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Preisdatenbank abonnierenA Graupner kit built scale model of a Manhattan 74 yacht, fitted with twin speed turbo motors, driving twin water jet units with twin speed controllers, bow thruster with a marine 15 speed controller and working light, 49" in length with 11" beam, model is built to a very good standard, and is supplied with a wooden carry handle style display stand,
A collection of Lost in Space and UFO related boxed plastic kits to include a Pegasus Hobbies Alfacentury UFOs short range sources kit, two boxed Monogram The UFO 1/72 scale plastic model kit together with a Polar Lights limited edition 1/5000 Lost in Space Jupiter 2 plastic kit, all appear as issued
A GRP hulled and wooden kit built model of a Princess 37 Flybridge cruiser, comprising of white and blue lined body with stained decking, complete with removable superstructure to reveal twin can motors and twin rudders, fully raised on wooden carry handle display plinth, full length 40", beam 13"
A collection of plastic and resin superhero related kits to include a Horizon Original 1/6 scale vinyl model kit of Cyclops No. HOR26, together with a Polar Lights Captain America plastic kit, a Moebius Iron Man plastic kit, and a Polar Lights The Incredible Hulk plastic action figure kit, all housed in original packaging
A Mersey Model Company Ltd of Liverpool stationary horizontal type steam engine comprising of tin housed boiler, with filler cap, exhaust and take-off point, powering a single oscillating cylinder engine with 1½ unspoked flywheel, raised on wooden plinth and housed in the original labelled card box
A collection of unboxed model railway OO gauge locomotives and rolling stock including a Mainline GWR green locomotive (6169), LNER "Flying Scotsman" steam locomotive (A/F) with tender (4472), British Railway black livery locomotive (51200), small selection of rolling stock including Esso tanker etc along with a boxed Corgi "Flying Scotsman" die-cast model
James Cauty (British b. 1956)Suicide Bunny 2Giclee printUnsigned, numbered 29 of 321 with stampFramed and glazed41 x 30 cm (16.5" x 12")Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
◆ Amedeo Modigliani (Italian, 1884-1920) Head of a Girl pencil on papersigned (lower right) Dimensions:43cm x 26.5cm (17in x 10 1/2in)Provenance:Provenance Christopher 'Kit' WoodSold by the above to Lefevre Gallery, 6th March 1930 (stock number 447/29)Acquired from the above by R. K. Blair, 28th January 1932, and thence by family descent to current ownerNote: This delicate, beautiful drawing by Amedeo Modigliani has all the hallmarks of his unique style, with the mask-like face, large but blank almond eyes, the curve of the nose hinting at a Cubist change of viewpoint but not quite, everything described with clarity and a spareness entirely counterpoint to his chaotic, bohemian life. It is perhaps no surprise, then, that it was originally in the collection of another artist: the British painter Christopher ‘Kit’ Wood, who first visited Paris in 1920, just a few months after Modigliani himself had died tragically young, thereby cementing his legend as the enfant terrible of the Parisian avant-garde. Wood himself – tall, handsome, erudite, bisexual – was a perfect fit in bohemian circles and caught the eye of Antonio de Gandarillas, diplomat, patron and friend to many artists, who introduced Wood to everyone who was anyone in the art world.Wood the painter would have found Modigliani’s economy of line and the simplification of form into near abstraction as very close to what he himself was looking for in his art - a ‘modernist primitivism’ that was all the rage in European painting at the time. For Modigliani’s generation, the main inspiration was African art, particularly masks, in which they saw a connection to an underlying visual ‘truth’ that had long been obscured in Europe by technical facility and academic ‘naturalism’. In Modigliani, though, we also see hints of Europe’s oldest art, that fluid, blank quality of Cycladic figures, whose beauty speaks across the ages. In Head of a Girl, Modigliani’s model is both a contemporary Parisian ‘kiki’(with her bobbed hair and androgynous look) and mysterious goddess.Although Kit Wood is in many ways a very English artist – in 1928 he encountered the retired marine scrap merchant-turned-painter Alfred Wallis in the Cornish fishing town of St Ives, adding a layer of English folk vernacular to his ‘modernist primitivist’ style - a good many of his paintings were made in France, in Paris, where he was a regular visitor throughout the 1920s, and in Brittany, where he followed in Gauguin’s footsteps searching for a primitive authenticity a little closer to home. Whilst we don’t know exactly when Wood acquired the Modigliani, we do know that he sold it to his London dealer, Alex. Reid and Lefevre Gallery, in March 1930, less than six months before his own tragic, early death, aged 28, by suicide, whilst withdrawing from the drug habit he had acquired amongst the Parisian beau monde. The Lefevre Gallery was the place in London at the time to go for the latest word in contemporary European art (they had held an exhibition of Modigliani paintings in March 1929 and mounted a memorial exhibition of Wood’s work in 1932). That year they sold the present drawing to a private collector and it has remained in the same family ever since. Now it is once again on a gallery wall for everyone to see, allowing us to imagine what it was - the subtlety of Modigliani’s line, the mystery of his sitter’s expression and the timelessness of it all – that drew Kit Wood to it a century ago.
J. BENASSI, COLLECTION OF HAND-MODELLED LEAD SOLDIERS includes painted and unpainted, chivalric up to Napoleonic, together with further model soldiers of varied manufacture and style including English miniatures, a group of Britains unpainted Scots bagpipers, a pre-war Britains Scots gunner (restored), an Askari figure circa 1927 by Lanolin-Volkburg and a boxed Britains Alamo 17515 Officer and Colors Matamoros Battalion setQty: over 75 figures
Arne Jacobsen Set of twelve 'Lily' stacking chairs, model no. 3108, designed 1961, produced 1970Leather, chromium-plated steel.Each: 76 x 47.5 x 47 cmManufactured by Fritz Hansen, Copenhagen, Denmark. Underside of each moulded MADE IN DENMARK 1970/BY FRITZ HANSEN/FH/FURNITURE MAKERS/DANISH/CONTROL.Footnotes:ProvenancePrivate collection, DenmarkAcquired from the above by the present owner LiteraturePoul Erik Tøjner and Kjeld Vindum, Arne Jacobsen: Architect & Designer, Danish Design Centre, Copenhagen, 1976, pp. 52-53Carsten Thau and Kjeld Vindum, Arne Jacobsen, Copenhagen, 1998, pp. 387, 502-503This lot is subject to the following lot symbols: Ω TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Kaare KlintThree-seater sofa, model no. 4118, designed 1930, executed 1950sAniline leather upholstery, mahogany. 87 x 200 x 82.5 cmExecuted by cabinetmakers Rud. Rasmussen A/S, Copenhagen, Denmark. Underside with manufacturer's paper label printed RUD. RASMUSSENS/SNEDKERIER/COPENHAGEN/DENMARK, handwritten inventory number 31607 and architect's monogrammed paper label.Footnotes:ProvenancePrivate collection, DenmarkLiteratureGrete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 29Frederik Sieck, Contemporary Danish Furniture Design: a short illustrated review, Copenhagen, 1990, p. 15Gorm Harkær, Kaare Klint: Volume 1, Copenhagen, 2010, pp. 259, 267Gorm Harkær, Kaare Klint: Volume 2, Copenhagen, 2010, p. 39The present model was exhibited at the 'Copenhagen Cabinetmakers' Guild', Kunstindustrimuseet, Copenhagen, 10 September–3 October 1937, stand 1.This lot is subject to the following lot symbols: Ω TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A.J. IversenEarly and rare sofa, designed 1935Leather upholstery, elm.75.5 x 200 x 86.5 cmExecuted by master cabinetmaker A.J. Iversen, Copenhagen, Denmark.Footnotes:ProvenancePrivate collection, Frederiksberg, 1940sThence by descent to the present ownerLiteratureGrete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 1: 1927-1936, Copenhagen, 1987, p. 215The present model was exhibited at the 'Copenhagen Cabinetmakers' Guild', Industriforeningen, Copenhagen, 13-29 September 1935, stand 4.This lot is subject to the following lot symbols: Ω TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Kaj GottlobArmchair, designed 1937Leather upholstery, stained beech.93.5 x 75 x 96 cm Executed by master cabinetmaker A.J. Iversen, Copenhagen, Denmark.Footnotes:ProvenancePrivate collection, CopenhagenAcquired from the above by the present ownerLiteratureGrete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, p. 15The present model was exhibited at the 'Copenhagen Cabinetmakers' Guild', Kunstindustrimuseet, Copenhagen, 10 September-3 October 1937, stand 17.This lot is subject to the following lot symbols: Ω TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Alvar AaltoPair of early chairs, model no. 21, 1930sBeech-veneered plywood, laminated beech.Taller: 85 x 48.2 x 58 cmUnderside of one chair stamped 27 twice, and the other stamped A10 twice. Footnotes:ProvenancePrivate collection, Tonbridge, KentThence by descent to the present ownerLiteratureFinmar Limited, Finland, 1936, n.p.Alvar Aalto: Architecture and Furniture, The Museum of Modern Art, exh. cat., New York, 1938, p. 26'Finmar: Furniture Of The Future For The Home Of To-day', Finmar, London, 1939, p. 7Mobilier et Décoration, March 1957, p. 39Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, p. 291Eva B Ottillinger, Alvar Aalto, Möbel: Die Sammlung Kossdorff, Wien, 2002, p. 33Pirkko Tuukkanen, ed., Alvar Aalto: Designer, Vammala, 2002, p. 168Thomas Kellein, Alvar & Aino Aalto; Collection Bischofberger, Zurich, 2005, p. 89The present model is held in the collection of the Victoria and Albert Museum, London.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Alvar AaltoRare armchair, model no. 42, designed 1932, executed 1930s-1940sPainted birch-veneered bent plywood, bent laminated birch.62 x 60.1 x 79 cmProduced by Artek, Helsinki, Finland and retailed by Bowman Brothers, London, United Kingdom. Underside stencilled BOWMAN BROS LTD/FURNISHERS/LONDON N.W.1.Footnotes:ProvenanceBowman Brothers, LondonPrivate collection, LondonLiteratureJuhani Pallasmaa, ed., Alvar Aalto Furniture, exh. cat., Museum of Finnish Architecture, Helsinki, 1984, pp. 12, 76, 80, 86-89, 91, 126, 132-133Pirkko Tuukkanen, ed., Alvar Aalto Designer, Vammala, 2002, pp. 18, 71, 160, 165Thomas Kellein, ed., alvar & aino aalto. design, collection bischofberger, exh. cat., Kunsthalle Bielefeld, Zurich, 2005, p. 43Nina Stritzler-Levine, ed., Artek and the Aaltos: Creating a Modern World, exh. cat., Bard Graduate Center, New York, 2016, passimThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Isamu KenmochiPair of easy chairs, model no. SM7008, designed 1964Brazilian rosewood-veneered wood, leather upholstery.Each: 66 x 76 x 72 cm Manufactured by Tendō Mokkō, Tendō, Japan.Footnotes:ProvenancePrivate collection, JapanAcquired from the above by the present ownerLiteratureIsamu Kenmochi et. al., Japanese Modern: Retrospective Kenmochi Isamu, exh. cat., Akita Senshū Museum of Art, 2005, pp. 102, 194Tendō Classics, Tendō Mokkō, pp. 3, 32, 37-38CITES license no. 620143/01.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Isamu KenmochiPair of stools, model no. S-3030, designed 1968Rattan, fabric cushions.Each: 37.5 cm high, 38 cm diameterManufactured by Yamakawa (YMK) Ratan, Nagaoka, Japan. One with manufacturer's printed label YMK/NAGAOKA/0258-89-7466.Footnotes:LiteratureIsamu Kenmochi et. al., Japanese Modern: Retrospective Kenmochi Isamu, exh. cat., Akita Senshū Museum of Art, 2005, p. 196Bonnie Rychlak, Hitoshi Mori, Nina Murayama, et al., Design: Isamu Noguchi and Isamu Kenmochi, New York, 2007, p. 116This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Isamu Noguchi'Akari' light sculpture, model no. 20N, 1970s-1980sWashi paper, bamboo, painted steel.58 cm high, 42 cm diameter Manufactured by Ozeki & Co., Gifu, Japan. Shade stamped with artist's ideograph.Footnotes:ProvenanceAbel Sloane 1934, LondonAcquired from the above by the present ownerLiteratureAkari Light Sculpture by Isamu Noguchi, Ozeki and Co., Ltd., catalogue, Gifu, circa 1988, p. 6Shoji Sadao, Buckminster Fuller and Isamu Noguchi, Best of Friends, New York, 2010, p. 117For further information on this lot please visit Bonhams.com
Isamu Noguchi'Akari' light sculpture, model no. 32N, 1970s-1980sWashi paper, bamboo, painted metal.140 cm high, 50 cm diameterManufactured by Ozeki & Co., Gifu, Japan. Shade stamped with artist's ideograph.Footnotes:ProvenanceAbel Sloane 1934, LondonAcquired from the above by the present ownerLiteratureNew Akari Light Sculpture by Isamu Noguchi, dimension and assembly accordion brochure, New York, 1977, n.p. Akari Light Sculpture by Isamu Noguchi, Ozeki and Co., Ltd., catalogue, Gifu, circa 1988, p. 29Hitoshi Mori, Isamu Noguchi and Isamu Kenmochi, New York, 2007, p. 101For further information on this lot please visit Bonhams.com
Gerald Summers'TV-T' table, 1950sOak-veneered wood, oak, anodised aluminium. 46 x 33.5 x 33.5 cm Underside moulded GERALD SUMMERS/REGISTERED DESIGN/No. 871987.Footnotes:Bonhams wishes to thank Martha Deese for her assistance with the cataloguing of the present lot. Her forthcoming book 'Shaped for Purpose': Gerald Summers and Marjorie Butcher, Makers of Simple Furniture, 1931-1940 will be published in 2024.The 'TV-T' table is one of Gerald Summers' few post-war designs. It was created more than a decade after the closure of his London firm, Makers of Simple Furniture. He registered the design's aluminium top with The Patent Office on October 30, 1953. According to the promotional material that he prepared for the table, Summers intended the piece as an occasional table or stool, suitable for any room in the home, or for use in retail shops as display furniture. Among the table's many practical features: it could be quickly and easily assembled; its top was spirit- and heat-resisting; and the tables stacked to save space. Customers could choose from two models: a veneered model and an enamelled model. The former, which was the pricier of the two, had an enamelled top of gold, dark, or light green, inset with a veneer of red or white sycamore, bird's-eye maple, or oak, with legs to match. The latter had an enamelled top available in a wide range of colours, and legs in a choice of black or red beech, oak, or white ash. Summers contracted two separate firms to manufacture the parts: one to cast the aluminium tops and the other to turn the hardwood legs. He and Marjorie Summers (his wife and business partner) packaged the finished components in a gift box with a cellophane window and dispatched them to customers. Several hundred models were sold, but the venture was not that profitable. Summers allowed the tabletop's registry to expire in 1958, and they gave away many of the remaining tables to friends and colleagues.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Frank GehryPrototype 'High Sticking' chair, designed 1989-1991Laminated beech.107 x 50 x 56 cm Footnotes:ProvenanceFrank Gehry Workshop, Santa MonicaAcquired from aboveRago, Lambertville, 'Design', 28 October 2021, lot 395Acquired from the above by the present ownerLiterature'Birth of a chair', Architectural Record, February 1992, p. 78Frank Gehry et al., Frank Gehry: New Bentwood Furniture Designs, exh. cat., Montreal, 1992, p. 53 for another prototype, pp. 54-55The present model is held in the permanent collection at the Philadelphia Museum of Art.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Vitra thought better of investing in Frank Gehry's pioneering use of ultra-thin plywood. Knoll were also sceptical, but Gehry's goading of them as 'thickies' saw the challenge accepted. That challenge entailed the building of a 2,500 square foot workshop adjacent to Gehry's Santa Monica studio, developing new laminating techniques, and the production of 115 prototypes. Apple crates Gehry played with as a child were the origin of the idea. When interwoven, the grain cross-hatched, even thin strips of unlaminated pine were sufficient to bear the weight of the fruit inside. The material was also cheap enough to be thrown away after use and, despite Knoll's million-dollar development cost, point of sale price was a consideration. 'My aim was the Volkswagen,' Gehry said. 'Emotionally and politically, I'm geared toward that ideal.'In that quest for fiscal and formal economy, and his use of plywood, Gehry engaged with a modernist tradition that would see his work compared to the past masters. Alvar Aalto had used bent plywood to create the Paimio. Marcel Breuer adapted his own designs in aluminium to plywood during his stay in Britain. Gerald Summers produced what seemed the full stop in that conversation with a chair made of a single sheet of plywood. Then during World War 2, Charles and Ray Eames developed techniques for laminating compound curves enabling mass-production of leg splints. The LCW came immediately post war and in the 50s, Carlo Mollino's 'total arabesques' seemed the last word in beauty. In recognition of this lineage, Gehry acknowledged that 'I didn't go postmodern.' He noted too that an example of Mies van der Rohe's 'Bruno' chair from his own studio had served as a standard of proportion beside which he placed his prototypes. Of the 115 made, approximately 20 stacked up well enough to be chosen for an exhibition entitled 'New Furniture Prototypes' at the Museum of Modern Art. In images of that 1992 exhibition, two versions of the 'High Sticking' chair can be seen. The black one has the kink at the lower back shared with the production version; Gehry had criticised architects for making uncomfortable chairs. The other 'High Sticking' chair in the exhibition is in unfinished wood, has a straight back and appears to be to the same prototype as the one in this sale.Heralded as an 'instant classic', Aaron Betski wrote in the LA Times: 'The chairs have the simplicity of Shaker furniture, the mass-produced strength of the Thonet café chair, the elegance of Alvar Aalto's bentwood forms and the forthrightness of Charles and Ray Eames classic plywood chairs.' For Knoll the huge investment paid off. After a pre-order of over 1400 pieces, the range fulfilled its modernist promise of enduring mass-produced quality and, thirty years on, is still in production, signature pieces by a man now regarded as the world's greatest living architect.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ettore Sottsass, Jr.'Le Strutture Tremano' table, from the 'bau. haus art collection', designed 1979Enamelled metal, glass, plastic laminated-wood.115.5 x 61 x 61 cm Manufactured by Studio Alchymia, Milan, Italy. Underside of base with manufacturer's label printed STUDIO/ALCHYMIA/MILANO.Footnotes:ProvenanceThe Estate of Evelyn FosterThence by descentBonhams, Los Angeles, 'Modern Design | Art', 30 September 2020, lot 240Acquired from the above by the present ownerLiteratureRenato Barilli, 'Arredo Alchemico', Domus, no. 607, June 1980, p. 35Barbara Radice, Memphis, Milan, 1984, p. 15Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 136Gilles de Bure, Ettore Sottsass Jr., Collection Rivages/Styles, dirigée par Gilles de Bure, Paris, 1987, p. 61Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 62Kazuko Sato, Contemporary Italian Design, Berlin, 1988, pp. 17, 20Klaus-Jürgen Sembach, Gabrielle Leuthäuser, Peter Gössel, et al, Twentieth-Century Furniture Design, Cologne, 1991, p. 214Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, pp. 195, 197Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume II, Turin, 2003, p. 290Glenn Adamson; Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 40Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts, Houston, New Haven, 2020, p. 121The present model is held in the collection of the Victoria and Albert Museum, London.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Dishonesty of MaterialsCharles Jencks identified the death of Modern architecture as taking place on July 15, 1972. 'At 3,32 (or thereabouts)' the Pruitt-Igoe projects were demolished. Like so many modernist blocks, their architects had promised good housing for all using an economy of design and modern materials impervious to the elements and fashion. In fact, their design was so compromised they were dynamited less than 20 years after construction. In their seminal postmodern text, Learning From Las Vegas, Robert Venturi and Denise Scott-Brown documented the Vegas strip during the fat Elvis era. Succeeding Gio Ponti as Domus' editor in 1979, Alessandro Mendini wrote of the architect's obligation to accommodate the taste, even the bad taste, of the client. The postmodern citizen would be the determinant of design, the historic city not a gaudy maras to be bulldozed and built anew along rational lines, but accommodated by the architect whose obligation was to add to it in sympathy with its citizen's needs AND desires. (Who doesn't love fat Elvis?) This was the intellectual thrust of postmodernism.It was Alessandro Guerrero's supergroup, Alchymia, through which these ideas were first expressed in three dimensions. Designed in 1979 as a series of prototypes by Mendini, Ettore Sottsass and Andrea Branzi, amongst others, the 'Bauhaus One' collection was conceived along the lines of a fashion show. Pieces were to be exhibited for one season only, sold, another collection produced for the next, 'Bauhaus Two'.The star of that first show was Mendini's 'Proust'. The most significant chair since Gerrit Rietveld's 'Red and Blue Chair', it began as a reproduction monster-piece found in a Milan junk shop. Signalling the return to decoration made superfluous by functionalism, a section of a Paul Signac painting was projected onto the whole and copied by artists Pier Antonio Volpini and Prospero Rasulo, the aim to fuse kitsch and high culture. Sottsass' 'Svincolo' lamp in the same 'Bauhaus One' collection went so far as to employ bare neon tube lighting redolent of the Vegas strip. In fact, a take on the Italian autostrada illumination, the surface decoration on the totem featured Sottsass' now famous 'Bacterium' pattern. If stared at too long, the design causes a hallucinatory effect as the bacteria seemingly squirm before the eyes.People are not purely rational. Indeed, much of our behaviour is predicated on emotion, logic being a means of post-rationalisation - the decorative laminate applied to chipboard. Architects must acknowledge this duality. Yes, we want our built environment to provide accommodation, but it should also speak to our emotions. Design can seduce, shock, delight, even delude in its trickery and Alchymia does just this. Revelling in a dishonesty of materials such as decorative laminate and rattle-can paint, the group alchemised base metal into architectural gold. Lappino Binazzi had been a member of the Italian radical UFO group of the late sixties. The big film studios were in financial difficulties, and seeing their discarded props and advertising, he appropriated the signage in a series of lamps. The 'Paramount' lamp was first produced by Groupo UFO in 1970. The PARAsol began the title, the ceramic MOUNTain beneath completed it. Together with the MGM lamp, the 'Paramount' was reissued by Alchymia in 1979 for the 'Bauhaus One' collection, its new context making explicit the postmodern implications. Is there a more alchemical process than actors playing out a scripted fiction which, when projected onto a flat screen, creates a 3D reality that feels as vivid as any lived experience? Sottsass' 'Structure Tremano' in the present sale is also from 'Bauhaus One' collection and distinguished from later Belux and Kumewa editions by the glitter lacquer. Alessandro Mendini estimated that on average about six of each of the 'Bauhaus One' pieces were produced. Perhaps because of his association with the Memphis group, which built on Alchymia's blueprint, Sottsass' pieces are amongst those items made in greater numbers. Nonetheless, an original Alchymia 'Structure Tremano' is rare. Moreover, like all the Bauhaus One collection, it needs to be understood intellectually - 'read' as Mendini put it - to be fully appreciated.The plinth is made of chipboard – base metal - and covered in shinny white laminate – gold - whilst its scale suggests it is designed to bear great weight. In a historical sense it does. The tubular steel legs reference Marcel Breuer's work at the Bauhaus. Revolutionary in the 1920s, tubular steel chairs like the 'Wassily' had, by the late seventies, become as much a cliché as the corporate lobbies they furnished, and this is the 'function' of the 'Structure Tremano'. It is not the wobbly looking tubular legs which tremble in the shock wave from the Pruitt-Igoe's detonation, but Modernism itself. In the vacant lot was built Memphis Milano, Alessandro Mendini's Groningher Museum and Frank Gehry's Guggenheim.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
T.H. Robsjohn-GibbingsSofa, model no. 1711, 1950sWalnut, fabric upholstery, original canvas webbing. 78 x 235 x 94 cmManufactured by Widdicomb Furniture Company, Grand Rapids, Michigan. Manufacturer's fabric label WIDDICOMB/designed by/T.H. ROBSJOHN-GIBBINGS.Footnotes:ProvenancePrivate collection, Poole LiteratureInterior Design, vol. 32, no. 5, May 1961, p. 129Widdicomb, manufacturer's catalogue, Grand Rapids, 1950s, n.p.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
T.H. Robsjohn-GibbingsPair of armchairs, model no. 1720, 1950sWalnut, fabric webbing, brass nail heads.Each: 78.5 x 66.5 x 83 cm Manufactured by Widdicomb Furniture Company, Grand Rapids, Michigan. Footnotes:ProvenanceRefined Furnishings, PhiladelphiaPrivate collection, LondonAcquired from the above by the present ownerLiteratureWiddicomb, manufacturer's catalogue, Grand Rapids, 1950s, n.p.Martin Battersby, The Decorative Thirties, London, 1971, p. 173 for a drawingWilliam J. Hennessey, Modern furnishings for the home, New York, 1997, p. 47This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Édouard-Wilfred BuquetAdjustable table lamp, model no. EB 28, designed 1925Nickel plated-brass, aluminium, walnut, painted wood. 54.5 cm high fully extended Underside of base with brass label impressed BUQUET/BTÉ S.G.D.G.Footnotes:LiteratureLumières, je pense à vous, exh. cat., Centre Georges Pompidou, Paris, 1985, pp. 148, 167 for a similar exampleCharlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, p. 182 for a similar exampleCharlotte and Peter Fiell, eds., 1000 Lights: 1879–1959, Cologne, 2020, p. 140 for a similar exampleFor further information on this lot please visit Bonhams.com
T.H. Robsjohn-GibbingsPair of 'Klismos' chairs, model no. 3, designed 1935, produced 1960sGreek walnut, leather webbing. Each: 90 x 53.5 x 72 cmManufactured by Saridis, Athens, Greece. Underside of each impressed 16070 and ΣAPΙΔHΣ. One with brass label DESIGNED BY T.H. GIBBINGS/MANUFACTURED BY SARIDIS OF ATHENS.Footnotes:ProvenanceCentury Design Ltd.Private collection, LondonAcquired from the above by the present ownerLiteratureRosamund Frost, 'Un Artiste Moderne de Formation Classique: Robsjohn-Gibbons,' Art et Industrie, Paris, October 1946, pp. 44, 46Saridis of Athens, A Collection of Furniture of Classical Greece Recreated by T.H. Robsjohn Gibbings, exh. cat., Athens, 1961, n.p. T.H. Robsjohn-Gibbings and Carlton W. Pullin, Furniture of Classical Greece, New York, 1963, p. 48Martin Battersby, The Decorative Thirties, London, 1971, p. 171This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Pierre ChapoBibliothèque, model no. B17, designed for the Salon des Arts Ménagers, 1967Solid elm.183 x 284 x 35 cmProduced by the Workshop of Chapo Creations, Gordes, France.Footnotes:ProvenanceGalerie Luc Allemand & Jean-Francois Foucher, ParisPrivate collection, LondonAcquired from the above by the present ownerLiteratureH. Magen et al., Pierre Chapo, A Modern Craftsman, New York, 2017, pp. 97-101, 252This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ignazio GardellaPair of wall lights, model no. 'LP5', circa 1954Glass, brass.Each: 95.5 x 23 x 34.7 cmManufactured by Azucena, Milan, Italy.Footnotes:ProvenanceNilufar Gallery, MilanPrivate collection, LondonAcquired from the above by the present owner Literature'Lampade Italiane', Domus, no. 250, September 1950, p. 39 for the shade'A Novara', Domus, no. 324, November 1956, pp. 14-15 for the shade'Azucena: 40 anni di storia dell'arredo, 1954-58', Domus, no. 723, January 1991, p. 72 for the shadeGiuliana Gramigna, Repertorio del Design Italiano 1950-1980, Volume 1, Turin, 2003, p. 38This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ignazio GardellaPair of wall lights, model no. 'LP 7', circa 1955Glass, brass.Each: 44 x 25 x 46 cmManufactured by Azucena, Milan, Italy.Footnotes:ProvenanceRewire, Los AngelesPrivate collection, LondonAcquired from the above by the present ownerLiteratureDomus, no. 392, July 1962, pp. 22-23'Azucena: 40 anni di storia dell'arredo, 1954-58', Domus, no. 723, January 1991, p. 73Giuliana Gramigna, Repertorio del Design Italiano 1950-1980, Volume 1, Turin, 2003, p. 43This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Max IngrandPair of wall lights, model no. 1552, circa 1956Glass, nickel-plated brass.Each: 36.8 x 9.5 x 24.2 cmManufactured by Fontana Arte, Milan, Italy.Footnotes:ProvenanceDonzella Ltd., New YorkPrivate collection, LondonAcquired from the above by the present owner LiteratureDomus, no. 319, June 1956, n.p.Carlo Bestetti, Forme Nuove In Italia, Rome, 1957, p. 205'Stand di Fontana Arte alla 39ª fiera di Milano', Vitrum, no. 125, May-June 1961, pp. 28, 29, 31Pierre-Emmanuel Martin-Vivier, Max Ingrand: Du verre à la lumière, Paris, 2009, pp. 210, 224-25Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fig. 338For further information on this lot please visit Bonhams.com
Ernest RaceFolding 'Neptune' deck chair, designed for P. & O., Orient Line, circa 1953Beech-veneered plywood, laminated beech, nylon webbing, brass. 88.7 x 128 x 56.5 cm Manufactured by Race Furniture Ltd., London, United Kingdom. Footnotes:ProvenanceSeymour Stein, New YorkCapsule, New York, 'The Collection of Seymour Stein', 28 July 2022, lot 134Acquired from the above by the present ownerLiterature'Fascicolo dedicato alla Triennale', Domus, no. 300, November 1954, p. 55H. Conway, Ernest Race, London, 1982, pp. 61-62Geoffrey Rayner, Richard Chamberlain, Annamarie Stapleton, et al., Austerity to Affluence: British Art and Design 1945-1962, London, 1997, p. 19 The present model was exhibited at the 'Mostra del mobile singolo', X International Triennale, Milan, 28 August–15 November 1954.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Pierre JeanneretPair of 'office cane' armchairs, model no. PJ-SI-28-B, designed for the administrative buildings, Chandigarh, 1955-1956Teak, cane.Each: 80 x 55 x 51 cmOne marked H.C.B.94.Footnotes:ProvenanceHigh Court, Chandigarh, IndiaAcquired directly from the above by the present owners, 2005ExhibitedP3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009LiteratureEric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design - Art - Architecture, Paris, 2010, pp. 562-563This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Pierre JeanneretPair of 'Library' chairs, model no. PJ-SI-51-A, designed for the Punjab University Library, Chandigarh, circa 1959-1960 Teak, cane. Each: 78 x 46 x 50.5 cmFootnotes:ProvenanceHigh Court, Chandigarh, IndiaAcquired directly from the above by the present owners, 2005ExhibitedP3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009LiteratureNorma Evenson, Chandigarh, Los Angeles, 1966, pl. 78Kiran Joshi, Documenting Chandigarh, vol. 1, Ahmedabad, 1999, p. 225, fig. 3Eric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-Art-Architecture, Paris, 2010, pp. 111-12, 368, 372, 374, 569Galerie Patrick Seguin, Le Corbusier, Pierre Jeanneret: Chandigarh, India, Paris, 2014, pp. 182-87, 219, 221, 283This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Pierre JeanneretBench, model no. PJ-SI-38-C, designed for the High Court, circa 1954-1955Teak, leather upholstery.89 x 139 x 58 cm Apron marked H.C.P.b 66 / 99 IRI.Footnotes:ProvenanceHigh Court, Chandigarh, IndiaAcquired directly from the above by the present owners, 2005ExhibitedP3, University of Westminster, London, The Furniture of Chandigarh: Le Corbusier and Pierre Jeanneret, 20 June–12 July 2009LiteratureEric Touchaleaume and Gerald Moreau, Le Corbusier, Pierre Jeanneret, The Indian Adventure: Design-Art-Architecture, Paris, 2010, p. 567This lot is subject to the following lot symbols: † TP† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Gio PontiBench table, model no. 2137, from the 'Modern by Singer' series, 1950sTravertine, walnut.38 x 152.5 x 46 cmManufactured by Singer & Sons, New York.Footnotes:ProvenanceEast Hampton, New YorkAcquired from the above by the present ownerLiteratureSinger & Sons: modern by Singer, sales catalogue, New York, 1950s, n.p.B.D., 'Singer's radiant spaces', Interiors, December 1956, p. 120This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Gino SarfattiStandard lamp, model no. 1063, circa 1954Steel, painted steel, fluorescent lightbulb.217 x 35 x 46.5 cmManufactured by Arteluce, Milan, Italy. Base with manufacturer's paper label printed AL/MILANO/ARTELUCE.Footnotes:ProvenancePrivate collection, ItalyAcquired from the above by the present ownerLiteratureLumières, je pense à vous, exh. cat., Centre Georges Pompidou, Paris, 1985, p. 138Marco Romanelli and Sandra Severi, Gino Sarfatti: Selected Works 1938-1973, Milan, 2012, pp. 60, 250, 252, 452Gino Sarfatti: Designing Light, exh. cat., Triennale Design Museum, Milan, 2012, p. 90Aloi, Esempi, Ristampa Illuminazione 1934-1964, Compasso Gallery, Milan, 2019, p. 205This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ignazio GardellaPair of 'Digamma' adjustable armchairs, circa 1957Fabric upholstery, painted steel, brass.Each: 87 x 71 x 76 cm upright, 87 x 71 x 105 cm fully extended Produced by Gavina, San Lazzaro di Savena, Italy.Footnotes:ProvenanceGalerie Le Studio, Paris, 2012 Acquired from the above by the present ownerLiteratureGiulio Carlo Argan, Ignazio Gardella, Milan, 1959, pp. 193, 198'A Milano, un nuovo negozio di mobili', Domus, no. 392, July 1962, p. 13Giuliana Gramigna, Repertorio del Design Italiano 1950-1980, Volume 1, Turin, 2003, p. 50The present model was exhibited at the XII Milan Triennale, 1960.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ernest Race'Cormorant' folding chair, circa 1959Mahogany-veneered plywood, teak, brass.68.5 x 53.5 x 69 cmManufactured by Ernest Race, Ltd., London, United Kingdom. Underside with manufacturer's printed label ERNEST RACE LIMITED/LONDON/REGD. DESIGN No.894601.Footnotes:ProvenancePrivate collection, GenevaThence by descent to the present ownerLiteratureHazel Conway, Ernest Race, London, 1982, p. 63Lily Crowther, Award Winning British Design: 1957-1988, London, 2012, pp. 15, 33, 47Lesley Jackson, Modern British Furniture: Design Since 1945, London, 2013, p. 109The present model won the Design Centre Award in 1961 and is held in the collection of the Victoria and Albert Museum, London.This lot is subject to the following lot symbols: Ω TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Frits HenningsenRare three-seater bench and 'Buede Arme' armchair, 1930s-early 1940s Mahogany, cane, leather upholstery, brass nail heads. Bench: 81 x 190 x 69 cm Armchair: 87 x 57.5 x 66 cm Executed by master cabinetmaker Frits Henningsen, Copenhagen, Denmark. Armchair with two legs impressed 2591 and 11 respectively. Footnotes:ProvenancePrivate collection, DenmarkAcquired from the above by the present owner LiteratureGrete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 1: 1927–1936, Copenhagen, 1987, p. 104 for the armchair The present model armchair was exhibited at the 'Copenhagen Cabinetmakers' Guild', Teknologisk Instituts Udstillingslokaler, Copenhagen, 3-18 October 1931, stand 26.Bonhams wishes to thank Marianne Lumholdt, the great niece of Frits Henningsen's Business Manager, for her assistance with the cataloguing of the present lot.This lot is subject to the following lot symbols: Ω TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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