20/21 Design: 1900 To Now

28 OCTOBER 2014 SOUTH KENSINGTON
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AUCTI ON
Tuesday 28 October 2014
at 2.00 pm. Lots 1-150
85 Old Brompton Road
London SW7 3LD
VI EWI NG
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
AUCTI ONEER
Jeremy Morrison
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Conditions of Sale and
to reserves.
[20]
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Index Page: Lot 70 detail
Back Cover: Lot 8
20/ 21 DESI GN
1 900 TO NOW
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20/21 DESI GN
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I NTERNATI ONAL AUCTI ON CALENDAR
20/21 DESI GN
LONDON
28 OCTOBER
20/21 DESIGN:
1900 TO NOW
SOUTH KENSINGTON
16 - 30 OCTOBER
LALIQUE
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30 OCTOBER - 16 NOVEMBER
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4 NOVEMBER
LUXURY-COLOUR-TEXTURE
THE ESTATE OF
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4 NOVEMBER
20/21 DESIGN
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11/09/14
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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
28 in. (73 cm.) high; 18q 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. Mauris, Fornasetti: Designer of Dreams, London, 1991, p. 163.
PROPERTY FROM A PRIVATE ITALIAN COLLECTION (LOTS 1-13)
1
A LIBRI MAGAZINE RACK,
and brass
15 in. (39 cm.) high; 16 in. (42.5 cm.) wide; 8 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. Mauris, 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
Q3
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; 39q in. (100.5 cm.) wide; 21 in. (55.5 cm.) deep
Fornasettti label to first drawer
8,000-12,000 $14,000-20,000
11,000-15,000
P. Mauris, Fornasetti: Designer of Dreams, London, 1991, pp. 104, 132.
6
Q4
A LIBRERIA BOOKCASE, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated wood
79 in. (200.5 cm.) high; 59 in. (150.5 cm.) wide; 14 in. (36 cm.) deep
8,000-12,000 $14,000-20,000
11,000-15,000
7
Q5
A LIBRI WASTE PAPER BASKET,
11 in. (28.5 cm.) high; 10 in. (26 cm.) diameter
400-600 $660-980
510-750
Q6
A LIBRI E OGGETTI SPARSI DESK AND A MUSICALE CHAIR,
produced by Ateliers Fornasetti, lithographically-decorated wood,
brass and enamelled metal
desk: 32 in. (81 cm.) high; 47 in. (120 cm.) wide;
23 in. (60.5 cm.) deep;
chair: 37 in. (96 cm.) high; 16 in. (40.5 cm.) wide; 17 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
Q7
A PAIR OF CAPITELLO CORINZIO CHAIRS,
ORIGINALLY DESIGNED CIRCA 1955, EXECUTED IN 1988-1989
produced by Atelier Fornasetti, lithgraphically-decorated plywood and
enamelled metal
37q in. (95 cm.) high; 16 in. (41 cm.) wide; 20 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;
Q8
AN ARCHITETTURA TRUMEAU CABINET,
produced by Atelier Fornasetti, lithographically-decorated surfaces,
the interior fitted with glass shelves and internal lighting
81 in. (228 cm.) high; 32 in. (82 cm.) wide; 16 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
Q9
A SET OF SEVEN CAPITELLO IONICO CHAIRS,
produced by Atelier Fornasetti, lithgraphically-decorated plywood and
enamelled metal
Fornasetti label to underside (7)
6,000-8,000 $9,800-13,000
7,600-10,000
11
Q10
AN ARCHITETTURA TABLE,
ORIGINALLY DESIGNED CIRCA 1955, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated wood and
painted metal
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
A GROUP OF FOUR TABLE LAMPS,
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
Q12
VISO AND ARCHITETTURA CUBE OCCASIONAL TABLES,
produced by Atelier Fornasetti, lithographically-decorated metal,
each with a side drawer
19 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
Q13
A LIBRERIA BOOKCASE, EXECUTED 1988-1989
produced by Atelier Fornasetti, lithographically-decorated wood
8,000-12,000 $14,000-20,000
11,000-15,000
Q15
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; 24 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
11 in. (30 cm.) high
acid-stamp Venini Murano Italia
2,000-3,000 $3,300-4,900
2,600-3,800
15
Q16
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; 27q in. (69.5 cm.) deep (2)
3,000-5,000 $4,900-8,100
3,800-6,300
Rivista dellarredamento, #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
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
14q 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
Q19
CARLO PAGANI (ITALIAN)
A SET OF FOUR CAMPANULA CHAIRS, DESIGNED 1952
produced by Arflex, velvet upholstery, on brass supports
32q in. (82.5 cm.) high; 22 in. (57.5 cm.) wide; 18q 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
Q20
GIO PONTI (1891-1979)
A PAIR OF HIGH-BACK CHAIRS, CIRCA 1950
painted wood, upholstery
45 in. (115 cm.) high; 18 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 DALBISOLA (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 6 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 DALBISOLA (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 6 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 manufacturers 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.
Q24
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; 88 in. (225.5 cm.) long
4,000-6,000 $6,600-9,800
5,100-7,500
24
Q25
OSVALDO BORSANI (1911-1985)
A TABLE, 1950s
ebonised wood, brass sabots, with marble top
30 in. (78 cm.) high; 43 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
Q26
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;
28q 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
Q28
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 15 in. (40 cm.) high; 31q 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
pencil mark and date 1960
3,000-5,000 $4,900-8,100
3,800-6,300
Marcello Fantoni, Florence;
Christies 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
Q29
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
33 in. (84.5 cm.) high; 17 in. (43 cm.) wide; 17 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
Q30
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: 30 in. (78 cm.) high; 35q in. (90 cm.) wide; 74 in. (189 cm.) long
chairs: 38 in. (98.5 cm.) high; 15q 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, Mitre Ferronnier, Paris, p. 90 (for a very close variant of this
table dated 1943).
29
30
31
31
Q31
FRED BROUARD (1944-1999)
AN ILLUMINATING WALL APPLIQUE,
CIRCA 1970
bronze, mounted on stainless steel
26 x 37q in. (68 x 95 cm.)
3,000-5,000 $4,900-8,100
3,800-6,300
Private collection, Paris.
Q32
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: 31q in. (80 cm.) high; 73 in. (185.4 cm.) wide; 37 in. (94 cm.) deep;
armchair: 31 in. (79 cm.) high; 29q 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 Andr Leleu, Neuchtel, 1996, p. 158;
F. Siriex, Leleu, dcorateurs ensembliers, Chteau de Saint-Rmy-en-lEau, 2007.
Another suite of this design was sold Christies Paris,
Arts Dcoratifs du XXe Sicle et Design, 20 May 2014, lot 56.
32
Q34
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
3,000-5,000 $4,900-8,100
3,800-6,300
An original example illustrated:
Y. Brunhammer, Andr Arbus, Architecte-Dcorateur des Annes 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 Andr 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 FRRES (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
Q37
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
Q38
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; 11w in. (30.3 cm.) deep
8,000-12,000 $14,000-20,000
11,000-15,000
Private Collection, Paris;
Artcurial, Paris, Art Dco, 8 June 2010, lot 109;
Christies Paris, Les Collections Du Chateau De Gourdon, 29 March 2011, lot 1000.
F. Marcilhac, Joseph Csaky du Cubisme Historique la Figuration Raliste, les
Editions de lAmateur, 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 Doucets esteemed Studio Saint Jacques in 1928.
35
36
Q39
SUZANNE LALIQUE (1892-1989)
A UNIQUE THREE PANEL SCREEN, 1920s
oil on canvas, birds-eye maple frame
each panel: 65 in. (159 cm.) high; 27q 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 Suzannes 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 Ren Lalique enjoyed a career worthy of her name. Her
distinct achievements were largely overlooked however until the 1912
Muse Lalique exhibition Suzanne Lalique-Haviland Le dcor rinvent.
The original design drawing for this screen is in the collection of the
Muse 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 Muse Lalique and the present lot, acquired by
the family of the current owner directly from Lalique at the Exposition
Internationale des Arts Dcoratifs et Industriels Modernes in Paris in 1925.
Christies would like to thank Vronique 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
24 in. (62.2 cm.) high; 25q in. (65 cm.) wide
base signed Chiparus, reverse stamped 195
20,000-30,000 $33,000-49,000
26,000-38,000
Christies 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
TANGO, CIRCA 1925
cold-painted and gilt-bronze, and ivory, on onyx base
24q 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
FAN DANCER, CIRCA 1925
cold-painted, patinated and gilt-bronze, and ivory,
on an onyx and marble base
22 in. (57 cm.) high; 24q 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
STARFISH, CIRCA 1925
patinated and cold-painted bronze, and ivory,
on onyx and marble base
29 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
RUSSIAN DANCERS, CIRCA 1925
patinated, gilt and cold-painted bronze, and ivory, on marble base
16q 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
11q 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
14 in. (36 cm.) high; 16 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
12q 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 DEAU, 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
8 in. (21 cm.) high
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
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
DREAMING, CIRCA 1925
ivory, on green onyx and black marble base
6 in. (17 cm.) high
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
GIRL WITH FROG, A FIGURAL LAMP, CIRCA 1925
gilt and cold painted bronze, carved ivory
21q 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 ALLONG, DESIGNED 1950
patinated bronze, number 4 from the edition of 8
6 in. (15.2 cm.) high, 17q 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
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 artists cipher
10,000-15,000 $17,000-24,000
13,000-19,000
55
LE GRAND TAUREAU CHARGEANT,
DESIGNED 1945, EXECUTED 1961
carved walnut
16 in. (41 cm.) high; 24 in. (62 cm.) wide; 9 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
13 x 16 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
A COVER DESIGN FOR INTERNATIONAL TEXTILES, CIRCA 1980
gouache, ink and pencil, on paper
12 x 17 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
A MOLYNEUX DRESS DESIGN FOR FEMINA, 1947
pen and watercolour, on paper, with chalk
13 x 19 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
A DESIGN FOR CRESCENDOE GLOVES, 1950s
gouache on paper
14 x 19 in. (36.2 x 50.2 cm.)
signed in gouache Gruau and in pencil 16 x 20q
3,000-5,000 $4,900-8,100
3,800-6,300
60
A COVER DESIGN FOR INTERNATIONAL TEXTILES, 1970s
gouache on paper
16q x 21 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: 16 in. (41.2 cm.) long; ring: in. (2 cm.) diameter;
earrings 2 in. (5 cm.) long; bracelet: 2q 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 JENSEN
A JUG, CIRCA 1918
silver, with ebony handle
8w 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.
Q63
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. Vge, The Complete Rietveld Furniture, Amsterdam, 1993, pp. 82-83, no. 120.
62
63
Q64
CHARLOTTE PERRIAND (1903-1999)
A SIDEBOARD, DESIGNED 1958
retailed by Steph Simon, pine, aluminium and enamelled aluminium
31q in. (80 cm,.) high; 70q 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 dHabiter 1903-1959, Norma, 2005, p. 440.
Charlotte Perriand, exh. cat., Centre Georges-Pompidou Paris,
7 Dcembre 2005 - 27 Mars 2006, p. 162.
64
65
AXEL SALTO (1889-1961),
FOR ROYAL COPENHAGEN (EST. 1775)
A SOLIFLEUR VASE, 1944
glazed porcelain
5 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
Q66
GEORGE NELSON (1908-1986)
AN MAA ARMCHAIR, DESIGNED 1958
manufactured by Herman Miller, fibreglass, chrome-plated steel, rubber
29 in. (75.6 cm.) high; 27q in. (69.4 cm.) wide; 26 in. (68 cm.) deep
1,000-1,500 $1,700-2,400
1,300-1,900
66 (alternative views)
66
Q67
GEORGE NELSON (1908-1986)
A PAIR OF THIN EDGE CHESTS OF DRAWERS, MID-1950s
manufactured by Herman Miller, walnut veneer, on tapering aluminium legs
30 in. (78 cm.) high; 24 in. (61 cm.) wide; 19 in. (49.8 cm.) deep
makers plaque to inside of top drawer Herman Miller-Zeeland-Michigan (2)
1,500-2,000 $2,500-3,300
1,900-2,500
67
Q68
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; 19 in. (48.7 cm.) wide; 20 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
Q69
JULES WABBES (1919-1974)
A LOW TABLE, CIRCA 1970
weng woodblock, bronze
13 in. (33 cm.) high; 34 in. (88.5 cm.) square
4,000-6,000 $6,600-9,800
5,100-7,500
70
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
Q71
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; 41 in. (104.2 cm.) diameter;
chairs: 30 in. (78 cm.) high; 19 in. (48.2 cm.) wide; 23q 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
72
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
Q73
MARK BRAZIER-JONES (B. 1956)
A CENTRE TABLE, 1993
limed waxed oak, steel, bronze and glass
engraved signature Mark. Brazier-Jones 1993
3,500-4,500 $5,800-7,300
4,400-5,700
73
Q74
MARIO SCHEICHENBAUER (ITALIAN)
A YETI ROCKING CHAIR, 1968
produced by |/.m, Italy, oak and long-pile-hide upholstery
33 in. ( 84 cm.) high; 45q in. (115.5 cm.) wide; 50 in. (127 cm.) deep
6,000-9,000 $9,800-15,000
7,600-11,000
G. Gramigna, |eoe/|o//o |9, 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
Q75
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
Q76
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; 54 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.
Q77
MARC NEWSON (B. 1963)
A SUPER GUPPY LAMP, DESIGNED 1987
manufactured by Ide, Japan, tubular aluminium,
aluminium, glass
73 in. (185.5 cm.) high; 34 in. (86.2 cm.) wide;
29 in. (74.2 cm.) deep
makers label to top IDE
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
Q79
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; 113q in. (288 cm.) wide; 16q 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.
Q78
RODY GRAUMANS (B. 1968) FOR DROOG DESIGN
A PAIR OF 85 LAMPS CHANDELIERS, DESIGNED 1993
of early production, light bulbs, wires
30q 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
FAUR
NU, A WALL PLAQUE, POST 1956
number three from an edition of eight, enamelled copper,
mounted on smoky translucent acrylic
torso 19 in. (49 cm.) high
signed in gilt FAUR 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 Faur, Limoges Art Deco Enamels, The Geometry of Joy,
Woodbridge, 2007, p. 263.
Q81
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
85q in. (127 cm.) high; 46 in. (118.6 cm.) wide; 21 in. (53 cm.) deep
makers 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 MSTROVIC (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
19q 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 Mstrovic 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, Mstrovic
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 Mstrovic 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
Mstrovic 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 Mstrovic 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 Mstrovics 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 nations
poverty would be diminished
Ivan Mstrovic
81
Q*83
LOUIS MAJORELLE (1859-1926)
A LES CLMATITES SALON SUITE, CIRCA 1900
carved walnut, upholstery,
comprising: settee, pair of armchairs and pair of chairs
settee: 42q in. (108 cm.) high; 51q in. (131 cm.) wide; 25 in. (63 cm.) deep
armchairs: 41q in. (105.4 cm.) high; 21q in. (54.7 cm.) wide; 20 in. (51 cm.) deep
chairs: 37 in. (94.3 cm.) high; 17q 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
Q*84
AN TAGRE, 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
63 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, |o./ |./o/e//e |.|e/ o| ^/| |eco London,
1991, p. 58, figs 13-15;
A. Duncan, /e |.// ./on |59|9|4 Vo/.me ||| |./n/|./e
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
LO LAPORTE-BLAIRSY (1865-1923)
A LA PENSE INKWELL, 1901
edited by |.qene |o.de//ne, gilt-bronze
signed |eo |.oo/|e|/.///
3,000-5,000 $4,900-8,100
3,800-6,300
A. Duncan, /e |.// ./on |59|9|4 Vo/ V C//e| d^/| c |e|./w./e
Sufolk, 1988, p. 364.
Other examples exhibited:
Galeries Nationales du Grand Palais |. oc/e|e de ^/|/|e |/.n./,
Paris, 1901;
Galeries Nationales du Grand Palais, |9, Paris, 14 March - 6 June 2000.
86
A PERCE-NEIGE CAMEO VASE, CIRCA 1900
mottled glass, overlaid, acid-etched and carved
engraved |..m |.nc/ with Cross of Lorraine
7,500-10,000 $13,000-17,000
9,500-13,000
87
MILE GALL (1846-1904)
A MARQUETERIE-SUR-VERRE INTERCALAIRE VASE,
CIRCA 1900
internally decorated glass, with m./,.e|//e, wheel-carved
10 in. (25.5 cm.) high
engraved signature C.//e
8,000-12,000 $14,000-20,000
11,000-15,000
85
86
Q~*88
EMILE GALL (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; 36 in. (93.4 cm.) wide; 24 in. (61 cm.) deep
signed in marquetry Gall
3,000-5,000 $4,900-8,100
3,800-6,300
87
Q~*89
A SIDE-CABINET, CIRCA 1900
carved walnut, the lower door inlaid with various woods,
including rosewood, enclosing an adjustable shelf
71 in. (181 cm.) high; 24q in. (62.3 cm.) wide; 18q in. (47 cm.) deep
10,000-15,000 $17,000-24,000
13,000-19,000
88
90
EMILE GALLE (1846-1904)
AN CUREUIL PLAFONNIER, CIRCA 1900
glass, overlaid and acid-etched with a red squirrel, with brass mounts
19 in. (48.9 cm.) diameter
signed in cameo Gall
12,000-18,000 $20,000-29,000
16,000-23,000
A. Duncan, G. De Bartha, Gall 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
pte-de-verre
9 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
Christies 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
pte-de-verre
12 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
(1885-1953)
pte-de-verre
moulded G. Argy-Rousseau
6,000-8,000 $9,800-13,000
7,600-10,000
London, 1991, p. 194.
94
(1885-1953)
pte-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.
91
PROPERTY FROM A DISTINGUISHED INTERNATIONAL
PRIVATE COLLECTION (LOTS 95-120)
95
MILE GALL (1846-1904)
A NNUPHARS 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
MILE GALL (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
Christies London, British Decorative Arts, 8 June 1993, lot 11.
92
93
94
98
MILE GALL (1846-1904)
A PEONY CAMEO VASE, CIRCA 1900
glass, overlaid and acid-etched, wheel-carved
cameo Gall
10,000-15,000 $17,000-24,000
13,000-19,000
97
MILE GALL (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 Gall
6,000-8,000 $9,800-13,000
7,600-10,000
Christies New York, 20th Century Decorative Arts,
18 March 1989, lot 12.
A. Duncan, G. De Bartha, Glass by Gall, London, 1984,
p. 100, pl. 142.
95
96
99
A GERANIUM CAMEO VASE, CIRCA 1900
glass, of compressed form, overlaid, acid-etched and enamelled,
with gilt highlights
8q in. (21.5 cm.) high
cameo Gall
2,000-3,000 $3,300-4,900
2,600-3,800
100
A JASMINE CAMEO VASE, CIRCA 1900
glass, with trefoil neck, overlaid, acid-etched and enamelled
cameo Gall
1,500-2,000 $2,500-3,300
1,900-2,500
97
101
DAUM FRRES (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
A TULIPE CAMEO VASE, CIRCA 1903
glass, double overlaid and acid-etched, with martel 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 FRRES (EST. (1878)
A WISTERIA CAMEO VASE, CIRCA 1900
glass, overlaid, acid-etched and carved, against a martel 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 martel
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
A ROSE CAMEO VASE, CIRCA 1910
mottled glass, overlaid, acid-etched and wheel-carved
3q in. (9 cm.) high
wheel-engraved Daum Nancy, with Cross of Lorraine
3,000-4,000 $4,900-6,500
3,800-5,000
Christies London, Decorative Arts, 16 February 1994, lot 341.
104 105
100
107
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
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
Sothebys London, 3 May 1991, lot 99.
110
A FRUITING VINE CAMEO VASE, CIRCA 1910
internally decorated glass, overlaid with vitrified cameo and acid-etched,
with appliques
21q in. (54.5 cm.) high
3,000-5,000 $4,900-8,100
3,800-6,300
109
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
A VIOLETS CAMEO VASE, CIRCA 1900
mottled glass, overlaid, acid-etched and enamelled, with gilt highlights
21 in. (55.3 cm.) high
3,000-5,000 $4,900-8,100
3,800-6,300
106
107
101
108
109
110
111
A SWEETPEA FIRE-POLISHED CAMEO VASE, CIRCA 1900
opalescent glass, overlaid and acid-etched, against a martel ground
15 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
Christies New York, Barbra Streisand, Part I, 3 March 1994, lot 9.
102
112
A PISSENLIT FIRE-POLISHED CAMEO VASE, CIRCA 1900
opalescent glass, overlaid and acid-etched, against a martel ground
19q in. (49.5 cm.) high
5,000-7,000 $8,200-11,000
6,300-8,800
113
A CLEMTATIS FIRE-POLISHED CAMEO VASE, CIRCA 1900
opalescent glass, over-laid and acid-etched, against a martel ground
23 in. (60.4 cm.) high
5,000-7,000 $8,200-11,000
6,300-8,800
103
104
114
115
116
114
(1885-1953)
A CHRYSANTHMES VASE, DESIGNED 1919
pte-de-verre
5 in. (14.5 cm.) high
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
(1883-1953)
A MASQUES SMALL VASE, DESIGNED 1914
pte-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
(1885-1953)
A CRABES ET ALGUES VASE, DESIGNED 1919
pte 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
(1885-1953)
LE JARDIN DES HESPRIDES VASE,
DESIGNED 1926
pte-de-verre
9 in. (24.7 cm.) high
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
(1885-1953)
A LA COUPE FLEURIE VEILLEUSE,
DESIGNED 1923
pte-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
23 in. (60.5 cm.) high
5,000-7,000 $8,200-11,000
6,300-8,800
Sothebys 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
Q~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
makers 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 Voyseys output. The current piece is a welcome addition to the scarce
examples known.
108
109
110
Q123
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
38q in. (98 cm.) high; 53 in. (136.cm.) wide; 17 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 tables 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 Knoxs creative versatility.
Dr. Stephen A. Martin
Ardmore, Pennsylvania
Editor, 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
Q125
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
12q 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
Q126
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; 17 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
Q127
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
185q 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);
Christies 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, Committees 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-Smiths 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 DArcy. 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 HEATH
A RARE CROWS-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
Q129
DR CHRISTOPHER DRESSER (1834-1904), FOR THE ART
FURNISHERS ALLIANCE, ATTRIBUTED TO
A PAIR OF CHAIRS, CIRCA 1875
executed by W. Booty, ebonised walnut, gilt highlights and upholstery
35q in. (90 cm.) high; 18w 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 ! |oo|/ |ondon
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 Dressers highly regarded Elephant
chair (cf. M. Whiteway, C///|oo/e/ |/ee/ |54|94, Milan, 2001, pp. 158 and 160,
pls 187 and 191).
Q130
E. W. GODWIN (1833-1886)
AN OCCASIONAL TABLE, DESIGNED 1867-1868
ebonised mahogany, coromandel-veneered, parcel-gilt highlights
28q in. (72.5 cm.) high; 20 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 Christies London:
20th Century Decorative Art & Design, 23 October 2012, lot 119.
118
119
Q131
E. W. GODWIN (1833-1886) FOR WILLIAM WATT
A 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 makers plaque, was sold Sothebys London,
20 March 2008, Lot 34.
120
Q132
GOTHIC REVIVAL
A IMPRESSIVE ARCHITECTURAL CHANDELIER,
1870s
wrought and painted steel, the upper corona above
linked chain suspension, the cylidrical frame with
medieval turrets and armorial crests
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.
Q133
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;
18q 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 Gimsons 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, Gimsonss 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
L
A
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I
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124
134
RENE LALIQUE (1860-1945)
A PERRUCHES VASE, NO. 876, DESIGNED 1919
teal green glass, with white staining
10 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, Rne Lalique: Catalogue Raisonn de lOeuvre 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
A SERPENT VASE, NO. 896, DESIGNED 1924
clear and frosted glass, with traces of sepia staining
9 in. (24.7 cm.) high
intaglio R. LALIQUE
12,000-18,000 $20,000-29,000
16,000-23,000
Bologne, 2011, p. 416.
126
137
A SERPENT VASE, NO. 896, DESIGNED 1924
deep amber glass
9w 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
AN ELEPHANTES COUPE, NO. 411,
DESIGNED 1930
clear and frosted glass
2 in. (7 cm.) high, 15 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
A PAIR OF MERLES ET RAISINS PANELS, NO. 4-A,
DESIGNED 1928
clear and frosted glass, in later frames
20q in. (52 cm.) high; 5 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
A BACCHANTES VASE, NO. 997, DESIGNED 1927
clear and frosted glass, with sepia staining, on a patinated bronze modern base
overall 12 in. (32.4 cm.) high; vase 9 in. (24.7 cm.) high
stencilled R. LALIQUE FRANCE
10,000-15,000 $17,000-24,000
13,000-19,000
F. Marcilhac, Rne Lalique: Catalogue Raisonn de lOeuvre de Verre, Bologne, 2011, p. 438.
131
141
A OISEAU DE FEU CENTREPIECE, NO. 1111, DESIGNED 1922
clear and frosted glass, on bronze base,
17 in. (43.8 cm.) wide (2)
8,000-12,000 $14,000-20,000
11,000-15,000
F. Marcilhac, Rne Lalique: Catalogue Raisonn de lOeuvre de Verre, Bologne, 2011, p. 481.
132
142
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
A POISSONS VASE, NO. 925, DESIGNED 1921
emerald green glass
9 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
A DEUX SIRNES 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, Rne Lalique: Catalogue Raisonn de
lOeuvre de Verre, Bologne, 2011, p. 230.
VARIOUS PROPERTIES
145
AN ESCARGOT VASE, NO. 931, DESIGNED 1920
electric blue glass
8 in. (21 cm.) high
engraved R. Lalique (faintly)
12,000-18,000 $20,000-29,000
16,000-23,000
F. Marcilhac, Rne Lalique: Catalogue Raisonn de
lOeuvre de Verre, Bologne, 2011, p. 424.
134
146
A SAUTERELLES VASE, NO. 888, DESIGNED 1912
electric blue glass, with white staining
10 in. (27.3 cm.) high
underside engraved R. Lalique
18,000-22,000 $30,000-36,000
23,000-28,000
F. Marcilhac, Rne Lalique: Catalogue Raisonn de lOeuvre 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
A PAIR OF SOLIEL PLAFONNIERS, NO. 2466, DESIGNED 1926
opalescent glass
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
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
Viewing:
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
lalique@christies.com

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.
BI D ONLI NE Chri st i es. com/2021 Desi gn
RONCE VASE, NO. 946
DESIGNED 1921, DEEP AMBER
2,000-3,000 $3,300-4,900
2,600-3,800
Property from a Private Collection
RONCE VASE, NO. 946
DESIGNED 1921, RED AND WHITE
STAINED
3,000-5,000 $4,900-8,100
3,800-6,300
POISSONS VASE, NO. 925
DESIGNED 1921, ELECTRIC BLUE
6,000-8,000 $9,800-13,000
7,600-10,000
ORMEAUX VASE, NO. 984
DESIGNED 1926, CASED JADE
GREEN
3,000-5,000 $4,900-8,100
3,800-6,300
MOISSAC VASE, NO. 992
DESIGNED 1927, TURQUOISE
2,000-3,000 $3,300-4,900
2,600-3,800
ARCHERS VASE, NO. 893
DESIGNED 1921, DEEP AMBER
6,000-8,000 $9,800-13,000
7,600-10,000
TOURBILLONS VASE, NO.
973
DESIGNED 1926, YELLOW
8,000-12,000 $14,000-20,000
11,000-15,000
ESTREL VASE, NO. 941
DESIGNED 1923, DEEP AMBER AND
WHITE STAINED
1,500-2,000 $2,500-3,300
1,900-2,500
BELIERS VASE, NO. 904
DESIGNED 1925, SMOKY, WITH
SEPIA STAINING
1,400-1,800 $2,300-2,900
1,800-2,300
DAVOS VASE, NO. 1079
DESIGNED 1932, ALEXANDRITE
3,000-5,000 $4,900-8,100
3,800-6,300
ONLI NE LALI QUE 1 6-30 OCTOBER 201 4
SIX FIGURINES ET
MASQUES VASE, NO. 886
DESIGNED 1912, CLEAR, FROSTED
AND SEPIA STAINED
1,000-1,500 $1,700-2,400
1,300-1,900
FOUGRES VASE, NO. 923
AND GREY STAINED
800-1,200 $1,400-2,000
1,100-1,500
AVALLON VASE, NO. 986
AND BLUE STAINED
1,000-1,500 $1,700-2,400
1,300-1,900
PENTHIEVRE VASE, NO. 1011
DESIGNED 1928, CLEAR AND
FROSTED
4,000-6,000 $6,600-9,800
5,100-7,500
DESIGNED 1927, EXECUTED POST-
1945, CLEAR AND FROSTED
1,000-1,500 $1,700-2,400
1,300-1,900
DAHLIAS VASE, NO. 938
DESIGNED 1923, CLEAR, FROSTED,
BLUE STAINED AND BLACK
ENAMELLED
2,000-3,000 $3,300-4,900
2,600-3,800
FORMOSE VASE, NO. 934
AND GREEN STAINED
1,500-2,000 $2,500-3,300
1,900-2,500
SOPHORA VASE, NO. 977
DESIGNED 1926, GREY WITH WHITE
STAINING
4,000-6,000 $6,600-9,800
5,100-7,500
CHEVREUSE VASE, NO. 1081
FROSTED
800-1,200 $1,400-2,000
1,100-1,500
DOMRMY VASE, NO. 979
FROSTED
800-1,200 $1,400-2,000
1,100-1,500
PAPILLONS VASE, NO.
10-899
AND BLUE STAINED
4,000-6,000 $6,600-9,800
5,100-7,500
FLAME VASE, NO. 12233
FROSTED
3,000-4,000 $4,900-6,500
3,800-5,000
MASQUES DECANTER, NO.
3156
AND SEPIA STAINED
2,000-3,000 $3,300-4,900
2,600-3,800
SIX SIX FIGURINES
GLASSES, NO. 3400
AND SEPIA STAINED (6)
1,000-1,500 $1,700-2,400
1,300-1,900
JAFFA TRAY, NO. 3680
FROSTED
1,000-1,500 $1,700-2,400
1,300-1,900
FOUGRES ICE BUCKET,
NO. 3701
AND GREEN STAINED
2,600-3,000 $4,300-4,900
3,300-3,800
CHNE LEMONADE SET
DESIGNED 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.
997
WAR, CLEAR AND FROSTED
1,200-1,800 $2,000-2,900
1,600-2,300
CARIATIDES VASE, NO. 924
AND GREEN STAINED (2)
1,000-1,500 $1,700-2,400
1,300-1,900
MANDRES VASE, NO.
10-876
1,000-1,500 $1,700-2,400
1,300-1,900
ST HUBERT JARDINIRE,
NO. 3461
FROSTED
1,500-2,000 $2,500-3,300
1,900-2,500
THREE ST JAMES
CANDLESTICKS NO. 2126
FROSTED, ONE ADAPTED AS A
LAMP (3)
1,000-1,500 $1,700-2,400
1,300-1,900
EGLANTINE PLATE, NO. 415
DESIGNED 1931, COBALT
1,500-2,000 $2,500-3,300
1,900-2,500
DANS LA NUIT, WORTH - 3
DESIGNED 1924, CLEAR AND BLUE-
PAINTED
700-900 $1,200-1,500
880-1,100
FEUILLES DE LIERRE
NECKLACE, NO. 1505
DESIGNED 1919, EMERALD GREEN,
WITH SILK
1,500-2,000 $2,500-3,300
1,900-2,500
LA RENOMME DORSAY
CLEAR, FROSTED AND GREY
STAINED, IN ORIGINAL BOX (7)
2,500-3,000 $4,100-4,900
3,200-3,800
DAHLIA BRACELET, NO.
1326
AND BLUE STAINED
1,000-1,500 $1,700-2,400
1,300-1,900
CALYPSO SHALLOW BOWL,
NO. 413
WAR
2,000-3,000 $3,300-4,900
2,600-3,800
PAIR OF MSANGES
CANDLESTICKS, NO. 2126
AND BLUE STAINED (4)
1,400-2,000 $2,300-3,300
1,800-2,500
MUGUETS TIMEPIECE, NO.
768
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.
833
DESIGNED 1925, OPALESCENT,
WITH ILLUMINATING PATINATED
BRONZE BASE (2)
6,000-8,000 $9,800-13,000
7,600-10,000
NEMOURS BOWL, NO. 404
DESIGNED 1929, OPALESCENT AND
BLUE STAINED
1,400-2,000 $2,300-3,300
1,800-2,500
OEILLETS SHALLOW
BOWL, NO. 422
DESIGNED 1932, OPALESCENT
1,000-1,500 $1,700-2,400
1,300-1,900
HOUPPES BOX AND
COVER, NO. 29
DESIGNED 1921, OPALESCENT (2)
1,800-2,200 $3,000-3,600
2,300-2,800
PERRUCHES BOWL, NO. 419
GREEN STAINED
3,000-5,000 $4,900-8,100
3,800-6,300
DOMREMY VASE, NO. 948
DESIGNED 1926, CASED
OPALESCENT AND BLUE STAINED
1,400-2,000 $2,300-3,300
1,800-2,500
DRUIDES VASE, NO. 937
OPALESCENT AND GREEN STAINED
1,200-1,800 $2,000-2,900
1,600-2,300
CEYLAN VASE, NO. 905
2,500-3,500 $4,100-5,700
3,200-4,400
ST FRANOIS VASE, NO.
1055
GREY STAINED
2,000-3,000 $3,300-4,900
2,600-3,800
EUCALYPTUS VASE, NO.
936
1,200-1,800 $2,000-2,900
1,600-2,300
BLUE STAINED
1,200-1,800 $2,000-2,900
1,600-2,300
BLUE STAINED
2,000-3,000 $3,300-4,900
2,600-3,800
SPIRALES VASE, NO. 1060
BLUE STAINED
2,500-3,000 $4,100-4,900
3,200-3,800
FERRIERES VASE, NO. 1019
OPALESCENT
1,000-1,500 $1,700-2,400
1,300-1,900
3,000-5,000 $4,900-8,100
3,800-6,300
MRES VASE, NO. 1058
BLUE STAINED
3,800-4,500 $6,200-7,300
4,800-5,700
RONCE VASE, NO. 946
OPALESCENT AND GREY STAINED
1,000-1,500 $1,700-2,400
1,300-1,900
TWO DAHLIAS
PLAFONNIERS, NO. 2459
AND SEPIA STAINED, AND
MOULDED GLASS CEILING ROSES
2,000-3,000 $3,300-4,900
2,600-3,800
CHAMPS ELYSES BOWL,
NO. 11216
DESIGNED AND EXECUTED POST-
1,000-1,500 $1,700-2,400
1,300-1,900
PERLES PLAFONNIER, NO.
2913
FROSTED, WITH SATURN RING
REFLECTOR
1,000-1,500 $1,700-2,400
1,300-1,900
PAIR OF LIERRE WALL
APPLIQUES, NO. 2027
FROSTED (2)
2,000-3,000 $3,300-4,900
2,600-3,800
LAUSANNE PLAFONNIER,
NO. 2479
DESIGNED 1929, YELLOW
1,800-2,200 $3,000-3,600
2,300-2,800
CHAMPS ELYSES
CHANDELIER
DESIGNED AND EXECUTED POST-
3,000-5,000 $4,900-8,100
3,800-6,300
CHARMES PLAFONNIER,
NO. 2458
AND SEPIA STAINED
1,800-2,200 $3,000-3,600
2,300-2,800
HIRONDELLE
PAPERWEIGHT, NO. 1143
FROSTED
1,200-1,800 $2,000-2,900
1,600-2,300
150
IMPORTANT NOTICES AND EXPLANATION OF
CATALOGUING PRACTICE
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies 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, Christies 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 next to the lot
number. This symbol will be used both in cases
where Christies holds the financial interest on its
own, and in cases where Christies has financed
all or part of such interest through third parties.
When a third party agrees to finance all or part
of Christies 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 Christies has an
ownership or financial interest in every lot in the
catalogue, Christies 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
X next to the lot

number, Christies guarantee of a minimum price
has been financed through third parties.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies 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,
Christies 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 SPECIES
Property 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 clients 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 Christies
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 buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All 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 artists 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 artists 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 CHRISTIES
CONDITIONS OF SALE
Christies 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 buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The 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.
BUYERS PREMIUM
Christies 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 VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies 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 Christies 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. Christies 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 Christies 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 Christies 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 Christies 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 ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the sale-
room, from telephone bidders, or by absentee written bids left
with Christies 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 BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies 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 Christies
location, or online at christies.com.
TELEPHONE BIDS
Telephone 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 BIDS
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.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers 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 Christies
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 buyers premium and any applicable taxes.
Credit card payments at London sale sites will only be accepted
for London sales. Christies 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 Christies (subject to
conditions).
Cheques should be made payable to Christies (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:
Christies, Cashiers Department,
8 King Street, St Jamess, London, SW1Y 6QT
Please 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 buyers 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 buyers 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
Christies immediately after the auction.
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 buyers 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 Christies immediately
after the auction.
Buyers from within the EU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
Buyers from outside the EU:
VAT payable at 20% on hammer price and buyers 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 Christies to this effect immediately
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
buyers 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 Refunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) 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. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where 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 Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies 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.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers 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
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
Christies Art Transport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
Christies VAT authorised Shipper:
If you use a Christies 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.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies 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 PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers 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.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
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 Christies 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.
20/11/13
152
STORAGE AND COLLECTION
CADOGAN TATE WAREHOUSE
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
STORAGE & COLLECTION CHARGES
Specified lots, marked with a filled square ( Q ) not
cleared from Christies by 5.00 pm on the day of
the sale and all sold and unsold lots not cleared from
Christies by 5.00 pm on the fifth Friday following
the sale will be removed to the warehouse of:
Cadogan Tate Fine Art Logistics Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
Lots 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 Christies
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
Christies and clients enjoy complete confidentiality.
Visit www.cfass.com, or contact london@cfass.com.
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 DUE
Lots will be available for collection from
Cadogan Tate at
Cadogan Tate Fine Art Logistics Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
on 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 cashiers office at Christies, 85 Old
Brompton Road, London SW7 or Christies,
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 TATE
Please note that Cadogan Tates 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 CHARGES
All services provided by Fine Art Logistics Ltd
(Cadogan Tate) will be subject to their standard
Conditions of Business, copies of which are
available at Christies 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 Buyers
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 Lots
owner and at the owners cost, insurance of the
Lot for the sum of the Hammer price plus Buyers
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 owners agent. The Extended Liability Charge
payable by the owner of the Lot is 0.6% of the
sum of the Hammer Price and Buyers 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.
Christies 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 Christies and
clients enjoy complete confidentiality.
Visit www.cfass.com for charges and other details.
153
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 Christies
and the seller with the buyer. You should read them
carefully before bidding.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies 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 CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
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,
Christies 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 Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution etc
Any statements made by Christies 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 Christies 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) Estimates
Estimates 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 Purpose
Lots 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 admission
Christies 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 bidding
Prospective 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 principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We 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 bids
If 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 converter
At 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 images
At 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) Reserves
Unless 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) Auctioneers discretion
The 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 risk
Subject to the auctioneers 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) Buyers premium
In addition to the hammer price, the buyer agrees
to pay to us the buyers premium together with any
applicable value added tax. The buyers 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) Artists Resale Right (Droit de Suite)
If the Artists 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 next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers 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.
09/08/13
154
(d) Collection of purchases
We shall be entitled to retain items sold until all
amounts due to us, or to Christies 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, Christies 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 shipping
Although 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 licence
Unless 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 payment
If 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 Christies 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 Christies 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 buyers 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 Christies shall have all of the rights of the seller,
however arising, to pursue the buyer for such amount.
(h) Failure to collect purchases
Where 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 buyers
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 Christies
In 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 Christies in a calendar year.
Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out in
clause 2 of these Conditions, but subject to the terms
and conditions of this paragraph, Christies 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 Christies. Christies warranty does not
apply to supplemental material which appears below
the UPPER CASE TYPE headings of each lot and
Christies 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
Christies 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 buyers sole and exclusive remedy against
Christies 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
Christies 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 Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
(vi) The buyer must return the lot to the Christies
saleroom at which it was purchased in the same
condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
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. SEVERABILITY
If 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 JURISDICTION
The 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
Christies, to the exclusive jurisdiction of the courts
of the United Kingdom.
05/01/10
155
s DENOTES SALEROOM ENQUI RI ES Call the Saleroom or Office EMAI L info@christies.com
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
s PARIS
+33 (0)1 40 76 85 85
GERMANY
DSSELDORF
+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 Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
INDIA
s 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
s 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
s AMSTERDAM
+31 (0)20 57 55 255
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900
s HONG KONG
+852 2760 1766
s 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 Dyhln
(Consultant)
SWITZERLAND
s GENEVA
+41 (0)22 319 1766
Eveline de Proyart
s ZURICH
+41 (0)44 268 1010
Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514
Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
s DUBAI
+971 (0)4 425 5647
UNITED KINGDOM
s LONDON
+44 (0)20 7839 9060
LONDON,
s 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
s NEW YORK
+1 212 636 2000
04/09/14
WORLDWIDE SALEROOMS AND EUROPEAN
OFFICES
156
CHRISTIES SPECIALIST DEPARTMENTS AND
SERVICES
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230
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NY: +1 212 606 0536
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KS: +44 (0)20 7389 2570
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SK: +44 (0)20 7752 3239
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SK: +44 (0)20 7752 3239
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AND
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SK: +44 (0)20 7752 3262
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ZUR: +41 (0) 44 268 1012
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PICTURES
KS: +44 (0)20 7389 2040
SK: +44 (0)20 7752 3291
TRIBAL AND
PRE-COLUMBIAN ART
PAR: +33 (0)140 768 386
TWENTIETH CENTURY
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KS: +44 (0)20 7389 2684
SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
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& DESIGN
KS: +44 (0)20 7389 2140
SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES
SK: +44 (0)20 7752 3218
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SK: +44 (0)20 7752 3257
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AND
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Fax: +1 212 636 2035
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Tel: +44 (0)20 7389 2464
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christies.com
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Email: christieseducation@
christies.edu
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Tel: +852 2978 6747
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christies.com
CHRISTIES FINE ART
STORAGE SERVICES
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+44 (0)20 7622 0609
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+1 212 974 4570
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Tel: +65 6543 5252
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com
CHRISTIES
INTERNATIONAL
REAL ESTATE
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Tel +1 212 468 7182
Fax +1 212 468 7141
info@christiesrealestate.com
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Tel +44 20 7389 2551
Fax +44 20 7389 2168
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
27/05/14
157
christies.com
Contact
Simon Andrews
sandrews@christies.com
+44 (0)20 7752 3380
20/21 Design
London, King Street s 4 November 2014
INCLUDING A SELECTION OF FRENCH MID-CENTURY DESIGN FROM AN IMPORTANT INTERNATIONAL PRIVATE COLLECTION,
FEATURING WORKS BY JEAN ROYRE, CHARLOTTE PERRIAND, JEAN PROUV AND ANDRE ARBUS.
Viewing
31 October 4 November
8 King Street
London SW1Y 6QT
158
Contact
Xavier Brunswick
xbrunswick@christies.com
+44 (0)20 7752 3183
Viewing
31 October4 November
8 King Street
London SW1Y 6QT
LuxuryColourTexture:
The Estate of David Collins
London, King Street s 4 November 2014
FEATURING 200 LOTS OF FURNITURE, LIGHTING,
PHOTOGRAPHS, CERAMICS, GLASS AND WORKS OF ART,
FROM THE LONDON HOME OF ONE OF THE WORLDS
MOST CELEBRATED INTERIOR ARCHITECTS
159
PIERRE CHAREAU (1883-1950)
MS 418, 419, BIS, TER, CIRCA 1926
A sycamore and patinated iron psych coiffeuse coffre bijoux
100,000 150,000
Contact
Pauline De Smedt
pdesmedt@christies.com
+33 (0)1 40 76 83 54
Viewing
20-22, 24 November
9, avenue Matignon
Paris 8
e
20/21 Design
Paris s 24 November 2014
160
christies.com
Contact
Carina Villinger
cvillinger@christies.com
+1 212 636 2240
Viewing
58 December 2014
20 Rockefeller Plaza
New York, NY 10020
20/21 Design
New York s 9 December 2014
FRANCOIS-XAVIER LALANNE (1927-2008)
MOUTONS DE PIERRE, A PAIR OF SHEEP, DESIGNED CIRCA 1979
Bronze, epoxy stone
Each: 33in. (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/MOMS
Please quote number below:
Lot number Maximum Bid UK Lot number Maximum Bid UK
(in numerical order) (excluding buyers premium) (in numerical order) (excluding buyers premium)
Please also refer to the information contained in Buying at
Christies.
I request Christies 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 buyers 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 buyers premium.
VAT is chargeable on the purchase price of daggered () lots,
and for buyers outside the EU on () lots, at the standard
rate. VAT is chargeable on the purchase price of starred (*)
lots at the reduced rate.
Christies 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 Christies provides the service of executing
absentee bids for the convenience of clients and that Christies
is not responsible for failing to execute bids or for errors
relating to execution of bids. On my behalf, Christies 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
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take precedence. Please contact the Telephone Bid office at
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All bids are subject to the terms of the Conditions of Sale
and Limited Warranty printed in each Christies catalogue.
BIDDING INCREMENTS
Bidding generally opens below the low estimate
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do not conform to the increments set below may
be lowered to the next bidding interval.
UK50 to UK1,000 by UK50s
UK1,000 to UK2,000 by UK100s
UK2,000 to UK3,000 by UK200s
UK3,000 to UK5,000 by UK200, 500, 800
(ie: UK4,200, 4,500, 4,800)
UK5,000 to UK10,000 by UK500s
UK10,000 to UK20,000 by UK1,000s
UK20,000 to UK30,000 by UK2,000s
UK30,000 to UK50,000 by UK2,000, 5,000, 8,000
(ie: UK32,000, 35,000,
38,000)
UK50,000 to UK100,000 by UK5,000s
UK100,000 to UK200,000 by UK10,000s
above UK200,000 at auctioneers 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
CHRISTIES 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 Christies, 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 Christies, 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 Christies 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.com
Contact
Joy McCall
Lalique@christies.com
+44 (0)20 7389 9060
Viewing
2428 October
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
4,0006,000
163
CHRISTIES
CHRI STI E S I NTERNATI ONAL PLC
Patricia Barbizet, Chairman
Steven P. Murphy, Chief Executive Officer
Stephen Brooks, Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Franois-Henri Pinault
Sophie Carter, Company Secretary
CHRI STI E S EXECUTI VE
Steven P. Murphy,
Stephen Brooks, Kerry Chandler, Franois Curiel,
Marc Porter, Jussi Pylkknen, Doug Woodham
Charles Cator, Deputy Chairman,
Christies International
CHRI STI E S EUROPE
CHAI RMAN S OFFI CE
Jussi Pylkknen, President
Orlando Rock, Deputy Chairman
SENI OR DI RECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Olivier Camu, Philippe Garner, Richard Knight,
Francis Outred, Andreas Rumbler,
Franois de Ricqles
DI RECTORS
Prof. Dr. Dirk Boll, Roland de Lathuy,
Eveline de Proyart, Roni Gilat-Baharaff,
Paul Hewitt, Clarice Pecori Giraldi,
Christiane Rantzau, Jop Ubbens, Juan Varez
CHRI STI E S EUROPEAN
ADVI SORY BOARD
Pedro Girao, Chairman,
Christopher Balfour, Patricia Barbizet,
Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg,
H.R.H. Prince Pavlos of Greece, Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Dimitri Mavrommatis,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi
08/08/14
CHRI STI E S UK
CHAI RMAN S OFFI CE
Viscount Linley, Chairman
Nol 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
SENI OR DI RECTORS
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,
Andr Zlattinger
DI RECTORS
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 Ordovs, Rosalind Patient,
Keith Penton, Romain Pingannaud,
Sara Plumbly, Caroline Porter, Michael Prevezer,
Anne Qaimmaqami, Marcus Rdecke,
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
ASSOCI ATE DI RECTORS
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 Lamp,
Tom Legh, Timothy Lloyd, Scott Macdonald,
Graeme Maddison, Stephanie Manstein,
Astrid Mascher, Michelle McMullan,
Kateryna Merkalenko, Susanne Meyer-Abich,
Toby Monk, Sarah OBrien, 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
I NDEX
A
Arad, R., 76
Arbus, A., 34
Argy-Rousseau, G., 91, 92, 93, 94, 114, 115,
116, 117, 118
B
Benson, W. A. S., 125
Borsani, O., 25
Brandt, E., 36
Brazier-Jones, M., 73
Brouard, F., 31
C
Chiparus, D., 40, 41, 42, 43, 45
Colinet, C.-J.-R., 44
Csaky, J., 38
D
Daum, 86, 101, 102, 103, 104, 105, 106, 107,
108, 109, 110, 111, 112, 113
De Waal, E., 72
Dresser, C., 128, 129
E
Eames, C. & R., 68
F
Fantoni, M., 27
Faur, 80
Fornasetti, P., 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11,
12, 13
G
Gall, E., 87, 88, 90, 95, 96, 97, 98,
99, 100
Gerdago, 46
Gimson, E., 133
Godwin, E. W., 130, 131
Graumans, R., 78
Gruau, R., 56, 57, 58, 59, 60
Guiraud-Riviere, M., 47
Gurschner, G., 120
J
Jensen, G., 61
K
Knox, A., 123
L
Lalique, R., 134, 135, 136, 137, 138, 139,
140, 141, 142, 143, 144, 145, 146, 147, 148,
149, 150
Lalique, S., 39
Laporte-Blaisry, L., 85
Le Faguays, P., 48
Leleu, J., 33
Leleu, Maison, 32
Levete, A., 79
Lorenzl, J., 119
Ludwig Schmidt, 121
M
Majorelle, L., 83, 84, 89
Majorelle, L.; Daum Frres, 35
Mangiarotti,.A., 23
Martens, D., 17
Martin Brothers, 124
Mstrovic, I., 82
Morris & Co., 127
N
Nelson, G., 66, 67
Newson, M., 75, 77
Nilsson, W., 62
P
Pagani, C., 19
Parisi, I., 28
Parpan, F., 53, 54, 55
Perriand, C., 64
Pini, N., 16
Poillerat, G., 30
Ponti, G., 20, 26, 29
Preiss, F., 49, 50, 51, 52
R
Race, E., 71
Rie, L., 70
Rietveld, G. T., 63
S
Salto, A., 65
Scarpa, T., 14
Scheichenbauer, M., 74
V
Venini, P., 18
Voysey, C. F. A., 122
W
Wabbes, J., 69
Webb, P., 126
Z
Zervudaki, 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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