2026-11-03T23:00:00.000000Z","2026-11-11T23:00:00.000000Z",[881,882,883],{"_797":886,"_799":887,"_801":802,"_803":804},{"_797":798,"_799":834,"_801":884,"_803":804},{"_797":800,"_799":800,"_801":884,"_803":885},"09:00:00","13:00:00","Friday","Wednesday",{"_171":199,"_173":892,"_174":893},{"_171":890,"_173":891,"_174":891},24,"Online","Jewelry","Jewels","CH060426",2089,"The Geneva Jewels Auction: VII","https://www.phillips.com/auction/CH060426","2026-11-09T14:00:00.000000Z",[922],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/CH060426/CH060426.jpg",{"_782":878,"_791":916,"_48":917,"_794":918},[909,910],{"_158":904,"_160":905,"_162":906,"_775":907,"_164":870,"_165":908},"Switzerland","CH","Hôtel Président","Quai Wilson 47","1201",{"_782":898,"_784":914,"_786":915},{"_782":911,"_784":912,"_786":913},"2026-11-09T15:00:00.000000Z","330","426","301","329","2026-11-08T23:00:00.000000Z",{"_158":904,"_160":905,"_162":906,"_775":907,"_164":870,"_165":908},[919,920,921],{"_797":886,"_799":887,"_801":802,"_803":804},{"_797":798,"_799":834,"_801":884,"_803":804},{"_797":800,"_799":800,"_801":884,"_803":832},{"_171":199,"_173":892,"_174":893},"CH080426",1988,"The Geneva Watch Auction: XXIV","https://www.phillips.com/auction/CH080426","2026-11-07T13:00:00.000000Z","2026-11-08T19:00:00.000000Z",[949],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/CH080426/CH080426.jpg",{"_782":878,"_791":943,"_48":944,"_794":945},[936,937],{"_158":904,"_160":905,"_162":934,"_775":907,"_164":870,"_165":935},"Hotel President Wilson","1211",{"_782":927,"_784":941,"_786":942},{"_782":938,"_784":939,"_786":940},"2026-11-08T13:00:00.000000Z","108","221","1","107","2026-11-07T23:00:00.000000Z",{"_158":904,"_160":905,"_162":934,"_775":907,"_164":870,"_165":935},[946,947,948],{"_797":886,"_799":887,"_801":802,"_803":804},{"_797":834,"_799":834,"_801":884,"_803":804},{"_797":798,"_799":798,"_801":884,"_803":885},{"_171":806,"_173":807,"_174":807},"UK050226",2019,"https://www.phillips.com/auction/UK050226","2026-11-04T14:00:00.000000Z",[965],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/UK050226/UK050226.jpg",{"_782":958,"_791":959,"_48":960,"_794":961},{"_158":159,"_160":161,"_162":163,"_164":49,"_165":166},"2026-10-29T00:00:00.000000Z","2026-11-04T00:00:00.000000Z",{"_158":159,"_160":161,"_162":163,"_164":49,"_165":166},[962,963],{"_797":834,"_799":800,"_801":802,"_803":964},{"_797":798,"_799":798,"_801":832,"_803":964},"18:00:00",{"_171":172,"_173":96,"_174":96},"NY011726",2107,"Rema Hort Mann Fund 30th Anniversary Auction: Launching Artists Living With Cancer Grant","CLOSING_SOON","https://www.phillips.com/auction/NY011726","2026-10-19T16:00:00.000000Z","2026-10-29T02:00:00.000000Z",[975],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY011726/NY011726.jpg",{"_171":231,"_173":836,"_174":837},"NY031026",2098,"Editions & Works on Paper: No Reserve Online Auction","https://www.phillips.com/auction/NY031026","2026-10-20T16:00:00.000000Z","2026-10-28T16:00:00.000000Z",[984],"https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1/auctions/NY031026/NY031026.jpg",{"_171":985,"_173":986,"_174":986},5,"Editions","MODE","production","websocketConfig",{"_59":1039,"_1040":1041,"_1042":1043},"authConfig",{"_1034":1035,"_1036":1037,"_1038":988},"ONE_TRUST_SCRIPT_ID","da236391-c57c-40f8-a671-294df558fa4c","GLOBAL_CDN_URL","https://www.dist.phillips.com/content/web/","GLOBAL_ASSET_URL","https://www.dist.phillips.com/static-assets/","THEOPLAYER_LICENSE_KEY","sZP7IYe6T6P60ohoIDC_3OzzTufcFSar0oB-CDIlImkeISbzTDaiCLbcIQB6FOPlUY3zWokgbgjNIOf9flRr3DCLCo0cFSeZIS5-3u1e3mk63uI1FS0iISI60Kht3u5rIOfVfK4_bQgZCYxNWoryIQXzImf90Sb_3SeZ3u5i0u5i0Oi6Io4pIYP1UQgqWgjeCYxgflEc3LhZ0lhc3uCt3uRrFOPeWok1dDrLYtA1Ioh6TgV6v6fVfKcqCoXVdQjLUOfVfGxEIDjiWQXrIYfpCoj-fgzVfKxqWDXNWG3ybojkbK3gflNWf6E6FOPVWo31WQ1qbta6FOPzdQ4qbQc1sD4ZFK3qWmPUFOPLIQ-LflNWfK1zWDikfgzVfG3gWKxydDkibK4LbogqW6f9UwPkImi6IK41Uw4ZIY06Tg-Uya","DOLBY_STREAMING_ACCOUNT_ID","BYwFZf","LAUNCHDARKLY_CLIENT_SIDE_ID","68aefc0f2547850ac0505b8d","POLLING_INTERVAL","FETCH_TIMEOUT","WS_REFRESH_JITTER_MAX_MS",2000,"ENABLE_SLOW_BROWSER_PERFORMANCE_PROBE","SLOW_TELEMETRY_THRESHOLD_MS","ENABLE_BROWSER_DOCUMENT_LOAD_TRACING","BROWSER_DOCUMENT_LOAD_IGNORE_NETWORK_EVENTS","BROWSER_DOCUMENT_LOAD_RESOURCE_SPANS","slow","BROWSER_LONG_TASK_MIN_DURATION_MS",100,"ENABLE_BROWSER_ROUTE_TRANSITION_TRACING","CORALOGIX_APP_PUBKEY","cxtp_ZonPe8vXSpl7Sbn2e9lrxdxOLJQFof","CORALOGIX_SEND_YOUR_DATA_API_KEY","cxtp_j2JgJ8zS2kCYRwUSWE5ZsBnzIMxbrj","OTEL_SERVICE_NAME","remix","CORALOGIX_SESSION_SAMPLE_RATE","sanityConfig",{"_1027":1028,"_1029":988,"_1030":1031,"_1032":1033},"projectId","o6wj5zo6","dataset","apiVersion","2025-03-09","studioUrl","http://localhost:3334","authClientId","76af4ad3-83f1-485c-9242-9621d986dd70","authSyncContext","customer","authEnv","ws.phillips.com","apiKey","YNg99gZHWH8V2TK41OyvHaH9lbSyo0WF14DooTlH","heartbeatInterval",300]

Daybed in Les Palmiers smoking room, from the residence of Mademoiselle Colette Aboucaya, Paris, 1930-1936.

The present model vitrines illustrated at the Museo Gypsotheca Antonio Canova, Possagno. Photography Lorenzo Pennati. Courtesy of the Museo Gypsotheca Antonio Canova, Possagno.

Carlo Scarpa, Pair of vitrines (detail), designed 1957, executed circa 1963. Estimate £150,000 - 200,000. Design London.

Carlo Scarpa, Pair of vitrines (detail), designed 1957, executed circa 1963. Estimate £150,000 - 200,000. Design London.

One of the vitrines from the present lot illustrated in the former Gavina store, Bologna. Photography Lorenzo Pennati.

Gallery Tour: Design

Jean Royère, Flaque coffee table, 1955-1958. Estimate £120,000 - 180,000. Design London.

Jean Royère, Side Table (two), 1955-1958. Estimate £12,000 - 15,000 (each). Design London.

Jean Royére: The Majdalani Collection

Jean Dunand, Les Palmiers smoking room, from the residence of Mademoiselle Colette Aboucaya, Paris, 1930-36. Estimate £1,500,000 - 2,000,000. Design London.

View from ‘Les Palmiers’ smoking room illustrating the daybed designed by Katsu Hamanaka (lot 34). © DR.

Jean Dunand testing the durability of the lacquer with a blowtorch, 1931. Photograph by Albin Salaün.

22

Mario Asnago and Claudio Vender

Rare armchair

Full-Cataloguing

Mario Asnago and Claudio Vender