20/21 Design: 1900 to Now

28 OCTOBER 2014 SOUTH KENSINGTON

20

/21 D

ES

IGN

19

00

TO

NO

W

AUCTION

Tuesday 28 October 2014

at 2.00 pm. Lots 1-150

85 Old Brompton Road

London SW7 3LD

VIEWING

Friday 24 October 9.00 am - 5.00 pm

Saturday 25 October 11.00 am - 5.00 pm

Sunday 26 October 11.00 am - 5.00 pm

Monday 27 October 9.00 am - 7.30 pm

Tuesday 28 October 9.00 am - 12.00 noon

AUCTIONEER

Jeremy Morrison

AUCTION CODE AND NUMBER

In sending absentee bids or making

enquiries, this sale should be referred

to as AND-5868

AUCTION RESULTS

UK: +44 (0)20 7839 9060

US: +1 212 703 8080

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CONDIT IONS OF SALE

This auction is subject to

Important Notices,

Conditions of Sale and

to reserves.

[20]

These auctions feature

Bid live in Christie’s salerooms worldwide

register at www.christies.comFront Cover: Lot 42 detail Inside Front Cover: Lot 18 detail Page 2: Lot 39 detailIndex Page: Lot 70 detailBack Cover: Lot 8

20 /21 DE SIGN 1900 TO N OW

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I N T E R N A T I O N A L D E P A R T M E N T

20/21 DES IGN

25/02/14

I N T E R N A T I O N A L AU C T I O N C A L E N D A R

20/21 DES IGN

LONDON

28 OCTOBER

20/21 DESIGN:

1900 TO NOW

SOUTH KENSINGTON

16 - 30 OCTOBER

LALIQUE

ONLINE

30 OCTOBER - 16 NOVEMBER

LINE VAUTRIN

ONLINE

4 NOVEMBER

LUXURY-COLOUR-TEXTURE

THE ESTATE OF

DAVID COLLINS

KING STREET

4 NOVEMBER

20/21 DESIGN

KING STREET

Subject to change.11/09/14

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OR A REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.

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FOR THIS AUCTION

EMAIL

First initial followed by last name @christies.com (eg. Jeremy Morrison = [email protected].) For general enquiries about this auction, email should be addressed to Kelsey Preston, [email protected].

PARIS

24 NOVEMBER

20/21 DESIGN

PARIS

PRIVATE SALES

Christie’s offers clients the ability to buy or sell through Private Sales. For additional information, please contact the department specialists at +44 (0)20 7752 3236.

NEW YORK

9 DECEMBER

20/21 DESIGN

NEW YORK

9 DECEMBER

TIFFANY STUDIOS

NEW YORK

4

2

PIERO FORNASETTI (1913-1988)A ‘TESTE ANTICHE’ UMBRELLA STAND, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989

produced by Atelier Fornasetti, lithographically-decorated metal

28æ in. (73 cm.) high; 18Ω in. (47 cm.) wide; 7 in. (18 cm.) deep

Fornasetti label to reverse

£800-1,200 $1,400-2,000 €1,100-1,500

L I T E R A T U R E :

Similar example illustrated:

P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, p. 163.

PROPERTY FROM A PRIVATE ITALIAN COLLECTION (LOTS 1-13)

1

PIERO FORNASETTI (1913-1988)A ‘LIBRI’ MAGAZINE RACK, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989


and brass

15¡ in. (39 cm.) high; 16æ in. (42.5 cm.) wide; 8æ in. (22 cm.) deep

Fornasetti label to underside

£600-800 $980-1,300 €760-1,000

P R O V E N A N C E :

This lot and the following 13 lots were purchased from the Atelier

Fornasetti in the late 1980s.



P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, pp. 124-125.

The objects I went on to create over a period of forty years are based on extremely simple and clean-cut forms,

even though they are decorated with overflowing imagination.

PIERO FORNASETTI

5

n3

PIERO FORNASETTI (1913-1988)AN ‘ARCHITETTURA’ CHEST OF DRAWERS, ORIGINALLY DESIGNED 1953, EXECUTED 1988-1989

produced by Atelier Fornasetti, lithographically-decorated lacquered wood

33 in. (84.5 cm.) high; 39Ω in. (100.5 cm.) wide; 21æ in. (55.5 cm.) deep

Fornasettti label to first drawer

£8,000-12,000 $14,000-20,000 €11,000-15,000



P. Mauriès, Fornasetti: Designer of Dreams, London, 1991, pp. 104, 132.

6

n4

PIERO FORNASETTI (1913-1988)A ‘LIBRERIA’ BOOKCASE, EXECUTED 1988-1989

produced by Atelier Fornasetti, lithographically-decorated wood

79 in. (200.5 cm.) high; 59º in. (150.5 cm.) wide; 14º in. (36 cm.) deep

£8,000-12,000 $14,000-20,000 €11,000-15,000

7

n5

PIERO FORNASETTI (1913-1988)A ‘LIBRI’ WASTE PAPER BASKET, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989


11º in. (28.5 cm.) high; 10º in. (26 cm.) diameter


£400-600 $660-980 €510-750

n6

PIERO FORNASETTI (1913-1988)A ‘LIBRI E OGGETTI SPARSI’ DESK AND A ‘MUSICALE’ CHAIR, ORIGINALLY DESIGNED 1951, EXECUTED 1988-1989

produced by Ateliers Fornasetti, lithographically-decorated wood,

brass and enamelled metal

desk: 32 in. (81 cm.) high; 47º in. (120 cm.) wide;

23æ in. (60.5 cm.) deep;

chair: 37æ in. (96 cm.) high; 16 in. (40.5 cm.) wide; 17æ in. (45 cm.) deep

signed in lithography Fornasetti, Milano, Made in Italy, 1989 to top; the chair with Fornasetti label to underside (2)

£7,000-9,000 $12,000-15,000 €8,800-11,000


Similar example of the chair illustrated:


8

n7

PIERO FORNASETTI (1913-1988) A PAIR OF ‘CAPITELLO CORINZIO’ CHAIRS, ORIGINALLY DESIGNED CIRCA 1955, EXECUTED IN 1988-1989

produced by Atelier Fornasetti, lithgraphically-decorated plywood and

enamelled metal

37Ω in. (95 cm.) high; 16º in. (41 cm.) wide; 20æ in. (52.5 cm.) deep

Fornasetti label to underside (2)

£2,000-3,000 $3,300-4,900 €2,600-3,800



B. Fornasetti, Piero Fornasetti, Cento Anni di Follia Pratica, exh. cat.,

Milan, 2013, p. 175;


n8

PIERO FORNASETTI (1913-1988)AN ‘ARCHITETTURA’ TRUMEAU CABINET, ORIGINALLY DESIGNED 1951, EXECUTED 1988-1989

produced by Atelier Fornasetti, lithographically-decorated surfaces,

the interior fitted with glass shelves and internal lighting

81æ in. (228 cm.) high; 32º in. (82 cm.) wide; 16º in. (41 cm.) deep

Fornasetti label to drawer

£12,000-18,000 $20,000-29,000 €16,000-23,000



B. Fornasetti, Piero Fornasetti, Cento Anni di Follia Pratica, exh. cat.,

Milan, 2013; p. 175;


9

10

n9

PIERO FORNASETTI (1913-1988)A SET OF SEVEN ‘CAPITELLO IONICO’ CHAIRS, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989

produced by Atelier Fornasetti, lithgraphically-decorated plywood and

enamelled metal

37º in. (94.5 cm.) high; 16 in. (40.5 cm.) wide; 21º in. (54 cm.) deep

Fornasetti label to underside (7)

£6,000-8,000 $9,800-13,000 €7,600-10,000




11

n10

PIERO FORNASETTI (1913-1988) AN ‘ARCHITETTURA’ TABLE, ORIGINALLY DESIGNED CIRCA 1955, EXECUTED 1988-1989

produced by Atelier Fornasetti, lithographically-decorated wood and

painted metal

30º in. (76.5 cm.) high; 67 in. (170 cm.) diameter


£8,000-12,000 $14,000-20,000 €11,000-15,000



B. Fornasetti, Piero Fornasetti, Cento Anni di Follia Pratica, exh. cat., Milan, 2013,

p. 179;

12

11

PIERO FORNASETTI (1913-1988)A GROUP OF FOUR TABLE LAMPS, ORIGINALLY DESIGNED 1950s, EXECUTED 1988-1989

produced by Atelier Fornasetti, lithographically-decorated and gilt metal,

comprising Architettura, Viso, Libri and Colonna classica (the latter two not

illustrated); each with a shade

tallest 36 in. (91.5 cm.) high

three with Fornasetti label to underside (4)

£2,000-3,000 $3,300-4,900 €2,600-3,800

n12

PIERO FORNASETTI (1913-1988)‘VISO’ AND ‘ARCHITETTURA’ CUBE OCCASIONAL TABLES, ORIGINALLY DESIGNED 1956, EXECUTED 1988-1989

produced by Atelier Fornasetti, lithographically-decorated metal,

each with a side drawer

19Æ in. ( 50 cm.) square

Fornasetti label to inside (2)

£2,000-3,000 $3,300-4,900 €2,600-3,800




12 (part)

11 (part)

11 (part)

12 (part)

13

n13

PIERO FORNASETTI (1913-1988)A ‘LIBRERIA’ BOOKCASE, EXECUTED 1988-1989

produced by Atelier Fornasetti, lithographically-decorated wood

79 in. (200.5 cm.) high; 59º in. (150.5 cm.) wide; 14º in. (36 cm.) deep

£8,000-12,000 $14,000-20,000 €11,000-15,000

n15

ROBERTO PAMIO (B. 1937), RENATO TOSO (B. 1928) & NOTI MASSARI (B. 1939)A COAT STAND, DESIGNED 1968

produced by Stillwood

painted wood and plastic, on castors

71 in. (181 cm.) high; 24º in. (62 cm.) wide

£800-1,200 $1,400-2,000 €1,100-1,500

VARIOUS PROPERTIES

14

TOBIA SCARPA (B. 1935) FOR VENINI (EST. 1925)AN ‘OCCHI’ VASE, CIRCA 1960

fused murrine glass

11æ in. (30 cm.) high

acid-stamp Venini Murano Italia

£2,000-3,000 $3,300-4,900 €2,600-3,800

15

n16

NELLO PINI (ITALIAN)A PAIR OF LOUNGE CHAIRS, CIRCA 1960

produced by Novarredo, black painted metal, brass and velvet upholstery

39¡ in. (100 cm.) high; 26 in. (66 cm.) wide; 27Ω in. (69.5 cm.) deep (2)

£3,000-5,000 $4,900-8,100 €3,800-6,300



Rivista dell’arredamento, #88, Milan, 1962.

17

DINO MARTENS (1894-1970) FOR AURELIANO TOSO (EST. 1938)AN ‘ ORIENTE’ VASE, 1950s

cased glass with aventurine inclusions and pin-wheel

12º in. (31 cm.) high

£4,000-6,000 $6,600-9,800 €5,100-7,500

17

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

18

PAOLO VENINI (1895-1959) FOR VENINI (EST. 1925)A ‘PEZZATO’ BOTTLE VASE, CIRCA 1955

fused mosaic glass

14Ω in. (36.8 cm.) high

acid-stamp Venini Murano Italia

£7,000-9,000 $12,000-15,000 €8,800-11,000


Rainer & Ursula Losch, Bonn.

18

VARIOUS PROPERTIES

n19

CARLO PAGANI (ITALIAN)A SET OF FOUR ‘CAMPANULA’ CHAIRS, DESIGNED 1952

produced by Arflex, velvet upholstery, on brass supports

32Ω in. (82.5 cm.) high; 22¡ in. (57.5 cm.) wide; 18Ω in. (47 cm.) deep (4)

£2,000-3,000 $3,300-4,900 €2,600-3,800



G. Gramigna ‘1950/1980 Repertorio’, Milan, 2001, p. 71.

19

PROPERTY FROM A PRIVATE INTERNATIONAL COLLECTION

n20

GIO PONTI (1891-1979)A PAIR OF HIGH-BACK CHAIRS, CIRCA 1950

painted wood, upholstery

45º in. (115 cm.) high; 18º in. (46.3 cm.) wide; 19 ¬ in. (49.8 cm.) deep (2)

£5,000-7,000 $8,200-11,000 €6,300-8,800


These chairs illustrated:

U. La Pietra, Gio Ponti, New York, 1995, p. 203, fig. 438.

20

VARIOUS PROPERTIES

†21

NICOLAY DIULGHEROFF (1901-1982) & TULLIO D’ALBISOLA (1899-1971)A FUTURIST TEA SERVICE, CIRCA 1935

produced by Torido Mazzotti, glazed earthenware, comprising teapot, milk jug,

covered sugar bowl and six cups and saucers,

teapot 6º in. (15.8 cm. ) high

painted to underside M. G. A. (17)

£3,000-5,000 $4,900-8,100 €3,800-6,300



K. McCready, Art Deco and Modernist Ceramics, London 1995, p. 102;

C. Chilosi & L. Ughetto, La Ceramica de Novocento in Liguria, 1997, p. 119.

21

†22

NICOLAY DIULGHEROFF (1901-1982) & TULLIO D’ALBISOLA (1899-1971)A COFFEE SERVICE, CIRCA 1935

produced by Torido Mazzotti, glazed earthenware, comprising coffee pot, sugar

bowl, ten coffee cups and saucers

cofee pot 6æ in. (17.1 cm.) high

painted to underside M. G. A.

£3,000-5,000 $4,900-8,100 €3,800-6,300



K. McCready, Art Deco and Modernist Ceramics, London 1995, p. 102;

C. Chilosi & L. Ughetto, La Ceramica de Novocento in Liguria, 1997, p. 119.

23

ANGELO MANGIAROTTI (B. 1921)A GROUP OF ARCHITECTURAL VASES, CIRCA 1968

produced by Fratelli Brambilla, glazed earthenware

10 in. (25.4 cm.) high and smaller

each stamped to underside, four with additional manufacturer’s label Made in Italy

Fratelli Brambilla Milano Design Mangiarotti (11)

£1,500-2,000 $2,500-3,300 €1,900-2,500


Similar examples illustrated:

B. Finessi, Su Mangiarotti, Milan, 2002, p. 152.

n24

LINA ZERVUDAKI FOR ELSA SCHIAPARELLI (1890-1973)A LOUNGE CHAIR, CIRCA 1935

black painted metal, rattan, bamboo canes

27 in. (68.5 cm.) high; 28 in. (71 cm.) wide; 88æ in. (225.5 cm.) long

£4,000-6,000 $6,600-9,800 €5,100-7,500

24

n25

OSVALDO BORSANI (1911-1985)A TABLE, 1950s

ebonised wood, brass sabots, with marble top

30æ in. (78 cm.) high; 43º in. (109.5 cm.) diameter

£2,500-3,500 $4,100-5,700 €3,200-4,400



I. de Guttry, M. P. Maino, Il mobile Italiano degli anni ’40 e ’50,

Bari, 2010, p. 113, fig. 17.

25

n26

GIO PONTI (1891-1979)A PAIR OF ARMCHAIRS, MODEL N. 516, CIRCA 1950

produced by Cassina, Italy, walnut, upholstery

31 in. (78.8 cm.) high; 25 in. (63.5 cm.) wide;

28Ω in. (72.4 cm.) deep

each with Cassina label to stretcher (2)

£8,000-12,000 $14,000-20,000 €11,000-15,000

26

n28

ICO PARISI (1916-1996)A GROUP OF FURNISHINGS, DESIGNED 1959

produced by Stildomus, Indian rosewood, glass, aluminium, including a ‘Dione’

coffee table, a coat rack and an umbrella stand (both illustrated online)

table 15æ in. (40 cm.) high; 31Ω in. (80 cm.) wide; 31 ¿ in. (79 cm.) deep

coat rack stamped to reverse stildomuselezione Ico Parisi (3)

£2,000-3,000 $3,300-4,900 €2,600-3,800



F. Gualdoni, Ico Parisi & Architetture, Bologna, 1990, pp. 219 (umbrella stand

illustrated), 221 (cofee table illustrated);

M. Winter, ‘Luisa & Ico Parisi’, Berlin, ex. cat., 2009, pp. 28-30 (all examples illustrated).

†27

MARCELLO FANTONI (B. 1915)AN ABSTRACT SCULPTURE, 1960

patinated bronze, on an iron base

15 in. (38 cm.) high

pencil mark and date 1960

£3,000-5,000 $4,900-8,100 €3,800-6,300


Marcello Fantoni, Florence;

Christie’s London, 20th Century Decorative Art & Design, 26 October 2006, lot 14;

Private Collection, United States,

E X H I B I T E D :

Fiesole Museum, Etrusco, 2005.


E. Gradi, Marcello Fantoni, Compiobbi, 2005, pp.144, 102 (illustrated).

27

28 (part)

27

n29

GIO PONTI (1891-1979)A SET OF TWELVE ‘LEGGERA’ CHAIRS, DESIGNED CIRCA 1965

produced by Cassina, for the Hotel Parco dei Principi, Italy, ebonised wood and Alcantara

33º in. (84.5 cm.) high; 17 in. (43 cm.) wide; 17º in. (43.5 cm.) deep (12)

£4,000-6,000 $6,600-9,800 €5,100-7,500



L. Licitra Ponti, Gio Ponti, The Complete Work 1923-1978, London, 1990, p. 170;

U. La Pietra, Gio Ponti, Milan, 1995, p. 204.

28

n30

GILBERT POILLERAT (1902-1988)A DINING SUITE, CIRCA 1943

patinated and gilt wrought-iron, marble, comprising a table and eight chairs,

the chairs with cloven-hoof feet

table: 30æ in. (78 cm.) high; 35Ω in. (90 cm.) wide; 74¡ in. (189 cm.) long

chairs: 38æ in. (98.5 cm.) high; 15Ω in. (39.4 cm.) wide; 18 in. (46 cm.) deep (9)

£20,000-25,000 $33,000-41,000 €26,000-31,000


F. Baudet, Gilbert Poillerat, Mâitre Ferronnier, Paris, p. 90 (for a very close variant of this

table dated 1943).

29

30

31

31

n31

FRED BROUARD (1944-1999)AN ILLUMINATING WALL APPLIQUE, CIRCA 1970

bronze, mounted on stainless steel

26æ x 37Ω in. (68 x 95 cm.)

£3,000-5,000 $4,900-8,100 €3,800-6,300


Private collection, Paris.

n32

MAISON LELEU (1922-1970)A LOUNGE SUITE, CIRCA 1960

upholstery, steel with patinated gun-metal finish and brass,

comprising a sofa and two armchairs

sofa: 31Ω in. (80 cm.) high; 73 in. (185.4 cm.) wide; 37 in. (94 cm.) deep;

armchair: 31¿ in. (79 cm.) high; 29Ω in. (75 cm.) wide; 35 in. (89 cm.) deep (3)

£6,000-9,000 $9,800-15,000 €7,600-11,000



V. Jutheau, Jules et André Leleu, Neuchâtel, 1996, p. 158;

F. Siriex, Leleu, décorateurs ensembliers, Château de Saint-Rémy-en-l’Eau, 2007.

Another suite of this design was sold Christie’s Paris, Arts Décoratifs du XXe Siècle et Design, 20 May 2014, lot 56.

32

n34

ANDRE ARBUS (1903-1969)AN OCCASIONAL TABLE, ORIGINALLY DESIGNED CIRCA 1950, EXECUTED 1980s

number three from an edition of fifty, patinated bronze and oak

stamped AA 3/50

25 in. (63.5 cm.) high; 23¬ in. (60 cm.) diameter

£3,000-5,000 $4,900-8,100 €3,800-6,300


An original example illustrated:

Y. Brunhammer, André Arbus, Architecte-Décorateur des Années 40,

Paris, 1996, p. 257.

33

JULES LELEU (1883-1961)A SET OF FOUR ‘ACANTHE’ APPLIQUES, DESIGNED 1947

gilt-bronze


reverse stamped Leleu Paris,

Made in France and numbered 1, 2, 3, 5 (4)

£5,000-8,000 $8,200-13,000 €6,300-10,000



V. Jutheau, Jules et André Leleu, Paris, 1989, pp. 95, 100, 171.

33

36

EDGAR BRANDT (1880-1960)A TABLE LAMP, CIRCA 1925

wrought-iron, with an alabaster shade

23 in. (58.4 cm.) high

stamped BRANDT

£2,500-3,500 $4,100-5,700 €3,200-4,400

35

LOUIS MAJORELLE (1859-1926) & DAUM FRéRES (EST. 1878)A VASE, CIRCA 1925

glass, deeply acid-etched, wrought-iron


engraved Daum Nancy France, with Cross of Lorraine and L. Majorelle

£4,000-6,000 $6,600-9,800 €5,100-7,500

n37

ART DECO A MODERNIST CARPET, CIRCA 1935

possibly made in Donegal, wool

19 ft. 4.in. (5.9 m.) long, 9 ft. 7 in. (2.93 m.) wide

£5,000-8,000 $8,200-13,000 €6,300-10,000

n38

JOSEPH CSAKY (1888-1971)‘PEACOCKS’, A CONSOLE TABLE, CIRCA 1927

white and black marble (restorations)

31¬ in. (80.3 cm.) high; 38 in. (96.5 cm.) wide; 11√ in. (30.3 cm.) deep

£8,000-12,000 $14,000-20,000 €11,000-15,000


Private Collection, Paris;

Artcurial, Paris, Art Déco, 8 June 2010, lot 109;

Christie’s Paris, Les Collections Du Chateau De Gourdon, 29 March 2011, lot 1000.


F. Marcilhac, Joseph Csaky du Cubisme Historique à la Figuration Réaliste, les

Editions de l’Amateur, Paris, 2007, pp. 142, 342 (FM. 121).

The design of this lot is is related to, and possibly a preliminary study for, the Cubist sculpture of a stylised peacock which Csaky installed in the entrance hall of Jaques Doucet’s esteemed Studio Saint Jacques in 1928.

35

36

n39

SUZANNE LALIQUE (1892-1989)A UNIQUE THREE PANEL SCREEN, 1920s

oil on canvas, birds-eye maple frame

each panel: 65¬ in. (159 cm.) high; 27Ω in. (70 cm.) wide

signed Suzanne Lalique

£30,000-50,000 $49,000-81,000 €38,000-63,000


European collection .

This rare screen is a fine example of Suzanne’s inspiration. Like her father, she translated nature into her distinct vision – stylized compositions of colour and line. The dynamic arrangements of the tree branches and the use of black, blue and silver as dominant colours situate the screen to around 1920.

Suzanne Lalique was a talented, multi-faceted artist capable of transforming the various materials she experimented with – glass, porcelain, fabric or paint – into true works of art. Born in 1892, the daughter of René Lalique enjoyed a career worthy of her name. Her distinct achievements were largely overlooked however until the 1912 Musée Lalique exhibition Suzanne Lalique-Haviland – Le décor réinventé. The original design drawing for this screen is in the collection of the Musée Lalique and is illustrated on page 27 of the catalogue of the above exhibition.

From the age of 17, encouraged by her father, Suzanne contributed to the development of the family glassworks, creating her first design of a powder box for Coty in 1910. There followed a prolific period of work, attracting important private clients, surely the most distinguished being Jacques Doucet, the famous couturier, art patron and collector, who became her client in 1913 and commissioned four decorative screens.

Records confirm the execution by Suzanne Lalique, between 1914 and 1927, of more than a dozen painted screens. Only a few of the original designs and two screens, however, are known to have survived – one in the collection of the Musée Lalique and the present lot, acquired by the family of the current owner directly from Lalique at the Exposition

Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925.

Christie’s would like to thank Véronique Brumm for her assistance cataloguing this lot.

38

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION (LOTS 40-42)

~40

DEMETRE CHIPARUS (1886-1947)‘LES AMIS TOUJOURS’, CIRCA 1925

cold-painted and gilt-bronze and ivory, on an onyx base

24º in. (62.2 cm.) high; 25Ω in. (65 cm.) wide

base signed Chiparus, reverse stamped 195

£20,000-30,000 $33,000-49,000 €26,000-38,000


Christie’s New York, An Important Collection of Art Deco Sculpture,

27 May 1982, lot 11.



V. Arwas, Art Deco Sculpture, London, 1975, p.28;

V. Arwas, Art Deco Sculpture, London, 1992, p. 66;

A. Shayo, Chiparus Master of Art Deco, New York, 1999, p. 81;

B. Catley, Art Deco and Other Figures, Woodbridge, 2003, p. 58.

40

~41

DEMETRE CHIPARUS (1886-1947)‘TANGO’, CIRCA 1925

cold-painted and gilt-bronze, and ivory, on onyx base

24Ω in. (62.2 cm.) high

base signed Chiparus, reverse incised Made in France, right foot stamped Made in France, 6

£60,000-90,000 $98,000-150,000 €76,000-110,000



27 May 1982, lot 5.




A. Shayo, Chiparus Master of Art Deco, New York, 1993, p. 85.

41

~42

DEMETRE CHIPARUS (1886-1947)‘FAN DANCER’, CIRCA 1925

cold-painted, patinated and gilt-bronze, and ivory,

on an onyx and marble base

22º in. (57 cm.) high; 24Ω in. (62.2 cm.) wide

base signed Chiparus, with Les Neveux de J Lehmann foundry seal to underside

£70,000-90,000 $120,000-150,000 €88,000-110,000



27 May 1982, lot 4.



A. Shayo, Chiparus, Master of Art Deco, New York, 1993, p. 150;

M. Okroyan, Sculpture: From Root to Flourishing, Vol. II,

Moscow, 2011, p. 279.

42

44

VARIOUS PROPERTIES

~43

DEMETRE CHIPARUS (1888-1950)‘STARFISH’, CIRCA 1925

patinated and cold-painted bronze, and ivory,

on onyx and marble base

29æ in. (75.5 cm.) high

base signed D. H. Chiparus

£50,000-70,000 $82,000-110,000 €63,000-88,000




A. Shayo, Chiparus, Master of Art Deco, New York, 1993, p. 152;

B. Catley, Art Deco and other figures, Sufolk, 2003, p.71.

45

46

~45

DEMETRE CHIPARUS (1888-1950)‘RUSSIAN DANCERS’, CIRCA 1925

patinated, gilt and cold-painted bronze, and ivory, on marble base

16Ω in. (42 cm.) high

base engraved D. H. Chiparus

£30,000-50,000 $49,000-81,000 €38,000-63,000





A. Shayo, Chiparus, Master of Art Deco, New York, 1993, p. 148, pl. 79.

44

CLAIRE-JEANNE-ROBERTE COLINET (1880-1950)‘DANCE OF CARTHAGE’, CIRCA 1920

cold-painted gilt bronze, on marble base

11Ω in. (29.2 cm.) high

signed Cl. Jr. Colinet, stamped Les Neveux de J Lehmann

£6,000-8,000 $9,800-13,000 €7,600-10,000




44

47

45

48

47

MAURICE GUIRAUD-RIVIERE (1881-1947)‘THOUGHTS’, CIRCA 1925

patinated bronze, on a marble base

14º in. (36 cm.) high; 16º in. (41 cm.) wide

base signed Guiraud Riviere and Etling Paris

£3,000-5,000 $4,900-8,100 €3,800-6,300



B. Catley, Art Deco and Other Figures, Woodbridge,

1978, p. 173.

~46

GERDAGO (1906-2004)‘DANCER’, CIRCA 1925

cold-painted bronze and ivory, with brass chain,

on green onyx base

12Ω in. (31.7 cm.) high

signed in cast GERDAGO, with foundry stamp

£3,000-5,000 $4,900-8,100 €3,800-6,300

49

48

PIERRE LE FAGUAYS (1892-1935)‘LES PORTEUSES D’EAU’, A FIGURAL LAMP, CIRCA 1930

patinated bronze, alabaster shade, with gilt-foil mosaic, on marble base


base signed Le Faguays

£8,000-12,000 $14,000-20,000 €11,000-15,000


This piece illustrated:

V. Arwas, Art Deco Sculpture, London, 1992, p. 124.

50

~49

FERDINAND PREISS (1882-1943)‘HOOP GIRL’ AND ‘SONNY BOY’, CIRCA 1925

cold-painted bronze and ivory, on onyx bases


each base signed F. Preiss, underside of skirt stamped with Preiss & Kassler foundry mark (2)

£6,000-8,000 $9,800-13,000 €7,600-10,000

~50

FERDINAND PREISS (1882-1943)‘JAVELIN THROWER’, CIRCA 1925

cold-painted bronze and ivory,

on green onyx and black marble base


stamped Preiss & Kassler foundry mark

£10,000-15,000 $17,000-24,000 €13,000-19,000



B. Catley, Art Deco and Other Figures, Sufolk, 1978, p. 264;


A. Shayo, Ferdinand Preiss, Art Deco Sculptor, The Fire and the Flame,

Sufolk, 2005, p. 142.

51

52

~51

FERDINAND PREISS (1882-1943)‘DREAMING’, CIRCA 1925

ivory, on green onyx and black marble base


base signed F. Preiss

£5,000-8,000 $8,200-13,000 €6,300-10,000


Similar example, but in reverse, illustrated:

A. Shayo, Ferdinand Preiss Art Deco Sculptor, The Fire and The Flame,

Woodbridge, 2005, p. 93.

~52

FERDINAND PREISS (1882-1943)‘GIRL WITH FROG’, A FIGURAL LAMP, CIRCA 1925

gilt and cold painted bronze, carved ivory

21Ω in. (54.6 cm.) high

£6,000-8,000 $9,800-13,000 €7,600-10,000

A similar example was ofered in in these rooms: 20th Century Decorative Art & Design, 26 October 2010, lot 43.

54

53

FERDINAND PARPAN (1902-2004)‘CHAT ALLONGÉ’, DESIGNED 1950

patinated bronze, number 4 from the edition of 8

6 in. (15.2 cm.) high, 17Ω in. (44.5 cm.) long

F. PARPAN 4/8 with cypher and foundry mark GB fondeur

£10,000-15,000 $17,000-24,000 €13,000-19,000


J.C. Hachet, Ferdinand Parpan, Paris, 2001, p. 106.

54

FERDINAND PARPAN (1902-2004)‘LE GUITARISTE’, DESIGNED CIRCA 1935, LATER EXECUTED

number three of an edition of eight, patinated bronze

16 in. (40.35 cm.) high

signed F. Parpan, ¡, and with artist’s cipher

£10,000-15,000 $17,000-24,000 €13,000-19,000



55

FERDINAND PARPAN (1902-2004)‘LE GRAND TAUREAU CHARGEANT’, DESIGNED 1945, EXECUTED 1961

carved walnut

16 in. (41 cm.) high; 24º in. (62 cm.) wide; 9æ in. (24.5 cm.) deep

incised 1961, artist monogram FP and signed F Parpan

£7,000-9,000 $12,000-15,000 €8,800-11,000


Lombrail & Teucquam Paris, Vente de Fonds de Sculpteur

Ferdinand Parpan, 15 March 2006, lot 93.



56

56

RENE GRUAU (1904-2004)A COVER DESIGN FOR INTERNATIONAL TEXTILES, AUGUST 1968

gouache and pencil, on paper

13º x 16º in. (33.5 x 41.2 cm.)

signed in gouache G*, pencil annotations

£5,000-7,000 $8,200-11,000 €6,300-8,800

57

57

RENE GRUAU (1909-2004)A COVER DESIGN FOR INTERNATIONAL TEXTILES, CIRCA 1980

gouache, ink and pencil, on paper

12º x 17º in. (31 x 43.8 cm.)

signed in gouache G*, pencil annotations

£5,000-7,000 $8,200-11,000 €6,300-8,800

58

RENE GRUAU (1909-2004)A MOLYNEUX DRESS DESIGN FOR FEMINA, 1947

pen and watercolour, on paper, with chalk

13 x 19æ in. (33 x 50 cm.)

signed in ink G*, in pencil MOLYNEUX, and in chalk Page 111, in chalk on the reverse Molyneux page 111

£2,000-3,000 $3,300-4,900 €2,600-3,800

59

RENE GRUAU (1904-2004)A DESIGN FOR CRESCENDOE GLOVES, 1950s

gouache on paper

14º x 19æ in. (36.2 x 50.2 cm.)

signed in gouache Gruau* and in pencil 16¬ x 20Ω

£3,000-5,000 $4,900-8,100 €3,800-6,300

60

RENE GRUAU (1909-2004)A COVER DESIGN FOR INTERNATIONAL TEXTILES, 1970s

gouache on paper

16Ω x 21æ in. (42 x 55.3 cm.)

signed in gouache G*

£5,000-7,000 $8,200-11,000 €6,300-8,800

58

59

60

61

62

WIWEN NILSSON (1897-1974)A JEWELLERY SUITE, 1940-1961

silver and rock crystal,

comprising: necklace, ring, pair of earrings and bracelet

necklace: 16º in. (41.2 cm.) long; ring: æ in. (2 cm.) diameter;

earrings 2 in. (5 cm.) long; bracelet: 2Ω in. ( 6.3 cm.) diameter

each stamped with designer, maker and Swedish assay mark, STERLING, MADE IN SWEDEN (5)

£5,000-8,000 $8,200-13,000 €6,300-10,000

61

JOHAN RHODE (1856-1935) FOR GEORG JENSENA JUG, CIRCA 1918

silver, with ebony handle

8√ in. (20 cm.) high

stamped GEORG JENSEN, COPENHAGEN, GI 830 S, 1918, 5 GABF, with Swedish import marks

£3,500-4,500 $5,800-7,300 €4,400-5,700



Janet Drucker, Georg Jensen: A Tradition of Splendid Silver,

Atglen, 1997, p. 243.

n63

GERRIT THOMAS RIETVELD (1888-1964)A MATCHED SET OF SIX ‘ZIG ZAG’ CHAIRS, EXECUTED AFTER 1971

executed by an unknown maker, by repute under the instruction of Wim Rietveld, ash

tallest 29¡ in. (74.5 cm.) high; 14 in. (35.6 cm,) wide; 15.3 in. (40 cm.) deep;

dimensions variable (6)

£3,000-5,000 $4,900-8,100 €3,800-6,300


By repute commissioned for an interior by Wim Rietveld.



P. Vöge, The Complete Rietveld Furniture, Amsterdam, 1993, pp. 82-83, no. 120.

62

63

n64

CHARLOTTE PERRIAND (1903-1999)A SIDEBOARD, DESIGNED 1958

retailed by Steph Simon, pine, aluminium and enamelled aluminium

31Ω in. (80 cm,.) high; 70Ω in. (179 cm.) wide; 18 in. (46 cm.) deep

£6,000-8,000 $9,800-13,000 €7,600-10,000





J. Barsac, Charlotte Perriand, un Art d’Habiter 1903-1959, Norma, 2005, p. 440.

Charlotte Perriand, exh. cat., Centre Georges-Pompidou Paris,

7 Décembre 2005 - 27 Mars 2006, p. 162.

64

65

AXEL SALTO (1889-1961), FOR ROYAL COPENHAGEN (EST. 1775)A SOLIFLEUR VASE, 1944

glazed porcelain

5º in. (13.4 cm.) high

incised SALTO 1944, stamped ROYAL COPENHAGEN DENMARK

and painted blue waves

£3,000-5,000 $4,900-8,100 €3,800-6,300

n66

GEORGE NELSON (1908-1986)AN ‘MAA’ ARMCHAIR, DESIGNED 1958

manufactured by Herman Miller, fibreglass, chrome-plated steel, rubber

29æ in. (75.6 cm.) high; 27Ω in. (69.4 cm.) wide; 26æ in. (68 cm.) deep

£1,000-1,500 $1,700-2,400 €1,300-1,900

66 (alternative views)

66

n67

GEORGE NELSON (1908-1986)A PAIR OF ‘THIN EDGE’ CHESTS OF DRAWERS, MID-1950s

manufactured by Herman Miller, walnut veneer, on tapering aluminium legs

30æ in. (78 cm.) high; 24 in. (61 cm.) wide; 19¬ in. (49.8 cm.) deep

maker’s plaque to inside of top drawer Herman Miller-Zeeland-Michigan (2)

£1,500-2,000 $2,500-3,300 €1,900-2,500

67

n68

CHARLES (1907-1978) & RAY (1912-1988) EAMES A MATCHED SET OF FOUR ‘DCW’ CHAIRS, DESIGNED 1945, EXECUTED LATE 1940s

produced by Evans Products Co. for Herman Miller, ash veneered plywood

29 in. (73.7 cm.) high; 19º in. (48.7 cm.) wide; 20æ in. (52.8 cm.) deep

three chairs with paper label ‘Herman Miller, Evans, Charles Eames’, one chair with transfer label ‘Herman Miller, Evans, Charles Eames’ (4)

£2,000-3,000 $3,300-4,900 €2,600-3,800

68

n69

JULES WABBES (1919-1974)A LOW TABLE, CIRCA 1970

wengé woodblock, bronze

13 in. (33 cm.) high; 34æ in. (88.5 cm.) square

£4,000-6,000 $6,600-9,800 €5,100-7,500

l70

LUCIE RIE (1902-1995)A VASE, CIRCA 1980

porcelain, manganese glaze with sgrafitto

9¬ in. (24.5 cm.) high

impressed seal

£7,000-9,000 $12,000-15,000 €8,800-11,000

69

70

n71

ERNEST RACE (1913-1964)A SET OF FOUR ‘SPRINGBOK’ CHAIRS AND A TABLE, 1951

the chairs manufactured by Race Furniture for the Festival of Britain, 1951,

the table probably a unique custom commission, painted steel,

plastic-coated sprung seats and glass (replaced)

table: 24¡ in. (62 cm.) high; 41º in. (104.2 cm.) diameter;

chairs: 30æ in. (78 cm.) high; 19 in. (48.2 cm.) wide; 23Ω in. (59.4 cm.) deep (5)

£4,000-6,000 $6,600-9,800 €5,100-7,500


Bonhams London, 15 October 2002, lot 65.


Similar example of the chairs illustrated:

L. Jackson, Modern British Furniture, Design Since 1945, Hong Kong, 2013, p. 104, fig. 109.

This suite is from a Hampstead house designed and furnished by Moiret & Wood in 1952, which was featured in Ideal Home, October 1955.

71

l72

EDMUND DE WAAL (B.1964)A COVERED VESSEL, CIRCA 2001

celadon glazed porcelain


impressed seal (2)

£3,000-5,000 $4,900-8,100 €3,800-6,300


Purchased directly from the artist in 2001.

72

n73

MARK BRAZIER-JONES (B. 1956)A CENTRE TABLE, 1993

limed waxed oak, steel, bronze and glass

31¡ in. (79.5 cm.) high; 84 in. (213.5 cm.) wide; 60 in. (152 cm.) deep

engraved signature Mark. Brazier-Jones 1993

£3,500-4,500 $5,800-7,300 €4,400-5,700

73

n74

MARIO SCHEICHENBAUER (ITALIAN)A ‘YETI’ ROCKING CHAIR, 1968

produced by Elam, Italy, oak and long-pile-hide upholstery

33 in. ( 84 cm.) high; 45Ω in. (115.5 cm.) wide; 50 in. (127 cm.) deep

£6,000-9,000 $9,800-15,000 €7,600-11,000



G. Gramigna, Repertorio 1950-2000, Turin, 2003, p. 143.

An example of this model is in the permanent collection of the Cooper Hewitt, Smithsonian Design Museum, New York, Object ID 18638247.

74

n75

MARC NEWSON (B. 1963)A PAIR OF ‘HELICE’ FLOOR LAMPS, 1993

manufactured by Flos, Italy, lacquered aluminium and glass

74 in. (188. cm.) high (2)

£1,500-2,000 $2,500-3,300 €1,900-2,500

n76

RON ARAD (B. 1951)A ‘ROUND RAIL’ DOUBLE BED, DESIGNED 1981

produced by One Off, tubular steel frame, structural wire base

and Key-Klamp joints

26¡ in. (67 cm.) high; 78 in. (198 cm.) long; 54æ in. (139 cm.) wide

partial One/Off label to one leg

£2,000-3,000 $3,300-4,900 €2,600-3,800



P. Antonelli, Ron Arad: No Discipline, exh. cat. , Pompodou Centre,

Paris, 19 November 2008 - 16 March 2009, p. 52;

D. Sudjic, Ron Arad: Restless Furniture, New York,

1989, pp. 28 and 45.

n77

MARC NEWSON (B. 1963)A ‘SUPER GUPPY’ LAMP, DESIGNED 1987

manufactured by Idée, Japan, tubular aluminium,

aluminium, glass

73 in. (185.5 cm.) high; 34 in. (86.2 cm.) wide;

29º in. (74.2 cm.) deep

maker’s label to top ‘IDÉE’

£3,000-5,000 $4,900-8,100 €3,800-6,300



A. Rawsthorn, Marc Newson, London, 1999, pp. 31-33,

p. 212 for a drawing;

C. Lloyd Morgan, Marc Newson, London, 2002,

pp. 167, 179.

75

76

77

n79

AMANDA LEVETE (B. 1955)A ‘DRIFT’ BENCH, DESIGNED 2006

produced by Established & Son, glass reinforced polyester, with high-gloss finish

17 in. (43 cm.) high; 113Ω in. (288 cm.) wide; 16Ω in. (42 cm.) deep

£2,000-3,000 $3,300-4,900 €2,600-3,800



L. Jackson, Modern British Furniture, Design since 1945, Hong Kong, 2013, p. 262, fig. 296.

n78

RODY GRAUMANS (B. 1968) FOR DROOG DESIGN A PAIR OF ‘85 LAMPS’ CHANDELIERS, DESIGNED 1993

of early production, light bulbs, wires

30Ω in. (95 cm.) high; 21 in. (54 cm.) diameter approx. (2)

£3,000-5,000 $4,900-8,100 €3,800-6,300

The design of this work uses only what is essential in making light bulbs, wire and connectors. Acclaimed since its creation, it now features in the permanent collection of design museums globally, including the Museum of Modern Art, New York, and Die Neue Sammlung, Munich.

78

80

FAURÉ‘NU’, A WALL PLAQUE, POST 1956

number three from an edition of eight, enamelled copper,

mounted on smoky translucent acrylic

torso 19º in. (49 cm.) high

signed in gilt FAURÉ Limoges FRANCE No. 3/8, reverse with certificate and seals, written ‘Nu’ Jade

£6,000-8,000 $9,800-13,000 €7,600-10,000



A. Shayo, Camille Fauré, Limoges Art Deco Enamels, The Geometry of Joy,

Woodbridge, 2007, p. 263.

n81

JOHANNA GRAWUNDER (B. 1961)A BOOKCASE, 1997

produced by Post Design, Italy, number fourteen from an edition

of ninety-nine, painted wood and steel, with four adjustable shelves

and light fitting

85Ω in. (127 cm.) high; 46æ in. (118.6 cm.) wide; 21 in. (53 cm.) deep

maker’s metal tag to reverse Post Design, j. grawunder, ‘97, 14/99, made in italy

£3,000-5,000 $4,900-8,100 €3,800-6,300

79

80

82

IVAN MĔSTROVIC (1883-1962)‘DESTINO, VOLONTA DI POTENZA’, A BUST, 1911

marble, on mahogany-veneered base

incised ROMA MCMXI to reverse, label to the underside Ivan Mestrovic, Roma

19Ω in (49.7 cm.) high

£25,000-30,000 $41,000-49,000 €32,000-38,000

By the time of his death in 1962, Ivan Mĕstrovic was acknowledged as one of the leading sculptors of the 20th Century, lauded by August Rodin as “the greatest phenomenon amongst the sculptors”. Born in 1883 in Otavice, a poor village in Croatia, Mĕstrovic moved to Vienna to study sculpture at the Academy of Art in 1901. Here, the young artist was inspired by the energy and ideals expressed by the Vienna Secession and began exhibiting with them in 1903. This was the start of a hugely successful career which saw Mĕstrovic exhibiting in many European cities including London, Paris ,Venice and Rome, and becoming the first living artist to have a solo show at the Metropolitan

Museum of Art in New York in 1947. The turning point of his career was in 1911,when he was awarded the Grand Prix for sculpture for his contribution to the Serbian Pavilion at the International Exhibition in Rome.

The artist created a powerful installation which included pieces from his most ambitious project the Vidovdan Temple; a mausoleum symbolic of the secular struggles for freedom of the Slavian people of Kosovo. The exhibition included emblematic pieces representing characters, such as The Widow, The Memory and slaves, depicted trying to free themselves from chains as in the present lot. Dated 1911, the sculpture was in all probability included in the installation in Rome and represents an important example of Mĕstrovic style during that period. While permeated with the elements of the Secession and Symbolism, the pieces marked the beginning of a monumental and heroic style which Mĕstrovic employed to express his political and spiritual ideals in the plastic medium. The sculpture carries a motto Destino Volonta’ Di Potenza – Destiny, Will to Power – which is a reference to the philosopher Frederic Nietzsche and is a further indication of Mĕstrovic’s ideals.

“Throughout life I carried with me an

incomparable inheritance: poverty;

poverty of my family and my nation.

The first helped me to never be afraid of

material dificulties, for I could never have

less than at the beginning. The second

drove me to persevere in my work, so

that at least in my own field my nation’s

poverty would be diminished”

Ivan Mĕstrovic

81

n*83

LOUIS MAJORELLE (1859-1926)A ‘LES CLÉMATITES’ SALON SUITE, CIRCA 1900

carved walnut, upholstery,

comprising: settee, pair of armchairs and pair of chairs

settee: 42Ω in. (108 cm.) high; 51Ω in. (131 cm.) wide; 25 in. (63 cm.) deep

armchairs: 41Ω in. (105.4 cm.) high; 21Ω in. (54.7 cm.) wide; 20 in. (51 cm.) deep

chairs: 37º in. (94.3 cm.) high; 17Ω in. (44.4 cm.) wide; 16 in. (40.7 cm.) deep (5)

£5,000-8,000 $8,200-13,000 €6,300-10,000



A. Duncan, Louis Majorelle: Master of Art Deco, London, 1991, pp. 110, 172 figs

21-29.

83

n*84

LOUIS MAJORELLE (1859-1926)AN ÉTAGÈRE, CIRCA 1903

carved walnut, burr-maple, stained burr-maple, burr-walnut,

the upper convex marquetry-inlaid door above a pair of

shaped cupboard doors, enclosing adjustable shelves

63æ in. (162 cm.) high; 24 in. (61 cm.) wide, 17 in. (43.2 cm.) deep

£12,000-18,000 $20,000-29,000 €16,000-23,000



A. Duncan, Louis Majorelle: Master of Art Deco, London,

1991, p. 58, figs 13-15;

A. Duncan, The Paris Salons 1895-1914, Volume III: Furniture,

Sufolk, 1996, p. 390.

Comparable examples are held in the permanent collections of the Indianapolis Museum of Art, the Victoria & Albert

Museum, London and the Museum of Fine Art, Boston.

84

85

LÉO LAPORTE-BLAIRSY (1865-1923)A ‘LA PENSÉE’ INKWELL, 1901

edited by Eugene Houdebine, gilt-bronze


signed Léo Laporte-Blairsy

£3,000-5,000 $4,900-8,100 €3,800-6,300



A. Duncan, The Paris Salons, 1895-1914, Vol. V: Objets d’Art & Metalware,

Sufolk, 1988, p. 364.

Other examples exhibited:

Galeries Nationales du Grand Palais, La Societé des Artistes Français, Paris, 1901;

Galeries Nationales du Grand Palais, 1900, Paris, 14 March - 6 June 2000.

86

DAUM FRÈRES (EST. 1878)A ‘PERCE-NEIGE’ CAMEO VASE, CIRCA 1900

mottled glass, overlaid, acid-etched and carved


engraved Daum Nancy, with Cross of Lorraine

£7,500-10,000 $13,000-17,000 €9,500-13,000

87

ÉMILE GALLÉ (1846-1904)A MARQUETERIE-SUR-VERRE INTERCALAIRE VASE, CIRCA 1900

internally decorated glass, with marquetrie, wheel-carved

10 in. (25.5 cm.) high

engraved signature Gallé

£8,000-12,000 $14,000-20,000 €11,000-15,000

85

86

n~*88

EMILE GALLÉ (1846-1904)A TWO-TIER TABLE, CIRCA 1900

carved walnut, the top and undertier inlaid with foliate marquetry

in various woods, including rosewood

30 in. (76 cm.) high; 36æ in. (93.4 cm.) wide; 24 in. (61 cm.) deep

signed in marquetry Gallé

£3,000-5,000 $4,900-8,100 €3,800-6,300

87

n~*89

LOUIS MAJORELLE (1859-1926)A SIDE-CABINET, CIRCA 1900

carved walnut, the lower door inlaid with various woods,

including rosewood, enclosing an adjustable shelf

71º in. (181 cm.) high; 24Ω in. (62.3 cm.) wide; 18Ω in. (47 cm.) deep

£10,000-15,000 $17,000-24,000 €13,000-19,000

88

90

EMILE GALLE (1846-1904)AN ‘ÉCUREUIL’ PLAFONNIER, CIRCA 1900

glass, overlaid and acid-etched with a red squirrel, with brass mounts

19º in. (48.9 cm.) diameter

signed in cameo Gallé

£12,000-18,000 $20,000-29,000 €16,000-23,000



A. Duncan, G. De Bartha, Gallé Lamps, Woodbridge, 2014, p. 223, pls 9.190-192.

(view from underside)

89

91

GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘LOUPS DANS LA NEIGE’ VASE, DESIGNED 1926

pâte-de-verre

9æ in. (24.8 cm.) high

signed in the mould G. ARGY-ROUSSEAU 18812

£15,000-20,000 $25,000-33,000 €19,000-25,000


Christie’s London, 20th Century Decorative Art & Design,

7 April 2009, lot 37.



J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art, London,

1991, p. 208.

90

92 (view from underside)


93

GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘GROSSE FLEUR’ PLAFONNIER, DESIGNED 1923

pâte-de-verre

12º in. (31 cm.) diameter

signed in the mould G. Argy-Rousseau

£6,000-8,000 $9,800-13,000 €7,600-10,000



J. Bloch-Dermant, G. Argy-Rousseau, Glassware as Art,

London, 1991, p. 194.

PROPERTY FROM AN ITALIAN PRIVATE COLLECTION

92


pâte-de-verre


moulded G. Argy-Rousseau

£6,000-8,000 $9,800-13,000 €7,600-10,000




London, 1991, p. 194.

94


pâte-de-verre


signed in the mould G. Argy-Rousseau

£6,000-8,000 $9,800-13,000 €7,600-10,000




London, 1991, p. 194.


PROPERTY FROM A DISTINGUISHED INTERNATIONAL

PRIVATE COLLECTION (LOTS 95-120)

95

ÉMILE GALLÉ (1846-1904)A ‘NÉNUPHARS’ VASE, CIRCA 1920

glass, mould-blown, overlaid and acid-etched in relief



£5,000-7,000 $8,200-11,000 €6,300-8,800

96

ÉMILE GALLÉ (1846-1904)A ‘CALLA LILY’ VASE, CIRCA 1920

glass, mould-blown, acid-etched and triple overlaid

14 in. (35.5 cm.) high


£15,000-20,000 $25,000-33,000 €19,000-25,000


Christie’s London, British Decorative Arts, 8 June 1993, lot 11.

92

93

94

98

ÉMILE GALLÉ (1846-1904)A ‘PEONY’ CAMEO VASE, CIRCA 1900

glass, overlaid and acid-etched, wheel-carved


cameo Gallé

£10,000-15,000 $17,000-24,000 €13,000-19,000

97

ÉMILE GALLÉ (1846-1904)A MARQUETERIE-SUR-VERRE GOBLET, CIRCA 1900

internally decorated glass, overlaid and acid-etched,

with foil inclusions

5 in. (13 cm.) high

signed Emile Gallé

£6,000-8,000 $9,800-13,000 €7,600-10,000


Christie’s New York, 20th Century Decorative Arts,

18 March 1989, lot 12.



A. Duncan, G. De Bartha, Glass by Gallé, London, 1984,

p. 100, pl. 142.

95

96

99

EMILE GALLÉ (1846-1904)A ‘GERANIUM’ CAMEO VASE, CIRCA 1900

glass, of compressed form, overlaid, acid-etched and enamelled,

with gilt highlights

8Ω in. (21.5 cm.) high

cameo Gallé

£2,000-3,000 $3,300-4,900 €2,600-3,800

100

EMILE GALLÉ (1846-1904)A ‘JASMINE’ CAMEO VASE, CIRCA 1900

glass, with trefoil neck, overlaid, acid-etched and enamelled


cameo Gallé

£1,500-2,000 $2,500-3,300 €1,900-2,500

97

101

DAUM FRéRES (EST.1878)A ‘PAYSAGE’ CAMEO VASE, CIRCA 1900

mottled glass, acid-etched and enamelled,

with trefoil neck and gilt highlights to rims

8 in. (20 cm.) high

traces of gilt-painted Daum Nancy, with Cross of Lorraine

£9,000-12,000 $15,000-20,000 €12,000-15,000

98

103

DAUM FRéRES (EST. 1878)A ‘TULIPE’ CAMEO VASE, CIRCA 1903

glass, double overlaid and acid-etched, with martelé decoration

8 in. (20 cm.) high

engraved Daum Nancy, with Cross of Lorraine

£3,000-5,000 $4,900-8,100 €3,800-6,300

102

DAUM FRéRES (EST. (1878)A ‘WISTERIA’ CAMEO VASE, CIRCA 1900

glass, overlaid, acid-etched and carved, against a martelé ground

9 in. (22.9 cm.) high

engraved DAUM NANCY

£4,000-6,000 $6,600-9,800 €5,100-7,500

102 103

99

104

DAUM FRERES (EST. 1878)A ‘CROCUS’ CAMEO VASE, CIRCA 1910

internally decorated glass, overlaid, acid-etched and carved,

with martelé

12 in. (30.5 cm.) high

cameo DAUM NANCY, with Cross of Lorraine

£5,000-7,000 $8,200-11,000 €6,300-8,800

105

DAUM FRéRES (EST. 1878)A ‘ROSE’ CAMEO VASE, CIRCA 1910

mottled glass, overlaid, acid-etched and wheel-carved


wheel-engraved Daum Nancy, with Cross of Lorraine

£3,000-4,000 $4,900-6,500 €3,800-5,000


Christie’s London, Decorative Arts, 16 February 1994, lot 341.

104 105

100

107

DAUM FRéRES (EST. 1878)A ‘MARGUERITES’ CAMEO VASE, CIRCA 1910


with appliques


wheel-engraved DAUM NANCY, with Cross of Lorraine

£4,000-6,000 $6,600-9,800 €5,100-7,500

106

DAUM FRéRES (EST. 1878)A ‘VIOLETS’ CAMEO VASE, CIRCA 1900

mottled glass, overlaid, acid-etched and enamelled, with gilt highlights

9¬ in. (24.5 cm.) high

gilt Daum Nancy, with Cross of Lorraine

£3,000-5,000 $4,900-8,100 €3,800-6,300


Sotheby’s London, 3 May 1991, lot 99.

110

DAUM FRéRES (EST. 1878)A ‘FRUITING VINE’ CAMEO VASE, CIRCA 1910

internally decorated glass, overlaid with vitrified cameo and acid-etched,

with appliques

21Ω in. (54.5 cm.) high


£3,000-5,000 $4,900-8,100 €3,800-6,300

109

DAUM FRéRES (EST. 1878)A ‘ MARGUERITES’ VASE, CIRCA 1910


and with appliques

17 in. (43.2 cm.) high

engraved DAUM NANCY, with Cross of Lorraine

£2,000-3,000 $3,300-4,900 €2,600-3,800

108

DAUM FRéRES (EST. 1878)A ‘VIOLETS’ CAMEO VASE, CIRCA 1900

mottled glass, overlaid, acid-etched and enamelled, with gilt highlights

21æ in. (55.3 cm.) high


£3,000-5,000 $4,900-8,100 €3,800-6,300

106

107

101

108

109

110

111

DAUM FRéRES (EST. 1878)A ‘SWEETPEA’ FIRE-POLISHED CAMEO VASE, CIRCA 1900

opalescent glass, overlaid and acid-etched, against a martelé ground

15æ in. (40.5 cm.) high

wheel-engraved DAUM NANCY, with Cross of Lorraine

£4,000-6,000 $6,600-9,800 €5,100-7,500


Christie’s New York, Barbra Streisand, Part I, 3 March 1994, lot 9.

102

112

DAUM FRéRES (EST. 1878)A ‘PISSENLIT’ FIRE-POLISHED CAMEO VASE, CIRCA 1900

opalescent glass, overlaid and acid-etched, against a martelé ground

19Ω in. (49.5 cm.) high


£5,000-7,000 $8,200-11,000 €6,300-8,800

113

DAUM FRéRES (EST. 1878)A ‘CLEMTATIS’ FIRE-POLISHED CAMEO VASE, CIRCA 1900

opalescent glass, over-laid and acid-etched, against a martelé ground

23æ in. (60.4 cm.) high


£5,000-7,000 $8,200-11,000 €6,300-8,800

103

104

114

115

116

114

GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘CHRYSANTHÈMES’ VASE, DESIGNED 1919

pâte-de-verre


signed in the mould G. Argy-Rousseau, 8286

£2,000-3,000 $3,300-4,900 €2,600-3,800




London, 1991, p. 180.

115

GABRIEL ARGY-ROUSSEAU (1883-1953)A ‘MASQUES’ SMALL VASE, DESIGNED 1914

pâte-de-verre


signed in the mould G. Argy-Rousseau, France

£1,200-1,800 $2,000-2,900 €1,600-2,300




London, 1991, p. 178.

116

GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘CRABES ET ALGUES’ VASE, DESIGNED 1919

pâte de verre

6 in. (15.5 cm.) high


£3,000-5,000 $4,900-8,100 €3,800-6,300




London, 1991, p. 181.

105

118

GABRIEL ARGY-ROUSSEAU (1885-1953)‘LE JARDIN DES HESPÉRIDES’ VASE, DESIGNED 1926

pâte-de-verre


signed in the mould G. Argy-Rousseau and France

£8,000-12,000 $14,000-20,000 €11,000-15,000



J. Bloch-Dermant, G. Argy-Rousseau: Glassware as Art,

London, 1991, p. 182.

117

GABRIEL ARGY-ROUSSEAU (1885-1953)A ‘LA COUPE FLEURIE’ VEILLEUSE, DESIGNED 1923

pâte-de-verre, wrought-iron mount with gilt highlights

6 in. (15.2 cm.) high


£4,000-6,000 $6,600-9,800 €5,100-7,500




London, 1991, p. 193.

118

117

106

120

GUSTAV GURSCHNER (1873-1971)A TABLE LAMP, CIRCA 1900

patinated bronze, with mottled glass shade

23æ in. (60.5 cm.) high

£5,000-7,000 $8,200-11,000 €6,300-8,800


Sotheby’s London, 19 December 1986, lot 288.

119

JOSEF LORENZL (1892-1950)‘DIANA’, CIRCA 1920

silvered and lacquered bronze

18 in. (45.8 cm.) high

signed in the cast Lorenzl

£4,000-6,000 $6,600-9,800 €5,100-7,500




VARIOUS PROPERTIES

n~121

LUDWIG SCHMITT (AUSTRIAN) A CABINET, CIRCA 1900

macassar ebony, rosewood, marquetry,

mother-of-pearl and brass inlay

70 in. (177.5 cm.) high; 70¡ in. (180 cm.) wide; 18 in. (46 cm.) deep

maker’s label to interior

£7,000-10,000 $12,000-16,000 €8,800-13,000

107

122

C. F. A. VOYSEY (1857-1941)A RARE TIMEPIECE, EARLY 20TH CENTURY

oak, with a pewter-inlaid dial reading TEMPUS FUGIT (restorations)


£30,000-50,000 $49,000-81,000 €38,000-63,000


Similar examples illlustrated:

The Studio, vol. 7, May 1896, p. 126;

John Brandon-Jones, C. F. A. Voysey: Architect and Designer, London, 1978, p. 84;

J. Cooper, Victorian and Edwardian Furniture and Interiors, London, 1978, pl. 481;

D. Simpson, C. F. A. Voysey: An Architect of Individuality, London 1979;

W. Hitchmough, C. F. A. Voysey, London, 2004, p. 51.

The prolific designer and architect Charles Francis Annesley Voysey is today celebrated as one of the most important designers of the turn of the twentieth century. The first clock of this rare form was designed in 1895 by Voysey for his own home, The Orchard, in Chorleywood. With a decorated face, the design for this piece is now in the collection of the R.I.B.A. London, and the clock itself is in the Victoria & Albert Museum, London. Another decorated example is in the Virginia Museum of Fine Arts, Richmond, USA. Of the very few oak examples known, one is illustrated in Cooper (op.cit., 1978, where listed as having been made by Liberty & Co, which is no longer considered to be the case). Only two other variants are known, one in ebony and one in aluminium.

As Simpson notes (p. 58), this clock is one of the most distinctive and best known of Voysey’s output. The current piece is a welcome addition to the scarce examples known.

108

109

110

n123

ARCHIBALD KNOX (1864-1933)AN IMPORTANT SIDE TABLE, 1902

pine, pewter inlay, the rear backboard above a rectangular top with central shaped pewter inset flanked by open

end apertures, on a shaped base

38Ω in. (98 cm.) high; 53æ in. (136.cm.) wide; 17æ in. (45 cm.) deep

the backboard carved ‘A.Knox’ and ‘1902’

£15,000-20,000 $25,000-33,000 €19,000-25,000

It was during his years in Sulby, 1900 through 1904, that Archibald Knox was at the peak of his creativity while working as a designer for Liberty & Co, London. Though Knox is not known to have produced commercial furniture designs, it appears as though he commissioned some, likely from a local craftsman. This worktable belongs to that small grouping. Included among them is a wooden clock case, inscribed designed by Archibald Knox. Sulby I.O.M. A.D. 1904 in his distinctive style, now in the Manx Museum and an intricately crafted chest that might have housed drawings and drafting materials inscribed A Knox 1903, also in typical Knox fashion, now in a private collection. Besides its inscription that links this table to Knox is its design sensibility. Its distinctive overall outline is similar to some of his great clock designs where he uses elegant sculpted flanges; the incorporates his signature entrelacs carved into the backboard and includes an inlaid pewter plaque on the table’s surface that is nearly identical in shape to those used in a variety of graphic designs throughout his career. As such the worktable is a fascinating example of Knox’s creative versatility.

Dr. Stephen A. Martin

Ardmore, PennsylvaniaEditor, Archibald Knox, London, 2001.

The present table was recently discovered by the current owner as part of the residual contents of a newly-acquired cottage in Sulby, Isle of Man, located opposite the house where Knox lived between 1900 and 1904.

111

112

n125

W. A. S. BENSON (1854-1924)A EIGHT-BRANCH FLOOR-STANDING CANDELABRUM, CIRCA 1900

brass and copper

60 in. (152.5 cm.) high

£6,000-9,000 $9,800-15,000 €7,600-11,000


Similar stands illustrated:

I Hamerton (ed.), W. A. S. Benson, Arts and Crafts Luminary

and Pioneer of Modern Design, Woodbridge, 2005, p. 71,

pl. 44, p, 249, pls 7 and 8, p. 259 pls 19 and 20.

The foot of the stand is similar in form to stands which Benson employed for kettle-stand model 558, and lamp-stand models 226, 226B, 919/s and 1074/s. It is also closely comparable to his original coat stands used in the Victoria & Albert Museum, London.

124

MARTIN BROTHERS (BRITISH)AN EARLY MANTLE CLOCK, 1878-1879

glazed stoneware, flanked by grotesque beasts,

the front incised with a flying house martin,

with a decorated reverse

12Ω in. (31.8 cm.) high

incised R. W. Martin - Southall 8 - 1878 and 79

£3,000-5,000 $4,900-8,100 €3,800-6,300

113

n126

PHILIP WEBB (1831-1915) FOR MORRIS & CO.A SIDEBOARD, CIRCA 1870

walnut, with brass pulls

60 in. (152.5 cm.) high; 62 in. (157.5 cm.) wide; 17º in. (43.5 cm.) deep

£8,000-12,000 $14,000-20,000 €11,000-15,000


A drawing of a similar example illustrated:

J. Cooper, Victorian and Edwardian Furniture and Interiors,

London, 1987, pl. 418.

The lot featured in the Morris & Company catalogue and was described as “No. 181. Walnut sideboard desgined by Mr. Philip Webb 5 ft. 2 in. wide x 5 ft. 2 in. high” and priced at £25/0/0.

114

nW127

MORRIS & CO. (1875-1940), DESIGNED BY JOHN HENRY DEARLE (1859-1932)A ‘MONTREAL’ CARPET, DESIGNED 1890-1891, MANUFACTURED CIRCA 1926, COMMISSIONED BY TOM E. BARR-SMITH, FOR THE SMOKING ROOM AT THE ADELAIDE CLUB, ADELAIDE, SOUTH AUSTRALIA

hand-knotted wool

185Ω in. (471 cm.) long; 177 in. (449.5 cm.) wide

£20,000-30,000 $33,000-49,000 €26,000-38,000


Commissioned by Tom E. Barr-Smith for the Adelaide Club (until 1985);

Christie’s London, 20th Century Decorative Arts, 16 November 1994, lot 63;

Private Collection, New York.


The Adelaide Club, Minutes from the Committee Meetings, 10 February 1926 and 27 October 1926;

The Adelaide Club, Annual General Meeting, Committee’s Report, for the year ending 31 December 1926

Christopher Menz, Morris & Company, Pre-Raphaelites and the Arts & Crafts Movement in South Australia,

Art Gallery of South Australia, 4 February - 8 May 1994, pp. 44-46.

This carpet was ordered by Tom E. Barr-Smith in February 1926 at the request of the Adelaide Club (of which he was then Vice President) and was presented by him as a gift to the Club in late October of that year.

Tom E. Barr-Smith was the eldest son of Robert and Joanna Barr-Smith, a family that was perhaps the most important and committed patrons of Morris & Co. from the 1880s through to the 1920s. Their three Adelaide homes - Torrens Park, Auchendarroch and Birkdale (later to become the home of Tom Barr-Smith) were all extensively furnished with Morris & Co. fabrics, either ordered through the mail or during visits to England. Joanna was a friend of May Morris and this was no doubt an influential factor in directing her taste, at least in the early days of the Barr-Smith’s patronage.

Production at the Merton Abbey workshops ceased in 1912, and subsequent manufacture was transferred to the Royal Wilton Carpet Factory. This carpet, from the nature of both its construction and the materials used, indicate that India was the most likely place of its manufacture, where there existed a long tradition of hand-knotted carpet production. Given the ultimate destination of the carpet, it would seem logical that a decision would have been made to have it woven in India rather than in England, thereby reducing the delivery time by at least two months.

The ‘Montreal’ design was originally conceived by J.H. Dearle in the early 1890s and was first used at that date by Morris & Co. for the Drawing Room at Stanmore Hall, owned by William Knox D’Arcy. The design continued to be available through Morris & Co. at least until the 1920s, with studio copies of this and other designs on display at the Morris & Co. shop in Oxford Street, from which prospective clients could make their selection for carpets. A copy of this design was given to the Victoria & Albert Museum and remains in the permanent collection. Another example of this design was commissioned by Peterhouse College, Cambridge, against a blue ground.

115

116

128

DR CHRISTOPHER DRESSER (1834-1904) FOR HUKIN AND HEATHA RARE ‘CROW’S-FOOT’ CLARET JUG, MODEL 4321, 1879

electroplate, cut-glass


stamped H & H, with registration diamond and 4321

£5,000-7,000 $8,200-11,000 €6,300-8,800


Similar example with clear glass body illustrated:

M. Whiteway (ed.), Christopher Dresser, A Design Revolution, London,

2004, p. 146, pl. 180.

This is an unusual example, with a cut glass body rather than the usual clear glass body. The only other documented of this form is held in the Shefield Museum, accession number 1978.525.

117

n129

DR CHRISTOPHER DRESSER (1834-1904), FOR THE ART FURNISHERS’ ALLIANCE, ATTRIBUTED TOA PAIR OF CHAIRS, CIRCA 1875

executed by W. Booty, ebonised walnut, gilt highlights and upholstery

35Ω in. (90 cm.) high; 18√ in. (48 cm.) wide; 20 in. (51 cm.) deep (2)

£10,000-15,000 $17,000-24,000 €13,000-19,000

Another example of this chair, in an international collection, is labelled W. Booty, London and Dr Christopher Dresser is known to have designed for them. The form of the chair has much in common with chairs Dresser designed for Bushloe House, while the decorative motifs employed are similar to those employed on Dresser’s highly regarded ‘Elephant’ chair (cf. M. Whiteway, Christopher Dresser 1834-1904, Milan, 2001, pp. 158 and 160, pls 187 and 191).

n130

E. W. GODWIN (1833-1886)AN OCCASIONAL TABLE, DESIGNED 1867-1868

ebonised mahogany, coromandel-veneered, parcel-gilt highlights

28Ω in. (72.5 cm.) high; 20º in. (51.5 cm.) square

£6,000-9,000 $9,800-15,000 €7,600-11,000



E. Aslin, E. W. Godwin, Furniture and Interior Decoration, Fine Art Society, London,

1986, pp. 51 and 52, figs 18 and 19;

S. Weber Soros, The Secular Furniture of E.W. Godwin, Yale, 1999, p. 143;

S. Weber Soros, E. W. Godwin, Aesthetic Movement Architect and Designer, Yale, 1999,

p. 10, fig. ii and p. 251, fig. 8-39;

G. Cooke, A. Stapleton, D. Park Curry, Whistler & Godwin, Fine Art Society, London,

2001, pp. 69 and 70.

A further example of this model was sold Christie’s London: 20th Century Decorative Art & Design, 23 October 2012, lot 119.

118

119

n131

E. W. GODWIN (1833-1886) FOR WILLIAM WATTA SIDE CHAIR, CIRCA 1880

ebonised mahogany, upholstery

33 in. (83.5 cm.) high; 17 in. (43 cm.) wide; 19 in. (48 cm.) deep

£7,000-10,000 $12,000-16,000 €8,800-13,000


W. Watt, Art Furniture from Designs by E. W. Godwin, F. S. A, London,

pl. 6 (drawing);

S. Soros, The Secular Furniture of E. W. Godwin, New Haven, 1999,

no. 137 (variant).

An identical example, bearing a maker’s plaque, was sold Sotheby’s London, 20 March 2008, Lot 34.

120

n132

GOTHIC REVIVALA IMPRESSIVE ARCHITECTURAL CHANDELIER, 1870s

wrought and painted steel, the upper corona above

linked chain suspension, the cylidrical frame with

medieval turrets and armorial crests

38 in. (96.5 cm.) diameter

£8,000-12,000 $14,000-20,000 €11,000-15,000


The Drawing Room, Lingholm, Cumbria.

This chandelier is from Lingholm, in the Lake District, England, a house designed by Alfred Waterhouse in the 1870s, which overlooks Derwentwater. The house was designed for Colonel J. Greenall.

n133

ERNEST GIMSON (1864-1919)A FINE CABINET, COMMISSIONED BY ADAM BLACK, 1917

solid macassar ebony, burr-yew, with elaborate cornice

and shaped astragal bars, the canted cupboard doors

enclosing a three shelves with rear plate-rest, the

lower section with a pair of central cupboard doors

enclosing a shelf

87¬ in. (222.5 cm.) high; 49¬ in. (126 cm.) wide;

18Ω in. (47 cm.) deep (max.)

£15,000-25,000 $25,000-41,000 €19,000-31,000

The original signed design drawing by Gimson for this cabinet, dated August 1917, is held in the collection of Cheltenham Art Gallery & Museum, Gloucestershire.

The present cabinet, with its use of high quality timbers matched with the finest hand-craftsmanship, exemplifies the aims of the Cotswold School of craftsmen. The Arts and Crafts ideals of truth to materials, honesty of construction and fitness for purpose are fundamental principles of Gimson’s work, together with that of his close associates Ernest and Sidney Barnsley. Produced at his Daneway workshop, this large-scale commission was produced at a time Gimson was beset with dificulties in workshops in operation throughout the First World War. Details regarding its patron and commission remain elusive but its bold styling and presence underline that it was a high-profile work, intended for prominent display. Described by Sir Nikolaus Pevsner as ‘the greatest of the English artist-craftsman’, Gimsons’s high calibre output and fastidious attention to detail, clearly demonstrated on the current piece, provided an inspiration both for contemporaries and successive generations of craftsmen and designers.

121

122

123

LA

LIQ

UE

124

134

RENE LALIQUE (1860-1945)A ‘PERRUCHES’ VASE, NO. 876, DESIGNED 1919

teal green glass, with white staining

10 º in (26 cm.) high

engraved R. Lalique France, moulded R. LALIQUE

£18,000-22,000 $30,000-36,000 €23,000-28,000


Simlar example illustrated:

F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre,

Bologne, 2011, p. 410.

125

135


electric blue glass, with white staining


engraved R. Lalique No. 876

£25,000-30,000 $41,000-49,000 €32,000-38,000




Bologne, 2011, p. 410.

136

RENE LALIQUE (1860-1945)A ‘SERPENT’ VASE, NO. 896, DESIGNED 1924

clear and frosted glass, with traces of sepia staining


intaglio R. LALIQUE

£12,000-18,000 $20,000-29,000 €16,000-23,000




Bologne, 2011, p. 416.

126

137

RENE LALIQUE (1860-1945)A ‘SERPENT’ VASE, NO. 896, DESIGNED 1924

deep amber glass

9√ in. (25 cm.) high

intaglio moulded R. LALIQUE

£20,000-30,000 $33,000-49,000 €26,000-38,000




Bologne, 2011, p. 416.

127

128

*138

RENE LALIQUE (1860-1945)AN ‘ELEPHANTES’ COUPE, NO. 411, DESIGNED 1930

clear and frosted glass

2æ in. (7 cm.) high, 15º in. (38.7 cm.) diameter

wheel-carved R. Lalique France

£10,000-15,000 $17,000-24,000 €13,000-19,000




Bologne, 2011, p. 300.

139

RENE LALIQUE (1860-1945)A PAIR OF ‘MERLES ET RAISINS’ PANELS, NO. 4-A, DESIGNED 1928

clear and frosted glass, in later frames

20Ω in. (52 cm.) high; 5º in. (13 cm.) wide

stencilled R. LALIQUE FRANCE (2)

£8,000-12,000 $14,000-20,000 €11,000-15,000




Bologne, 2011, p. 866.

138 (detail)

138

129

130

140

RENE LALIQUE (1860-1945)A ‘BACCHANTES’ VASE, NO. 997, DESIGNED 1927

clear and frosted glass, with sepia staining, on a patinated bronze modern base

overall 12æ in. (32.4 cm.) high; vase 9æ in. (24.7 cm.) high

stencilled R. LALIQUE FRANCE

£10,000-15,000 $17,000-24,000 €13,000-19,000



F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre, Bologne, 2011, p. 438.

131

141

RENE LALIQUE (1860-1945)A ‘OISEAU DE FEU’ CENTREPIECE, NO. 1111, DESIGNED 1922

clear and frosted glass, on bronze base,

17º in. (43.8 cm.) wide (2)

£8,000-12,000 $14,000-20,000 €11,000-15,000



F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de Verre, Bologne, 2011, p. 481.

132

142

RENE LALIQUE (1860-1945)A ‘SOPHORA’ VASE, NO. 977, DESIGNED 1926

deep amber glass, with white staining

10 in. (25.4 cm.) high

stencilled R. LALIQUE FRANCE

£12,000-18,000 $20,000-29,000 €16,000-23,000




Bologne, 2011, p. 434.

133

PROPERTY FROM A PRIVATE COLLECTION, PARIS

143

RENE LALIQUE (1860-1940)A ‘POISSONS’ VASE, NO. 925, DESIGNED 1921

emerald green glass

9º in. (23.5 cm.) high

moulded R. LALIQUE

£10,000-15,000 $17,000-24,000 €13,000-19,000




Bologne, 2011, p. 422.

PROPERTY FROM A DISTINGUISHED

INTERNATIONAL PRIVATE COLLECTION

144

RENE LALIQUE (1860-1945)A ‘DEUX SIRÈNES’ BOX COVER AND BASE, NO. 43, DESIGNED 1921

butterscotch / opalescent amber glass, with original

cardboard base


moulded R. LALIQUE

£1,500-2,000 $2,500-3,300 €1,900-2,500



F. Marcilhac, Réne Lalique: Catalogue Raisonné de

l’Oeuvre de Verre, Bologne, 2011, p. 230.

VARIOUS PROPERTIES

145

RENE LALIQUE (1860-1945)AN ‘ESCARGOT’ VASE, NO. 931, DESIGNED 1920

electric blue glass


engraved R. Lalique (faintly)

£12,000-18,000 $20,000-29,000 €16,000-23,000



F. Marcilhac, Réne Lalique: Catalogue Raisonné de

l’Oeuvre de Verre, Bologne, 2011, p. 424.

134

146

RENE LALIQUE (1860-1945)A ‘SAUTERELLES’ VASE, NO. 888, DESIGNED 1912

electric blue glass, with white staining

10æ in. (27.3 cm.) high

underside engraved R. Lalique

£18,000-22,000 $30,000-36,000 €23,000-28,000



F. Marcilhac, Réne Lalique: Catalogue Raisonné de l’Oeuvre de

Verre, Bologne, 2011, p. 414.

135

136

PROPERTY FROM A PRIVATE COLLECTION, PARIS

147


deep amber glass, with white staining

10 in. (25.5 cm.) high

moulded R. LALIQUE

£20,000-25,000 $33,000-41,000 €26,000-31,000




Bologne, 2011, p. 410.

VARIOUS PROPERTIES

148

RENE LALIQUE (1860-1945)A PAIR OF ‘SOLIEL’ PLAFONNIERS, NO. 2466, DESIGNED 1926

opalescent glass

12 in. (30.5 cm.) diameter

wheel-engraved R. LALIQUE FRANCE (2)

£12,000-18,000 $20,000-29,000€16,000-23,000


Simliar example illustrated:


Bologne, 2011, p. 674.

(views from underside)

137

138

149


double cased opalescent glass, with blue staining

10 in. (25.4 cm.) high

engraved R. Lalique France No. 876 and faintly moulded R. LALIQUE

£15,000-20,000 $25,000-33,000€19,000-25,000




Bologne, 2011, p. 410.

139

150

RENE LALIQUE (1860-1945)AN ‘ALICANTE’ VASE, NO. 998, DESIGNED 1927

cased opalescent glass, with blue staining

10¡ in. (26.5 cm.) high

engraved R. Lalique France No. 998

£25,000-30,000 $41,000-49,000€32,000-38,000




Bologne, 2011, p. 438.

END OF SALE

Sale Information

Highlights from 20/21 Online Lalique Sale16 - 30 OctoberChristies.com/20/21Design

Viewing:

85 Old Brompton Road

London SW7 3LD

Friday 24 October 9.00 am - 5.00 pm

Saturday 25 October 11.00 am - 5.00 pm

Sunday 26 October 11.00 am - 5.00 pm

Monday 27 October 9.00 am - 7.30 pm

Tuesday 28 October 9.00 am - 12.00 noon

Contact Information:

Joy McCall

+44 (0)20 7839 9060

[email protected]

This is not a sale catalogue for the auction. This summary is

provided as a courtesy to you. Please see the catalogue for

full descriptions, the conditions of sale and other important

sale information regarding the auction.

BID ONLINE Chr is t ies .com/2021Design

RONCE VASE, NO. 946DESIGNED 1921, DEEP AMBER

£2,000-3,000 $3,300-4,900 €2,600-3,800


Property from a Private Collection

RONCE VASE, NO. 946DESIGNED 1921, RED AND WHITE STAINED

£3,000-5,000 $4,900-8,100 €3,800-6,300



POISSONS VASE, NO. 925DESIGNED 1921, ELECTRIC BLUE

£6,000-8,000 $9,800-13,000 €7,600-10,000

ORMEAUX VASE, NO. 984DESIGNED 1926, CASED JADE GREEN

£3,000-5,000 $4,900-8,100 €3,800-6,300

MOISSAC VASE, NO. 992DESIGNED 1927, TURQUOISE

£2,000-3,000 $3,300-4,900 €2,600-3,800



ARCHERS VASE, NO. 893DESIGNED 1921, DEEP AMBER

£6,000-8,000 $9,800-13,000 €7,600-10,000

TOURBILLONS VASE, NO. 973DESIGNED 1926, YELLOW

£8,000-12,000 $14,000-20,000 €11,000-15,000

ESTREL VASE, NO. 941DESIGNED 1923, DEEP AMBER AND

WHITE STAINED

£1,500-2,000 $2,500-3,300 €1,900-2,500

BELIERS VASE, NO. 904DESIGNED 1925, SMOKY, WITH SEPIA STAINING

£1,400-1,800 $2,300-2,900 €1,800-2,300

DAVOS VASE, NO. 1079DESIGNED 1932, ALEXANDRITE

£3,000-5,000 $4,900-8,100 €3,800-6,300

ONLINE LAL IQUE 16-30 OCTOBER 2014

SIX FIGURINES ET MASQUES VASE, NO. 886DESIGNED 1912, CLEAR, FROSTED AND SEPIA STAINED

£1,000-1,500 $1,700-2,400 €1,300-1,900

FOUGéRES VASE, NO. 923DESIGNED 1912, CLEAR, FROSTED AND GREY STAINED

£800-1,200 $1,400-2,000 €1,100-1,500

AVALLON VASE, NO. 986DESIGNED 1927, CLEAR, FROSTED AND BLUE STAINED

£1,000-1,500 $1,700-2,400 €1,300-1,900

PENTHIEVRE VASE, NO. 1011DESIGNED 1928, CLEAR AND FROSTED

£4,000-6,000 $6,600-9,800 €5,100-7,500

AVALLON VASE, NO. 986DESIGNED 1927, EXECUTED POST-1945, CLEAR AND FROSTED

£1,000-1,500 $1,700-2,400 €1,300-1,900

DAHLIAS VASE, NO. 938DESIGNED 1923, CLEAR, FROSTED, BLUE STAINED AND BLACK ENAMELLED

£2,000-3,000 $3,300-4,900 €2,600-3,800

FORMOSE VASE, NO. 934DESIGNED 1924, CLEAR, FROSTED AND GREEN STAINED

£1,500-2,000 $2,500-3,300 €1,900-2,500

SOPHORA VASE, NO. 977DESIGNED 1926, GREY WITH WHITE STAINING

£4,000-6,000 $6,600-9,800 €5,100-7,500

CHEVREUSE VASE, NO. 1081DESIGNED 1930, CLEAR AND FROSTED

£800-1,200 $1,400-2,000 €1,100-1,500

DOMRÉMY VASE, NO. 979DESIGNED 1926, CLEAR AND FROSTED

£800-1,200 $1,400-2,000 €1,100-1,500


PAPILLONS VASE, NO. 10-899DESIGNED 1936, CLEAR, FROSTED AND BLUE STAINED

£4,000-6,000 $6,600-9,800 €5,100-7,500



FLAME VASE, NO. 12233DESIGNED 1951, CLEAR AND FROSTED

£3,000-4,000 $4,900-6,500 €3,800-5,000

MASQUES DECANTER, NO. 3156DESIGNED 1913, CLEAR, FROSTED AND SEPIA STAINED

£2,000-3,000 $3,300-4,900 €2,600-3,800

SIX SIX FIGURINES GLASSES, NO. 3400DESIGNED 1911, CLEAR, FROSTED AND SEPIA STAINED (6)

£1,000-1,500 $1,700-2,400 €1,300-1,900

JAFFA TRAY, NO. 3680DESIGNED 1931, CLEAR AND FROSTED

£1,000-1,500 $1,700-2,400 €1,300-1,900

FOUGéRES ICE BUCKET, NO. 3701DESIGNED 1924, CLEAR, FROSTED AND GREEN STAINED

£2,600-3,000 $4,300-4,900 €3,300-3,800

CHÊNE LEMONADE SETDESIGNED POST-WAR, CLEAR AND FROSTED, COMPRISING PITCHER AND SIX GLASSES

(7)

£1,000-1,500 $1,700-2,400 €1,300-1,900

BACCHANTES VASE, NO. 997DESIGNED 1927, EXECUTED POST-WAR, CLEAR AND FROSTED

£1,200-1,800 $2,000-2,900 €1,600-2,300

CARIATIDES VASE, NO. 924DESIGNED 1920, CLEAR, FROSTED AND GREEN STAINED (2)

£1,000-1,500 $1,700-2,400 €1,300-1,900



MÉANDRES VASE, NO. 10-876DESIGNED 1934, EXECUTED POST-WAR, CLEAR AND FROSTED

£1,000-1,500 $1,700-2,400 €1,300-1,900

ST HUBERT JARDINIéRE, NO. 3461DESIGNED 1927, CLEAR AND FROSTED

£1,500-2,000 $2,500-3,300 €1,900-2,500

THREE ST JAMES CANDLESTICKS NO. 2126DESIGNED 1935, CLEAR AND FROSTED, ONE ADAPTED AS A LAMP (3)

£1,000-1,500 $1,700-2,400 €1,300-1,900

EGLANTINE PLATE, NO. 415DESIGNED 1931, COBALT

£1,500-2,000 $2,500-3,300 €1,900-2,500

DANS LA NUIT, WORTH - 3DESIGNED 1924, CLEAR AND BLUE-PAINTED

£700-900 $1,200-1,500 €880-1,100

FEUILLES DE LIERRE NECKLACE, NO. 1505DESIGNED 1919, EMERALD GREEN, WITH SILK

£1,500-2,000 $2,500-3,300 €1,900-2,500

LA RENOMMÉE D’ORSAYCLEAR, FROSTED AND GREY STAINED, IN ORIGINAL BOX (7)

£2,500-3,000 $4,100-4,900 €3,200-3,800

DAHLIA BRACELET, NO. 1326DESIGNED 1927, CLEAR, FROSTED AND BLUE STAINED

£1,000-1,500 $1,700-2,400 €1,300-1,900

CALYPSO SHALLOW BOWL, NO. 413DESIGNED 1930, EXECUTED POST-WAR

£2,000-3,000 $3,300-4,900 €2,600-3,800

PAIR OF MÉSANGES CANDLESTICKS, NO. 2126DESIGNED 1943, CLEAR, FROSTED AND BLUE STAINED (4)

£1,400-2,000 $2,300-3,300 €1,800-2,500

MUGUETS TIMEPIECE, NO. 768DESIGNED 1926, EXECUTED POST-WAR, CLEAR, FROSTED AND GREEN STAINED

£2,000-3,000 $3,300-4,900 €2,600-3,800



SIX COQUILLES PLATES, NO. 3011,DESIGNED 1924, OPALESCENT; A LARGE COQUILLE PLATE, NO. 3009, DESIGNED 1924, OPALESCENT; AND A COQUILLES BOWL, NO. 3200, DESIGNED 1924, OPALESCENT (8)

£1,800-2,200 $3,000-3,600€2,300-2,800

SUZANNE STATUETTE, NO. 833DESIGNED 1925, OPALESCENT, WITH ILLUMINATING PATINATED BRONZE BASE (2)

£6,000-8,000 $9,800-13,000€7,600-10,000

NEMOURS BOWL, NO. 404DESIGNED 1929, OPALESCENT AND BLUE STAINED

£1,400-2,000 $2,300-3,300€1,800-2,500

OEILLETS SHALLOW BOWL, NO. 422DESIGNED 1932, OPALESCENT

£1,000-1,500 $1,700-2,400€1,300-1,900

HOUPPES BOX AND COVER, NO. 29DESIGNED 1921, OPALESCENT (2)

£1,800-2,200 $3,000-3,600€2,300-2,800

PERRUCHES BOWL, NO. 419DESIGNED 1931, OPALESCENT AND GREEN STAINED

£3,000-5,000 $4,900-8,100€3,800-6,300

DOMREMY VASE, NO. 948DESIGNED 1926, CASED OPALESCENT AND BLUE STAINED

£1,400-2,000 $2,300-3,300€1,800-2,500

DRUIDES VASE, NO. 937DESIGNED 1924, CASED OPALESCENT AND GREEN STAINED

£1,200-1,800 $2,000-2,900€1,600-2,300

CEYLAN VASE, NO. 905DESIGNED 1924, OPALESCENT

£2,500-3,500 $4,100-5,700€3,200-4,400

ST FRANÇOIS VASE, NO. 1055DESIGNED 1930, OPALESCENT AND GREY STAINED

£2,000-3,000 $3,300-4,900€2,600-3,800

EUCALYPTUS VASE, NO. 936DESIGNED 1925, OPALESCENT

£1,200-1,800 $2,000-2,900€1,600-2,300

AVALLON VASE, NO. 986DESIGNED 1927, OPALESCENT AND BLUE STAINED

£1,200-1,800 $2,000-2,900€1,600-2,300

CEYLAN VASE, NO. 905DESIGNED 1924, OPALESCENT AND BLUE STAINED

£2,000-3,000 $3,300-4,900€2,600-3,800

SPIRALES VASE, NO. 1060DESIGNED 1930, OPALESCENT AND BLUE STAINED

£2,500-3,000 $4,100-4,900€3,200-3,800

FERRIERES VASE, NO. 1019DESIGNED 1929, CASED OPALESCENT

£1,000-1,500 $1,700-2,400€1,300-1,900

CEYLAN VASE, NO. 905DESIGNED 1924, OPALESCENT

£3,000-5,000 $4,900-8,100€3,800-6,300

MÛRES VASE, NO. 1058DESIGNED 1930, OPALESCENT AND BLUE STAINED

£3,800-4,500 $6,200-7,300€4,800-5,700

RONCE VASE, NO. 946DESIGNED 1921, CASED OPALESCENT AND GREY STAINED

£1,000-1,500 $1,700-2,400€1,300-1,900



TWO DAHLIAS PLAFONNIERS, NO. 2459DESIGNED 1921, CLEAR, FROSTED AND SEPIA STAINED, AND MOULDED GLASS CEILING ROSES

£2,000-3,000 $3,300-4,900 €2,600-3,800

CHAMPS ELYSÉES BOWL, NO. 11216DESIGNED AND EXECUTED POST-WAR, CLEAR AND FROSTED

£1,000-1,500 $1,700-2,400 €1,300-1,900

PERLES PLAFONNIER, NO. 2913DESIGNED 1931, CLEAR AND FROSTED, WITH ‘SATURN’ RING REFLECTOR

£1,000-1,500 $1,700-2,400 €1,300-1,900

PAIR OF LIERRE WALL APPLIQUES, NO. 2027DESIGNED 1927, CLEAR AND FROSTED (2)

£2,000-3,000 $3,300-4,900 €2,600-3,800

LAUSANNE PLAFONNIER, NO. 2479DESIGNED 1929, YELLOW

£1,800-2,200 $3,000-3,600 €2,300-2,800

CHAMPS ELYSÉES CHANDELIERDESIGNED AND EXECUTED POST-WAR, CLEAR AND FROSTED

£3,000-5,000 $4,900-8,100 €3,800-6,300

CHARMES PLAFONNIER, NO. 2458DESIGNED 1924, CLEAR, FROSTED AND SEPIA STAINED

£1,800-2,200 $3,000-3,600 €2,300-2,800

HIRONDELLE PAPERWEIGHT, NO. 1143DESIGNED 1928, CLEAR AND FROSTED

£1,200-1,800 $2,000-2,900 €1,600-2,300


150

IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE

IMPORTANT NOTICES

CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION

From time to time, Christie’s may offer a lot which it owns in whole or in part. Such property is identified in the catalogue with the symbol ∆ next to its lot number. On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Such property is identified in the catalogue with the symbol º next to the lot number. This symbol will be used both in cases where Christie’s holds the financial interest on its own, and in cases where Christie’s has financed all or part of such interest through third parties. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk. The third party may also bid for the lot. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest at the front of the catalogue.In this catalogue, if property has º u next to the lot number, Christie’s guarantee of a minimum price has been financed through third parties.

ALL DIMENSIONS ARE APPROXIMATE

CONDITION Christie’s catalogues include references to condition only in descriptions of multiple works (such as prints, books and wine). For all other property, only alterations or replacement components are listed. Please contact the Specialist Department for a condition report on a particular lot. The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

11/04/14

PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER

PROTECTED SPECIESProperty made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife are marked with the symbol ~in the catalogue. Such material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whale bone and certain species of coral, together with Brazilian rosewood. Prospective purchasers are advised that several countries prohibit altogether the importation of property containing such materials, and that other countries require a permit (e.g., a CITES permit) from the relevant regulatory agencies in the countries of exportation as well as importation. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered and other protected wildlife material. The inability of a client to export or import property containing endangered and other protected wildlife material is not a basis for cancellation or rescission of the sale. Please note also that lots containing potentially regulated wildlife material are marked as a convenience to our clients, but Christie’s does not accept liability for errors or for failing to mark lots containing protected or regulated species.

RECENT CHANGES TO IMPORTS OF

ELEPHANT IVORY AND OTHER WILDLIFE

MATERIAL INTO THE USA

The USA has recently changed its policy on the import of property made of or containing elephant ivory. Only Asian Elephant ivory may be imported into the USA, and imports must be accompanied by DNA analysis and confirmation the object is more than 100 years old. We have not obtained a DNA analysis on any lot prior to sale and cannot indicate whether the elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any DNA analysis or other report required in connection with their proposed import of such property into the USA.

The USA is also currently requiring all imports of property made of or containing wildlife material to be accompanied by a scientific confirmation of species and in some cases an additional confirmation of age. We have not obtained such confirmations prior to sale (unless specifically indicated) and buyers will be responsible for the costs of any such additional confirmations or opinions required for their proposed import into the USA.

A buyer’s inability to export or import any lot containing elephant ivory or other wildlife material

is not a basis for cancelling the purchase.

POST 1950 FURNITUREAll items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the “Regulations”). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

ELECTRICAL GOODS

All electrical goods offered in this catalogue have either been tested and certified by an appropriately qualified electrician or have been operationally disabled. We would strongly advise that any intended re-commissioning is undertaken by an appropriately

qualified electrician.

EXPLANATION OF

CATALOGUING PRACTICE

Terms referred to in paragraph 2 are as follows:-

A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist.

In other cases, the following expressions, with the following meanings are used:

“By . . .”

in our opinion a work by the artist.

“Cast from a model by . . .”

in our opinion a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter.

“Attributed to . . .”

in our opinion probably a work by the artist in whole or in part.

“In the style of . . . ”

in our opinion a work of the period of the artist and closely related to his style.

“Manner of . . .”

in our opinion a work executed in the artist’s style but of a later date.

“After . . .”

in our opinion a copy (of any date) of a work of the artist.

“Signed . . .” “Dated” . . .”. “Inscribed . . .” “Stamped . . .”

in our opinion the signature/date/inscription/stamp is by the artist or manufacturer.

“Bearing the signature. . .” “Bearing the date . . .” “Bearing the inscription . . .” “Bearing the stamp . . .”

in our opinion the signature/date/inscription/stamp is not by the artist or manufacturer.

Measurements are taken where possible from the platemark (“P”), otherwise they record the size of the sheet (“S”) or the borderline of the subject (“L”). All measurements are in centimetres to the nearest centimetre and are approximate.

151

BUYING AT CHRISTIE’S

CONDITIONS OF SALEChristie’s Conditions of Sale and Limited Warranty are set out later in this catalogue. Bidders are strongly encouraged to read these as they set out the terms on which property is bought at auction.

ESTIMATES Estimates are based upon prices recently paid at auction for comparable property, condition, rarity, quality and provenance. Estimates are subject to revision. Buyers should not rely upon estimates as a representation or prediction of actual selling prices. Estimates do not include the buyer’s premium or VAT. Where “Estimate on Request” appears, please contact the Specialist Department for further information.

RESERVESThe reserve is the confidential minimum price the consignor will accept and will not exceed the low pre-sale estimate. Lots that are not subject to a reserve are identified by the symbol • next to the lot number.

BUYER’S PREMIUMChristie’s charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot. VAT is payable on the premium at the applicable rate.

PRE-AUCTION VIEWINGPre-auction viewings are open to the public free of charge. Christie’s specialists are available to give advice and condition reports at viewings or by appointment.

BIDDER REGISTRATIONProspective buyers who have not previously bid or consigned with Christie’s should bring:• Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement.• Corporate clients: a certificate of incorporation.• For other business structures such as trusts, offshore companies or partnerships, please contact Christie’s Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply.• A financial reference in the form of a recent bank statement or a reference from your bank in line with your expected purchase level. Christie’s can supply a form of wording for the bank reference if necessary.• Persons registering to bid on behalf of someone who has not previously bid or consigned with Christie’s should bring identification documents not only for themselves but also for the party on whose behalf they are bidding, together with a signed letter of authorisation from that party. To allow sufficient time to process the information, new clients are encouraged to register at least 48 hours in advance of a sale.Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Clients who have not made a purchase from any Christie’s office within the last one year and those wishing to spend more than on previous occasions, will be asked to supply a new bank reference. For assistance with references, please contact Christie’s Credit Department at +44 (0)20 7389 2862 (London, King Street) or at +44 (0)20 7752 3137 (London, South Kensington). We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid.

REGISTERING TO BID ON SOMEONE ELSE’S BEHALFPersons bidding on behalf of an existing client should bring a signed letter from the client authorising the bidder to act on the client’s behalf. Please note that Christie’s does not accept payments from third parties. Christie’s can only accept payment from the client, and not from the person bidding on their behalf.

BIDDINGThe auctioneer accepts bids from those present in the sale-room, from telephone bidders, or by absentee written bids left with Christie’s in advance of the auction. The auctioneer may also execute bids on behalf of the seller up to the amount of the reserve. The auctioneer will not specifically identify bids placed on behalf of the seller. Under no circumstances will the auctioneer place any bid on behalf of the seller at or above the reserve. Bid steps are shown on the Absentee Bid Form at the back of this catalogue.

ABSENTEE BIDSAbsentee bids are written instructions from prospective buyers directing Christie’s to bid on their behalf up to a maximum amount specified for each lot. Christie’s staff will attempt to execute an absentee bid at the lowest possible price, taking into account the reserve price. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate.The auctioneer may execute absentee bids directly from the rostrum, clearly identifying these as “absentee bids”, “book bids”, “order bids” or “commission bids”. Absentee Bids Forms are available in this catalogue, at any Christie’s location, or online at christies.com.

TELEPHONE BIDSTelephone bids cannot be accepted for lots estimated below £2,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at +44 (0)20 7389 2658 (London, King Street) or +44 (0)20 7752 3225 (London, South Kensington). Arrangements to bid in languages other than English must be made well in advance of the sale date. Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation.

SUCCESSFUL BIDSWhile Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges. Successful bidders will pay the price of the final bid plus premium plus any applicable VAT.

PAYMENTBuyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer. Lots purchased in London may be paid for in the following ways: wire transfer, credit card: Visa and MasterCard & American Express only (up to £25,000), and cash (up to £5,000 (subject to conditions)), bankers draft (subject to conditions) or cheque (must be drawn in GBP on a UK bank; clearance will take 5 to 10 business days). Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 72 Lombard Street, London EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for international transfers, SWIFT LOYDGB2LCTY. For banks asking for an IBAN: GB81 LOYD 3000 0200 1727 10. Credit Card: Visa and MasterCard & American Express only. A limit of £25,000 for credit card payments will apply. This limit is inclusive of the buyer’s premium and any applicable taxes. Credit card payments at London sale sites will only be accepted for London sales. Christie’s will not accept credit card payments for purchases made in any other sale site. The fax number to send completed CNP (Card Member not Present) authorisation forms to is +44 (0) 20 7389 2821. The number to call to make a CNP payment over the phone is +44 (0) 20 7752 3388. Alternatively, clients can mail the authorisation form to the address below. Cash is limited to £5,000 (subject to conditions). Bankers Draft should be made payable to Christie’s (subject to conditions). Cheques should be made payable to Christie’s (must be drawn in GBP on a UK bank, clearance will take 5 to 10 business days).In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions.All mailed payments should be sent to:Christie’s, Cashiers’ Department, 8 King Street, St James’s, London, SW1Y 6QTPlease direct all inquiries to King Street Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863

VAT†VAT payable at 20% on hammer price and buyer’s premium* These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.Ω

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 20%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. Where applicable Customs duty will be charged (per rate specified by HMRC guidance) on the Hammer price and VAT will be payable at 20% on duty. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.α �Buyers�from�within�the�EU:�

VAT payable at 20% on just the buyer’s premium (NOT the hammer price). Buyers�from�outside�the�EU:�VAT payable at 20% on hammer price and buyer’s premium. If a buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Christie’s to this effect immediately

q Zero rated No VAT charged.

(no symbol) Auctioneers’ Margin Scheme In all other circumstances no VAT will be charged on the hammer price, but VAT payable at 20% will be added to the buyer’s premium which is invoiced on a VAT inclusive basis.

Wine�Auctions‡ This wine is in bond. You can choose to take the wine

in bond or duty paid. See the additional conditions of sale relating to wine for further details.

VAT�RefundsRefunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ωsymbol) if lots are exported within 30 days of collection. Valid export documents must be returned within the stipulated time frame. No refund will be paid out where the total amount is less than £100. UK & EU private buyers cannot reclaim VAT. Christie’s will charge £35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] non-EU buyers have failed to export their lots outside of the EU within the required time, HM Revenue & Customs will not allow a VAT refund to be made. This is a requirement of UK legislation and Christie’s do not have discretion to make exceptions to the rule. UK and EU private buyers cannot reclaim any VAT charged.

ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)If a lot is affected by this right it will be identified with the symbol λ next to the lot number. The buyer agrees to pay to Christie’s an amount equal to the resale royalty. Resale royalty applies where the Hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows:

Royalty For the portion of the Hammer Price (in Euro) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 0.25% in excess of 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

SHIPPINGIt is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s request and expense. Buyers should request an estimate for any large items or property of high value that require professional packing. A shipping form is enclosed with each invoice, alternatively buyers can visit www.christies.com/shipping to request a shipping estimate. For more information please contact the Shipping Department at + 44 (0)20 7389 2712 or via [email protected] for both London, King Street and London, South Kensington sales.

EXPORT OF GOODS FROM THE EUIf you are proposing to take purchased items outside the EU the following applies:Christie’s�Art�Transport:�If you use Christie’s Art Transport you will not be required to pay the VAT at the time of settlement.Christie’s�VAT�authorised�Shipper:If you use a Christie’s VAT authorised shipper you will not be required to pay the VAT at the time of settlement.Own�Shipper:VAT will be charged on the invoice, refundable by the VAT Department upon receipt of the appropriate official documents sent to us by your shipper.Hand-Carried:VAT will be charged on the invoice.This will be refunded by the VAT Department upon receipt of the appropriate official document.*, Ωor †Starred, Omega or Daggered lots – A C88 can be obtained from Christie’s Shipping Department .This document must be stamped by UK Customs on leaving the UK.(no symbol)Margin Scheme lots – Please obtain GB Tax Free form from the Cashiers. This document must be stamped by UK Customs on leaving the UK.Starred or Omega lots must be exported within 30 days of the date of collection. All other lots not subject to import VAT must be exported within three months of collection, and proof of export provided in the appropriate form.

EXPORT/IMPORT PERMITSBuyers should always check whether an export licence is required before exporting. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the rescission of any sale nor any delay in making full payment for the lot.Christie’s can advise buyers on the detailed provisions of the export licensing regulations and will submit any necessary export licence applications on request. However, Christie’s cannot ensure that a licence will be obtained. Local laws may prohibit the import of some property and/or may prohibit the resale of some property in the country of importation. For more information, please contact Christie’s Shipping Department at +44 (0)20 7389 2828 or the Museums, Libraries and Archives Council: Acquisitions, Export and Loans Unit at +44 (0)20 7273 8269/8267.

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STORAGE AND COLLECTION

Cadogan TaTe Warehouse

241 Acton Lane, Park Royal,

London NW10 7NP

Telephone: +44 (0)800 988 6100

Email: [email protected]

STORAGE & COLLECTION CHARGESSpecified lots, marked with a filled square ( ■ ) not cleared from Christie’s by 5.00 pm on the day of the sale and all sold and unsold lots not cleared from Christie’s by 5.00 pm on the fifth Friday following the sale will be removed to the warehouse of:Cadogan Tate Fine Art Logistics Ltd241 Acton Lane, Park RoyalLondon NW10 7NPTelephone: +44 (0)800 988 6100Email: [email protected] will be available for collection on the first full business week after transfer to Cadogan Tate Fine Art Logistics Ltd and every business weekday from 9.00 am to 5.00 pm.

Property, once paid, can be released to Christie’s

Fine Art Storage Services (CFASS) in London, New York or Singapore FreePort at any time for environmentally controlled long term storage, per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com, or contact [email protected]. Telephone: +44 (0)20 7622 0609 for details.

TRANSFER, STORAGE & RELATED

CHARGES (PER LOT)

CHARGES Furniture/ Pictures/ Large Objects Small Objects

Transfer/Admin £42.00 £21.00

Storage per day £5.25 £2.65

Extended The lower amount of 0.6% of Liability Charge: Hammer Price or 100% of the

above charges

All charges are subject to VAT. Very large or heavy items may be subject to a surcharge.

Please note that there will be no charge to

purchasers who collect their lots within two

weeks of this sale.

COLLECTION & PAYMENT OF ANY

CHARGES DUELots will be available for collection from Cadogan Tate at Cadogan Tate Fine Art Logistics Ltd241 Acton Lane, Park RoyalLondon NW10 7NPTelephone: +44 (0)800 988 6100Email: [email protected] every business day after the day of transfer, from 9.00 am until 5.00 pm. Lots may only be released by Cadogan Tate upon a) production of the ‘Collection Order’ obtained from the cashier’s office at Christie’s, 85 Old Brompton Road, London SW7 or Christie’s, 8 King Street, London SW1 b) payment of any charges that may be due to Cadogan Tate To assist Cadogan Tate to provide a swift release please telephone on the business day prior to collection to ensure that Lots are available and to ascertain any charges due. If sending a carrier please ensure that they are provided with all necessary information, your written authority to collect, the Collection Order and the means to settle any charges.

COLLECTION FROM CADOGAN TATEPlease note that Cadogan Tate’s opening hours are Monday to Friday 9.00 am to 5.00 pm, and purchases transferred to their warehouse are not

available for collection at weekends.

10/06/14

EXTENDED LIABILITY CHARGESAll services provided by Fine Art Logistics Ltd (“Cadogan Tate”) will be subject to their standard Conditions of Business, copies of which are available at Christie’s South Kensington. Please note in particular that Cadogan Tate• does not accept any liability for damage or loss, due to its negligence or otherwise, exceeding the Hammer Price of a Lot plus associated Buyer’s Premium, or, at its sole option, the cost of repairing or replacing the damaged or missing Lot and• it reserves a lien over all goods in its possession for payment of storage and all other charges due to it and• it automatically arranges on behalf of the Lot’s owner and at the owner’s cost, insurance of the Lot for the sum of the Hammer price plus Buyer’s Premium. The Extended Liability Charge covers the Lot from the time of collection from the saleroom until release of the Lot to the owner or the owner’s agent. The Extended Liability Charge payable by the owner of the Lot is 0.6% of the sum of the Hammer Price and Buyer’s Premium or 100% of the transfer and storage charges, whichever is the smaller. This Extended Liability will not be arranged and no charge will be payable only on receipt by Cadogan Tate of advance written notice from the owner of the lot together with formal waiver of subrogation from the owners insurers.

Christie’s Fine Art Storage Services (CFASS) also offers storage solutions for fine art, antiques and collectibles in New York and Singapore FreePort. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.

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CONDITIONS OF SALE

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms governing the legal relationship of Christie’s and the seller with the buyer. You should read them carefully before bidding.

1. CHRISTIE’S AS AGENTExcept as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

2. CATALOGUE DESCRIPTIONS

AND CONDITIONLots are sold as described and otherwise in the condition they are in at the time of the sale, on the following basis.

(a) ConditionThe nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

(b) Cataloguing PracticeOur cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice, which appear after the catalogue entries.

(c) Attribution etcAny statements made by Christie’s about any lot, whether orally or in writing, concerning attribution to, for example, an artist, school, or country of origin, or history or provenance, or any date or period, are expressions of our opinion or belief. Our opinions and beliefs have been formed honestly and in accordance with the standard of care reasonably to be expected of an auction house of Christie’s standing, due regard having been had to the estimated value of the item and the nature of the auction in which it is included. It must be clearly understood, however, that, due to the nature of the auction process, we are unable to carry out exhaustive research of the kind undertaken by professional historians and scholars, and also that, as research develops and scholarship and expertise evolve, opinions on these matters may change. We therefore recommend that, particularly in the case of any item of significant value, you seek advice on such matters from your own professional advisers.

(d) EstimatesEstimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

(e) Fitness for PurposeLots sold are enormously varied in terms of age, category and condition, and may be purchased for a variety of purposes. Unless otherwise specifically agreed, no promise is made that a lot is fit for any particular purpose.

3. AT THE SALE(a) Refusal of admissionChristie’s has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.

(b) Registration before biddingProspective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. Prospective buyers must complete and sign a registration form with his or her name and permanent address, and provide identification before bidding. We may require the production of bank details from which payment will be made or other financial references.

(c) Bidding as principalWhen making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment.

(d) Absentee bidsWe will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and provided that we have exercised reasonable care in the handling of written bids, the volume of goods is such that we cannot accept liability in any individual instance for failing to execute a written bid or for errors and omissions in connection with it arising from circumstances beyond our reasonable control.

(e) Telephone bidsIf a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone but we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding arising from circumstances beyond our reasonable control.

(f) Currency converterAt some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter. Where these arise from circumstances beyond our reasonable control we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.

(g) Video or digital imagesAt some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image. We do not accept liability for such errors where they arise for reasons beyond our reasonable control.

(h) ReservesUnless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol • next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

(i) Auctioneer’s discretionThe auctioneer has the right to exercise reasonable discretion in refusing any bid, advancing the bidding in such a manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive.

(j) Successful bid and passing of riskSubject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier.

4. AFTER THE SALE(a) Buyer’s premiumIn addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax. The buyer’s premium is 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot, VAT is payable at the applicable rate.

(b) Artist’s Resale Right (“Droit de Suite”)If the Artist’s Resale Right Regulations 2006 apply to the lot the buyer also agrees to pay to us an amount equal to the resale royalty provided for in those Regulations. Lots affected are identified with the symbol λ next to the lot number.

(c) Payment and ownershipThe buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes or resale royalty) immediately after the sale. This applies even if the buyer wishes to export the lot and an export licence is, or may be, required. The buyer will not acquire title to the lot until all amounts due to us from the buyer have been received by us in good cleared funds even in circumstances where we have released the lot to the buyer.

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154

(d) Collection of purchasesWe shall be entitled to retain items sold until all amounts due to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, have been received in full in good cleared funds or until the buyer has performed any other outstanding obligations as we, at our sole discretion, shall require, including, for the avoidance of doubt, completing any anti-money laundering or anti-terrorism financing checks we may require to our satisfaction. In the event a buyer fails to complete any anti-money laundering or anti-terrorism financing checks to our satisfaction, Christie’s shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this, the buyer shall collect purchased lots within two calendar days from the date of the sale unless otherwise agreed between us and the buyer.

(e) Packing, handling and shippingAlthough we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot and in selecting third parties for these purposes, we are not responsible for the acts or omissions of any such third parties. Similarly, where we suggest other handlers, packers or carriers if so requested, our suggestions are made on the basis of our general experience of such parties in the past and we are not responsible to any person to whom we have made a recommendation for the acts or omissions of the third party concerned.

(f) Export licenceUnless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately after the sale nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export licence is required.

(g) Remedies for non paymentIf the buyer fails to make payment in full in good cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to, the following: (i) to charge interest at an annual rate equal to 5%

above the base rate of Lloyds TSB Bank Plc;(ii) to hold the defaulting buyer liable for the

total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law;

(iii) to cancel the sale;(iv) to resell the property publicly or privately on

such terms as we shall think fit;(v) to pay the seller an amount up to the net

proceeds payable in respect of the amount bid by the defaulting buyer;

(vi) to set off against any amounts which we, or Christie’s International plc, or any of its affiliates, subsidiaries or parent companies worldwide, may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer;

(vii) where several amounts are owed by the buyer to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, in respect of different

transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs;

(viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;

(ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us;

(x) to take such other action as we deem necessary or appropriate.

If we resell the property under paragraph (iv) above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all reasonable costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the seller under paragraph (v) above, the buyer acknowledges that Christie’s shall have all of the rights of the seller, however arising, to pursue the buyer for such amount.

(h) Failure to collect purchasesWhere purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us.

(i) Selling Property at Christie’sIn addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis.

5. LIMITED WARRANTYIn addition to Christie’s liability to buyers set out in clause 2 of these Conditions, but subject to the terms and conditions of this paragraph, Christie’s warrants for a period of five years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. headings having all capital-letter type) in this catalogue (as such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in this catalogue. Only UPPER CASE TYPE headings of lots in this catalogue indicate what is being warranted by Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s is not responsible for any errors or omissions in such material. The terms used in the headings are further explained in Important Notices and Explanation of Cataloguing Practice. The warranty does not apply to any heading which is stated to represent a qualified opinion. The warranty is subject to the following:

(i) It does not apply where (a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (b) correct identification of a lot can be demonstrated only by means of either a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.

(ii) The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Christie’s when the lot was sold at auction.

(iii) The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

(iv) The buyer’s sole and exclusive remedy against Christie’s and the seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither Christie’s nor the seller will be liable for any special, incidental or consequential damages including, without limitation, loss of profits nor for interest.

(v) The buyer must give written notice of claim to us within five years from the date of the auction. It is Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognised experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty.

(vi) The buyer must return the lot to the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.

6. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it.

7. SEVERABILITYIf any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

8. LAW AND JURISDICTIONThe rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of England. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of the United Kingdom.

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155

• DENOTES SALEROOM ENQUIRIES— Call the Saleroom or Office EMAIL— [email protected]

For a complete salerooms & offices listing go to christies.com

AUSTRIA

VIENNA

+43 (0)1 533 8812

Angela Baillou

BELGIUM

BRUSSELS

+32 (0)2 512 88 30

Roland de Lathuy

DENMARK COPENHAGEN

+45 3962 2377

Birgitta Hillingso

(Consultant)

+ 45 2612 0092

Rikke Juel Brandt

(Consultant)

FINLAND AND THE

BALTIC STATES

HELSINKI

+358 (0)9 608 212

Barbro Schauman

(Consultant)

FRANCE

• PARIS

+33 (0)1 40 76 85 85

GERMANY

DÜSSELDORF

+49 (0)21 14 91 59 30

Arno Verkade

FRANKFURT

+49 (0)61 74 20 94 85

Anja Schaller

HAMBURG

+49 (0)40 27 94 073

Christiane Gräfin zu

Rantzau

MUNICH

+49 (0)89 24 20 96 80

Marie Christine Gräfin

Huyn

STUTTGART

+49 (0)71 12 26 96 99

Eva Susanne Schweizer

INDIA

• MUMBAI

+91 (22) 2280 7905

Sonal Singh

DELHI

+91 (98) 1032 2399

Sanjay Sharma

ISRAEL

TEL AVIV

+972 (0)3 695 0695

Roni Gilat-Baharaff

ITALY

• MILAN

+39 02 303 2831

ROME

+39 06 686 3333

Marina Cicogna

Business Development

Director

MONACO

+377 97 97 11 00

Nancy Dotta

THE NETHERLANDS

• AMSTERDAM

+31 (0)20 57 55 255

PEOPLES REPUBLIC

OF CHINA

BEIJING

+86 (0)10 8572 7900

• HONG KONG

+852 2760 1766

• SHANGHAI

+86 86 (0)21 6355 1766

Jinqing Cai

PORTUGAL

LISBON

+351 919 317 233

Mafalda Pereira

Coutinho

(Independent

Consultant)

RUSSIA

MOSCOW

+7 495 937 6364

+44 20 7389 2318

Katya Vinokurova

SPAIN

BARCELONA

+34 (0)93 487 8259

Carmen Schjaer

MADRID

+34 (0)91 532 6626

Juan Varez

Dalia Padilla

SWEDEN

STOCKHOLM

+46 (0)70 5368 166

Marie Boettiger

Kleman (Consultant)

+46 (0)70 9369 201

Louise Dyhlén

(Consultant)

SWITZERLAND

• GENEVA

+41 (0)22 319 1766

Eveline de Proyart

• ZURICH

+41 (0)44 268 1010

Dr. Bertold Mueller

TURKEY

ISTANBUL

+90 (532) 558 7514

Eda Kehale Argün

(Consultant)

UNITED ARAB EMIRATES

• DUBAI

+971 (0)4 425 5647

UNITED KINGDOM

• LONDON

+44 (0)20 7839 9060

LONDON,

• SOUTH KENSINGTON

+44 (0)20 7930 6074

NORTH

+44 (0)20 7752 3004

Thomas Scott

SOUTH

+44 (0)1730 814 300

Mark Wrey

EAST

+44 (0)20 7752 3004

Thomas Scott

NORTHWEST AND

WALES

+44 (0)20 7752 3004

Jane Blood

SCOTLAND

+44 (0)131 225 4756

Bernard Williams

Robert Lagneau

David Bowes-Lyon

(Consultant)

ISLE OF MAN

+44 (0)20 7389 2032

CHANNEL ISLANDS

+44 (0)1534 485 988

Melissa Bonn

IRELAND

+353 (0)59 86 24996

Christine Ryall

UNITED STATES

• NEW YORK

+1 212 636 2000

04/09/14

WORLDWIDE SALEROOMS AND EUROPEAN OFFICES

156

CHRISTIE’S SPECIALIST DEPARTMENTS AND SERVICES

KEY TO ABBREVIATIONS

KS:

London, King Street

NY:

New York, Rockefeller Plaza

PAR:

Paris

SK:

London, South Kensington

DEPARTMENTS

AMERICAN FURNITURENY: +1 212 636 2230

AMERICAN INDIAN ARTNY: +1 212 606 0536

AMERICAN PICTURESNY: +1 212 636 2140

ANGLO-INDIAN ARTKS: +44 (0)20 7389 2570

ANTIQUITIESSK: +44 (0)20 7752 3219

ARMS AND ARMOURSK: +44 (0)20 7752 3119

ASIAN 20TH CENTURY AND CONTEMPORARY ARTNY: +1 212 468 7133

AUSTRALIAN PICTURESKS: +44 (0)20 7389 2040

BOOKS AND MANUSCRIPTSKS: +44 (0)20 7389 2674SK: +44 (0)20 7752 3203

BRITISH & IRISH ARTKS: +44 (0)20 7389 2682NY: +1 212 636 2084SK: +44 (0)20 7752 3257

BRITISH ART ON PAPERKS: +44 (0)20 7389 2278SK: +44 (0)20 7752 3293NY: +1 212 636 2085

BRITISH PICTURES 1500-1850KS: +44 (0)20 7389 2945

CARPETSKS: +44 (0)20 7389 2370SK: +44 (0)20 7389 2776

CHINESE WORKS OF ARTKS: +44 (0)20 7389 2577SK: +44 (0)20 7752 3239

CLOCKSKS: +44 (0)20 7389 2357

CONTEMPORARY ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502

COSTUME, TEXTILES AND FANSSK: +44 (0)20 7752 3215

EUROPEAN CERAMICS AND GLASSSK: +44 (0)20 7752 3026

FURNITUREKS: +44 (0)20 7389 2482SK: +44 (0)20 7389 2791

IMPRESSIONIST PICTURESKS: +44 (0)20 7389 2638SK: +44 (0)20 7752 3218

INDIAN CONTEMPORARY ARTKS: +44 (0)20 7389 2700NY: +1 212 636 2189

INTERIORSSK: +44 (0)20 7389 2236NY: +1 212 636 2032

ISLAMIC WORKS OF ARTKS: +44 (0)20 7389 2700SK: +44 (0)20 7752 3239

JAPANESE WORKS OF ARTKS: +44 (0)20 7389 2591SK: +44 (0)20 7752 3239

JEWELLERYKS: +44 (0)20 7389 2383SK: +44 (0)20 7752 3265

LATIN AMERICAN ARTNY: +1 212 636 2150

MARITIME PICTURESSK: +44 (0)20 7752 3284NY: +1 212 707 5949

MINIATURES KS: +44 (0)20 7389 2650

MODERN DESIGNSK: +44 (0)20 7389 2142

MUSICAL INSTRUMENTSSK: +44 (0)20 7752 3365

NINETEENTH CENTURY FURNITURE AND SCULPTUREKS: +44 (0)20 7389 2699

NINETEENTH CENTURY EUROPEAN PICTURESKS: +44 (0)20 7389 2443SK: +44 (0)20 7752 3309

OBJECTS OF VERTUKS: +44 (0)20 7389 2347SK: +44 (0)20 7752 3001

OLD MASTER DRAWINGSKS: +44 (0)20 7389 2251

OLD MASTER PICTURESKS: +44 (0)20 7389 2531SK: +44 (0)20 7752 3250

ORIENTAL CERAMICS AND WORKS OF ARTSK: +44 (0)20 7752 3235

PHOTOGRAPHSKS: +44 (0)20 7389 2292

POPULAR CULTURE AND ENTERTAINMENTSK: +44 (0)20 7752 3275

POST-WAR ARTKS: +44 (0)20 7389 2446SK: +44 (0)20 7389 2502

POSTERSSK: +44 (0)20 7752 3208

PRINTSKS: +44 (0)20 7389 2328SK: +44 (0)20 7752 3109

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESKS: +44 (0)20 7389 2343

RUSSIAN WORKS OF ARTKS: +44 (0)20 7389 2057

TRAVEL, SCIENCE AND NATURAL HISTORYSK: +44 (0)20 7752 3291

SCULPTURE KS: +44 (0)20 7389 2331SK: +44 (0)20 7389 2794

SILVERKS: +44 (0)20 7389 2666SK: +44 (0)20 7752 3262

SWISS ARTZUR: +41 (0) 44 268 1012

TOPOGRAPHICAL PICTURESKS: +44 (0)20 7389 2040SK: +44 (0)20 7752 3291

TRIBAL AND PRE-COLUMBIAN ARTPAR: +33 (0)140 768 386

TWENTIETH CENTURY BRITISH ARTKS: +44 (0)20 7389 2684SK: +44 (0)20 7752 3311

TWENTIETH CENTURY DECORATIVE ART & DESIGNKS: +44 (0)20 7389 2140SK: +44 (0)20 7752 3236

TWENTIETH CENTURY PICTURESSK: +44 (0)20 7752 3218

VICTORIAN PICTURESKS: +44 (0)20 7389 2468SK: +44 (0)20 7752 3257

WATERCOLOURS AND DRAWINGSKS: +44 (0)20 7389 2257SK: +44 (0)20 7752 3293

WINEKS: +44 (0)20 7752 3366

AUCTION SERVICES

CORPORATE COLLECTIONSTel: +44 (0)20 7389 2548 Email: [email protected]

FINANCIAL SERVICESTel: +44 (0)20 7389 2624Fax: +44 (0)20 7389 2204

HERITAGE AND TAXATIONTel: +44 (0)20 7389 2101Fax: +44 (0)20 7389 2300 EmIL:[email protected]

PRIVATE COLLECTIONS AND COUNTRY HOUSE SALESTel: +44 (0)20 7389 2343Fax: +44 (0)20 7389 2225 Email: [email protected]

MUSEUM SERVICES, UKTel: +44 (0)20 7389 2570 Email: [email protected]

PRIVATE SALESUS: +1 212 636 2034Fax: +1 212 636 2035

VALUATIONSTel: +44 (0)20 7389 2464Fax: +44 (0)20 7389 2038Email: [email protected]

OTHER SERVICES

CHRISTIE’S EDUCATIONLondonTel: +44 (0)20 7665 4350Fax: +44 (0)20 7665 4351Email: [email protected]

New YorkTel: +1 212 355 1501Fax: +1 212 355 7370Email: [email protected]

Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: [email protected]

CHRISTIE’S FINE ART STORAGE SERVICESLondon +44 (0)20 7622 0609 [email protected]

New York +1 212 974 4570 [email protected]

Singapore Tel: +65 6543 5252 Email: [email protected]

CHRISTIE’S INTERNATIONAL REAL ESTATENew YorkTel +1 212 468 7182Fax +1 212 468 [email protected]

LondonTel +44 20 7389 2551Fax +44 20 7389 [email protected]

Hong KongTel +852 2978 6788Fax +852 2845 [email protected]

27/05/14

157

christies.comContactSimon Andrews [email protected] +44 (0)20 7752 3380

20/21 Design

London, King Street • 4 November 2014

INCLUDING A SELECTION OF FRENCH MID-CENTURY DESIGN FROM AN IMPORTANT INTERNATIONAL PRIVATE COLLECTION, FEATURING WORKS BY JEAN ROYÈRE, CHARLOTTE PERRIAND, JEAN PROUVÉ AND ANDRE ARBUS.

Viewing31 October –4 November 8 King Street London SW1Y 6QT

158

ContactXavier Brunswick [email protected] +44 (0)20 7752 3183

Viewing31 October–4 November 8 King Street London SW1Y 6QT

Luxury–Colour–Texture:

The Estate of David Collins

London, King Street • 4 November 2014

FEATURING 200 LOTS OF FURNITURE, LIGHTING, PHOTOGRAPHS, CERAMICS, GLASS AND WORKS OF ART,

FROM THE LONDON HOME OF ONE OF THE WORLD’S MOST CELEBRATED INTERIOR ARCHITECTS

159

PIERRE CHAREAU (1883-1950) MS 418, 419, BIS, TER, CIRCA 1926

A sycamore and patinated iron psyché coiffeuse – coffre à bijoux

€100,000 – 150,000

ContactPauline De Smedt

[email protected]

+33 (0)1 40 76 83 54

Viewing20-22, 24 November

9, avenue Matignon

Paris 8e

20/21 Design

Paris • 24 November 2014

160

christies.comContactCarina Villinger [email protected] +1 212 636 2240

Viewing5–8 December 2014 20 Rockefeller Plaza New York, NY 10020

20/21 Design

New York • 9 December 2014

FRANCOIS-XAVIER LALANNE (1927-2008) ‘MOUTONS DE PIERRE’, A PAIR OF SHEEP, DESIGNED CIRCA 1979

Bronze, epoxy stone

Each: 33Ωin. (85 cm.) high, 15 in. (38.1 cm.) wide, 37 in. (93.9 cm.) deep

One marked FXL LALANNE 153/250, the other FXL LALANNE 156/250, both impressed LALANNE 90

Estimate $150,000 – 200,000

161

PLEASE PRINT CLEARLY

If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMSPlease quote number below:

Lot number Maximum Bid UK£ Lot number Maximum Bid UK£ (in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)

Please also refer to the information contained in Buying at Christie’s. I request Christie’s to bid on the following lots up to the maximum price I have indicated for each lot. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus a buyer’s premium of 25% of the final bid price of each lot up to and including £50,000, 20% of the excess of the hammer price above £50,000 and up to and including £1,000,000 and 12% of the excess of the hammer price above £1,000,000, together with any VAT chargeable on the final bid and the buyer’s premium. VAT is chargeable on the purchase price of daggered (†) lots, and for buyers outside the EU on (α) lots, at the standard rate. VAT is chargeable on the purchase price of starred (*) lots at the reduced rate. Christie’s South Kensington is not able to notify successful bidders by telephone. While Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges.I understand that Christie’s provides the service of executing absentee bids for the convenience of clients and that Christie’s is not responsible for failing to execute bids or for errors relating to execution of bids. On my behalf, Christie’s will try to purchase these lots for the lowest possible price, taking into account the reserve and other bids. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If identical absentee bids are received for the same lot, the written bid received first by Christie’s will take precedence. Please contact the Telephone Bid office at least 24 hours in advance of the sale to make arrangements for telephone bidding. Tel: +44 (0)20 7752 3225All bids are subject to the terms of the Conditions of Sale and Limited Warranty printed in each Christie’s catalogue.

BIDDING INCREMENTS

Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding interval.

UK£50 to UK£1,000 by UK£50s

UK£1,000 to UK£2,000 by UK£100s

UK£2,000 to UK£3,000 by UK£200s

UK£3,000 to UK£5,000 by UK£200, 500, 800

(ie: UK£4,200, 4,500, 4,800)

UK£5,000 to UK£10,000 by UK£500s

UK£10,000 to UK£20,000 by UK£1,000s

UK£20,000 to UK£30,000 by UK£2,000s

UK£30,000 to UK£50,000 by UK£2,000, 5,000, 8,000

(ie: UK£32,000, 35,000,

38,000)

UK£50,000 to UK£100,000 by UK£5,000s

UK£100,000 to UK£200,000 by UK£10,000s

above UK£200,000 at auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

Auction Results: +44 (0)20 7839 9060

ABSENTEE BIDS FORM CHRISTIE’S SOUTH KENSINGTON

Absentee bids must be received at least 24 hours before the auction begins.

Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com

5868

Client Number (if applicable) Sale Number

Billing Name (please print)

Address

Post Code

Daytime Telephone Evening Telephone

Fax (Important) Email

Please tick if you prefer not to receive information about our upcoming sales by e-mail

Signature

If you have not previously bid or consigned with Christie’s, please attach copies of the following documents. Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore companies or partnerships: please contact the Credit Department at + 44 (0)20 7752 3137 for advice on the information you should supply. If you are registering to bid on behalf of someone who has not previously bid or consigned with Christie’s, please attach identification documents for yourself as well as the party on whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients, clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions may be asked to supply a bank reference. We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also request that you complete the section below with your bank details:

Name of Bank(s)

Address of Banks(s)

Account Number(s)

Name of Account Officer(s)

Bank Telephone Number

20/21 DESIGN 1900 TO NOW

TUESDAY 28 OCTOBER 2014 AT 2.00 PM

85 Old Brompton Road, London SW7 3LD

CODE NAME: AND

SALE NUMBER: 5868

(Dealers billing name and address must agree with tax exemption certificate. Invoices cannot be changed after they have been printed.)

BID ONLINE FOR THIS SALE AT CHRISTIES.COM

09/08/13

162

christies.comContactJoy McCall [email protected] +44 (0)20 7389 9060

Viewing24–28 October 85 Old Brompton Road London SW7 3LD

Lalique Online Sale

16-30 October 2014

PENTHIEVRE VASE NO. 1011 designed 1928 · clear and frosted · engraved R. Lalique France · (26 cm.) high

£4,000–6,000

163

CHRISTIE’S

CHRIST IE ’S INTERNATIONAL PLC

Patricia Barbizet, ChairmanSteven P. Murphy, Chief Executive OfficerStephen Brooks, Chief Operating OfficerLoïc Brivezac, Gilles Erulin, Gilles Pagniez, François-Henri Pinault

Sophie Carter, Company Secretary

CHRIST IE ’S EXECUTIVE

Steven P. Murphy, Stephen Brooks, Kerry Chandler, François Curiel, Marc Porter, Jussi Pylkkänen, Doug Woodham

Charles Cator, Deputy Chairman, Christie’s International

CHRIST IE ’S EUROPE

CHAIRMAN’S OFF ICE

Jussi Pylkkänen, PresidentOrlando Rock, Deputy Chairman

SENIOR DIRECTORS

Mariolina Bassetti, Giovanna Bertazzoni, Olivier Camu, Philippe Garner, Richard Knight, Francis Outred, Andreas Rumbler, François de Ricqles

DIRECTORS

Prof. Dr. Dirk Boll, Roland de Lathuy, Eveline de Proyart, Roni Gilat-Baharaff, Paul Hewitt, Clarice Pecori Giraldi, Christiane Rantzau, Jop Ubbens, Juan Varez

CHRIST IE ’S EUROPEAN

ADVISORY BOARD

Pedro Girao, Chairman, Christopher Balfour, Patricia Barbizet, Arpad Busson, Loula Chandris, Kemal Has Cingillioglu, Ginevra Elkann, I. D. Fürstin zu Fürstenberg, H.R.H. Prince Pavlos of Greece, Alicia Koplowitz, Viscount Linley, Robert Manoukian, Rosita, Duchess of Marlborough, Dimitri Mavrommatis, Countess Daniela Memmo d’Amelio, Usha Mittal, Leopoldo Rodés, Çigdem Simavi

08/08/14

CHRIST IE ’S UK

CHAIRMAN’S OFF ICE

Viscount Linley, Chairman Noël Annesley, Honorary Chairman; Richard Roundell, Vice Chairman; Robert Copley, Deputy Chairman; The Earl of Halifax, Deputy Chairman; Francis Russell, Deputy Chairman; Julia Delves Broughton, James Hervey-Bathurst, Amin Jaffer, Orlando Rock, Nicholas White, Mark Wrey

SENIOR DIRECTORS

Dina Amin, Daniel Baade, Philip Belcher, Jeremy Bentley, Ellen Berkeley, Jill Berry, Giovanna Bertazzoni, Prof. Dr. Dirk Boll, Peter Brown, James Bruce-Gardyne, Olivier Camu, Sophie Carter, Benjamin Clark, Christopher Clayton-Jones, Karen Cole, Isabelle de La Bruyere, Leila de Vos, Nicole Dembinska, Paul Dickinson, Harriet Drummond, Julie Edelson, Hugh Edmeades, David Elswood, David Findlay, Margaret Ford, Daniel Gallen, Philippe Garner, Jane Griffiths, Karen Harkness, Philip Harley, James Hastie, Paul Hewitt, Rachel Hidderley, Mark Hinton, Nick Hough, Michael Jeha, Hugues Joffre, Donald Johnston, Erem Kassim-Lakha, William Lorimer, Catherine Manson, John McDonald, Nic McElhatton (Chairman, South Kensington), Alexandra McMorrow, Jeremy Morrison, Nicholas Orchard, Francis Outred, Clarice Pecori-Giraldi, Benjamin Peronnet, Henry Pettifer, Steve Phipps, Will Porter, Paul Raison, Tara Rastrick, William Robinson, John Stainton, Alexis de Tiesenhausen, Lynne Turner, Jay Vincze, Andrew Ward, David Warren, Andrew Waters, Harry Williams-Bulkeley, Martin Wilson, André Zlattinger

DIRECTORS

Richard Addington, Zoe Ainscough, Georgiana Aitken, Marco Almeida, Maddie Amos, Simon Andrews, Helen Baker, Karl Barry, Rachel Beattie, Sven Becker, Jane Blood, Piers Boothman, David Bowes-Lyon, Anthony Brown, Lucy Brown, Robert Brown, Grace Campbell, Lucy Campbell, Jason Carey, Romilly Collins, Ruth Cornett, Sigrun Danielsson, Armelle de Laubier-Rhally, Adrian Denton, Sophie DuCret, Anna Evans, Arne Everwijn, Adele Falconer, Nick Finch, Peter Flory, Elizabeth Floyd, Christopher Forrest, Giles Forster, Patricia Frost, Sarah Ghinn, Zita Gibson, Alexandra Gill, Sebastian Goetz, John Green, Simon Green, David Gregory, Mathilde Heaton, Annabel Hesketh, Sydney Hornsby, Peter Horwood, Simon James, Robert Jenrick, Sabine Kegel, Hans-Peter Keller, Jeffrey Kerr, Tjabel Klok, Quincy Kresler, Robert Lagneau, Nicholas Lambourn, Joanna Langston, Tina Law, Darren Leak, Adriana Leese, Brandon Lindberg, Laura Lindsay, David Llewellyn, Murray Macaulay,

Sarah Mansfield, Nicolas Martineau, Roger Massey, Joy McCall, Neil McCutcheon, Daniel McPherson, Neil Millen, Edward Monagle, Jeremy Morgan, Leonie Moschner, Giles Mountain, Chris Munro, Rupert Neelands, Mark Newstead, Liberte Nuti, Beatriz Ordovás, Rosalind Patient, Keith Penton, Romain Pingannaud, Sara Plumbly, Caroline Porter, Michael Prevezer, Anne Qaimmaqami, Marcus Rädecke, Pedram Rasti, Amjad Rauf, Sandra Romito, Tom Rooth, Alice de Roquemaurel, Francois Rothlisberger, Tim Schmelcher, Rosemary Scott, Tom Scott, Nigel Shorthouse, Dominic Simpson, Nick Sims, Katie Siveyer, Nicola Steel, Robin Stephenson, Kay Sutton, Rakhi Talwar, Nicolette Tomkinson, Jane Turner, Thomas Venning, Sophie Wiles, Mark Wilkinson, Bernard Williams, Georgina Wilsenach, Toby Woolley, Geoff Young

ASSOCIATE DIRECTORS

Guy Agazarian, Cristian Albu, Jennie Amos, Ksenia Apukhtina, Katharine Arnold, Alexis Ashot, Alexandra Baker, Fiona Baker, Virginie Barocas-Hagelauer, Carin Baur, Sarah Boswell, Nina Bowden, Mark Bowis, Clare Bramwell, John Caudle, Dana Chahine, Marie-Louise Chaldecott, Sophie Churcher, Marion Clermont, Helen Culver Smith, Laetitia Delaloye, Charlotte Delaney, Cristiano De Lorenzo, Freddie De Rougemont, Grant Deudney, Claudia Dilley, Eva-Maria Dimitriadis, Howard Dixon, Virginie Dulucq, Joe Dunning, Antonia Essex, Kate Flitcroft, Eva French, Pat Galligan, Keith Gill, Andrew Grainger, Leonie Grainger, Julia Grant, Pippa Green, Angus Granlund, Ciaran Grealish, Christine Haines, Coral Hall, Charlotte Hart, Evelyn Heathcoat Amory, Anke Held, Valerie Hess, Carolyn Holmes, Amy Huitson, Adrian Hume-Sayer, James Hyslop, Helena Ingham, Pippa Jacomb, Mark Jordan, Guady Kelly, Clementine Kerr, Hala Khayat, Alexandra Kindermann, Mark Henry Lampé, Tom Legh, Timothy Lloyd, Scott Macdonald, Graeme Maddison, Stephanie Manstein, Astrid Mascher, Michelle McMullan, Kateryna Merkalenko, Susanne Meyer-Abich, Toby Monk, Sarah O’Brien, William Paton, Samuel Pedder-Smith, Suzanne Pennings, Louise Phelps, Sarah Rancans, Lisa Redpath, David Rees, Alexandra Reid, Simon Reynolds, Sumiko Roberts, Sangeeta Sachidanantham, Pat Savage, Catherine Scantlebury, Julie Schutz, Hannah Schweiger, Mark Silver, James Smith, Graham Smithson, David Stead, Mark Stephen, Annelies Stevens, Charlotte Stewart, Dean Stimpson, Gemma Sudlow, Dominque Suiveng, Cornelia Svedman, Nicola Swain, Iain Tarling, Sarah Tennant, Timothy Triptree, Flora Turnbull, Lisa Varsani, Julie Vial, Anastasia von Seibold, Amelia Walker, Tony Walshe, Chris White, Rosanna Widen, Ben Wiggins, Annette Wilson, Julian Wilson, Elissa Wood, Neal Young

Catalogue photo credits:

Chris Denehy

Mike Bascombe

© Christie, Manson & Woods Ltd. (2014)

164

INDEX

AArad, R., 76Arbus, A., 34Argy-Rousseau, G., 91, 92, 93, 94, 114, 115, 116, 117, 118

BBenson, W. A. S., 125Borsani, O., 25Brandt, E., 36Brazier-Jones, M., 73Brouard, F., 31

CChiparus, D., 40, 41, 42, 43, 45Colinet, C.-J.-R., 44Csaky, J., 38

DDaum, 86, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113De Waal, E., 72Dresser, C., 128, 129

EEames, C. & R., 68

FFantoni, M., 27Fauré, 80Fornasetti, P., 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13

GGallé, E., 87, 88, 90, 95, 96, 97, 98, 99, 100Gerdago, 46Gimson, E., 133Godwin, E. W., 130, 131Graumans, R., 78Gruau, R., 56, 57, 58, 59, 60Guiraud-Riviere, M., 47Gurschner, G., 120

JJensen, G., 61

KKnox, A., 123

LLalique, R., 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150Lalique, S., 39Laporte-Blaisry, L., 85Le Faguays, P., 48Leleu, J., 33Leleu, Maison, 32Levete, A., 79Lorenzl, J., 119 Ludwig Schmidt, 121

MMajorelle, L., 83, 84, 89Majorelle, L.; Daum Frères, 35Mangiarotti,.A., 23Martens, D., 17Martin Brothers, 124Městrovic, I., 82Morris & Co., 127

NNelson, G., 66, 67Newson, M., 75, 77Nilsson, W., 62

PPagani, C., 19Parisi, I., 28Parpan, F., 53, 54, 55Perriand, C., 64Pini, N., 16Poillerat, G., 30Ponti, G., 20, 26, 29Preiss, F., 49, 50, 51, 52

RRace, E., 71Rie, L., 70Rietveld, G. T., 63

SSalto, A., 65Scarpa, T., 14Scheichenbauer, M., 74

VVenini, P., 18Voysey, C. F. A., 122

WWabbes, J., 69Webb, P., 126

ZZervudaki, L., 24

85 Old Brompton Road London SW7 3LD +44 (0)20 7930 6074 telephone +44 (0)20 7389 2869 facsimile

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