Full title: Patricia Urquiola (1961): 'Bend' sofa for B&B Italia, 2010Description: H 69 -L 323 - D 170 cm (dimensions based on the current set-up) With matching neck support and pillows.Ê Ê The 'Bend' Sofa is a modular sofa with a great personality. It seems to have been moulded by an artist's hand, but actually originates from the study of 3D models and digital research. Its irregular shape enhances comfort. The very name 'Bend' Sofa effectively expresses the idea of __movement obtained by the alternation of solids and voids, underlined by the contrasting stitching that gives rise to a further design on its irregular and sinuous surface. The corrugated modules, assembled starting from seat, ottoman and corner elements, develop a large number of configurations, from linear versions in compact dimensions to large compositions, as well as original and alternative solutions that stand outside traditional canons.Ê Ê Originally from Oviedo, Spain, Patricia Urquiola studied architecture and design at the Universidad Politecnica de Madrid and completed her studies at the Politecnico di Milano where she graduated under the mentorship of Achille Castiglioni. Her career highlights include: assistant lecturer to Achille Castiglioni and Eugenio Bettinelli in Milan and Paris, responsible for the new product development office of De Padova, working with Vico Magistretti, head of Lissoni Associati's design group…Patricia Urquiola starts each project by building an empathic connection with the user that will eventually interact with her designs, something she learned from Achille Castiglioni, establishing the “fundamental element” as he used to call, the basis of each project which always keeps her on track and accompanies her whole design process: thinking spaces or objects in relation to people. Pushing the limits of research and technology, Patricia Urquiola constantly experiments and dares to move towards better design and architecture, following her earlier mentors' teachings such as Vico Magistretti and Maddalena de Padova. Used to confront complex processes, working with scales from micro to macro, she works with the available technology to go beyond the limits of what has been already experimented.Ê Studio Urquiola is frequently asked to design not only objects and architectures but also to think about the future of mobility, workplace and production cycles. Creating links between craftsmanship and industrial research, the heritage together with innovation and technology, Patricia Urquiola also drives companies she works with to upcycle once-waste material and tries to re-image entire processes leading them to change, evolution and innovation.Patricia Urquiola believes in an original design point of view merging humanistic, technological and social approaches. Her design thinking is the intersection of challenges and breaking prejudices, finding unexpected connections between the familiar and the unexplored.Ê Patricia Urquiola has been the Creative Director of Cassina since 2015 and works with important Italian and international design companies, including Agape, Alessi, Axor-Hansgrohe, B&B Italia, Baccarat, Boffi, Budri, De Padova, Driade, Coedition, Ferragamo, Flos, Gan, Georg Jensen, Glas Italia, Haworth, Kartell, Kettal, Kvadrat, Listone Giordano, Louis Vuitton, Molteni, Moroso, Mutina, Rosenthal and Verywood… Amongst her latest projects in architecture are Il Sereno Hotel in Como, the Room Mate Giulia Hotel in Milan, the SD96 yacht for Sanlorenzo, Marienturm and Marienforum towers in Frankfurt, the spa of the Four Seasons Hotel Milan, The Jewellery Museum in Vicenza, the Mandarin Oriental Hotel in Barcelona, Das Stue Hotel in Berlin; showrooms and installations for Gianvito Rossi, BMW, Cassina, Missoni, Moroso, Molteni, Officine Panerai, H&M, Santoni and the general concept of Pitti Immagine in Florence…Ê Patricia Urquiola is part of the advisory board of the Politecnico of Milan and the Triennale Milano Museum. She taught the Master's Degree in Interior Design at the Domus Academy in Milan (2013-2015) and has given lectures at Harvard University, Michigan University, Shenkar School of Engineering and Design in Israel, at the Alvar Aalto Academy in Finland, at the State University and Bocconi University in Milan. She has also given talks at countless cultural events, such as Design Shanghai, Design Week in Istanbul, the Expressive Design conference at the Vitra Design Museum, Weil am Rhein, Germany, the Bloomberg Design Conference in San Francisco, Festarch Perugia, the Mind Festival in Sarzana and the Mantova Literature Festival, among other events in Italy. She was an ambassador of the Milan Expo in 2015 (link available on our website).Ê Ê Interior photos by Kato PeetersÊ Ê Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
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JOHN ARMSTRONG (1893-1973)On the Promenade signed with initials and dated 'JA/47' (lower right); inscribed 'Struggle by the Sea' (on the reverse)tempera on board41 x 33.5cm (16 1/8 x 13 3/16in).Painted in 1947Footnotes:ProvenanceLefevre Gallery, London (1947).Prof. G.E. & Mrs. A. Blackman Collection (acquired from the above).A gift from the above to the previous owner (circa 1977); their sale; Bonhams, London, 14 June 2017, lot 1.Private collection, UK (acquired at the above sale).ExhibitedLondon, Lefevre Gallery, New Paintings by John Armstrong and William Crosbie, April 1947, no. 14.LiteratureA. Lambirth, John Armstrong, The Paintings, London, 2009, no. 343, p. 190.The 1931 exhibition at Arthur Tooth & Sons, Recent Development in British Painting, included six artists who would go on to form 'Unit One': John Armstrong, Edward Burra, Ben Nicholson, Paul Nash, John Selby Bigge and Edward Wadsworth. In a letter to The Times on 2 June 1933, Paul Nash outlined their doctrine, part of which stated, 'The formation of Unit One is a method of concentrating certain individual forces, a hard defence, a compact wall against the tide, behind which development can proceed and experiment continue.'This short-lived group of like-minded artists only staged one exhibition, at the Mayor Gallery in April 1934 (which toured to Liverpool, Manchester, Henley, Derby, Swansea and Belfast), before it broke up, but it has become a seminal moment in the history of modern British art. As the surrealist scholar Michel Remy remarks, 'It was in its readiness to take new initiatives that Unit One paved the way for surrealism: the part played by the figurative artists of the group, Armstrong, Bigge, Hillier and Wadsworth, cannot possibly be underestimated. What they shared was a fascination with the lines and forms of nature, whether mineral, animal or vegetable, and with the intrinsic force of growth that these suggested. Expanded and hypertrophied, this or that leaf, corolla or seashell is given a presence, which, made overwhelming, endows the object with an oneiric quality, a pulsating hesitancy, and casts doubt on how one can judge the reality of what one sees. (M. Remy, Surrealism in Britain, Aldershot, 1999, pp. 37-38).By 1938, the Tate Gallery purchased their first John Armstrong painting, Dreaming Head (1938), and other works of his from this year make references to sleep and dreaming, such as The Heaviness of Sleep (collection of Middlesbrough Institute of Modern Art) and Dream at Dawn. It was at this time T.W. Earp wrote in The Daily Telegraph, that Armstrong's first one-man show at the Lefevre Gallery, 'confirms his title as our foremost surrealist painter.'Shortly after World War II had ended, Armstrong left London in October 1945 and moved to Oriental Cottage, in Lamorna, Cornwall. As his biographer Andrew Lambirth remarks, 'He did not associate with the St Ives school of abstraction local to him in Cornwall, but continued to plough his lonely furrow. In fact, this paid dividends, and this period was productive of an exceptionally high number of fine works. All the hypnotic post-war tempera leaf and feather paintings were made here, and the lush fantastic landscapes of giant plants, which reflected Lamorna's balmy climate.' (A. Lambirth, John Armstrong, The Paintings, London, 2009, pp. 85-86).On the Promenade (1947) was included in John Armstrong's critically acclaimed and commercially successful, third one-man exhibition at Lefevre Gallery in London, during 1947. It is a painting of immense beauty and sensuality, as two elegant feathers of slightly differing colours take on anthropomorphic qualities as they face one another and interact. Indeed, the title of the work indicates that one of these beings has been escorting the other in a public place for purposes of display, and to be admired by others. The austere background serves to heighten their lusciousness of form and texture. As a wind blows from behind the upper character, the edges of its feather separate into surreal, delicate white tendrils that seek out its companion in a moment of intimacy. Although their narrow and pointed bases appear fragile, balanced precariously on the promenade, their posture and solidity communicate they are in fact grounded and secure.A handful of other paintings from the period, and included in the same Lefevre Gallery show, used feathers and also leaves as a metaphor for the human form; The Pink Feather (1946), Encounter and The Embrace of the Shadow (both 1947), along with On the Promenade formed what the artist's biographer, Andrew Lambirth, described as 'a group of superb tempera paintings'. But only in the present work does the artist employ the curvaceousness of form with the highly charged richness of colour that lends it such extraordinary appeal.As Andrew Lambirth notes, 'Maurice Collis, writing in April 1947 in The Observer, had this to say of Armstrong's third show at the Lefevre: 'In the past I had to take to task John Armstrong – one of our little galaxy of original artists – for the rigidity of the manner in which he was then enfolding himself. He has abandoned that rigidity, and in the present exhibition displays what I imagine must be not only the most attractive work he has ever shown, but also what I conceive to be more germane to his essential self'. Collis writes of the 'spectral mortality' of Armstrong's objects, the vast wind that seems to be 'blowing from the void', and the perfection of his technique' (op. cit. p. 112).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A small collection of various military buttons and badges: including two 'ATS' brass collar badges and a blue enamel circular compact with enamel ATS emblem.* Notes Militaria artefacts are reproduced in significant numbers, in particular those from the World War II period and some may use original parts. Intending buyers have ample opportunity for inspection of goods and, therefore must, accept responsibility for inspecting and investigating lots in which they may be interested. We ask that interested bidders closely study the images provided and request additional images and condition reports to satisfy themselves to the authenticity and period of any particular items in the auction. Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to Condition 16 (Terms and Conditions) concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".
POWDER COMPACT. An Art Deco celluloid powder compact by LSM. Apparently unused. 8.5 x 8cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
SILVER COMPACTS. A silver & green enamelled powder compact by the Goldsmiths & Silversmiths Company. With slip case. Also, a Siam Sterling silver & niello powder compact. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
POWDER COMPACTS ETC. Three Stratton powder compacts, including one with matching cigarette case. Also, two unused Melissa powder compacts & a Mascot musical compact in the form of a handbag, etc. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
EVENING BAGS. Two evening handbags, the sequinned bag with petit point powder compact. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
A George V silver capstan inkwell, 75mm diam, by Henry Perkins & Sons, London 1930 and other silver articles, to include a pair of napkin rings, three teaspoons, watch, watch fob shield, pen and nail buffer, a plated Mercedes compact and three Bank of England notes Several items worn, others in better conditin
An Edwardian silver vesta case, 45mm, by T Heatley, Birmingham 1905, a silver compact, thimble in leather case, cigarette lighter and watch and a suede covered wood cigarette case with giltmetal and blue guilloche enamel panel to the lid (6) Vesta case slightly dented and worn. The other items good save for the watch that is not in working order and lacks seconds hand
A George V silver novelty atomiser modelled as a pouring vessel, London, 1914, 12.3cm and a novelty silver compact?,modelled as a watering can, Henry Williamson Ltd, Birmingham, 1910, overall 69mm.A few minor dents to the watering can and a ding to the lid. Minor surface scratches to both. Hallmarks clear but atomiser maker's marks are rubbed.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A 1930's Cartier 9ct gold compact, with diamond set thumbpiece,with reeded decoration and handled twin compartmental interior, signed Cartier London and numbered 9771, hallmarked for Jacques Cartier, London, 1935, the compartments with engraved inscription ' Mildred Hailsham from Karen Ostrer, July 21st, 1936', 66mm, gross weight 90 grams, in original Cartier fitted gilt tooled leather box.Overall condition is good, commensurate with age and mild use. Box has some minor scuff marks.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Chinese Art A Zitan bitong brushpot China, Qing dynasty, 19th century . . Cm 17,00 x 14,50. Brushpot in precious Zitan wood, naturalistically carved with a group of lingzhi mushrooms on an old trunk. Zitan is the finest of the hard woods allowed by the strict rules of the so-called "classical Chinese furniture". Extremely hard, compact and very heavy, zitan wood has always struck the imagination of nobles and scholars for its black color with violet reflections. The slow and laborious development of the plant does not allow for intensive exploitation and this has certainly contributed to reinforce the myth about this precious essence, treasured in the remote woods of the Hainan which has always been reserved to the emperor. Lingzhi is perhaps the dearest subject to Chinese tradition which has always attributed to this strange woody mushroom portentous healing qualities, happiness and success.
One registered keeper and an incredible 1,512 miles from new.Finished in flawless Flamenco Red Metallic with a Nimbus Grey Leather interiorOver £50,000 when new. Impressive specification and clearly stored correctly for the past 27 yearsOriginal Bill of Sale, Jaguar Heritage Certificate and Concours CertificatesGood history/service files, original books & keys and its current MOT Excitingly offered at No Reserve, an absolutely unrepeatable opportunityIn 1995, Jaguar designer Geoff Lawson penned the X300, a rather more curvaceous development of the XJ40 and, naturally, its more luxurious Daimler sibling arrived shortly afterwards. In production for only three years, just over 1,300 Daimlers were built and consequently are now rare.This remarkable 4.0-litre Daimler Six was supplied new to its one and only registered keeper in March 1995 and is currently displaying an incredible 1,512 miles from new. The accompanying original Bill of Sale shows the car was supplied through Appleyard Jaguar Edinburgh and on to its first owner in Lerwick on Shetland.Superbly finished in Flamenco Red Metallic complemented by Nimbus Grey leather, right-hand drive, automatic X300 was specified with traction control, a compact disc changer, full size spare tyre, power fold black mirrors and, at a cost of £851.06, Autolux leather. Clearly cherished and stored correctly for the past 27 years, this amazing Daimler presents as you would expect for a car that is barely run in.Accompanied by the original Bill of Sale, Jaguar Heritage Certificate, Concours Certificates, history/service files, original books and keys and the current MOT valid until September 2022, this unrepeatable opportunity is excitingly being offered to auction at No Reserve. With so few remaining, we can't imagine that you would be able to ever find an example like this anywhere else.SpecificationMake: DAIMLERModel: X300 4.0Year: 1995Chassis Number: SAJDKALD3BJ743918Registration Number: M492 FWREngine Number: 9JPFRB132203 Drive Side: Right-hand DriveClick here for more details and images
Two vintage French black suede ladies cosmetics handbags, both with gold plated accessories, the largest with printed mark 'MADE IN FRANCE BREVETE' width 21cm (2)Footnote: Have emailed the vendor to ask if we could consign the bags to the Jewellery, Watches, Luxury Fashion & Accessories auction as I think these are more suit to that auction - MWCondition report: The smaller bag has some tarnishing to the hardware. It has a missing compact. The other bag has tarnishing to the hardware but is in good vintage condition.
25 CD Box sets. Great selection of rock and pop artists with Bruce Springsteen The Collection 73 84 7CD set, Tom Petty & The Heartbreakers Playback 6CD set, Genesis Collectors Edition box set with 3 picture CDs, the Led Zeppelin 4 Compact Disc set in the 12 box, The Rolling Stones Singles Collection The London Years 3CD set, The Allman Brothers Dreams 4CD set along with collections from Chuck Berry, Tina Turner, Bill Haley and many more. Various years and conditions.
An Elizabeth II silver rectangular pill box, the cover enamelled with a view of St Paul's Cathedral, Birmingham 1976, a silver gilt oval pill box with a view pf the Houses of Parliament to the cover on a deep blue enamel ground, stamped '9ct' and a silver shaped compact with enamelled timbered cottage to the cover, approximate weight all in 4.60 ozt (3)
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