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Lot 1334
Corgi Toys part boxed and play-worn group of 6 comprising No. 428 Smith's Karrier Ice Cream Van, No. 409 Forward Control Jeep, No. 458 ERF Model 64G Earth Dumper, Gift Set 14 Hydraulic Tower Wagon with figure, lamp post missing, No. 460 Neville Cement Tipper Body on ERF Chassis, and No. 100 Dropside Trailer
Lot 20
Maison DesnyTable lamp, circa 1930Nickel-plated metal, glass.19 x 15.3 x 12.5 cmManufactured by Maison Desny, Paris, France. Impressed DESNY PARIS/MADE IN FRANCE/DEPOSE.Footnotes:ProvenancePrivate collection, Trieste, ItalyThence by descent to the present ownerLiteratureGuillaume Janneau, Le Luminaire, Art Deco Lampen 1925-1937, Procedes D'eclairages Nouveaux, Paris, 1992, p. 277Charlotte and Peter Fiell, eds., 1000 Lights, Cologne, 2022, p. 171For further information on this lot please visit Bonhams.com
Lot 54
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
Lot 55
Lapo Binazzi (UFO)'Paramount' table lamp, from the 'bau. haus art collection', designed 1969Glazed earthenware, nylon, chromium-plated metal.70 cm high including shade, 66 cm shade diameter Produced by Studio Alchymia, Milan, Italy.Footnotes:ProvenanceStudio Alchymia, MilanAcquired from the above by the present owner, 1981LiteratureStudio Alchymia: Bau. Haus Art Collection, Technical catalogue edition, 1980, n.p.'Furnishings By Me', Domus, no. 624, January 1982, p. 35Lumières, je pense à vous, exh. cat., Centre Georges Pompidou, Paris, 1985, fig. 286Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 167Fulvio and Napoleone Ferrari, Lamp 1968-1973 The New Italian Design, Turin, 2002, p. 104Charlotte and Peter Fiell, eds., 1000 Lights, Vol. 2: 1960 to Present, Cologne, 2005, p. 161Charlotte and Peter Fiell, eds., Domus Vol. IX 1980-1984, Cologne, 2006, p. 227Lapo Binazzi (UFO), 'L'irriducibilita', Domus, no. 937, June 2010, n.p.Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts Houston, New Haven, 2020, pp. 29, 88-89For further information on this lot please visit Bonhams.com
Lot 57
Ugo La Pietra'Catasta' floor lamp, 2007Acrylic, painted metal. 145 x 50 x 50 cmProduced by Superego, Italy. Metal label printed 'Ugo La Pietra'/1 / 1.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
Lot 6
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
Lot 78
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
Lot 91
TH. ValentinerAdjustable table lamp, 1960sPainted aluminium, brass.51 x 53 x 22 cmManufactured by Poul Dinesen, Denmark. This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 94
Poul HenningsenPair of ceiling lights, type 5/4 shades, 1930sPainted copper, copper, glass. Each: 49 cm diameter, variable dropManufactured by Louis Poulsen, Copenhagen, Denmark. Each with interior fixture impressed PATENTED P.H.-4. Footnotes:ProvenanceBruun Rasmussen, Copenhagen, 'Design', 9 December 2021, lot 1112Acquired from the above by the present owner LiteratureTina Jørstian and Poul Erik Munk Nielsen, eds., Light Years Ahead: The Story of the PH Lamp, Copenhagen, 2000, p. 142This 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
Lot 862
VICTORIAN BRASS OIL LAMP LATE 19TH CENTURY with clear glass chimney and faceted reservour, over a ring turned brass column with clear glass knop and tapered octagonal base to foot65cm highGlass in overall good condition. Small blow imperfection to top glass piece. Some scratches and grime to one of the other glass pieces. Another section chipped. Glass base again with some scratches, grime and somesmall chips. Additional images now available.
Lot 880
EMMA BOSSONS FOR MOORCROFT, 'QUEEN'S CHOICE' MANTEL CLOCK AND LAMP CONTEMPORARY each piece tube-lined with fruits and foliage to dark blue ground, marks to basethe clock 15.5cm highQty: 2Both pieces in overall good condition. Crazing to the clock. Some light wear to the body.Wooden base to lamp has some chips/marks. Lamp itself would benefit from a light clean. Small section of restoration to rim. Additional images now available.
Lot 889
VICTORIAN BRASS AND CLEAR GLASS CORINTHIAN OIL LAMP LATE 19TH CENTURY with faceted cut reservoir over capital and tapered cylindrical column, domed circular foot with facet cuts to baseSome rubbing to the brass capital, the reservoir sits slightly tilted to one side, chips to base rim.70cm high.
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307207 item(s)/page