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View and Download our "Important Art Nouveau Lighting and Furniture From A Private Collection" E-Catalogue >

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\n","auctionDetailsSmall","New York Auction 8 June 2023","extraInfo","

Benjamin Green
\nAssociate Specialist
\nAssociate Head of Sale
\nbgreen@phillips.com
\n+1 917 207 9090

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Studio B.B.P.R., Ceiling light, model no. 2045/p, from the Jane and Gerald Gidwitz residence, Highland Park, Illinois, circa 1962. Design New York.

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The diversity of works on offer in our upcoming design sale presents an opportunity to consider a wide range of makers who worked across varied materials, locations, time periods, and social and cultural contexts. What is particularly striking is the depth with which the selection presents these broad approaches.

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Below, we highlight a few categories in order to investigate this selection. Visit our New York gallery at 432 Park Avenue through 8 June to discover these remarkable connections firsthand.

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Art Nouveau

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Louis Majorelle, "La Cascade" cabinet, circa 1899. Design New York.
\nPhotography by Clément Pascal.

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Among the most striking aspects of the selection is an important group of French Art Nouveau lighting and furniture from a private collection. These pieces present some of the most desirable designs by key French designers at the turn of the 20th century, with many of the designs included in various world expositions. These works by designers Daum Frères, Louis Majorelle, Émile Gallé, Eugène Gaillard, and Georges de Feure are superlative examples of the movement.

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Daum Frères and Louis Majorelle, "Nénuphar" table lamp, circa 1903. Design New York.

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Key highlights range from Daum Frères’ and Louis Majorelle’s “Nénuphar” table lamp — a stunning table lamp in the form of a water lily — to Louis Majorelle’s elegently ornamented “La Cascade” cabinet. These two dynamic pieces in particular showcase the genre’s penchant for representing the natural world, use of modern materials, and exquisite craftsmanship. Phillips’ styling and photography of this group at Studio Giancarlo Valle offers a fresh take on how Art Nouveau works can be recontextualized in a contemporary interior.

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From Coast to Coast

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Harry Bertoia, Untitled (Sonambient), circa 1976. Design New York.

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American design features prominently in the sale, showcasing a range of important designers from both coasts. Desirable works from Delaware Valley modernists include the monumental “Sculpture Front” panel by Paul Evans, which comes from a private collection and is exceedingly rare due to the gilt and painted steel decorations on both sides. Other artists in the sale from this region include the renowned Harry Bertoia (the prodigious Sonambient comes from the distinguished collection of Gabriele & Robert Lee) and George Nakashima. The three works by Nakashima — a set of eight “New” dining chairs, a “Frenchman’s Cove II” dining table, and a two door cabinet — all come from the same private collection in Houston, Texas. Remarkably, they’ve remained in the same family since their direct acquisition from the designer’s studio in the 1960s.

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George Nakashima, Two-door cabinet, 1962. Design New York.

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Doyle Lane, Clay painting, circa 1965. Design New York.

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Turning to the West Coast, the sale offers work by the pioneering Black ceramicist Doyle Lane. Available are not only two of his weed pots, but Phillips offers one of his clay paintings for the first time — the two areas for which Doyle is most well-known.

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Doyle Lane, Weed pot, circa 1970 and Weed pot, circa 1970. Design New York.

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\n
I think the best way to seek fame is not to seek it, and to do just what you have to do—or can do—and let it go at that. To be spiritual is to be balanced.
\n—Doyle Lane
\n

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A Brazilian Quintet

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José Zanine Caldas, Rare dining table, 1977. Design New York.

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The sale also features works by perhaps the five most important figures in 20th century Brazilian design. A standout is a rare dining table by José Zanine Caldas with exceptional provenance. The table was acquired directly from the designer in 1977 by the Brazilian art dealer Bruno Musatti and his wife, artist Jeanete Musatti. It was held in their collection until 2020, when it was acquired by the current owner. Further remarkable works of Brazilian design on offer include a pair of “Girafa” chairs by Lina Bo Bardi, a sofa and pair of armchairs by Joaquim Tenreiro, the “Mucki” bench by Sergio Rodrigues, and a side table by Martin Eisler.

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Joaquim Tenreiro, Sofa and pair of armchairs, circa 1960. Design New York.

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Italian Design in America

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Gio Ponti, Pair of wall lights, from the Time & Life Building, New York, circa 1959. Design New York.

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The influence of Italian design flourished in the United States in the 1950s and ‘60s. Countless Italian designers collaborated with U.S. based manufacturers and exhibitions highlighting Italian design popped up across the country, including Italy at Work at the Brooklyn Museum. A selection in the sale represents works that are a direct response to this influence or showcase the ways that Italian design became prevalent in the U.S. during the post war period.

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One of the most exciting lots of this group is a pair of rare wall lights designed circa 1959 by Gio Ponti for the auditorium of the Time & Life Building in New York City. A exceptionally rare and exciting offering, this pair of lights has never come to auction before. Additionally, a remarkable ceiling light designed by Studio B.B.P.R. is on offer. The original owners were important modern art and design collectors in Illinois and this is representative of their incredible taste. The work has remained installed in a Highland Park home since the early 1960s. A Gio Ponti desk, designed for the Altamira showroom in New York, is representative of an example of the numerous works Ponti created for the American market.

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Gio Ponti, Desk, designed for the Altamira showroom, New York, circa 1953. Design New York.

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Women’s Voices

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Joyce Anderson and Edgar Anderson, Wall-mounted cabinet, 1960s. Design New York.

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Phillips is also pleased to offer magnificent works by three key women makers for the first time — a walnut cabinet with an inlaid stone mosaic top by New Jersey-based woodworker Joyce Anderson and her husband Edgar Anderson, two knotted linen works by textile artist Diane Itter, and a coat rack in stainless steel by Gloria Kisch. Additionally, the sale features several works from an interior designed by Muriel Brandolini, who is known for her eclectic and playful interiors.

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Uncover More

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In addition to these categories the sale flourishes with many other designers and aesthetic movements, including French pre- and post-war design as well as Scandianavian design. Additional works by three ceramicists who explored the formal possibilities of the clay medium at the turn of the 21st century — Gaert Lap, Bodil Manz, and Babs — carry the remarkable historical reach of this selection head-on to the present moment.

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Discover More from Design New York >

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Recommended Reading

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Double Coded: Glenn Adamson explores a "Sculpture Front" screen by Paul Evans >

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A Bold New Brilliance: Electric Art Nouveau Lighting >

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\n","publishDate","2023-06-01T12:49:25.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/123794571/bold-connections-design-new-york-auction","displayOrder","auctionEditorialID",1865,"editorialID",4259,"flocklerID",123794571,"https://flockler.com/thumbs/sites/889/paul-evans-47449d5f-9a8f-4374-a239-1957f196ec8f_s600x0.jpg","Writer and curator Glenn Adamson explores a \"Sculpture Front\" screen by Paul Evans.","Double Coded","

Paul Evans, Rare two-sided "Sculpture Front" screen, 1966. Design New York.

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—Written by Glenn Adamson

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A fascinating fact: forty years ago, Paul Evans founded a company called Zoom, Inc. The venture, a collaboration with his son Keith, was devoted not to telecommunications but to newfangled, electronically-activated furniture, which bore a strong resemblance to contemporaneous kinetic sculpture. The enterprise was not ultimately a success, but it certainly attests to this designer’s restlessly inventive nature. Throughout his long career, he wondered what the Home of the Future might look like, and then actually set out to create it, using all the technical and artistic possibilities at his command.

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No work from Evans’ oeuvre demonstrates this better than the present screen, made in 1966, when he was at the zenith of his creative powers. It is a masterwork of his widely admired Sculpted-Front idiom, which he had begun five years earlier, initially for a two person show with Philip Powell at America House in New York City. The works in the series have rectilinear façades that are sub-divided into discrete compartments, each of which holds a unique geometric motif. These elements, suggestive of some code or rebus, are incredibly varied — some forged, some cast, either polished or matte, massive or linear — a fully developed lexicon, with the graphic character of an ideographic language.

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The present lot, photographed in Paul Evan’s garden, circa 1966.

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The screen, then, is a syllabary of metalwork, literally bursting with ideas. It is also exceptional within the series due to its large scale, all the more impressive because it is double-sided. The original client is unknown, but the work was obviously a major commission, presumably intended to serve as a room divider. A period photograph, taken in the garden outside Evans’ home and shop on Aquetong Road in New Hope, shows that it once hung in a steel frame; the great, articulated monolith would have hovered in free space. One thinks, perhaps, of Stanley Kubrick’s 2001 — which was in production in London, as the screen was being made — and the comparison points up just how futuristic Evans’ furniture would have looked at the time. Like so much good science fiction, he pushed at the boundaries of the known, reframing ideas from the past to forge new, speculative possibilities.

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Continue Reading Glenn Adamson’s Double Coded: A Sculpture Front Screen by Paul Evans >

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Recommended Reading

\n\n

Discover the E-Catalogue: Important Art Nouveau Lighting and Furniture from a Private Collection >

\n\n

\n","2023-05-23T10:00:00.000000Z","https://www.phillips.com/article/122864058/double-coded-design-auction-new-york",2,1852,4238,122864058,"https://flockler.com/thumbs/sites/889/daum-fr-res-and-louis-majorelle-magnolia-table-lamp-circa-19-0a733b05-ff37-4b11-a53e-e3d310cee2d1_s600x0.jpg","On the occasion of offering an exceptional group of Art Nouveau from an important private collection, Luke T. Baker considers the advent of artistic lighting concurrent with electrification and the incandescent light bulb. Styling and photography in the showroom of Studio Giancarlo Valle reimagines the category in a contemporary setting.","A Bold New Brilliance: Electric Art Nouveau Lighting","

Daum Frères and Louis Majorelle, "Magnolia" table lamp, circa 1904. Design New York.
\nPhotography by Clément Pascal.

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Discover the E-Catalogue: Important Art Nouveau Lighting and Furniture from a Private Collection >

\n\n

—Written by Luke T. Baker

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On the cusp of the 20th century, designers in France, Belgium, Great Britain and beyond brought together two complementary and dynamic developments that would come to symbolize the progressive home: electric lighting and the emphatically forward-thinking Art Nouveau style. These six exquisite table lamps by French Art Nouveau masters Émile Gallé, Louis Majorelle, Maurice Boval, and the Daum glassworks assert a newfound sense of aesthetic freedom made possible by the advent of electricity. Each work embodies a highly unique reflection of the ways these artists, craftsmen, and glassworkers defined the new artistic forms that gave shape to this thoroughly modern mode of illumination.

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Georges de Feure, Pair of side chairs, circa 1900. Design New York.
\nPhotography by Clément Pascal.

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No modern-era innovation has been as transformative on the domestic interior as the introduction of electric lighting. After tens of thousands of years of relying on smoky candles, finicky oil lamps, and dangerous gas jets to stave off the darkness, electric-powered light began to enter our homes (and workplaces, schools, and public places) beginning in the 1880s. While early examples of electric lighting emerged in the first decades of the 19th century, it wasn’t commercially viable until the introduction of the vacuum-sealed incandescent bulb, perfected almost simultaneously by British chemist Sir Joseph Swan (1878) and American inventor Thomas Alva Edison (1879). The electricpowered incandescent lamp marked a sea change from the prevailing paradigm of combustion lighting, delivering clean, safe, and reliable illumination at the touch of a button. For those early adopters who could afford such a novelty, it was a life-changing — if still mysterious — means of bringing brightness into the home without the maintenance, mess, and hazard of fuel-burning lamps.

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Left to Right — Émile Gallé, Lotus table lamp, circa 1900, Daum Frères and Louis Majorelle, "Nénuphar" table lamp, circa 1903, and Daum Frères and Louis Majorelle, "Magnolia" table lamp, circa 1904. Design New York.
\nPhotography by Clément Pascal.

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Before this point, the design of domestic lighting was, in large part, governed by the practical requirements of the format. Open flames, fuel reservoirs, glass chimneys, drip collectors, and connection to gas lines dictated what lamps could look like, and often, where they could be located. Electric lamps, conversely, needed only a cord, bulb, and optional shade, enabling designers to divorce form from function and take lighting to new levels of artistry and abstraction. In the hands of designers like Gallé and Majorelle, lamps assumed Art Nouveau’s signature linework and organic motifs, becoming domestic sculptures resembling flowers and plants. Their intricate metalwork bases evoked vining tendrils or naturalistic stems, supporting art glass shades (a French specialty) that emphasized color and texture and revisited ancient glassworking techniques with new vitality. Lighter and more sculptural than the ornately decorated combustion lamps that preceded them, these stylized electric lamps could be easily moved from room to room to bring visual interest and focused lighting to tablescapes, fireplace mantels, and writing desks.

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The gorgeous Nénuphar lamp, produced by Majorelle with the Nancy-based Daum Frères studio around 1903, exemplifies Art Nouveau’s rejection of historicist styles and intense interest in nature. This water lily-inspired lamp is perched on a patinated bronze stalk, as though emerging from a pond flanked by a trio of frogs. The flower-shaped glass shade exhibits the beautiful effect of colored glass, carefully layering the petals’ soft pink with the translucent green veining of a naturalistically rendered leaf. A tiny insect of jewel-like applied glass adorns the blossom on each side. Majorelle and Daum’s design introduced the novel artistic possibilities of Art Nouveau lighting to audiences at both regional and national exhibitions, and today, variant examples of this important work can be found in the collections of the Musée D’Orsay and the Museum of Modern Art.

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Établissements Gallé, Flowering maple table lamp, circa 1920 and Eugène Gaillard, Set of nesting tables, circa 1913. Design New York.
\nPhotography by Clément Pascal.

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The flower-inspired electric lamp was ideal for showcasing the marvel of the incandescent bulb, unlike many combustion-fueled contemporaries that sought to conceal the burning gas jet or the mantle mechanism of an oil lamp. In Majorelle’s alluring Magnolia lamp from 1904, the bare, clean-burning bulb is nestled within the open petals of the namesake bloom, masterfully rendered in opalescent glass by Daum Frères and perched on a stylized bronze branch complete with buds. The distinctive Chardon lamp also shows off the aesthetic possibilities engendered by the small, smokeless bulb. An elongated and highly naturalistic bronze stalk created by Maurice Bouval cradles a glowing purple thistle head made from translucent etched glass (also by Daum Frères) — a precious glass globe within a precious glass globe. (The thistle, or chardon in French, is significant as a symbol of the Lorraine region, home to the Daum studio, and the École de Nancy, both prolific centers for Art Nouveau design.)

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Daum Frères and Louis Majorelle, "Magnolia" table lamp, circa 1904 and Louis Majorelle, Gueridon, circa 1902. Design New York.
\nPhotography by Clément Pascal.

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Two examples by Gallé, the colorful Lotus table lamp from c. 1900 and the spectacular mushroom-shaped Ombelle lamp from about 1903 both sit atop elegant decorative glass bases with bronze or wrought iron supports. With only a thin cord bringing steady power to the light source, Gallé’s graceful, stem-like natural forms are unencumbered by bulky fuel reservoirs, fill spouts for replenishing oil or kerosene, knobs for controlling the flame height, or complex clockwork and spring-loaded mechanisms for bringing the fuel to the wick.

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Louis Majorelle, "La Cascade" cabinet, circa 1899. Design New York.
\nPhotography by Clément Pascal.

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A flower-inspired circa 1900 metal and glass table lamp, also by Gallé, compellingly captures one of the most significant design opportunities designers exploited with new flameless electric lighting. Whereas the light source in a combustible lamp always needs to be oriented upright with the direction of the flame, the electric bulb is uniquely able to function flawlessly and direct light at any angle, even when pointed straight down. The Gallé lamp features a sinuous, patinated bronze base perched on coiling tendrils and a realistically modeled leaf, but its most striking feature is the red shade of cased and etched glass, which hangs downward like a bell-shaped flower to cast its light upon a desk or table. These six Art Nouveau table lamps are charged with a vivacious spirit that captures the energy and excitement of the electric age. The invisible, abstract concept of electricity and the unique properties of the incandescent bulb invited Art Nouveau designers to look to the natural realm for organic inspiration. Liberated from the functional mandates and historic precedent of the combustion flame, each lamp expresses a modern reimagining of the form, fit for illuminating our modern new world.

\n\n

Discover More from Design >

\n\n

Recommended Reading

\n\n

Double Coded: Writer and curator Glenn Adamson explores a "Sculpture Front" screen by Paul Evans >

\n\n

\n","2023-05-22T16:07:00.000000Z","https://www.phillips.com/article/122868072/a-bold-new-brilliance-art-nouveau-design-auction-new-york",1,1851,4239,122868072,"https://flockler.com/thumbs/sites/889/timelifewalllights-19d72303-7091-4165-bd61-a8d73f9411e3_s600x0.jpg","Brian Kish on Ponti’s Time & Life Obelisk Wall Lights.","A Pair of Storied Ponti Wall Lights Emerges","

Gio Ponti, Pair of wall lights, from the Time & Life Building, New York, circa 1959. Design New York.

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The recent discovery, and first-time appearance onto the market, of this pair of illuminated wall lights, sheds “new light” on one of Ponti's most important but lesser-known architecture and design commissions: the 1959 auditorium building on top of the 8-story wraparound annex to the 48-story Time & Life tower. This pair, in a very ample gauge of brass, is nearly four feet high. They likely came from the dining room and are at this time the only remaining examples from a set of six that Ponti positioned throughout a complex of six interpenetrating rooms. Besides the dining room, there was a reception lounge, an auditorium, a kitchen, a bar, and a conference room. Suspended from the wall surfaces, by barely a half inch, their masked lighting lends a note of mystery to a historic emblematic form: the Egyptian obelisk. “The obelisk teaches architecture. It is perhaps the very symbol, the pure symbol of architectural expression from which a song arises, the lines of which do not pose, do not sleep, do not merely stand but are static in motion - the ecstasy of a movement.”

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The dining room of Gio Ponti’s auditorium at the Time & Life Building, New York, circa 1959.

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The context of this commission is also critical to a greater understanding of how and why Ponti concentrated so many ideas into his first American architectural work. The main skyscraper building was designed by Wallace Harrison and Max Abramovitz in 1956 and completed in 1959. It was the headquarters of Time & Life, publishers of numerous magazines but best known for each of the company’s namesakes not just in the United States but around the world. The company owner was Henry Luce, whose wife, Clare Booth Luce, a writer and politician was appointed as U.S. ambassador to Italy in 1953, which eventually led them to become acquainted with both Ponti and his wife Giulia Virmacati Ponti.

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According to Ponti's daughter Lisa Licitra Ponti: “the Luces, both Clare and Henry, were close to my parents, who were often invited to their dinners and receptions in Rome and Milan.” In its September 9, 1957 edition, Time published the article “Art: The Pleasure of Ponti” which extolled his “effervescent genius.” Soon after, Ponti received this commission from Luce, his first American-built work that preceded two other important projects: the Manhattan Alitalia showroom of 1958 and the Denver Art museum of 1965.

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For the auditorium pavilion Ponti chose the diamond shape as a catalyst to symbolize his particular humanist vision. This allowed him to explore the most diverse typologies, and interconnections within the vast realm of his creative practice, encompassing art, architecture and above all design. This prestigious project was generously funded, which provided Ponti with an opportunity to demonstrate the specific elegance of Italian design and architecture with his very own orchestration of crystalline geometries. The project proved to be a calling card for Italian culture in New York and beyond, extending Ponti's worldwide reach in the 1950s to Caracas, Stockholm, Baghdad and later, in the 1960s further to Tehran, Islamabad, and Hong Kong, with projects that all incorporated regional variations on his diamond matrix.

\n\n

\n\n

The exterior of the pavilion designed by Gio Ponti for the Time & Life Building, New York, circa 1959.

\n\n

While he had previously used the obelisk motif in the wall lights for the 1950 Vembri-Burrows offices in Turin and Genoa, they were embedded in an illuminated niche-like brass frame. A 1953 drawing for the New York showroom of Altamira shows a concept for a solitary wall light, but it was never made. For the Time & Life pavilion, Ponti isolates this compelling form, and enhances its salient shaft with six protruding diamonds, analogous to Italian Renaissance rustication, as seen over the 1493 Palazzo dei Diamanti di Verona. By repeating the diamond form on the wall lights, this image is forever looped in an optical density reflected throughout the inner and outer geometries of the pavilion.

\n\n

\n\n

Lobby of Gio Ponti’s auditorium at the Time & Life Building, New York, circa 1959.

\n\n

In a review published in a 1960 issue of Architecture Forum, the Harrison and Abramovitz tower is described in a perfunctory manner, noting the 32-foot-high lower lobby in luxurious materials framing the commissioned artwork by Josef Albers and Fritz Glarner. However, there is no mention of the now famous “Time & Life” swivel office chairs, designed by Charles and Ray Eames. Still, the author goes on to describe Ponti's pavilion interior enthusiastically as “voluptuous” in an almost “Baroque” manner. The furniture (chairs, consoles, and tables) is commented upon as “neo-Art Nouveau,” having “as many joints as a praying mantis.” Ponti's Giallo Fantastico flooring for Pirelli is praised as “a grand lava flow of sheet rubber in yellow, marbled with streaks of green, and dark blue, all set on a bias.” Considering its purpose for advertising conferences and meetings, the writer compliments the boldness of design in glowing terms by observing that “only the design-wily Italian could dare the critics — but he knew his Madison Avenue audience.”

\n\n

\n
The obelisk teaches architecture. It is perhaps the very symbol, the pure symbol of architectural expression from which a song arises, the lines of which do not pose, do not sleep, do not merely stand but are static in motion — the ecstasy of a movement.
\n—Gio Ponti: Amate l'architettura
\n

\n\n

Since they were exclusively used for this program, the Ponti obelisk wall lights are distinct from all the other lighting used throughout the angled, interconnecting rooms. All were made by Arredoluce, the prestigious lighting company of Angelo Lelii. The other fixtures for the ceilings and walls were derived from earlier Ponti designs and consisted of hexagonal, circular, and rectangular elements, which soon after were put into production and retailed at their shops throughout Italy. In contrast, the obelisk wall light fitted well into Ponti's concept of an architectural icon that is both metaphysical and analogous to a “universal” symbolic marker. It is unsurprising that he chose such an emblem for a publishing firm whose reach was worldwide, and yet harnessed his own agenda of “architecture as crystal” into the mix.

\n\n

\n\n

Lighting designs by Gio Ponti for the Altamira showroom, which were never realized, circa 1953. Image credit: Gio Ponti Archives / Salvatore Licitra.

\n\n

In 1983 the Ponti pavilion interior was dismantled and redesigned in a nondescript late modernist idiom. The journal Oculus of the New York chapter of the A.I.A. published a comment acclaiming the project as a reconstruction of the original Art Deco design. This kind of misreading is symptomatic of a then-somewhat casual approach to architectural journalism. Forty years on, in light of countless rigorous academic evaluations we are in a better position to fully appreciate the radiating power of Ponti’s illumination scheme for the Time & Life pavilion and his obelisk wall lights, freshly rescued from obscurity, can now glow again for years to come.

\n\n

Discover More from Design New York >

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Recommended Reading

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Double Coded >

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A Bold New Brilliance: Electric Art Nouveau Lighting >

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Joyce and Edgar Anderson – contemporaries of Sam Maloof, George Nakashima, and Wharton Esherick – are important figures of 20^th century American woodworking, though their work has gone largely underrecognized. Both Joyce and Edgar grew up in New Jersey and they met in high school, kickstarting a life—both personally and professionally—together. After studying mechanical engineering and architecture at Pratt Institute, Edgar moved to Chicago to continue his studies. Joyce, though not formally trained as a designer or architect, moved with Edgar and continued to develop her interest in the field, becoming one of the first professional female woodworkers in the United States at the time. After graduating and working on several architectural projects, the Andersons realized that they preferred designing furniture, as it allowed them full control of the project – from conceptualization to execution.

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“We went into furniture because it was a process for which we alone could be totally responsible.”
\n—Edgar Anderson

\n\n

The pair each had their own unique skill set: Joyce focused primarily on woodturning, aesthetic decisions, and finances while Edgar focused on the more technical and mechanical aspects of their furniture production. Describing this division of labor, a 1983 American Craft article noted, “Joyce specializes in the lathe and performs all of the turning and is more adept at selecting colors, matching grains and performing mathematical calculations to estimate cost and amount of materials – Edgar is more technically inclined and mills most of the lumber they use.” Oftentimes each of them would come up with a design separately and then would present to each other or the client, who would then pick the best design.

\n\n

\"\" — Joyce and Edgar Anderson working outside of their studio.

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In the 1950s, the couple acquired fifteen acres of land outside of Morristown, New Jersey, where they built their studio and home. The area was surrounded by various tree species, from spruce to walnut, oak, birch, ash, and beech, and they often used this wood in their projects. Working independetly, they took on various private and public commissions. Though their style changed over the span of the second half of the 20^th century, their work represents a steadfast commitment to exploring the material possibilities of wood. The Andersons preferred to imbed the functional elements of a piece of furniture, such as knobs and pulls, into the design itself; the present cabinet, for example, opens by simply pushing onto the front of the cabinet. Many of their designs also incorporate mosaics. Though they did work with mosaicists Hugh Wiley in certain early projects, it is likely that Joyce herself completed the mosaic on the top of the present cabinet.

\n\n

“Sometimes you have a design and then you go look for the right wood for the kind of design or for the kind of place you want to put it. Other times, you look at a wonderful piece of wood and you say, ‘I'm going to make a—whatever it is—out of it.’”
\n—Joyce Anderson

\n\n

The present wall-mounted cabinet previously belonged to Charmaine and Maurice Kaplan, San Diego-based philanthropists who supported various art and cultural institutions. Upon their passing in 2007, the couple bequeathed much of their design collection to the Mingei International Museum, a museum dedicated to craft, design, and folk art. While the present cabinet was included in the gift, it was subsequently sold in support of the museum.

\n\n

A select group of works by Joyce and Edgar Anderson are held in the permanent collection of the Philadelphia Museum of Art. Their furniture rarely comes to market, particularly in this scale and the current offering represents the first time that a significant work by the Andersons has appeared at auction – an important and rare opportunity for collectors.

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Art Nouveau

Louis Majorelle, "La Cascade" cabinet, circa 1899. Design New York.\nPhotography by Clément Pascal.

Daum Frères and Louis Majorelle, "Nénuphar" table lamp, circa 1903. Design New York.

From Coast to Coast

Harry Bertoia, Untitled (Sonambient), circa 1976. Design New York.

George Nakashima, Two-door cabinet, 1962. Design New York.

Doyle Lane, Clay painting, circa 1965. Design New York.

Doyle Lane, Weed pot, circa 1970 and Weed pot, circa 1970. Design New York.

A Brazilian Quintet

José Zanine Caldas, Rare dining table, 1977. Design New York.

Joaquim Tenreiro, Sofa and pair of armchairs, circa 1960. Design New York.

Italian Design in America

Gio Ponti, Pair of wall lights, from the Time & Life Building, New York, circa 1959. Design New York.

Gio Ponti, Desk, designed for the Altamira showroom, New York, circa 1953. Design New York.

Women’s Voices

Joyce Anderson and Edgar Anderson, Wall-mounted cabinet, 1960s. Design New York.

Uncover More

The present lot, photographed in Paul Evan’s garden, circa 1966.

Georges de Feure, Pair of side chairs, circa 1900. Design New York.\nPhotography by Clément Pascal.

Left to Right — Émile Gallé, Lotus table lamp, circa 1900, Daum Frères and Louis Majorelle, "Nénuphar" table lamp, circa 1903, and Daum Frères and Louis Majorelle, "Magnolia" table lamp, circa 1904. Design New York.\nPhotography by Clément Pascal.

Établissements Gallé, Flowering maple table lamp, circa 1920 and Eugène Gaillard, Set of nesting tables, circa 1913. Design New York. \nPhotography by Clément Pascal.

Daum Frères and Louis Majorelle, "Magnolia" table lamp, circa 1904 and Louis Majorelle, Gueridon, circa 1902. Design New York. \nPhotography by Clément Pascal.

Louis Majorelle, "La Cascade" cabinet, circa 1899. Design New York. \nPhotography by Clément Pascal.

The dining room of Gio Ponti’s auditorium at the Time & Life Building, New York, circa 1959.

The exterior of the pavilion designed by Gio Ponti for the Time & Life Building, New York, circa 1959.

Lobby of Gio Ponti’s auditorium at the Time & Life Building, New York, circa 1959.

Lighting designs by Gio Ponti for the Altamira showroom, which were never realized, circa 1953. Image credit: Gio Ponti Archives / Salvatore Licitra.

Louis Majorelle, "La Cascade" cabinet, circa 1899. Design New York.
\nPhotography by Clément Pascal.

Georges de Feure, Pair of side chairs, circa 1900. Design New York.
\nPhotography by Clément Pascal.

Left to Right — Émile Gallé, Lotus table lamp, circa 1900, Daum Frères and Louis Majorelle, "Nénuphar" table lamp, circa 1903, and Daum Frères and Louis Majorelle, "Magnolia" table lamp, circa 1904. Design New York.
\nPhotography by Clément Pascal.

Établissements Gallé, Flowering maple table lamp, circa 1920 and Eugène Gaillard, Set of nesting tables, circa 1913. Design New York.
\nPhotography by Clément Pascal.

Daum Frères and Louis Majorelle, "Magnolia" table lamp, circa 1904 and Louis Majorelle, Gueridon, circa 1902. Design New York.
\nPhotography by Clément Pascal.

Louis Majorelle, "La Cascade" cabinet, circa 1899. Design New York.
\nPhotography by Clément Pascal.

48

Joyce Anderson and Edgar Anderson

Wall-mounted cabinet

Further Details

Full-Cataloguing

Joyce Anderson and Edgar Anderson