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Auction 19 June 2020 2pm BST
\n30 Berkeley Square, London (map)

\n\n

Viewing by appointment 15-19 June

\n\n

Contact designlondon@phillips.com or +44 20 7901 7944 to arrange your visit

\n\n

\n","auctionDetailsSmall","London Auction 19 June 2020","extraInfo","

Madalena Horta E Costa
\nHead of Sale, Associate Specialist
\n+44 20 7318 4019
\nMHortaECosta@phillips.com

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414,415,416,417,418,419,420,421,422,423,424,425,426,427,428,429,430,431,432,433,434,435],"articles",[164,165,166,167,168,169,170,171],"departments",[159],"auctionCurrency",{"_156":72,"_157":158},"totalLotCount",172,"auctionMobilityAuctionRowId","1-2L72IG","auctionUrl","https://www.phillips.com/auction/UK050120","currencyCode","currencySign","£",{"_160":161,"_162":96,"_163":96},"departmentId",3,"departmentName","departmentDisplayName",{"_172":255,"_174":96,"_175":256,"_16":257,"_178":258,"_180":259,"_182":183,"_184":185,"_186":260,"_188":185,"_190":261,"_192":262,"_194":263},{"_172":245,"_174":96,"_175":246,"_16":247,"_178":248,"_180":249,"_182":183,"_184":185,"_186":250,"_188":251,"_190":252,"_192":253,"_194":254},{"_172":235,"_174":96,"_175":236,"_16":237,"_178":238,"_180":239,"_182":183,"_184":185,"_186":240,"_188":241,"_190":242,"_192":243,"_194":244},{"_172":226,"_174":96,"_175":227,"_16":228,"_178":229,"_180":230,"_182":183,"_184":185,"_186":231,"_188":161,"_190":232,"_192":233,"_194":234},{"_172":216,"_174":96,"_175":217,"_16":218,"_178":219,"_180":220,"_182":183,"_184":185,"_186":221,"_188":222,"_190":223,"_192":224,"_194":225},{"_172":206,"_174":96,"_175":207,"_16":208,"_178":209,"_180":210,"_182":183,"_184":185,"_186":211,"_188":212,"_190":213,"_192":214,"_194":215},{"_172":196,"_174":96,"_175":197,"_16":198,"_178":199,"_180":200,"_182":183,"_184":185,"_186":201,"_188":202,"_190":203,"_192":204,"_194":205},{"_172":173,"_174":96,"_175":176,"_16":177,"_178":179,"_180":181,"_182":183,"_184":185,"_186":187,"_188":189,"_190":191,"_192":193,"_194":195},"coverUrl","https://flockler.com/thumbs/sites/889/47_003-2ca09e3f-ef28-4d85-86e8-1a9f9cdd7163_s600x0.jpg","section","summary","Two conceptual works by Studio Job offer tongue-in-cheek commentary on such grave matters as power, capitalism and the legacy of art itself. ","Dystopia and Decadence: A Table and Jewel Safe from the 'Robber Baron' Series","body","

Lot 47: Studio Job - Job Smeets and Nynke Tynagel Table from the 'Robber Baron' series, executed 2007.
\nEstimate: £50,000-70,000.
\nDesign at Phillips London, 19 June.

\n\n

by Luke T. Baker

\n\n

Job Smeets and Nynke Tynagel, the duo behind Studio Job, produce conceptual objects, lighting, furniture, and graphics that seem to delight in traversing between design and art, past and present. Their one‐off pieces draw inspiration from high and low culture in equal measure, often exalting everyday objects and iconography with extravagant materials and arcane craft techniques. By adopting a lexicon of symbols and playing with scale, Studio Job’s works deploy a cartoonish humor to offer cheeky commentary on such serious subjects as capitalism, taste, and the legacies of art, design and the decorative arts.

\n\n

\n\n

Studio Job - Job Smeets and Nynke Tynagel Jewel safe from the 'Robber Baron' series, executed 2007 (detail).

\n\n

Studio Job released their Robber Baron suite of art furnishings in 2006, on the eve of the most disastrous economic crisis since the Great Depression. This limited-edition collection of five luxurious pieces was imagined as a tongue‐in‐cheek critique of wealth and power, inspired by nineteenth-century tycoons and designed to appeal to the oligarchs of the present day. Originally developed as an edition for Moss Gallery, the series comprises a table, jewel safe, cabinet, clock, and floor lamp, all figural, functional pieces, constructed from iconic works of architecture or modeled after precious objects housed in the world’s great museum collections. The furnishings are exquisitely crafted from cast bronze, with polished and patinated details and gilded passages of graphic relief. But each piece features a surrealistic twist that counters its formality with a touch of irreverence: a hole blasts through the center of the Louis XIV cabinet, a train track to nowhere winds around the mantel clock, clouds of bubbles and piles of rubble serve as unlikely ornamental devices. These mysterious and dreamlike elements lend the objects an allegorical quality and invite contemplation of their larger symbolic significance.

\n\n

\n\n

Studio Job - Job Smeets and Nynke Tynagel Table from the 'Robber Baron' series, executed 2007.

\n\n

The Robber Baron table appears like a tiny factory, spewing plumes of pollution as it assiduously churns out widgets. Industrialism and its impact is a recurring target in Studio Job’s oeuvre, which often champions traditional handcraft techniques such as glassblowing, stained glass, and inlay. Of course, industry also happens to be the source of vast wealth for America’s steel, oil and railroad magnates of the nineteenth and twentieth centuries. As such, the architectural miniature that forms the base of the table was inspired by factory buildings, specifically Peter Behrens’ archetypal turbine hall for AEG, designed in 1907, and the Battersea Power Station in London, built in the 1930s. Yet in Studio Job’s interpretation, this diminutive bronze building looks almost church-like, its four smokestack "steeples" billowing clouds of holy smoke as though from a cathedral of commodities. These noxious fumes, rendered in gleaming, polished bronze, are truncated on top, forming a flat surface that literally smooths over and conceals the means of production in order to enable consumption.

\n\n

\n\n

Studio Job - Job Smeets and Nynke Tynagel Jewel safe from the 'Robber Baron' series, executed 2007.

\n\n

The bronze jewel safe from the series is transformed into a disquieting jack‐in‐the‐box by the garishly painted clown head that appears to be emerging from its top. Adding to the unnerving effect, the surfaces of the safe are decorated with reliefs of apocalyptic accoutrements, among them gas masks, nuclear cooling towers, assault rifles, grenades, and fighter jets. To open the door and access the vault requires turning the clown’s red nose and confronting the grimacing figure face to face. In Studio Job’s conception of a safe, the stockpiling of wealth becomes a game in which precious stones are equated with childish playthings, and the grandiosity of the sculptural bust is reduced to a mockery. Perhaps the heavy, wheeled object is meant to serve only as an elaborate stand for the cockroach‐covered vessel that’s balanced atop the clown’s head—an absurdist flower vase with a saucy, anti-capitalist agenda.

\n\n

\n\n

Detail of the library table designed by the Herter Brothers for William Henry Vanderbilt’s Fifth Avenue mansion, 1879–82. The library table is held in the permanent collection of the Metropolitan Museum of Art, New York.

\n\n

These works find a precedent in many narrative, symbolically charged buildings, interiors, and furnishings commissioned by the so‐called robber barons of America’s Gilded Age, such as the Rockefellers, Carnegies, Fricks, and Vanderbilts. These newly‐minted millionaires sought out the nineteenth century’s leading craftsmen to create spectacular designs that combined the fashionable taste of the day with references to past styles and loaded iconography, lending the imprimatur of history to families whose wealth and status had only recently been established. A prime example is the magnificent rosewood library table designed in 1882 by the Herter Brothers firm for the Fifth Avenue mansion of William Henry Vanderbilt, who became the country’s wealthiest man after the death of his father, railroad mogul Cornelius Vanderbilt. This object, now belonging to the Metropolitan Museum of Art, employs conspicuous materials and historic motifs to communicate Vanderbilt’s destiny as heir to his family’s legacy. The table’s carved lions‐paw feet and stylized palmettes allude to the grand furnishings of the Roman Empire, while inlays of Napoleonic heraldry recall iconography associated with one of history’s greatest rulers. Globe details on either end tell of Vanderbilt’s boundless domain. A mother‐of‐pearl constellation inlaid on the table’s surface even memorializes the position of the stars on the fateful night of William’s birth.

\n\n

\n\n

Studio Job - Job Smeets and Nynke Tynagel Table from the 'Robber Baron' series, executed 2007.

\n\n

The Robber Baron series reflects a fascination with narratives of power and prestige embedded within historical objects like the Vanderbilt library table. Through the self‐conscious use of symbol and style, Studio Job create hyper-referential meta‐works that both celebrate and critique these traditions of myth-making within the decorative arts.

\n\n

\n","publishDate","2020-06-01T18:56:00.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/55093345/design-studio-job-robber-baron-london-auction","displayOrder",7,"auctionEditorialID",763,"editorialID",2884,"flocklerID",55093345,"https://flockler.com/thumbs/sites/889/51_001-b40b9b7b-5956-4292-9d7d-ed7b8eb24ec9_s600x0.jpg","Luke T. Baker explores how the Australian designer looked to Italian coachbuilding techniques to create his own sleek and sensual works. ","Pedal to the Metal: The Automotive Origins of Marc Newson’s ‘Orgone’ Chair","

Lot 51: Marc Newson 'Orgone' chair, 1993. Estimate: £200,000-300,000.
\nDesign at Phillips London, 19 June.

\n\n

by Luke T. Baker

\n\n

Marc Newson’s design education commenced long before he enrolled at the Sydney College of Art to study jewelry and silversmithing at age 19. Rather, he received his first lessons on form, materials, and process as a curious four‐year‐old kid, watching his uncle and friends take apart and rebuild one novel car after another in the garage attached to the Sydney home he shared with his mother and grandparents. By his teenage years, Newson was spending all his free time in the garage‐cum‐workshop, using his grandfather’s tools to construct soapbox racers of his own design. He cultivated a connoisseur’s expertise in classic Italian sports cars of the 1950s and 60s—the Ferraris, Bugattis and Alfa Romeos whose sleek lines conveyed not just speed, but also embodied the brio of postwar progress. This obsession only intensified as Newson entered adulthood, and he began amassing what has become a formidable collection of rare vintage racing cars. The shape, speed, and symbolism of the automobiles have had a tremendous influence on Newson throughout his career as a designer of furniture, industrial objects, interiors, aircraft—even a vehicle of his own.

\n\n

\n\n

Marc Newson 'Orgone' chair, 1993 (detail).

\n\n

More so than any of his other designs, the Orgone chair of 1993 channels Newson’s lifelong fascination with the streamlined "Continental look" that characterizes many cars designed during Italy’s postwar automotive renaissance. The chair’s compound curves create depressions on its seat and back that cradle the sitter’s body before swelling into fender‐like contours at either end of its wasp‐waisted form. With its sculptural shape and seamless aluminum surface, the Orgone chair recalls the aerodynamic forms made possible by Italian single‐shell coachbuilding techniques, first pioneered by the body stylist Pinin Farina in the 1940s. On the chair’s front, an open maw grins benignly to reveal a brightly colored internal void, like the ovoid grilles found on many racing vehicles.

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The Orgone chair (and its related Orgone stretch lounge) is also significant because it marked the culmination of years of experimentation with materials and techniques as Newson endeavored to produce a chair with the flowing metal surface and sensuous flanks of the vehicles he long admired. Despite his training as a silversmith, Newson found the project of an aluminum chair challenging, "I had this vision of a liquious lump of metal, like a big blob of mercury. But I didn’t know how to do it. I didn’t have the expertise, the money, or the resources" (Alice Rawsthorn, "An Australian in Paris," Blueprint, no. 104, February 1994, p. 31).

\n\n

\n\n

Marc Newson 'Orgone' chair, 1993 (detail).

\n\n

Numerous earlier works show Newson attempting to develop what he was later able to achieve with the Orgone chair. One of his first major projects as a professional designer was the LC1 chair of 1986, a handmade, Neoclassical‐inspired chaise. To construct its metallic skin, Newson painstakingly cut, formed, and affixed hundreds of individual pieces of aluminum over its fiberglass body using rivets. While the resultant patchwork effect lacked the precision and smoothness Newson was seeking, he would revisit the technique the following year with his aluminum-clad Pod of Drawers, and further refine the process for his now-famous Lockheed Lounge chaise in 1988. With his Coil chair and Felt prototype chairs of 1989, Newson introduced the hourglass form later used by the Orgone chair, one wound from a continuous thread of aluminum wire and the other covered with a shell of thick felt. The Wicker chair and lounge followed in 1990 as Newson continued to explore the car‐like shape, now in rattan and with an open bottom. By this time, Newson was returning to the seamless metal furnishing designs that had vexed him before. Teaming up with skilled metalworkers in both Sydney and Paris, he was able to produce prototypes of the hollow Event Horizon table, whose polished aluminum surface and enameled inner void prefigure his Orgone series of seating.

\n\n

\n\n

Marc Newson 'Orgone' chair, 1993.

\n\n

Fittingly, it was Newson’s passion for collecting vintage cars that would lead him to discover the means by which to make his vision for the Orgone chair a reality. In 1992, while hunting down a 1959 Aston Martin DB4 to add to his collection (a legendary British car wrapped in a sleek, Italian‐designed body), Newson visited Body Lines, an Aston Martin restoration shop outside of London. There, he encountered aluminum fabrication specialists trained in the advanced panel‐shaping techniques developed by famed Italian coachbuilding workshops (carrozzerie), and, suddenly, a light went off. "I had always dreamed of taking a flat sheet of metal and bending it like a piece of Plasticine into a complex, three‐dimensional form," Newson recalled of his initial struggles with large‐scale metalworking. "This specialized skill really only exists in two contexts, the production of aircraft in the traditional manner, and the production of car bodies in carrosseries" (Alison Castle, Marc Newson Works, London, 2012, p. 557).

\n\n

Working with these master body shapers, Newson could beat and bend sheets of aluminum into the contiguous forms of the Orgone chair and stretch lounge; he even used them to fabricate a new edition of the aluminum Event Horizon table. By bringing his inspiration full circle back to the means of its production, Newson was finally able to create the chair he had dreamed of since his earliest days as a designer.

\n\n

\n","2020-06-01T21:06:00.000000Z","https://www.phillips.com/article/55069144/design-marc-newson-orgone-chair-london-auction",6,762,2883,55069144,"https://flockler.com/thumbs/sites/889/22_001-1053b5a4-2ad2-47ac-b5cd-5ba4df7c677e_s600x0.jpg","An homage to Miss Blanche DuBois, the heroine in Tennessee Williams' 'A Streetcar Named Desire,' the present chair has become one of the most iconic designs in Shiro Kuramata's oeuvre.","Suspended Expression: Kuramata's 'Miss Blanche' Chair","

Lot 22: Shiro Kuramata 'Miss Blanche' chair, executed 1991. Estimate: £200,000-300,000.
\nDesign at Phillips London, 19 June.

\n\n

Shiro Kuramata first exhibited his now-iconic Miss Blanche chair at KAGU Tokyo Designer’s Week, Axis Gallery Annex in 1988 and in Paris the following year in a solo exhibition of the designer’s work at Galerie Yves Gastou. The design initiated a series of works in Kuramata’s late career, which explored the expressive potential of acrylic. Experimenting with the material’s transparent ‘non-existent’ quality, often combined with industrial materials such as aluminum as seen in the present work, Kuramata created objects imbued with feeling and memory, which carried a meaning beyond their practical function. Reflecting Kuramata’s poetic approach to design and affinity for experimenting with new materials and innovative technologies, these works demonstrate a sensitive exploration of light, color and form, considered within the surrounding space. Describing the present design, Kuramata explained, "This chair has no details. Or rather, please think of the whole chair as a detail. This work has been designed in homage to Miss Blanche DuBois in A Streetcar Named Desire written by Tennessee Williams" ("Details of furniture: Miss Blanche," Shitsunai, no. 409, January 1989, p. 43).

\n\n

\n\n

Shiro Kuramata 'Miss Blanche' chair, executed 1991 (detail).

\n\n

The year of the chair’s design in 1988, Kuramata had seen the 1951 film adaptation of Williams’ Pulitzer Prize-winning play. It has been suggested that the floral printed dresses or corsages worn by the film’s heroine inspired Kuramata’s use of roses in his design for the armchair. While any direct motivation remains unknown, Kuramata’s inclusion of red roses introduced a figurative vocabulary to an otherwise abstract and seemingly "unmaterial" form of the chair’s seat, comprised of acrylic blocks simply supported by tubular aluminum legs. Western culture has historically assigned symbolic meaning to the rose; associated with Aphrodite and Venus in classical antiquity, carrying through to Williams’ use of roses to symbolize Blanche DuBois’ desire to preserve her beauty and later in the play to signify the character’s tragic downfall.

\n\n

The red-colored rose is specifically understood to convey a heightened emotional state. Appearing suspended in space, the red roses contained by the acrylic blocks in Miss Blanche obscure the prevalent "narrative" of the chair’s largely transparent, abstract composition—which communicates a clarity of construction—and alters the viewer’s perception of the work. Describing Kuramata’s Miss Blanche chair, Tasahi Yokoyama explained, "Once again he had succeeded in creating a chair that could be appreciated without even being sat in… It is because it took the form of a chair, an apparatus designed to carry people, that we are able to project an image of our own being upon it when we look at it." Defined only in part by its physical function as a chair, the work has a contemplative and ephemeral quality, which extends into the surrounding space and the viewer’s imagination, and illustrates Kuramata’s interest in denying materiality, or gravity, and the idea that design could embody many things at once.

\n\n

\n\n

Shiro Kuramata 'Miss Blanche' chair, executed 1991 (detail).

\n\n

The design of Miss Blanche also demonstrates Kuramata’s ability to defy the conventional "naming" of objects, instead questioning these identifications by using new materials to create his own distinctive forms, rather than designing work to fulfill the roles of "named" objects. Kuramata’s work, particularly towards the end of his career, explored historical visual references, recalling the juxtaposed realist and dream-like quality of Metaphysical art, and the subsequent Dada and Surrealist movements with ideas of the unconscious. Kuramata’s use of inexpensive artificial roses recalls Marcel Duchamp’s readymades, in which the artist presented ordinary, commercially available objects as art. The influence of the "assisted" readymade is more directly evident in the designer’s Homage to Josef Hoffmann Vol. 2 (1986), in which Kuramata modified a 1970s reproduction of an easy chair designed by the Viennese architect in 1911, enhancing the design by replacing the chair’s piping with tiny light bulbs. As with Duchamp, Kuramata’s designs reveal their sense of humor, however, the designer does not withhold the ‘retinal’ quality, exploring both conceptual and formal concerns in his work.

\n\n

Kuramata also described the influence of Italian design on his work, which he admired for its richness of expression and the ability of Italian designers, foremost Ettore Sottsass, Jr., to transform existing objects, liberating their work and its users. Kuramata was invited by Sottsass to join the new design collective Memphis in 1981 and he participated in the group’s inaugural exhibition that same year held at the Salone del Mobile, Milan. The Memphis group’s postmodern visual language, characterized by bold colors, playful forms, and geometric and often plastic-laminated surfaces—which had its own ephemeral quality—offered a deviation from the linear furniture Kuramata had previously created ("My relationship with Italian design," Soshoku Tairu Kenkyu, July 1986, pp. 24-25). In Miss Blanche, the chair’s arms and backrest comprise gentle curves, whilst the overall structure retains an angularity and the quality of sharpness of Kuramata’s earlier work. However, the armchair’s exacting structural form is interrupted by the asymmetrical pattern of the artificial flowers. The incorporation of light, creating floral shadows, alters the chair’s symmetrical outline.

\n\n

\n\n

Shiro Kuramata 'Miss Blanche' chair, executed 1991 (detail).

\n\n

While exploring the potential of industrial materials, Kuramata’s designs were not conceived for serial production and were produced in limited numbers, reflecting the importance of craftsmanship to his work. Kuramata developed close relationships with the highly skilled craftsmen and manufacturers that produced his designs, notably Takao Ishimaru who made many of his works and with whom Kuramata experimented with acrylic. The tranquillity of the present design conceals the traces of labor required to make this carefully executed work. The 60 mm thick acrylic resin sections, dynamically intersected by metallic purple aluminum legs, convey a sense of elegant weightlessness whilst the synthetic roses appear suspended in space. To achieve this expression of apparent simplicity, the designer and craftsmen painstakingly experimented with different materials, initially glass blocks and natural roses, and varied techniques. Different artificial flowers were sourced from across Japan before deciding on the present acrylic version, which best retained their color and shape. The resulting process required the craftsmen to pour the acrylic resin into four molds in several stages at which point each flower was held in place with tweezers whilst the surrounding resin hardened adequately. In addition to informing the technique for Kuramata’s subsequent designs in acrylic, the process inserted a humanness into the work. Combined with the optical effects of the transparent acrylic, this human quality transformed inexpensive and industrial materials into a precious object. The form of the design’s tubular aluminum legs became an element of Kuramata’s late visual language, which he reimagined in vibrant colors with variations in shape in order to support tabletops, lighting, the display of clothing and natural flowers.

\n\n

\n\n

Shiro Kuramata 'Miss Blanche' chair, executed 1991.

\n\n

Reflecting Kuramata’s age at the time of his death, 56 Miss Blanche chairs were produced between 1988 and 1998. The design embodies Kuramata’s career-long exploration of surface and transparency, material and light. The considerable weight of the minimalist acrylic blocks, which enclose the composition of roses—possibly inseparable from a larger context, whether the symbolic association or the surrounding space—result in a design that appears both fixed in form and ephemeral. Through his poetic and idiosyncratic approach to his work, Kuramata created designs that were never definitively defined by their physicality or ideology, as they continue to incite feeling or memory.

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The present Miss Blanche chair is number 21 from the edition of 56, executed in 1991—the year of Kuramata's death.

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Examples of the Miss Blanche chair are held in the permanent collection of international museums, including the Vitra Design Museum; Museum of Modern Art, New York; Museum of Modern Art, San Francisco; Philadelphia Museum of Art; the Dallas Museum of Art; Nakanoshima Museum of Art; M+ Museum; and ADAM - Brussels Design Museum.

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\n","2020-06-01T17:11:00.000000Z","https://www.phillips.com/article/55061387/design-shiro-kuramata-miss-blanche-chair-auction-london",5,760,2882,55061387,"https://flockler.com/thumbs/sites/889/fc_001-11e9126b-8812-42bd-9686-ab99bfa5cdd5_s600x0.jpg","This exceptional piece by Claude Lalanne, designed for a client's home in the Caribbean, reveals the full scope of her irreplaceable imagination. ","The Whimsical and the Tropical: A Unique Table","

Lot 58: Claude Lalanne Unique low table, 1998 (detail). Estimate: £250,000-350,000.
\nDesign at Phillips London, 19 June.

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The nineteenth-century French painter Jean-François Millet wrote that it is in "the treating of the commonplace with the feeling of the sublime that gives…art its true power." Working over a century later, Claude Lalanne’s œuvre proved this maxim true: she transforms the everyday into a magical and dreamlike world and her designs inspire awe through their beauty, opulence and craftsmanship.

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Claude Lalanne Unique low table, 1998.

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The daughter of a musician and an alchemist, it is no wonder that Claude Lalanne’s fantastical world combines the lyrical with the technical, art with science, and the imaginary with the natural world. Though she trained as an architect and painter, Lalanne and her partner François-Xavier Lalanne turned to decorative arts in the early 1950s. The pair, collectively known as Les Lalannes, worked separately but both often drew on the natural world in a whimsical and Surrealist fashion. Whereas her husband preferred to begin with sketches, Claude Lalanne operated intuitively, taking inspiration from the gardens in Ury, France that surrounded her home and studio, where she made the present lot.

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The Lalannes…like to work for a particular person, or for a particular place. Within those seeming limitations, their imagination operates quite freely, raiding departments of life where imagination has long slumbered.
\n— John Russell, art critic
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Claude Lalanne Unique low table, 1998.

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Over her seven-decade career, Claude Lalanne created pieces, from furniture to decorative objects and jewelry, that incorporate depictions of flora and fauna in surprising and beautiful ways. For example, the present table appears light and whimsical despite being made in bronze—a testament to her technical mastery—and the artist incorporated silhouettes of two tropical birds into the tabletop’s design. The birds’ flaunting tails morph into a whiplash motif that meanders like a scandent vine growing across the tabletop, while the feathers on its head double as a group of leaves. Her inclusion of these birds is not merely a zoological interest but a reference to the table’s original setting. Lalanne designed this unique table for a patron’s home in the Caribbean, and it exemplifies how Lalanne preferred to create unique pieces for individual clients around the world, most famously for Yves Saint Laurent and Salvador Dalí. In the catalogue for a 1975 exhibition at the Centre Pompidou, art critic John Russell wrote, "The Lalannes…like to work for a particular person, or for a particular place. Within those seeming limitations, their imagination operates quite freely, raiding departments of life where imagination has long slumbered." This unique table certainly reveals Claude Lalanne’s imagination in full force, as it magnifies and extends the beauty of the tropics into a luxurious interior and, as Millet suggested, showcases a powerful ability to translate the commonplace into the sublime.

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Claude Lalanne Unique low table, 1998 (detail).

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\n","2020-06-01T16:14:00.000000Z","https://www.phillips.com/article/55060109/design-unique-table-claude-lalanne-auction-london",4,759,2881,55060109,"https://flockler.com/thumbs/sites/889/23_002-08b7e8f4-a1f6-4575-bfc7-118796fff28b_s600x0.jpg","An impressive feat of sustained making, ‘Kamen’ is also a cyclical act of reception—refining, improving and extending the same forms and materials. ","The Seduction of Stillness","

Lot 23: Edmund de Waal 'Kamen', 2012 (detail). Estimate: £150,000-200,000.
\nDesign at Phillips London, 19 June.

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by Glenn Adamson

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You can spend a lot of time counting Edmund de Waal’s Kamen. The work consists of five cabinets, containing 115 round hand-thrown porcelain pots—all those circles held within a square. The vessels are between two and four inches tall, arranged in five to seven groups per cabinet, and from two to nine pots per group. It is an intricate numerology, suggesting that a math problem or a musical composition—or perhaps a passage from the Kaballah or some other ancient text—is being worked out before your eyes. The miracle is that despite this internal complexity, the convoluted rhythms cascading through the work, it projects an atmosphere of reflective calm. Negative spaces, the gaps between, are as important as the pots themselves. The intervals activate the whole.

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Edmund de Waal 'Kamen', 2012.

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In conceiving this work de Waal was indebted to numerous sources, as he would be the first to tell you. There is, of course, Minimalism: the serially arranged boxes of Donald Judd, which exemplified the theory of gestalt, a sculptural whole that transcends its parts. There are the paintings of Giorgio Morandi, those marvels of acute observation, in which the color white is shown to be an infinite spectrum. And the work of other British potters: Bernard Leach, Lucie Rie, Hans Coper and Gwyn Hanssen Pigott. De Waal has studied and written about them all, for, as his many readers well know, he is as much a historian as he is an artist.

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Still deeper in de Waal’s personal archive is the garniture: a group of vases, typically of Chinese porcelain, set atop a cabinet or mantelpiece for the sole purpose of being looked at. This particular reference loomed large for de Waal when he first developed his vessel orchestrations, in 2007. It was then that he created his first wall cabinet works, lined with vessels of various heights and variously glazed. One of the first examples was aptly entitled A Change in the Weather, a phrase that describes both its own incrementally shifting tonalities and the larger transformation that was occurring in de Waal’s career.

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These first arrangements of pots were often set within carefully calibrated installations, located mostly in historic venues. De Waal describes these undertakings as "site sensitive," noting that they are about "playing architect, creating my own spaces, frameworks, in which to see the work." In 2007 he realized three such projects: at Kettle’s Yard, Cambridge; MIMA, in Middlesbrough; and Chatsworth, the greatest of all English country houses, a place with many garnitures, as well as a whole porcelain room. De Waal’s installation at Chatsworth, entitled A Sounding Line, took ghostly occupation of an old fireplace, transforming it into a sculptural situation.

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Two years later, de Waal realized Signs & Wonders, a permanent installation for the Victoria and Albert Museum. It is a steel ring painted bright red, with a staggered line of white pots mounted within it. The work sits at the very top of the museum, an encircling halo, and a way of saying to the visitor, "you are here." Kamen is a more portable affair—it can be situated on any wall—but its message is the same. It exerts a quiet insistence, or perhaps better to say certainty, that acts of looking matter. They help to ground us. This intention is signaled in the work’s title, borrowed from that of the poet Osip Mandelstam’s first collection of verse. Kamen means "stone" in Russian, and was an apt choice by a poet who (as de Waal comments) "seems to concretize language, so that poems become things."

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Edmund de Waal 'Kamen', 2012 (detail).

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It is no coincidence that de Waal has developed his pot-arrays at the same time that digital technology was on the rise, a time of increasingly rampant distraction. He is a man in love with museums—he often speaks of his boyhood visits to the V&A and elsewhere, losing track of time as he gazed into the display cases, standing on tiptoe to peer at the upper shelves. He knows the seduction of stillness. Thus Kamen exerts a gentle pressure on the viewer’s attention—analogous, perhaps, to the rabbit netsuke that centered De Waal’s celebrated book The Hare with the Amber Eyes. That little carved Japanese object, a precious remnant from his family’s tragic past, was something he felt he had to live up to. The netsuke placed demands on him, prompting him to profound exploration. While less obviously narrative in its operation, Kamen does resemble—among its other affinities—a neatly arranged bookshelf. And like a good library, it invites us in to wander, and learn.

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And learn what, exactly? Above all, the value born of long experience. De Waal is a firm believer in the principle of "joy in labor," a phrase borrowed from William Morris. He likes to say that his happiest hours are those spent at the potter’s wheel. These days he gets less opportunity to do that, what with the increasing demands of his practice and fame. But then, de Waal has a great deal of time already stored up in his head and hands. In 2012, the same year that he made Kamen, he chose to title a similar piece A Thousand Hours. This referred not to the duration of its own making—like any proficient craftsman, he’s quick at his work—but rather to the steady accumulation of artisanal expertise. Such ideas have been much in circulation in the past few years, doubtless another reaction against the frictionless speed of the digital. Malcolm Gladwell helped popularise the notion in his 2008 book Outliers: The Story of Success, hypothesizing that it took about 10,000 hours to become really good at anything. It’s one thing to consider such a rule in the abstract; quite another to embody it. This is what one is looking at, when looking at Kamen.

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Nor is it only de Waal’s own personal investment that is witnessed here. The porcelain itself, and the glazes on the pots—various intensities of green-tinged celadon—continue a trajectory from Sung Dynasty China (a path that de Waal again has explored in his writing, notably his 2015 book The White Road). And in the slight depressions and protuberances of the pots’ profiles, one sees the echo of all the ceramics that de Waal has handled and emulated. Kamen is an impressive feat of sustained making, to be sure. It is also an act of reception, attentive to what potters have been doing for centuries, circling back again and again to the same forms and materials, refining, improving, extending, inventing. 115 pots: that’s a big number. But to cite another of de Waal’s titles, once is as good as never.

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\n","2020-06-01T20:23:00.000000Z","https://www.phillips.com/article/55102107/design-edmund-de-waal-kamen-london-auction",764,2885,55102107,"https://flockler.com/thumbs/sites/889/54_001-f3378f59-3000-40e1-8f49-5a16c8ab94cb_s600x0.jpg","Retaining an organic quality while anticipating a more mechanized expression of the Art Deco style, Jean Dunand's set of three nesting tables seamlessly combine simplicity of form and geometric decoration. ","Brilliant Repetition: Dunand's Eggshell Lacquer Designs","

Lot 54: Jean Dunand Set of three nesting tables, circa 1925.
\nEstimate: £120,000-150,000.
\nDesign at Phillips London, 19 June.

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Born in Switzerland, Jean Dunan d studied sculpture at the École des Arts Industriels in Geneva before moving to Paris in 1897, where he apprenticed under the Art Nouveau artist Jean Dampt. Working as a sculptor until 1907, Dunand expanded his practice to include metalwork around 1903, the medium through which he first established his reputation as a preeminent artist-craftsman. Returning for periods of study to Switzerland, Dunand trained in the traditional technique of dinanderie. Working from a single sheet of metal, Dunand created elegant vessels in hammered copper, brass and bronze. Renowned for his refined finishes and surface effects, Dunand’s early metalwork retained a stylized, organic inspired decoration, which later developed into an abstract visual vocabulary, reflecting the multi-faceted style now known as Art Deco. During the 1920s, Dunand created a series of spherical vases, as illustrated by lot 53, which features a rhythmic composition of superimposed dotted shapes in gold, red and black lacquer. Exploring the relationship between form and surface, these works combine traditional artisan craftsmanship with avant-garde inspired compositions of dynamic geometric shapes in vibrant colors—demonstrative of the contending values informing the French decorative arts during this period. Often more sculptural than utilitarian in practice, Dunand’s metalwork features intricate inlays, gilding, oxidized patination and notably lacquer decoration, transforming natural materials into luxurious objects, which were readily collected by an elite Parisian clientele.

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Jean Dunand Set of three nesting tables, circa 1925 (detail).

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Among the few Western designers to practice the traditional art of lacquer, Dunand created original and luxurious furnishings using the rare material, demonstrating the skillful craftsmanship for which his work became renowned. Initially drawn to the use of lacquer as a technique to protect his metal surfaces, Dunand sought to master the difficult medium. Distinct from the imitation lacquer varnish prevalent in France during this period, natural lacquer is made from a resin extracted from the Rhus vernicifera—a tree indigenous to China and Japan. Once filtered using fine linen cloth to remove any impurities, the raw material is then stored in sealed bamboo baskets for several months, during which time layers of varying density form, which are then graded and priced accordingly, and adapted to different stages of use in the lengthy lacquering process. The material can be applied to different surfaces, including metal, wood, stone, leather and natural silk, the latter which Dunand also experimented with creating lacquered silk dresses and designs for couturiers including Jeanne Lanvin and Madeleine Vionnet.

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Jean Dunand Set of three nesting tables, circa 1925.

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In order to achieve lacquer’s highly lustrous, impermeable surface, numerous thin layers are painstakingly applied to the base surface—which in the case of wood, first must be smoothed before the grain is filled and the surface covered with a thin layer of silk or hemp using rice gum paste. The surface is then prepared by applying initial coats of lacquer mixed with sawdust from exotic woods in order to ensure the evenness of the surface. Between five to fifteen layers of clay-based lacquer are then typically added before the final stages of decorative lacquer layers are applied. Following each coat, the lacquer is slowly dried in a carefully controlled humid and dust-free environment over the course of several days. The surface is then finely sanded before the process is repeated. The Irish designer Eileen Gray had begun working with lacquer a decade earlier, initially in London and then in Paris, where she opened a workshop with the Japanese lacquer artist Seizo Sugawara. Gray’s early lacquer work demonstrated the possibilities of using the ancient craft for contemporary furnishings and in 1912 she introduced Dunand and Sugawara. Interested in the other’s respective material practices, Dunand received thirteen lessons in the demanding process of natural lacquer in exchange for introducing Sugawara to the exacting technique of dinanderie.

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Jean Dunand Set of three nesting tables, circa 1925.

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In its natural state lacquer dries as a rich dark brown color, whilst vegetable dyes or metal oxides can be added to the material to obtain black, different shades of brown, and vibrant orange or red. However, in order to achieve a white surface, which is not possible to create with lacquer using natural pigments, around 1925 Dunand began incorporating the technique of coquille d’œuf or eggshell lacquer in his work. The process involves delicately breaking eggshells into tiny fragments, which were organized according to size and individually inlaid on the lacquer surface to create intricate patterns. The resulting craquelure effect provides a spectacular contrast with the depth of the lustrous lacquer surface. Demonstrating his interest in surface texture and effect, Dunand explored the technique extensively in his work in lacquer. Whilst traditionally used both in Chinese and Japanese lacquerware, due to its painstaking nature, eggshell lacquer was primarily reserved for the decoration of small objects. In addition to vases, Dunand designed jewelry, trays and small boxes, as illustrated by lot 59, with delicate eggshell lacquer patterns. However, he also applied the technique on a strikingly grand scale, to create furniture, screens, and large series of wall panels.

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The present set of nesting tables illustrates Dunand’s elegant eggshell lacquered furniture, which seamlessly combines simplicity of form and decoration. Descending across the three tabletops, the design features a brilliant composition integrated into the curved structure of the elegantly proportioned brown lacquer tables. The geometric pattern retains an organic quality, whilst subtly anticipating a more mechanized expression of the Art Deco style, reflected in the repetition of the set of three tables. The surface effect created by the eggshell decoration is further enhanced by the addition of red lacquer, applied over each shell and polished to the intended degree of shading. Dunand designed a multitude of eggshell lacquer compositions, experimenting with the different effects of using either the exterior or interior shell, as well as different types of eggs to achieve variations in color, heightened further by his use of shading.

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Jean Dunand overseeing the application of eggshell decoration by a craftsman in his workshop, Paris, circa 1941. © Fond d'archives Félix Marcilhac, Paris.

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Dunand regularly exhibited his work at the salons in Paris, notably designing a lacquer Smoking Room for the French Embassy at the landmark Exposition Internationale des Arts Décoratifs et Industriels Modernes in 1925. Throughout the 1920s and 1930s Dunand often collaborated with other designers, many of them friends including Émile-Jacques Ruhlmann, Eugène Printz and Pierre Legrain, creating refined lacquer finishes for their furniture. Dunand’s premises located at 72, rue Hallé in Paris eventually comprised a showroom, studio, and metal, lacquer and cabinetmaking workshops, where he employed a large team of highly skilled craftsmen, in addition to housing his own flock of chickens—reflecting the great success of his work in lacquer.

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\n","2020-06-05T21:33:09.000000Z","https://www.phillips.com/article/58822789/jean-dunand-lacquer-nesting-tables-design-london-auction",2,806,2998,58822789,"https://flockler.com/thumbs/sites/889/philipps_auction_19-06-20_web-128-4ce13e66-ef08-4e87-848e-1c1ca64926ff_s600x0.jpg","Tour our Design sale in this virtual reality walkthrough from 30 Berkeley Square. On view: Gio Ponti, Fontana Arte, Max Ingrand, Claude Lalanne and more.","VR Walkthrough: Design","

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

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Featuring leading pieces from the most sought-after designers of the 20th and 21st centuries, our Design Sale is comprised of works by Gio Ponti, Ico Parisi, Claude Lalanne, Marc Newson, Max Ingrand, Pietro Chiesa, Lucie Rie, Shiro Kuramata, Venini and more.

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Design is available to browse via our virtual walkthrough or in-person by appointment.

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Viewing by appointment
\n15–19 June
\nTo arrange a visit contact: designlondon@phillips.com
\n+44 20 7901 7944

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\n","2020-06-04T21:00:01.000000Z","https://www.phillips.com/article/58854567/vr-walkthrough-design-2",1,807,2994,58854567,"https://flockler.com/thumbs/sites/889/philipps_auction_19-06-20_web-111-753ed793-3802-4449-bb61-0c2838b29fba_s600x0.jpg","The Chief Curator of the Vitra Design Museum in Weil am Rhein, Germany, shares a selection of works from our London Design auction, taking place on 19 June. ","Jochen Eisenbrand's Design Favorites","

Design installed in our Berkeley Square Galleries. Available to view by appointment, 15 - 19 June.

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Jochen Eisenbrand is Chief Curator at the Vitra Design Museum in Weil am Rhein, Germany. In this role, Mr. Eisenbrand has curated exhibitions and written extensively about some of the most prominent figures of 20th-century architecture and design, including Alvar Aalto, Louis Kahn and George Nelson. Last year, Phillips partnered with the Vitra Design Museum to publish the Atlas of Furniture Design, a comprehensive overview of the most significant works and designers of the past 230 years. Below, Eisenbrand takes us through his favorite works from our upcoming sale of Design, including pieces by Finn Juhl, Ettore Sottsass, Jr. and Gio Ponti.

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Lot 21

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Giovanni Ferrabini Unique Prototype Desk, 1950s. Estimate: £6,000 - 8,000.

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"A desk with a beautifully light appearance, as if drawn into the air without any interruption and then realized in slender steel rods."

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Lot 24

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Gino Sarfatti & Studio BBPR Unique ceiling light, designed for a private commission, Turin, circa 1962. Estimate: £60,000 - 80,000.

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"Sarfatti was one of the great pioneers of modern lighting design. This piece that was created almost sixty years ago but looks as if it was designed only recently is a case in point."

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Lot 71

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Finn Juhl Extendable dining table, model no. FJ 49, 1948. Estimate: £18,000 - 24,000.

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"In his own house, Finn Juhl executed a kind of furniture Darwinism, keeping only those of his own designs that he liked best. The table was among them. I greatly enjoy its simple elegance."

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Lot 84

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François-Xavier Lalanne and Kazuhide Takahama ‘Rhinocéros’ five-panelled screen, from the ‘Ultramobile’ series, 1971-1976, Estimate: £20,000 - 30,000.

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"I am a fan of Lalanne’s animal furniture and like the graphic quality of this piece."

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Lot 94

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Gio Ponti Vase, model no. 3703, 1946-1947. Estimate: £2,000 - 3,000.

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"A challenge to find the flowers to equal this play of colors."

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Lot 104

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Preben Fabricius and Jørgen Kastholm 'Scimitar' lounge chair, model no. IS-63, 1962. Estimate: £4,000 - 6,000.

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"A lounge chair that speaks of the 1960’s allure and glamour of space travel, but in a timeless way."

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Lot 108

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Ettore Sottsass, Jr. Plate, circa 1958. Estimate: £3,000 - 5,000.

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"One of a series of magnificent enamels that Sottsass created as artistic director of the Sestante Gallery reflecting his exposure to American Abstract Expressionism. A testimony to his masterful work with color."

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Lot 153

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Walter Baggio and Maria De Vivo Garden bench, circa 1959. Estimate: £5,000 - 7,000.

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"What could be an ordinary garden bench is elevated to another level by the reduced use of black and white reminiscent of a piano keyboard and the generous armrests with ample space for placing summer cocktails."

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Lot 157

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Gio Ponti 'Diamond' flatware service, 1954-1958. Estimate: £8,000 - 12,000.

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"Faceted rhomboid shapes were a recurrent motif in Ponti’s design. What simpler and better way to show how the reflection of light changes our perception of one and the same type of surface."

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Learn more about Vitra Design Museum >

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153

Walter Baggio and Maria de Vivo

Garden bench

Full-Cataloguing

Walter Baggio and Maria de Vivo