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拍賣 2023年10月31日
\n格林尼治時間下午2:00
\n

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倫敦伯克利廣場30號 W1J 6EX（地圖）
\n

\n\n

預展 10月25至31日
\n星期一至六上午10:00-下午6:00
\n星期日下午12:00-下午6:00
\n

\n\n

瀏覽及下載網上圖錄 >
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\n","auctionDetailsSmall","倫敦拍賣 2023年10月31日","extraInfo","

Antonia King
\n設計部拍賣主管
\n+44 20 7901 7944
\nAntonia.King@phillips.com
\n

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384],"viewing",{"_232":233,"_234":235,"_48":236,"_237":238},"articles",[174,175,176,177],"departments",[169],"auctionCurrency",{"_166":72,"_167":168},{"_157":158,"_159":160,"_161":162,"_163":49,"_164":165},"totalLotCount",134,"auctionMobilityAuctionRowId","1-7UZ8IQ","auctionUrl","https://www.phillips.com/auction/UK050423","countryName","United Kingdom","countryCode","GB","line1","30 Berkeley Square","city","postCode","W1J 6EX","currencyCode","currencySign","£",{"_170":171,"_172":96,"_173":96},"departmentId",3,"departmentName","departmentDisplayName",{"_178":223,"_180":96,"_181":224,"_16":225,"_184":226,"_186":227,"_188":189,"_190":191,"_192":193,"_194":228,"_196":193,"_197":229,"_199":230,"_201":231},{"_178":213,"_180":96,"_181":214,"_16":215,"_184":216,"_186":217,"_188":189,"_190":191,"_192":193,"_194":218,"_196":219,"_197":220,"_199":221,"_201":222},{"_178":203,"_180":96,"_181":204,"_16":205,"_184":206,"_186":207,"_188":189,"_190":191,"_192":193,"_194":208,"_196":209,"_197":210,"_199":211,"_201":212},{"_178":179,"_180":96,"_181":182,"_16":183,"_184":185,"_186":187,"_188":189,"_190":191,"_192":193,"_194":195,"_196":171,"_197":198,"_199":200,"_201":202},"coverUrl","https://flockler.com/thumbs/sites/889/hoffman-cabinet-frontal-c85c68d5-9172-4753-bed4-f47ea1114716_s600x0.jpg","section","summary","Josef Hoffman was among the most influential furniture designers of early 20th century.","A Masterpiece by the Cofounder of the Wiener Werkstätte","body","

Josef Hoffmann Unique sideboard, circa 1927 (Lot 86). Design London.

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This magnificent work by Josef Hoffman features in our Design auction in London on 31 October.

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By Dr. Christian Witt-Dörring

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\nWhen he designed this cabinet in 1927, Hoffmann was at the peak of his creative career and international success despite simultaneously being exposed to Adolf Loos's intensified culturalcritical attacks. The years after the fall of the Austro-Hungarian monarchy were marked by contradictory conditions that were detrimental to the realization of Hoffmann's artistic ideas and projects. As artistic director of the Wiener Werkstätte, which was founded by him and from the outset was dependent on the patronage of the upper-middle classes for its luxury production, Hoffmann lost customers in the course of the economic decline of the young Austrian Republic, hyperinflation, and mass unemployment. In 1925, however, as director of the Austrian participation in the International Exhibition of Decorative Arts in Paris, he was able to realize the Austrian pavilion and set up a brilliant presentation of works by the Wiener Werkstätte. He was awarded the Order of the Legion of Honor by the French President for this project. At the same time, Loos was working on a residence for Tristan Zara in Paris and, in light of Hoffmann's pavilion and its programmatic focus on modern arts and crafts, he vehemently warned against its aberrations in relation to the needs of modern culture.

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Preparatory drawing for the present work by Josef Hoffmann, circa 1926. Image: © MAK.

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Loos made his criticism widely known. On 20 April 1927, he gave a lecture in the large hall of the Viennese Music Society entitled “The Viennese Woe... A Settlement of Accounts!” Only three weeks later, on 14 May, Hoffmann opened the 1927 Vienna Art Show at the Austrian Museum of Art and Industry, for which he designed the present cabinet. The exhibition consciously alluded to the tradition of the Viennese renewal of the arts of 1897 (founding of the Secession) and the 1908 Vienna Art Show (following the withdrawal of the Klimt group from the Secession in 1907). It was intended to serve as a motivation for a new generation of artists based on the experience of what had been achieved, particularly in these difficult times. In his opening speech, Hoffmann specifically addressed the social and economic realities of the Austrian interwar period and remarked: "You will perhaps see the poverty of our time at every turn in the crude nature of this exhibition, but in other respects you will not fail to notice that in this provisional presentation there is nevertheless a meaningful progress in the fact that continuous conscientious work teaches us to avoid any useless effort."

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The cabinet is no longer part of a set or a Gesamtkunstwerk, thus unbound and adapted to the new living requirements of society. This unboundedness is heightened by the absence of any individual ornamentation. Nevertheless, it radiates individuality, which it owes purely to Hoffmann's design genius. At first glance, it is not any particular effort made towards material choice or craftsmanship that makes the furniture stand out. It is the simple colored varnish paint that defines the furniture as a clear volume. In typical Hoffmann manner, however, this volume allows for various interpretations. The question arises: is it the constructive three-dimensional reality of the furniture body that retains the visual upper hand or the way in which Hoffmann conceived the two dimensionality of the front. The latter is created by framing all structural design elements with triangular (in their cross-section) slats. In principle, this piece of furniture consists of a body and a stand. In the case of the stand, Hoffmann envisions a scenario—it involves laying the triangular slats, now in a double pack, only across its front—whereby the stand can no longer be read as an independent structural element. Ultimately, the furniture radiates symmetry. This symmetry, however, must first be worked out visually, as Hoffmann uses the disruptive element of the offset open and closed compartments. The result as a whole is that of an individualistic conception of harmony, consciously supported by a color scheme that was new for the time. Hoffmann’s opening speech ends with exactly that: ‘You will now think and already suspect that it is not only we who are aware of the special power of color. We have recognized that color as such has a quicker and stronger effect than anything else and that it has replaced much of what we will never be able to afford again, especially in interior design. Therefore, I will conclude with the words a sublime spirit once said. What would the world and our lives be without the color red?’

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Discover More from Design, London >

\n\n

Recommended Reading

\n\n

Designing History: The furniture of Gabriella Colucci and Franco Pierluisi >

\n\n

Signature Modern Treasures by Jean Royère >

\n\n

Lucie Rie: Vienna to London >

\n\n

Incisions into Space: Hans Coper's Cycladic Pots >

\n\n

The Personal Pots: The Jane Coper and Cyril Frankel Collections >

\n\n

\n","publishDate","2023-10-11T19:23:52.000000Z","authorCredit","Don Carroll","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/132882073/a-masterpiece-by-the-cofounder-of-the-wiener-werkstatte","displayOrder","auctionEditorialID",1951,"editorialID",4360,"flocklerID",132882073,"https://flockler.com/thumbs/sites/889/179356-cropped-38f843e1-4528-436e-8193-9da0135976a9_s600x0.jpg","These are icons of French design made in Beirut in the post-war era.","Signature Modern Treasures by Jean Royère ","

Jean Royère Large ‘Tour Eiffel’ console, designed circa 1947, produced circa 1955 (Lot 9). Design London.

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Featured in our Design auction in London on 31 October are five exquisite exemplars of Jean Royère’s work that come with a remarkable single owner provenance.
\n

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In the late 1940s, Jean Royère opened an office with the Lebanese architect Nadim Majdalani on Avenue des Français in Beirut after the two had met in Paris. Their collaboration, which continued through the 1960s, comprised many residential and commercial projects throughout Lebanon, which at that time was experiencing a great deal of growth. Royère established a thriving international practice in Lebanon and his commissions there were featured in French publications during the period.

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The present Console in the original home it was acquired for, Beirut. Photo: Private family archive.

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The present collection of Jean Royère lots (from Lot 9 to Lot 13) in our London auction was acquired at the Galerie L'Atelier opened in 1955 by Majdalani to permanently showcase Royère's works. Mr. Ali Bazzi, a former Lebanese diplomat whose illustrious career includes posts as the Lebanese ambassador to Kuwait and Jordan, moved into a new house shortly after his wedding between 1954 and 1956, for which they acquired these five striking pieces.

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Jean Royère Pair of chairs, circa 1955 (Lot 13). Design London.

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The designs include some of Royère’s quintessential motifs such as the ‘Tour Eiffel’ lattice on the console and reveal the decorator’s predilection for sinuous curves as seen in the clover-shaped tabletop of the coffee table. The overall perforations and balls on the feet of the chairs and armchairs, as well as the rings at the feet of both tables are also another recurrent feature in Royère designs making this group a wonderfully emblematic selection of Royère’s creative output.

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Jean Royère Coffee table, circa 1955 (Lot 10). Design London.

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Jean Royère Occasional table, circa 1955 (Lot 12). Design London.

\n\n

\nDiscover More from Design, London >

\n\n

Recommended Reading

\n\n

Designing History: The furniture of Gabriella Colucci and Franco Pierluisi >

\n\n

A Masterpiece by Josef Hoffman, Cofounder of the Wiener Werkstätte >

\n\n

Incisions into Space: Hans Coper's Cycladic Pots >

\n\n

The Personal Pots: The Jane Coper and Cyril Frankel Collections >

\n\n

Lucie Rie: Vienna to London >

\n","2023-10-11T19:23:28.000000Z","https://www.phillips.com/article/132882071/signature-modern-treasures-by-jean-royere",2,1950,4361,132882071,"https://flockler.com/thumbs/sites/889/3-3-1855fec6-f820-4c47-9fc3-694f0cdbda24_s600x0.jpg","The furniture of Gabriella Colucci and Franco Pierluisi (G.R.A.U.) for the restoration of the Villa of Cardinal Chigi in Ariccia, near Rome.","Designing History","

Villa of Cardinal Chigi in Ariccia, near Rome. Photo: © Patrizia Nicolosi.

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A selection of works designed for the restoration of the Villa of Cardinal Chigi by the Roman Architects and Urbanists Group (G.R.A.U.) feature in our Design auction in London on 31 October.

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By Stefano Poli

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\nThe work of the Roman Architects and Urbanists Group (G.R.A.U.) can partly be understood within the context of a rejection of the excessive linguistic and methodological homogenization in architecture associated with the so-called International Style. Especially in Italy, between the 1950s and 1960s, there was a critical attitude towards the recent international tradition of modern architecture. Buildings such as the Torre Velasca by Studio B.B.P.R (Milan, 1955–57), Ignazio Gardella's Casa alle Zattere (Venice, 1958–62), the Neoliberty architecture of Roberto Gabetti and Aimaro Isola in Turin, as well as the crucial work of Bruno Zevi and the Association for Organic Architecture (APAO, founded in Rome in 1945), became vehicles for both a new focus on historical and urban aspects and the search for an alternative expression of modernity. In particular, the attempt to establish a synthesis between the city's historical fabric and new architecture, considering history as the very substance of contemporary design, led to a debate that flared up in the pages of the English magazine The Architectural Review with a scathing article by Reyner Banham, to which Ernesto Nathan Rogers responded with a firm sense of irony in Casabella Continuità.

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G.R.A.U. designs for the Villa of Cardinal Chigi in Ariccia near Rome in the present auction (from top left): Lot 93 Pair of custom floor lamps with cabinets, circa 1967, Lot 98 Pair of custom bookcases, circa 1967, Lot 96 Pair of custom beds, circa 1967, and Lot 91 Custom bookcase, circa 1967. Design London.

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On one hand, this historical and critical context partly frames G.R.A.U.’s work. On the other hand, one must place the cultural context of the group within its unique Roman setting. The acronym declared the group's identity, founded on the inseparability of architecture from urban planning and the Roman character of the association. The inextricability between these realms is evident in the restoration project of the 16th century Villa of Cardinal Chigi in Ariccia, near Rome (executed in 1967), from which the present furniture originates.

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Giovanni Borromini’s perspective corridor at Palazzo Spada, Rome. Photo: Borromini © Laudibi | Dreamstime.com.

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The history of Western architecture, guided by perspective geometry and adorned with references to examples of ancient and Baroque Roman architecture, permeates the entire project, aligning modifications and reconstructions according to an ideal symmetrical plan. The oldest part of the building regains centrality compared to later additions, while the urban context determines the visual axes, recalling the landmarks of Palazzo Chigi and the dome of the Church of Santa Maria Assunta by Gian Lorenzo Bernini.

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G.R.A.U. designs for the Villa of Cardinal Chigi in Ariccia near Rome in the present auction (from top left): Lot 94 Pair of custom console tables, circa 1967, Lot 97 Custom desk, circa 1967, Lot 95 Pair of custom chests of drawers, circa 1967, and Lot 92 Custom table, circa 1967. Design London.

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Similarly, the furnishings are defined by the pervasive perspective design that the architects elaborate for each room. In the drawings, imaginary Cartesian lines form a grid within the interior spaces, resembling a deliberate homage to Renaissance perspective studies, accompanied by exuberant references to Michelangelo. In certain portions of the interior space, this abstract grid materialises, moving away from the two-dimensionality of the paper to give life to the shapes and proportions of the furniture, which appear as a three-dimensional transposition of it.

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A drawing of the main floor plan of Villa of Cardinal Chigi in Ariccia, near Rome. © G.R.A.U./ Les architectes du projet. Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat.

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These furnishings clearly exhibit their "architectural" character, emphasising the inseparability of the furniture design from the spatial design that contains them, implicitly engaging with the emerging divide between industrial design and architecture. For Gabriella Colucci and Franco Pierluisi, such a distinction was evidently unacceptable, as it was foreign to the great Italian tradition of design and practically inconceivable.

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Architectural drawing of Villa of Cardinal Chigi in Ariccia, near Rome. © Alessandro Anselmi and Gruppo Romano Architetti Urbanisti, G.R.A.U. Isti Mirant Stella: Architetture 1964–1980, Rome, 1981, p. 110.

\n\n

Discover More from Design, London >

\n\n

Recommended Reading

\n\n

Signature Modern Treasures by Jean Royère >

\n\n

A Masterpiece by Josef Hoffman, Cofounder of the Wiener Werkstätte >

\n\n

Lucie Rie: Vienna to London >

\n\n

Incisions into Space: Hans Coper's Cycladic Pots >

\n\n

The Personal Pots: The Jane Coper and Cyril Frankel Collections >

\n\n

\n","2023-10-11T19:54:56.000000Z","https://www.phillips.com/article/132883142/designing-history",1,1952,4362,132883142,"https://flockler.com/thumbs/sites/889/ponti-table-2-5e4284cb-bbaa-456f-a7c6-4b8ae14ec758_s600x0.jpg","Brian Kish marvels at the visual concision of a rare, newly discovered table by the legendary Gio Ponti.","A Vivid Excursion into Pictographic Tectonics","

Gio Ponti, Rare occasional table, circa 1950, lot 3. Design London.

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Gio Ponti's prescient design masterpiece features in our Design auction in London on 31 October.

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By Brian Kish, Curator and Specialist in 20th Century Italian Architecture and Design, Consultant to the Gio Ponti Archives since 2006

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This hitherto unknown 1952 Ponti design reveals the scope of his experiments in metalwork that provided an opportunity to create dynamic forms with a fundamentally different material from the “natural” solid woods and veneers for which he is widely known. In a world where almost every table, chair, and cabinet has a wood structure and surface, this untypical switch to metal construction prompted him to explore a more concise visual vocabulary.

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Instead of simply highlighting the load-bearing qualities of metals he began using them to demonstrate his own idiosyncratic idea of pictographic tectonics. This first came about in a 1952 design for the waiting room of his architectural office: a coffee table with a granite top supported by a criss-crossing diagonal bracing. Inside his vast atelier there were often casual groupings of prototypes for chairs, stools, and side tables, all structured with complex variations of metal supports. Even the long rectangular drafting tables had expressive black metal framework holding the white formica tops.

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Gio Ponti, coffee table with steel and and granite top with chiselled edge, executed by Giordano Chiesa, 1952. Photo: © Gio Ponti Archives.

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In designing the present octagonal dining table, Ponti reached a new stage in the development
\nof metal supports: no criss-crossing of rods this time but by a simple diagonal bracing that connects each of the four legs. The scheme has a nearly hieratic, yet jaunty up and down momentum that is evident on all four sides.

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A custom Fontana Arte treatment gives the tabletop glass a delicate, almost eerie presence. The watery surface was achieved by pouring molten lead crystal into a special mould. This process invented by Pietro Chiesa was unique to the firm at that time and used extensively in their 1930s – '40s structural glass furniture. With its softly glazed look, the crystal surface of this dining table is made more dramatic with a hand-chiselled perimeter edge.

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The transparent octagonal shape is held in place by four brass clips that are elongated, folded, and cantilevered from the four table legs. This exquisite twist of Mannerist design exemplifies Ponti's subtle attention to detail, highly complex but seemingly effortless. As always his line tends to generate optical motion but still achieves a solid, definite form. Meanwhile, enigmatic games are waiting to be deciphered with hints, such as numerical divisions landing on the number 8. They are
\nalso manifest, albeit concealed, in the octagonal top where eight Isosceles triangles appear subliminally in the double divisions on each of the four sides.

\n\n

This likely prototype octagonal table, with a blackened steel frame, was designed by Ponti in the interim period when Fontana Arte found itself without a creative director. Between Pietro Chiesa's death in 1948 and 1954 when Max Ingrand took over the directorship, Ponti was asked by the company to help lead it during the post war recovery period. As his architecture practice prospered with numerous commissions, he could not afford to serve again as art director as he had done in 1933. He did however recommend one of his students to Fontana Arte. Besides, he also took advantage of the firm’s superlative standards to produce some of his custom commissions, such as the glass-top pedestal table with blue enamelled metal base for the Villa Arreaza, which again involved a folded metal clip technique to join top and base.

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In the early 1950's Ponti was clearly at the top of his game. It was his most prolific period in the realm of architecture and design. Over the entire decade, he would coordinate a steady stream of private and public architectural commissions side by side, while managing the development of numerous prototypes for interior furniture, lighting, and other design elements, which sometimes led to large scale production batches.

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This experimental table was born during this intensely productive phase soon after he started working with Rima, coming up with dramatic and complex chair designs while also developing a prototype car design for an Alfa Romeo body, Linea diamante.

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Along his entire journey of endless invention, he never fully abandoned any particular form. He kept reviving them according to his theory of architecture as an art embodied in a living crystal, forever striving towards the essential. The crystal, most dear to him, is best exemplified in his own words:

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Pure architecture is a crystal. When it is pure, it is as pure as a crystal - magic, closed, exclusive, autonomous, uncontaminated, uncorrupted, absolute, definitive like a crystal.
\n

\n\n

\nDiscover More from Design, London >

\n\n

Recommended Reading

\n\n

Designing History: The furniture of Gabriella Colucci and Franco Pierluisi >

\n\n

A Masterpiece by Josef Hoffman, Cofounder of the Wiener Werkstätte >

\n\n

Incisions into Space: Hans Coper's Cycladic Pots >

\n\n

Signature Modern Treasures by Jean Royère >

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Preparatory drawing for the present work by Josef Hoffmann, circa 1926. Image: © MAK.

The present Console in the original home it was acquired for, Beirut. Photo: Private family archive.

Jean Royère Pair of chairs, circa 1955 (Lot 13). Design London.

Jean Royère Coffee table, circa 1955 (Lot 10). Design London.

Jean Royère Occasional table, circa 1955 (Lot 12). Design London.

Giovanni Borromini’s perspective corridor at Palazzo Spada, Rome. Photo: Borromini © Laudibi | Dreamstime.com.

G.R.A.U. designs for the Villa of Cardinal Chigi in Ariccia near Rome in the present auction (from top left): Lot 94 Pair of custom console tables, circa 1967, Lot 97 Custom desk, circa 1967, Lot 95 Pair of custom chests of drawers, circa 1967, and Lot 92 Custom table, circa 1967. Design London.

A drawing of the main floor plan of Villa of Cardinal Chigi in Ariccia, near Rome. © G.R.A.U./ Les architectes du projet. Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat.

Gio Ponti, coffee table with steel and and granite top with chiselled edge, executed by Giordano Chiesa, 1952. Photo: © Gio Ponti Archives.

Drawing from 1946, showing studies for two tables in brass and painted iron.\nImage: © Gio Ponti Archives.

Drawing from 1946, showing studies for two tables in brass and painted iron.
\nImage: © Gio Ponti Archives.

105

Roberto Gabetti and Aimaro Isola

《罕有「三部曲」茶几》

完整圖錄內容

Roberto Gabetti and Aimaro Isola