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Left to right: Madalena Horta e Costa, Alexander Payne, Marcus McDonald, Sofia Sayn-Wittgenstein

\n\n

WHITEWALL: Tell us a bit about Phillips’ overall objective, and being focused on contemporary art and design.

\n\n

ALEXANDER PAYNE (Worldwide Head of Design & Deputy Chairman): Phillips has a unique focus on 20th to 21st century art, design, and objects, and a reputation for delivering carefully assembled, museum-quality auctions. Whilst consistently offering works by the most established names, we also shine a spotlight on designers who are new to the secondary market, and therefore engaging with and inspiring the next generation of collectors. The department is comprised of an exceptional team with a strong established knowledge of design with a focus on the broad international market, consigning works to the market that are highly sought after. We have second-to-none platforms for our preview exhibitions and auctions in London and New York, especially with the new Phillips building at 432 Park Avenue opening later this year.

\n\n

\n\n

Rare 'Monofilo' armchar by Luciano Grassi, Sergio Conti and Marisa Forlani on display at Phillips' Berkeley Square gallery

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WW: Tell us a bit about how your presence in the market has grown.

\n\n

AP: I joined Phillips in 1999 to set up the auction house’s design department, at a time when the market for 20th century design was in its real infancy. The development since this point has been astronomical, including Phillips’ place within it. We have played an instrumental role in building the market for 20th and 21st century Italian design, French Modernism, Scandinavian Design, British Studio Pottery, and Contemporary Design, amongst others. All of these movements are represented throughout our Important Design sale with museum-quality examples.

\n\n

WW: Can you tell us a bit about how the inner‐workings of the team and how each role plays into a sale overall?

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MADALENA HORTA E COSTA (Head of Sale, London): Each of these individuals plays an essential role within the Phillips Design department, but our success is measured by how closely we work together. There is an open and constant conversation about who we are now and what we want to be doing in the future—our objectives are drawn as a group and pursued in unison.

\n\n

WW: Tell us a bit about the Important Design sale, occurring in London on March 21.

\n\n

MHC: In Important Design we continue to champion some of the most renowned names within 20^th and 21st Century Design. This sale presents a curated offering of works by some of the most sought-after designers in today’s market, bringing together museum quality works as well as works at accessible price points.

\n\n

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Wardrobe by Lucio Fontana and Osvaldo Borsani and lamp by Arredoluce on display at Phillips' Berkeley Square gallery

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We are very excited about this sale as it showcases a wide range of designers who are exploring and working across different areas and themes within design. Highlights include: an exceptional wardrobe from 1952-1953 designed by architect Osvaldo Borsani in collaboration with Lucio Fontana (Estimate: £140,000-220,000); three exquisitely crafted lots by Carlo Mollino—a unique pair of lounge chairs designed for the Ada and Cesare Minola House, 1944-1946 (Estimate: £100,000-150,000); a set of three side chairs, designed for the Casa del Sole, 1953 (Estimate: £60,000-80,000); and a rare chair, designed for the Lattes Publishing House, 1951 (Estimate: £70,000-90,000). We are also delighted to offer a rare games table and set of fours chairs designed by Carlo Bugatti in 1902 (Estimate: £80,000-120,000) and a group of six lots by George Nakashima—one of the indisputable leaders of the American studio furniture movement. We are also presenting a phenomenal group of Yoichi Ohira, a Japanese glass designer who worked in Murano.

\n\n

WW: What type of collector do you feel is special?

\n\n

DOMENICO RAIMONDO (Head of Department Europe and Senior International specialist): The word “collector” is used relatively freely, when in fact collectors are an increasingly rare breed. This is because of the world we live in today. Everything is fast and taken on face value, we are continually bombarded with millions of images, and the value of things is becoming more ephemeral. The knowledge that comes with it is less available or deemed less important. In a fast paced world, one isn’t given the time to carefully consider or understand in depth the context in which a specific object was made.

\n\n

\n\n

Left to right: Sofia Sayn-Wittgenstein, Alexander Payne, Domenico Raimondo

\n\n

Collecting is an obsession, a disease. It’s a wonderful disease if you have the means to do it. Collecting is a conversation which has to happen with yourself and others, and it is fascinating. You will find a story behind every collection and this is important. The more you learn about a subject, the more the spectrum closes in. One becomes increasingly selective and the story you want to tell begins to develop and unfold.

\n\n

You watch collectors grow. It can be a personal trajectory, trying to summarize the work of an artist, several artists, or a movement. In their trajectory collectors will buy up, letting go of things in order to buy better and more fitting examples.

\n\n

For some, a collection will focus on the core of an idea. Collectors will buy things that reflect the idea of the designer that mirrors the idea of them as a collector. They will seek objects that reflect the trajectory they have gone on themselves as they have learnt more about a particular designer.

\n\n

There is also the hoarder. They buy a mixture of all things. They even buy the broken. They keep everything. Within this hoard you will find gems and beautiful things.

\n\n

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'Cake' stool by Fernando and Humberto Campana on display at Phillips' Berkeley Square gallery

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WW: What do you feel is “important” design today?

\n\n

DR: Important design is design that answers certain questions at a certain point in time.

\n\n

The starting point of design is that it has to answer questions—of economics, improving people’s lives, being relevant socially at a point in history, or revolutionary.

\n\n

The best designers tend to be architects. There is a different backbone; they think differently, they have a different sense of proportion and dimensions, they understand space at every scale (from the object to the urban environment), and they understand human interaction in a different way. There is an understanding of the object and an awareness and consciousness, which goes beyond the decorative.

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When we build a sale at Phillips, we think very carefully about it. It is about creating a context. In the back of my mind there is a landscape. We want to create conversations between objects so people can start building relationships and understand what it was going on at a specific period of time and how people tackled the same issues in different ways. This is fundamental. There is always a thread in what we do, it is a matter of being aware of it.

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Rare bookcase by Gio Ponti and set of ceiling lights by Studio BBPR on display at Phillips' Berkeley Square gallery

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WW: Are there any designs, eras or materials that you are seeing an increased desire for collectors to own today?

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SOFIA SAYN-WITTGENSTEIN (Director and Senior Specialist in Phillips’ Design Department): Generally speaking, I often advise clients to closely follow the Italian market. Prices for Italian works of design are still fairly reasonable, as the market is growing in a healthy and steady manner. A culturally very rich country, Italy has produced some of the most diverse architects and designers in history.

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For many years, but perhaps especially now, Gio Ponti, a prolific creator for almost 60 years of his life, has generated much interest amongst design collectors and lovers. Ponti currently has a retrospective at the Musée des Arts Décoratifs in Paris, which covers the entirety of his career and highlights vast aspects of his creation, including his glassware, ceramics, metalwork, furniture, lighting, and buildings. Shows such as this inevitably draw attention to an architect’s life and work and can often affect demand on the secondary market. In our upcoming auction on March 21, we have the unique opportunity to offer a collection from the apartment Casa Lucano, designed by Gio Ponti in 1951 and comprising 30 lots—celebrating Ponti’s collaboration with other artists and designers including Piero Fornasetti, Edina Altara, and Giordano Chiesa, among others.

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Storage unit by Ettore Sottsass, Jr., on display at Phillips' Berkeley Square gallery

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A name that is equally garnering significant attention at the moment is Ettore Sottsass Jr., arguably the greatest 20th century theoretical architect and designer. Last April, we were thrilled to set a new auction record for Sottsass, when an exceptionally beautiful and rare work from 1959 soared to £309,000 in a London sale. The market is responding enthusiastically to Sottsass’ ground-breaking designs, with 2018 marking the centenary of his birth. To coincide with this, there was a monographic exhibition at the Triennale Design Museum in Milan, and another at the Met Breuer (“Ettore Sottsass: Design Radical”), resulting in a huge revival in his work. We have several lots from Sottsass in our upcoming Important Design auction spanning from works designed in the 1950s, such as the “Canada” armchairs and sofa (lot 123, 125) to the 1990s, such as the “Firenze” ceiling light (lot 135).

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WW: Why do you feel the designers in this show are seen as some of the design world’s greats?

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SSW: A work of design often tells the story of its creator, capturing their skill and imagination; it can explore the limits of a material; it often responds to the particular moment in time and is a product of the social, cultural, historical, economic or even political context in which it was conceived. It mirrors achievement and progress, both on a personal, that of its creator, and a social level. All of the designers in our sale show the aforementioned in regards to their skilled craftsmanship, extraordinary or innovative use of material, and their vision.

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Rare chair by Carlo Mollino on display at Phillips' Berkeley Square gallery

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There is one additional component, which helps to distinguish average from great design: Design has function at its heart. It is meant to be used and lived with every day. A work of design requires human interaction to fully understand what makes it valuable, beyond its financial worth. The design we offer in our auctions has passed a sort of “validation” period, it has been lived with for decades and is still relevant and sought after today. That is what truly marks great design.

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WW: Is there a piece that you’re especially excited to have in your own collections?

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MARCUS MCDONALD (International Specialist): I would select the important set of ten “Board Room” chairs by Sir Edwin Lutyens, designed in 1939. They are an exquisite set of rare and beautiful chairs of impeccable provenance from the impressive Midland Bank building, which is now The Ned Hotel, that was also originally designed by Sir Edwin Lutyens who was one of the most, if not the most, accomplished English architect of the 20th Century.

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WW: The sale offers different design categories with pieces ranging from sofas to tables, from lamps to glassware. How do you feel this range in selection helps tell the full tale of important design?

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MM: It is inevitable that each sale has a myriad of categories and types, including a range of materials, production methods, styles, and periods with a diverse collection of objects and furniture representing a plethora of artistic talent, originality and creating works that are either handcrafted or machine manufactured. All of these aforementioned factors must be considered but it is the varying and diverse range of works that construct the tale of important 20th Century design.

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View the full article on Whitewall here.

\n","publishDate","2019-03-19T18:22:58.000000Z","coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/41742739/featured-on-whitewall-the-phillips-team-talks-design","auctionEditorialID",521,"editorialID",572,"flocklerID",41742739,{"_3151":3173,"_3153":178,"_3154":3174,"_3156":3175,"_3158":3176,"_3160":3177,"_3162":1514,"_3163":467,"_3164":3178,"_459":294,"_3166":3179,"_3168":3180,"_3170":3181},"https://flockler.com/thumbs/sites/889/phillips-uk010219-design-highlights-lr-31-acb62ddd-b8ac-4659-9167-f0250b212c6a_s600x0.jpg","Belonging to a series of furniture created by Fontana and Borsani, a dynamically painted wardrobe in walnut highlights our month of important design in London.","Impermanent and Permanent: The Collaboration of Lucio Fontana and Osvaldo Borsani","

Lucio Fontana and Osvaldo Borsani's Wardrobe, 1952-1953, seen on view at Phillips Berkeley Square with a painting by Kehinde Wiley

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Coming to auction on Thursday 21 March as part of our Important Design sale, the wardrobe designed by the architect Osvaldo Borsani features painted panels by the artist Lucio Fontana, with whom he developed a close collaboration and friendship. It appears simultaneously as being impermanent and permanent, reflecting a shared desire to address conventional relationships between the object and its surrounding space.

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The work belongs to a series of furniture designed by Borsani and embellished by Fontana, always enlivening an exceptionally simple design with a dynamic effect in order to create interiors that were both functional and artistic. Borsani and Fontana shared an enduring interest in the new and a proclivity for experimentation in both their individual and collaborative work. Having embraced new ideological and technological advances over the course of his career—which spanned most of the twentieth century—Borsani played an instrumental role in the formation of Italian modernist design while remaining dedicated to the country's tradition of craftsmanship and quality of materials. This enduring commitment, paired with his pursuit and understanding of design as addressing more than just function, underscored Borsani's collaborative approach to his work. Fontana's own spatial research and exploration of dimensionality provided an intersection for artistic exchange between the architect and artist, which expanded the expressive possibilities of both their practices.

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Borsani had first met Fontana while studying at the Accademia di Brera in Milan, along with artists such as Arnaldo Pomodoro and Fausto Melotti, the next generation of Italy's avant-garde, with whom the architect would collaborate with throughout his career. Borsani received his early training under his father Gaetano Borsani, whose workshop in Varedo produced Italian Deco style furniture and was highly regarded for its craftsmanship—an influence that would remain central to Borsani's own production. During the 1930s, Gaetano had begun working with contemporary artists to create furniture with unique decoration, offering his clients additional possibilities for the customization of their commissions. Sharing his father's interest in art and recognizing the creative and experimental potential of this collaborative approach, Borsani developed close relationships with many contemporary artists, establishing a dialogue within his practice that extended beyond the bounds of architecture and design. This interdisciplinary approach to design flourished in the context of post-war Italy and the resulting economic upturn, which created a momentum and openness for an exchange of ideas and research across cultural fields.
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\nWhile Borsani and Fontana's early collaborative work, comprising highly expressive and cohesive interior schemes, illustrates the latter's interest in the Baroque, their designs later became more abstracted, revealing Fontana's research into Spatialism. Fontana published his first manifesto on Spatialism in 1947—the same year he settled permanently in Milan—in which he called for a synthesis in art of color, sound, movement and time. In his Technical Manifesto given at the 1st International Congress of Proportion at the IXth Trienniale, Milan, 1947, the artist advocated for the need for a new form of art that moved beyond the representation of known forms and repetitive narratives, in order to reflect the ever-changing contemporary conditions of civilization. With Spatialism, Fontana sought to embrace science and technology through the adoption of new media, including neon lighting and television, and examine the relationship between the art object and the surrounding 'real' space.

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Lucio Fontana Concetto spaziale, Attese, 1963. Sold for £753,000 at Phillips in October 2018.

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By 1949, Fontana had begun using the term Concetto Spaziale (Spatial Concepts) to describe his work which he considered neither painting or sculpture. Beginning the same year, in a series entitled I Buchi (Holes), Fontana created constellations of holes made in the surface of his canvases that were intended not only as graphic representation but as "true openings leading to further space." In 1952, Fontana introduced fragments of colored glass to the perforated surface of his oil painted canvases featuring spiraling compositions of holes, producing the series Le Pietre (Stones), which further suggested a spatial dimension in his work. During this period, Fontana also created "spatial environments," presenting his iconic Spatial Light – Structure in Neon for the 9th Milan Triennial in 1951. Through this work, which comprised a rhythmic and intersecting 100-meter-long loop of neon tubing suspended across the ceiling of the grand staircase Palazzo dell'Arte, Fontana sought a convergence of movement and color with the surrounding architectural space.
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\nThe present wardrobe, designed between 1952-53, is an early and fine example of the final method in which Borsani and Fontana collaborated. In these works, comprising designs for storage furniture and a series of sides tables, Fontana experimented with pouring paint onto glass sheets to create indefinite compositions, which were set into external structures designed by Borsani. The decorative surfaces created by Fontana convey a sense of infinity, evoking the cosmos, which recall his spatial concept works and relate to his research during this period in which he created environments with a "strong spatial sense." The atmospheric quality and irregular application of paint across the four door panels of the present wardrobe creates an impression of organic movement, drawing the viewer's gaze across the opalescent surface, which would have countered the sense of verticalness that often characterized Borsani's interiors. This effect may have been enhanced by the play of light within the original interior scheme as evidenced by the spatial compositions and use of reflective surfaces in other projects designed by the architect documented from this period.

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Fontana experimented with pouring paint onto glass sheets to create indefinite compositions, which were set into external structures designed by Borsani.
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While the solid wood frame grounds the wardrobe within the surrounding space, the surface decoration of the doors, underscored by their inherent function, simultaneously activated the object and dissolved its structural mass. This visual effect is underscored by Borsani's incorporation of two unexpected coat closets at either side of the wardrobe. Through its design and use, the wardrobe seemed to exist in both illusionary and actual time and space, involving the participation of the viewer, and thus realizing the desire to bring art into one's everyday environment.

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Borsani also worked with Fontana using this mode to produce painted panels for furniture models that subsequently became part of the production at Tecno, the design and manufacturing firm the architect founded with his brother Fulgenzio in 1953. Reflecting the entrepreneurial spirit and artisanal experience of its founders, and the optimism and collaborative approach of post-war Milan, Tecno combined rigor of form and quality of craftsmanship to embrace new markets, which inspired further innovation and versatility in Borsani's designs. Thus, this particular wardrobe anticipated the unity of artisan knowledge and research-based, technological approach Borsani successfully established through Tecno.

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The architect's work achieved a natural beauty through the man-made, exploring the tensions of traditional and technological production methods and their conceptual and expressive possibilities. Integral to Borsani's work was his ability to bridge such ideas by establishing connections, evidenced by his dynamic exchange with Fontana, and their exploration of the continuity of material and space in their work.

\n","2019-03-04T20:08:12.000000Z","https://www.phillips.com/article/41357157/impermanent-and-permanent-the-collaboration-of-lucio-fontana-and-osvaldo-borsani",516,559,41357157,{"_3151":3183,"_3153":178,"_3154":3184,"_3156":3185,"_3158":3186,"_3160":3187,"_3162":1514,"_3163":467,"_3164":3188,"_459":382,"_3166":3189,"_3168":3190,"_3170":3191},"https://flockler.com/thumbs/sites/889/35_002-20ed9735-2a81-4215-a163-fcaeee65bcfa_s600x0.jpg","Dr. Margaret J. Schmitz looks at Bugatti's influences and how they impacted his radical design œuvre.","Carlo Bugatti's Eclectic Impulse","

Detail: Carlo Bugatti Rare games table and set of four chairs, circa 1902

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By Dr. Margaret J. Schmitz
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\nCarlo Bugatti's work has always existed for its own sake. As the nineteenth century closed, his designs celebrated Aestheticism's swan song to beauty and exoticism. Simultaneously, they were self‐aware of their bizarre eclecticism far before postmodern designers began to explore the fantastical possibilities of merging multiple historical sources. The legacies of Bugatti are felt throughout postmodern Milanese design especially – the humorous deconstruction of functionality and visual play seen in Ettore Sottsass and other Memphis designers' works hinge on Bugatti’s radical œuvre. Throughout his career, Bugatti also experimented with the utilitarian nature of his objects. How an object was used was less important for the artist than aesthetics and rich historical associations – it was sufficient that his objects existed and impeded the world with fantasy, knavishly cognizant of their pastiche, intersectional references.
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\nBugatti was born in Milan in 1856 to chimneypiece designer Giovanni Luigi Bugatti. As a student, Bugatti initially studied architecture in the Egyptian and Islamic revival styles, but he eventually turned to metalwork and furniture design and, by the 1880s and 1890s, his signature style was solidified. Characteristically, this rare games table and set of four chairs allude to Bugatti's rich reservoir of historical reminiscences and cultural quotations that he developed throughout his career.

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Painted on the surface of this game table and its set of matching chairs are natural motifs including leafy reeds and silhouettes of flying birds in a brown wash, akin to the stylized subjects one may find in East Asian scroll painting. The table and two of the chairs are also signed 'Bugatti' in elegant script using the same pigment. Both the painted subjects and delicate scrawl of his signatures are evocative of Arabic and Japanese calligraphy as well as Minoan art's love of an ephemeral, idealized natural world. Perhaps Bugatti's ability to merge these historic referents in such a unique way is due to the fact that the designer never traveled far from his native Milan or his second home, Paris. His ideas came from seeing international expositions and reading natural history books. Consequently, his work boasts a fanciful distance from these sources, creating a stylistic domain acutely his own.
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\nThe set was created circa 1902 in Bugatti's Milanese studio at the height of his fame. During this time, his work boasted elegant sculptural forms and balanced, geometric shapes encased in vellum, causing an impression that each object was comprised of one organic whole. It is not only the multicultural references of the work that make it otherworldly but its strange materiality and physiognomy as well. While he embraced asymmetry, his work never caved to the streaming tendrils of his Art Nouveau contemporaries.

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The humorous deconstruction of functionality and visual play seen in Ettore Sottsass and other Memphis designers' works hinge on Bugatti’s radical œuvre.
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The asymmetry of these chairs add to their idiosyncratic appearance, yet the pieces are tightly balanced. Like their matching table, they are heavily set on thick feet whose legs taper upward before bulging out around richly ornamented aprons. There, circles or half circles of repoussé brass plaques are surrounded by strips of inlaid pewter and copper designs that form a pattern of stylized insects – complete with brass eyes and wings – that are typical of Bugatti. Additional strips of repoussé brass, hammered to show a variety of geometric shapes in relief, are nailed into the surface edges of the chairs' seats and tabletop, respectively. The tabletop is hinged and opens to reveal an interior compartment, while the chairs' backrest continues upward and ruptures into a fan of dusky pierced metals and further inlaid ornamentation set into an inverted triangular back support.

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Sketches inform us that Bugatti's studio practice relied on intensive variations on key themes. This is part of the reason why every Bugatti piece is distinctly of the artist, and why no two pieces are the same.

\n","2019-03-04T18:12:34.000000Z","https://www.phillips.com/article/41356755/carlo-bugattis-eclectic-impulse",517,558,41356755,{"_3151":3193,"_3153":178,"_3154":3194,"_3156":3195,"_3158":3196,"_3160":3197,"_3162":1514,"_3163":467,"_3164":3198,"_459":186,"_3166":3199,"_3168":3200,"_3170":3201},"https://flockler.com/thumbs/sites/889/82_002-4952ca1e-58d6-4898-8d91-2104a58cd466_s600x0.jpg","Our Design specialists revisit a 1976 review of the master American woodworker and architect's ‘Conoid’ furniture designs.","George Nakashima in Dialogue with Clients and Critics","

Detail from George Nakashima 'Minguren I' coffee table, 1976

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In the summer of 1976, a lively debate took place in the 'Letters' column of the journal Craft Horizons regarding George Nakashima's 'Conoid' chair. Responding to a 'Conoid' chair that had been depicted in the February 1976 issue as part of an exhibition of contemporary furniture at the Cincinnati Art Museum, Paul Killinger of Boulder, Colorado expressed his "profound shock and even despair" regarding the chair’s cantilevered construction, which he described as "structurally terrifying." Mr. Killinger could not conceive how the joint of the seat and vertical back rails, with no front leg support, would hold up under any use.

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Nakashima published a letter of response in the next issue of Craft Horizons. He noted that his studio had already been producing this design for fourteen years and to his knowledge, "the particular joint that Killinger is so 'terrified' about has never failed."

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The brilliant engineering that underpinned [Nakashima's] highly original designs is often overlooked.
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George Nakashima Set of four 'Conoid' dining chairs and dining table, 1976

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Indeed, decades later, the 'Conoid' chair has endured and gone on to assume its rightful place in the canon of twentieth-century design. Killinger clearly did not understand that George Nakashima was an MIT-trained architect, thoroughly-schooled in engineering and the structural properties of materials. Though Nakashima, as a leader of the American studio furniture movement, is revered for elevating the inherent beauty of natural wood in his furniture, the brilliant engineering that underpinned his highly original designs is often overlooked. Nakashima also learned sophisticated joinery techniques through apprenticing with a Japanese carpenter. "As an architect, I appreciate theory," he wrote in Craft Horizons, "but the empirical test of time is the truest test of a product; this chair has passed this test." Nakashima folded all of these experiences into the design of the 'Conoid' line of furniture, which was inspired by the curved vault of the Conoid studio he had constructed on his compound in New Hope, Pennsylvania.
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\nPerhaps Leticia Kent, who commissioned the group of six Nakashima lots from our Important Design sale and acquired her set of 'Conoid' chairs the same year as the letters between Nakashima and Killinger appeared in Craft Horizons, was drawn to the architectural aspect of Nakashima's furniture. Ms. Kent studied architecture at the Pratt Institute and The Cooper Union in New York and worked for several architects including Giorgio Cavaglieri.

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From left: George Nakashima 'Conoid' lounge chair, circa 1980; Wall-mounted cabinet, 1967; Single-armed lounge chair, 1961

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However, in the late 1960s, Kent took up a second career as a journalist, contributing to the Village Voice, the New York Times, and Vogue, among other publications. Her subjects ranged from pollution to urban design and show business. An active member of her community, she was also a founding member of the Greenwich Village Society for Historic Preservation.
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\nBeyond architecture, Ms. Kent and Nakashima shared an interest in India and Hinduism. In a 1968 letter in which Nakashima responded to clippings from the Village Voice that Kent had sent him, he relayed his experiences in India, where he was a member of Shri Aurobindo Ashram in Pondicherry and even became a Hindu Monk.

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It is a deeply felt letter and demonstrates the close friendships and bonds that formed between Nakashima and his clients.

\n","2019-03-04T21:20:11.000000Z","https://www.phillips.com/article/41358860/george-nakashima-in-dialogue-with-clients-and-critics",515,560,41358860,{"_3151":3203,"_3153":178,"_3154":3204,"_3156":3205,"_3158":3206,"_3160":3207,"_3162":1514,"_3163":467,"_3164":3208,"_459":253,"_3166":3209,"_3168":3210,"_3170":3211},"https://flockler.com/thumbs/sites/889/1552830065-91264252913-2c8b41f0-47a0-40f1-af15-73ad151d8d27_s600x0.jpg","Tour Important Design and Casa di Fantasia in this virtual reality walkthrough from 30 Berkeley Square in London. On view: Gio Ponti, Franco Albini, Fausto Melotti and more.","VR Walkthrough: Important Design and Casa di Fantasia","

Explore a virtual reality walkthrough of our London design auction preview of Important Design and Casa di Fantasia.

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Travel through our galleries and browse legendary design from the 19th century to today as well as a recreation of the apartment Casa Lucano, designed by Gio Ponti in 1951. Other featured designers include Ettore Sottsass, Jr., Max Ingrand, Yoichi Ohira, George Nakashima, Carlo Bugatti and more.

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Important Design and Casa di Fantasia are on view through 20 March at 30 Berkeley Square in London ahead of the 21 March auctions.
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\nIn association with Cambi, 'Casa di Fantasia'—an ode to Gio Ponti and celebration of his collaborative spirit—presents 30 lots from the Casa Lucano apartment.

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98

Elizabeth Garouste and Mattia Bonetti

Standard lamp

Full-Cataloguing

Elizabeth Garouste and Mattia Bonetti