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Mon 01 Jul

MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Newly upholstered in brown leather. Measurements: 73 x 170 x 90 cm; 43 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Estim. 9 000 - 10 000 EUR

Mon 01 Jul

BOREK SIPEK (Prague, Czech Republic, 1949-2016) for Driade. Armchair "Prosim Sedni", 1980s. Cherry wood, leather seat and blue upholstery. It shows wear commensurate with use and age. Measurements: 92 x 70 x 93 cm. Known as "the father of neo-baroque", Borek Šípek was a Czech architect, designer and artist. His postmodernist armchair "Prosim" (also known as Papillon Chair), with its striking curves in black leather and rich upholstery, juxtaposed with sculpted cherry wood, exemplifies the unique style for which he is known. It was used as furniture for Mirror Universe Terok Nor in the "Crossover" episode of Deep Space Nine. Borek Sipek trained in interior design at the School of Arts and Crafts in Prague. He completed his studies in Architecture at the University of Applied Arts in Hamburg and Philosophy at the Technical University of Stuttgart, later establishing his design studio in Amsterdam in 1983. In the 1980s he began collaborating with Driade, for whom he designed furniture and objects characterized by their tremendous originality, a collaboration that was decisive for the success of his career. At Driade he became one of the brand's main collaborators alongside Philippe Starck, Oscar Tusquets and Antonia Astori. He was later one of the initiators of the construction of the Ajeto glass factory to support the traditions of Bohemian glassblowing, where the best craftsmen were dedicated to the creation of high-end pieces. He firmly entered Milan's design circles, where he was invited to collaborate with Alessi, Cleto Murani, Sawaya & Moroni, Wittmann and the Swiss brand Vitra. In the late 1980s, he traveled to Asia, where he became acquainted with the Japanese polychrome lacquer technique: he created an atypical Urushi Arai collection, where his usual techniques for glass were rendered in wood. Throughout his career he has received numerous awards, including the honorable mention in the German Architecture Prize (1983), the Dutch Kho Liang Le Dutch Kho Liang Design Award (1989), La Croix Chevalier dans l'ordre des Arts et Lettres by the French government (1991), the Prince Bernhard Fonds Award for Architecture and Applied Arts of the Netherlands (1993) and the Talent De L'Originalite" - Le Sommet du Luxe et de la Creation award, among others. Between 1990 and 2003 he held the title of court architect of Prague Castle appointed by Václav Havel, president of the former Czechoslovakia, later the Czech Republic.

Estim. 4 000 - 4 200 EUR

Mon 01 Jul

LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. Armchair "Barcelona". Chromed steel frame. Loose comfort cushions upholstered in leather sewn with cognac-colored buttons. Lower upholstery with cognac-colored leather straps. With Knoll publisher's label. Literature: C. & P. Fiell. 1000 chairs. Listed and photographed on p. 172. Presented in original packaging. Brand new. Measurements: 80 x 75 x 80 cm. Package dimensions: 84 x 89 x 84 cm. The Barcelona chair (model MR90) is a classic work of 20th century industrial design. Mies van der Rohe created it, together with the ottoman and the matching side table, for the German pavilion at the 1929 Barcelona International Exposition, a building that was also a milestone in the architecture of the last century. The chairs were so admired that they were used as thrones for the kings of Spain when they visited the Barcelona pavilion. They were seats with a structure made entirely of polished stainless steel, with the seat and backrest completely covered with pigskin upholstery. Later, in 1950, some adjustments would be made to the design for mass production. Van der Rohe based his creation, in his personal line of modern classicism, on the "sella curulis", a type of seat used by Roman magistrates in antiquity. On the other hand, the visible joining of the stretcher frame and seat cushions as separate components, and the combined use of traditional and modern materials, appropriately matched to their function, eloquently reveal Mies' personal vision of international style. Today, both the Barcelona chair and the matching ottoman and side table are still in production by Knoll, the firm that purchased the license from the architect in 1953. Modern models are produced in two different steel configurations, and in various types of leather in different colors. Examples of the Barcelona chair are now held in important collections around the world, including the MoMA in New York. An architect and industrial designer, Mies van der Rohe trained with Bruno Paul and Peter Behrens, and opened his own studio in Berlin in 1912. Between 1930 and 1933 he directed the Bauhaus in Dessau, although the political situation in Germany soon after forced him to emigrate to the United States. There he continued his brilliant career, teaching at the Illinois Technology Institute in Chicago. During his career he designed emblematic buildings mainly in Germany and the United States, especially his skyscrapers in New York and Chicago, the German Pavilion for the 1929 Barcelona International Exposition, and the NeueNationalgalerie in Berlin.

Estim. 5 000 - 5 500 EUR

Mon 01 Jul

DE SEDE modular sofa, coffee brown leather, model DS-76. Six moduls consisting of one corner element, three regular element, two outer elements with two moveable cushions and two small pillows. Modular sofa whose individual pieces can be zipped together to create multiple variations. Each sofa element can be converted into a guest bed or daybed and back to sofa in a matter of seconds. Fully leather upholstrery and all moduls are freestanding. Belted spring suspension on seat and the frame made of solid beech. 5 assembly bracket in metal included. Switzerland. Designed in 1972. First edition. Original receipt from 1972 enclosed. Leather with traces of wear. Measurements: 72 x 96 x 98 cm. per module. Bed size 19 x 220 x 93 cm. The design is characterized by round edges that are noticeable in the shape of the coffee brown leather upholstery that underline the clear structured design. Moreover, this piece of furniture is designed to provide an ultimate level of comfort due to the thick seating cushions and the very deep and large seat. Based in Klingnau, located in northern Switzerland near the German border, the De Sede company has been producing high-end furniture since the 1960s, when it began collaborating with international designers to create premium handmade leather chairs, lounges and sofas. Over the years, De Sede's product offering has expanded to include tables, beds and other furniture. Generous proportions balanced by elegant shapes characterise De Sede furniture. High quality craftsmanship means that each piece has been built to last.

Estim. 5 000 - 5 500 EUR

Mon 01 Jul

PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. Three-seated sofa, model 710. Designed in 1972. Cromed steel frame, loose cushions with dark brown leather upholstery. Armrests with leather details. Canvas underclothing. Manufactured at Arnold Exclusiv, with makers labels. In good vintage condition with traces from use. Measurements: 76 x 210 x 78 cm. 40 cm. (seat height). As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 4 000 - 5 000 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. “Segmented table”. A large boatformed dining table with chromed steel and aluminum base, white laminated top with black vinyl edge. Produced at Vitra 2007, with label. In good vintage condition with minor retouches on top. Measurements: 72 x 300 x 130 cm. The design story of the Eames Tables goes back to the 1940s, when Charles and Ray Eames developed the first versions of what later became the table base. Suited for a variety of chairs and tables, these early designs already reflect the couple's characteristic method of thinking in systems. The bases used today for the Eames Tables were created in the 1960s in conjunction with the development of the Soft Pad Chairs. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 3 000 - 3 200 EUR

Mon 01 Jul

PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. ‘Conversation Chairs’, model 710. Cromed steel frame, loose cushions with dark brown leather upholstery. Designed in 1972. Manufactured at Arnold Exclusiv, with makers labels. Minor marks from use. Measurements: 74 x 74 x 78 cm. Seat height 40 cm. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 2 000 - 2 200 EUR

Mon 01 Jul

PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. ‘Conversation Chairs’, model 710. Cromed steel frame, loose cushions with dark brown leather upholstery. Designed in 1972. Manufactured at Arnold Exclusiv, with makers labels. Minor marks from use. Measurements: 74 x 74 x 78 cm. Seat height 40 cm. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 2 000 - 2 200 EUR

Mon 01 Jul

AUSTRAL GROUP (Antoni Bonet, Juan Kurchan and Jorge Ferrari-Hardoy) for Ededis-Isist. BKF armchair ("Butterfly Chair"). Original design from 1938. Early 1990's copy published by Ededis. Metal structure painted in black epoxy and brown leather cover. Measurements: 91 x 79 x 67 cm. The BKF chair, also known as "Butterfly", is an iron and leather chair created in Buenos Aires by the Austral Group, composed by Antoni Bonet, Juan Kurchan and Jorge Ferrari. Today it is considered the main symbol of Argentine design, and one of the most celebrated internationally. It was created in 1938, and presented at the Salón de Artistas Decoradores de Buenos Aires in 1940. It was the result of the happy meeting of three young architects who met in Paris, in Le Corbusier's studio. Antonio Bonet, Juan Kurchan and Jorge Ferrari-Hardoy spent a year studying with the master, absorbing his legacy. They were particularly influenced by the book "L'Art Décoratifs d'Aujourd'hui", in which Le Corbusier demolished the idea of decorative art in favor of modern design. In his book, the architect analyzes new designs, from furniture and technical objects to mass-produced industrial products and solutions conceived in military contexts that could be transferred to the domestic environment. Upon their return to Argentina, the three young men founded Grupo Austral, a design collective prepared to investigate new horizons in architecture. The precedent for the Butterfly chair was the Tripolina: a redesign of a classic piece of military furniture. The three designers studied its potential and redesigned it, improving its features to give it a place of honor in the new domestic environment. They focused on the structure, drawing inspiration from the international tubular metal trend of the rationalist movement. The wooden frame with metal joints was replaced by two curved metal elements to create a single loop. The structure is linear, pure and continuous like a Möbius strip. It is versatile, lightweight and stackable like a chair, but also comfortable and spacious like an armchair. The level of comfort it offers is reminiscent of a hammock, the traditional Latin American chair that forms a cocoon-like womb and offers the lightness and cleanliness of a hanging canvas. Today, the Butterfly continues to be recognized as a modern classic that enjoys universal success.

Estim. 1 800 - 2 000 EUR

Mon 01 Jul

LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. Sofa-bed "Barcelona", design 1929 (Universal Exposition of Barcelona). Chromed stainless steel and Cognac leather upholstery. African ramin wood frame. Leather-covered cushion sewn with buttons and chains. Includes matching neck pillow. Certified by Knoll International. Original packaging. Brand new. Reproduced and reviewed in "Charlotte & Peter Fiell. 1000 Chairs", p. 133. Measurements: 41 x 195 x 95 cm. 226x103 cm. (packing). The Barcelona sofa bed is a classic work of 20th century industrial design. Mies van der Rohe created it, along with the matching chair and side table, for the German pavilion at the 1929 Barcelona International Exposition, a building that was itself a landmark in the architecture of the last century. Like the chairs, the ottoman was made with a polished stainless steel frame and leather upholstery. Rohe based its creation, in his personal line of modern classicism, on furniture used by Roman magistrates in antiquity. Today, both the Barcelona chair and the matching ottoman and side table are still produced by Knoll, the firm that bought the license from the architect in 1953. Modern models are produced in two different steel configurations, and in various types of leather in different colors. Examples of the Barcelona chair are now held in important collections around the world, including the MoMA in New York. An architect and industrial designer, Mies van der Rohe trained with Bruno Paul and Peter Behrens, and opened his own studio in Berlin in 1912. Between 1930 and 1933 he directed the Bauhaus in Dessau, although the political situation in Germany soon after forced him to emigrate to the United States. There he continued his brilliant career, teaching at the Illinois Technology Institute in Chicago. During his career he designed emblematic buildings mainly in Germany and the United States, especially his skyscrapers in New York and Chicago, the German Pavilion for the 1929 Barcelona International Exposition, and the NeueNationalgalerie in Berlin.

Estim. 9 000 - 11 000 EUR

Mon 01 Jul

MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Original leather with signs of wear due to age. Measurements: 73 x 170 x 85 cm; 42 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Estim. 5 000 - 5 500 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. Soft Pad high-back office chair, model EA-219. Designed in 1958. New generation with chrome-plated frame, chrome-plated aluminium armrests, seat and backrest upholstered in black leather, backrest with black backrest pad, cantilever function and height-adjustable seat post, swivel with five-step base in chrome-plated aluminium with castors. With Vitra label 2003. Slight signs of use. Measurements: 61/48 cm (height). The Soft Pad office chair by Charles and Ray Eames was created in 1958 for Vitra. It has an argonomic shape that adapts easily to the contours of the body, and is in keeping with the elegant language developed by the Eames couple in the 1950s and 1960s. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 3 000 - 3 200 EUR

Mon 01 Jul

MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Original leather with signs of wear due to age. Measurements: 73 x 170 x 85 cm; 42 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Estim. 5 000 - 5 500 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. “Segmented table”. A large circular dining table with chromed and black lacquered steel and aluminium frame, on four-star base, solid dark stained oak top with black vinyl edge. In good vintage condition with minor retouches on top. Measurements: H. 72 cm. Diam. 170 cm. The design story of the Eames Tables goes back to the 1940s, when Charles and Ray Eames developed the first versions of what later became the table base. Suited for a variety of chairs and tables, these early designs already reflect the couple's characteristic method of thinking in systems. The bases used today for the Eames Tables were created in the 1960s in conjunction with the development of the Soft Pad Chairs. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 3 000 - 3 500 EUR

Mon 01 Jul

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Egg chair, model 3316. Light camel/beige Alcantara fabric. Made by Fritz Hansen, 2015, with label. In good condition. Measurements: 104 x 88 x 80 cm. The Egg chair was designed in 1958 by Arne Jacobsen for the Radisson SAS Royal hotel in Copenhagen and was edited by the Danish firm Fritz Hansen. It soon became a symbol of modern design, starring in some of the scenes of the futuristic film "2001: A Space Odyssey". Among the rest of Arne Jacobsen's designs for SAS Royal are the "Egg Chair", "Swan Chair", "Swan Sofa", "Series 3300" and "Drop Chair", furniture with which Jacobsen has written the history of Danish design around the world. The Danish architect was one of the pioneers of the time in using new methods in furniture design, the Egg Armchair being a clear example of this. The iconic sofa consists of a one-piece, concave-molded, fiberglass-reinforced polyurethane shell that has been covered by an elegant upholstery. The shell has an adjustable tilt mechanism, which can be adjusted to the weight of the individual user. The tilt mechanism is made of steel, while the adjustment handle is made of polished stainless steel. The result, a distinguished, pointed and unique timeless design that will stand the test of time. Architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. Among his most outstanding architectural works are St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in the same city, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also called "Chair number 7", of which more than five million copies were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the movie "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and today we can find them in collections such as those of the Victoria & Albert Museum in London or the MoMA in New York, among many others. The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with designers and architects of international prestige. Its collection includes the Egg Chair and Swan chair, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers Piet Hein and Poul Kjaerholm.

Estim. 5 000 - 5 500 EUR

Mon 01 Jul

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Swan chair. Black leather. Swivel central column with square aluminum base. Produced by Fritz Hansen, 2008, with label. Leather in good considering its age and the passage of time, base with few marks. Measurements: 78 x 75 x 65 cm. 41 cm. (seat height) The Swan chair was designed in 1958 by Arne Jacobsen for the Radisson SAS Royal hotel in Copenhagen, and was edited by the Danish firm Fritz Hansen. It soon became a symbol of modern design. Among the rest of Arne Jacobsen's designs for the SAS Royal are the "Egg Chair", "Swan Chair", "Swan Sofa", "Series 3300" and "Drop Chair", furniture with which Jacobsen has written the history of Danish design around the world. Architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. Among his most outstanding architectural works are St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in the same city, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also called "Chair number 7", of which more than five million copies were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the movie "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and today we can find them in collections such as those of the Victoria & Albert Museum in London or the MoMA in New York, among many others. The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with designers and architects of international prestige. Its collection includes the Egg Chair and Swan chair, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers Piet Hein and Poul Kjaerholm.

Estim. 3 000 - 3 200 EUR

Mon 01 Jul

LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. Armchair "Barcelona". Chromed steel frame. Loose comfort cushions upholstered in leather sewn with cognac-colored buttons. Lower upholstery with cognac-colored leather straps. With Knoll publisher's label. Literature: C. & P. Fiell. 1000 chairs. Listed and photographed on p. 172. Presented in original packaging. Measurements: 80 x 75 x 80 cm. Package dimensions: 84 x 89 x 84 cm. The Barcelona chair (model MR90) is a classic work of 20th century industrial design. Mies van der Rohe created it, together with the ottoman and the matching side table, for the German pavilion at the 1929 Barcelona International Exposition, a building that was also a milestone in the architecture of the last century. The chairs were so admired that they were used as thrones for the kings of Spain when they visited the Barcelona pavilion. They were seats with a structure made entirely of polished stainless steel, with the seat and backrest completely covered with pigskin upholstery. Later, in 1950, some adjustments would be made to the design for mass production. Van der Rohe based his creation, in his personal line of modern classicism, on the "sella curulis", a type of seat used by Roman magistrates in antiquity. On the other hand, the visible joining of the stretcher frame and seat cushions as separate components, and the combined use of traditional and modern materials, appropriately matched to their function, eloquently reveal Mies' personal vision of international style. Today, both the Barcelona chair and the matching ottoman and side table are still in production by Knoll, the firm that purchased the license from the architect in 1953. Modern models are produced in two different steel configurations, and in various types of leather in different colors. Examples of the Barcelona chair are now held in important collections around the world, including the MoMA in New York. An architect and industrial designer, Mies van der Rohe trained with Bruno Paul and Peter Behrens, and opened his own studio in Berlin in 1912. Between 1930 and 1933 he directed the Bauhaus in Dessau, although the political situation in Germany soon after forced him to emigrate to the United States. There he continued his brilliant career, teaching at the Illinois Technology Institute in Chicago. During his career he designed emblematic buildings mainly in Germany and the United States, especially his skyscrapers in New York and Chicago, the German Pavilion for the 1929 Barcelona International Exposition, and the NeueNationalgalerie in Berlin.

Estim. 5 000 - 5 500 EUR

Mon 01 Jul

VERNER PANTON (Denmark, 1926 - 1998) for FRITZ HANSEN. Chaiselong "Relaxer Chair K". Designed in 1973. Black leather capitonné. Produced by Fritz Hansen. It shows signs of use. Measurements: 102 x 137 x 60 cm. The Relaxer Chair K is a lounger designed for the total comfort of the user. Its high backrest and ergonomic shape adapt perfectly to the body of each user. Verner Panton was famous for his exuberant forms and this chair is a wonderful example. Considered one of the most influential personalities of late 20th century furniture design, Verner Panton created a variety of innovative and futuristic designs during his career, especially constructed in plastic and brightly colored. Most of his best-known designs are still in production. Verner attended the Odense Technical School and then studied architecture at the Royal Academy of Fine Arts in Copenhagen, graduating in 1951. In the early years of his career, between 1950 and 1942, he worked in the architectural office of Arne Jacobsen. In 1955 he opened his own architecture and design studio, becoming famous with his furniture based on geometric shapes, manufactured by the company Plus-linje. In the late 1950s his chair designs, with no legs and no discernible back, became increasingly unconventional. In the 1960s Panton began his collaboration with the firm Vitra, which has been very close ever since, culminating in 2000 with the Panton retrospective exhibition held at the Vitra Design Museum. He is currently represented at the DesignMuseum in London and the MoMA in New York, among many others.

Estim. 2 500 - 3 000 EUR

Mon 01 Jul

JORGEN KASTHOLM (Denmark, 1931 - 2007) and PREBEN FABRICIUS (Denmark, 1931 - 1984) for LANGE PRODUCTION. Chaise longue "Grasshopper", Model FK-87, design 1967. Chrome-plated steel, canvas fabric, loose cushions and neck cushion upholstered in cognac aniline leather. Laced armrests in harness leather. Lange Production Editor. Brand new, Delivered in original packaging. With photos of the model. Measurements: 81 x 150 cm. This design was created by designers Preben Fabricius and Jørgen Kastholm, consisting of a lightweight chromed steel structure, whose shape resembles a grasshopper, and a stretched fabric that serves as a support for the cushion that is loose on it, plus a cognac-colored leather headrest. Its sober, light and elegant design, with simple lines, results in a timeless product that at the same time captures the genuine spirit of the era. It is a piece of furniture that brings together design, quality materials and functionality in a single object. Danish architect and designer Jørgen Kastholm began his training as a blacksmith, but soon left to pursue furniture design. He attended the Copenhagen School of Interior Design, where he was taught by Finn Juhl. There he also met cabinetmaker Preben Fabricius, who would later become his partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Federicia furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly thereafter, they made the international breakthrough at the 1966 Cologne trade fair, where they exhibited a complete series of home and office furniture, developed from ten of their original designs. Their minimalist creations, at once attractive and comfortable, were generally steel and leather furniture. The two creators worked together between 1961 and 1968, a seven-year period in which they produced numerous designs now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 or the Scimitar. Also during this period, their furniture was part of important international exhibitions, held in such prominent centers as the MOMA in New York (1967) or the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 7 000 - 8 000 EUR

Mon 01 Jul

PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. A pair of ‘Conversation Chairs’, model 710. Cromed steel frame, loose cushions with dark brown leather upholstery. Designed in 1972. Manufactured at Arnold Exclusiv, with makers labels. Minor marks from use. Measurements: 74 x 74 x 78 cm. Seat height 40 cm. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 4 000 - 4 500 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for Vitra. Stool "Time Life", model B. Solid walnut. Designed in 1960 for Rockefeller Centre, New York. Manufactured by Vitra. Certificate included. Exhibition model. Measurements: H. 38 cm. Diam. 32,5 cm. Time Life stool model designed by the Eames couple, whose suggestive turned shaft structure has given them alternative names such as "chess pieces". They allow versatile use as a seat or side table. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He would eventually teach there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Award, given by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they would remain for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House," now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fiberglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 1 000 - 1 200 EUR

Mon 01 Jul

PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. Two-seated sofa, model 710. Cromed steel frame, loose cushions with dark brown leather upholstery. Armrests with leather details. Canvas underclothing. Designed in 1972. Manufactured at Arnold Exclusiv, with makers labels. In good vintage condition with traces from use. Measurements: 76 x 141 x 78 cm. 40 cm. (seat height) As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 3 500 - 4 000 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for Herman Miller. Rocking arm shell chair, model 'RAR'. Fiberglass in off-white, seat and back upholstered in dark grey vinyl. Stamped under the seat. The ‘S’ within the circle indicates this a Summit Plastics shell produced by Herman Miller in their factory. Marks from use, defects along sewings at the seat. Measurements: 67 x 69 x 65 cm. The RAR rocking chair represents an evolution of the iconic Fiberglass Chair but with integrated armrests and bentwood glides. The original Fiberglass Chair was conceived by Charles and Ray Eames in collaboration with Zenith Plastics as part of the "Economic Furniture Design" competition organized by the Museum of Modern Art in New York. This pioneering creation marked the beginning of the industrial production of plastic chairs. It is a range of chairs with a one-piece shell molded to fit the contours of the human body that uniquely combines three basic concepts of interior design: lightness, elegance and structural strength. Eames Plastic Chair "Getting more of the best for more people for less" is the motto of Charles and Ray Eames, designers whose architectural innovations contributed to the advancement of furniture, design and industrial manufacturing. Charles and Ray Eames, a husband and wife artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. They were pioneers in the use of new techniques and materials such as fiberglass or plastic resin for the manufacture of chairs, and their creations can be seen in the Design Museum in London and the MoMA in New York, among many others.

Estim. 600 - 800 EUR

Mon 01 Jul

BØRGE MOGENSEN (Denmark, 1914 – 1972). Three seated sofa for FREDERICIA FURNITURE. In light cognac coloured leather, model 2213. With black lasered legs. With label from Frederici Furniture. Leather with marks and spots. Measurements: 77 x 220 x 81 cm. 42 cm. (seat height). Børge Mogensen was one of the most prominent representatives of the generation of designers who gave rise to the concept of Danish design, today known throughout the world. He began his career as a cabinetmaker in 1934, and two years later he began his studies at the Copenhagen School of Arts and Crafts, where he had Kaare Klint as a teacher. He then entered the Royal Academy of Fine Arts, graduating as an architect in 1942. That same year he began working as design director for FDB, finally setting up on his own in 1950. Functional is the word that best describes Mogensen's design. ; Most of his creations were conceived for industrial production, and are characterized by solid and simple lines, studied in an almost scientific way to be as functional as possible. His clean, highly functional aesthetic resulted in affordable and practical designs, his favorite material being wood. The client portfolio for which he worked includes Fredericia Stolefabrik, Fritz Hansen and Søborg Møbelfabrik, among others. Notable projects include Spokeback Sofa (1945) and Spanish Chair (1959), as well as a variety of shelving and storage designs. He was honored with the Eckersberg Medal in 1950, the Copenhagen Woodworking Guild's annual award in 1953, and the C.F. Hansen Medal in 1972.

Estim. 3 000 - 3 500 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 – 1978) AND RAY EAMES (USA, 1912 – 1988) for VITRA. Set of six office chairs, model EA-108. Desiged in 1958. Original black leather upholstery, backside with hopak, polished aluminium base and armrests, base with swivel function. With Vitra marks. With normal signs of wear. Measurements: 82 x 58 x 58; 47 cm (seat height). Currently considered a classic of 20th century design, the Aluminum Chair by Charles and Ray Eames was created in 1958, and has been manufactured continuously since then until today. It was born for a private house in Columbus, United States, built by architects Saarinen and Girard. In the Aluminum Chair, the Eames adapted the shape of the seat to the structure of the chair itself by tensioning the fabric or leather between the two parts of the structure, thus leaving it rigid, but maintaining its elasticity. This elastic shape allows it to easily adapt to the contours of the body, gradually, thus increasing the comfort of the seat. The Such enthusiastic design was perfectly received by both critics and the public, giving way to a complete range of models for the Eames Aluminum Group: the Aluminum Chairs EA 101, 103 and 104 (especially suitable as dining chairs), the EA models 105, 107 and 108 (they are used more in meeting rooms), the Aluminum Chairs EA 115, 116 and EA 124, 125 form two groups of seats and the versions EA 117, 118 and 119 are the work chairs of this family of products. The seat tilt mechanism can be adjusted to the user's weight, offering optimal comfort. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine arts and cinema, and are responsible for numerous designs that have become classics of the 20th century. They were pioneers in the use of new techniques and materials such as fiberglass or plastic resin for the manufacture of chairs, and their creations can be seen in the Design Museum in London and the MoMA in New York, among many others.

Estim. 6 000 - 7 000 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. Soft Pad high-back office chair, model EA-219. Full-leather edition, newly upholstered in cognac coloured aniline leather. Designed in 1958. New generation with chrome-plated frame, chrome-plated aluminium armrests, cantilever function and height-adjustable seat post, swivel with five-step base in chrome-plated aluminium with castors. With Vitra label 2016. Slight signs of use. Measurements: 103/115 x 58 x 58 cm. 50/62 cm. (seat height) The Soft Pad office chair by Charles and Ray Eames was created in 1958 for Vitra. It has an argonomic shape that adapts easily to the contours of the body, and is in keeping with the elegant language developed by the Eames couple in the 1950s and 1960s. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 3 000 - 3 200 EUR

Mon 01 Jul

DONALD CHADWICK (1936) & WILLIAM STUMP (1936-2006) for HERMANN MILLER. Aeron multi-adjustable office chair, 1992 design. Latest generation with leather upholstered armrests. Made of polished aluminum and recycled plastic. Made from 66% recycled material, 94% of the chair is recyclable. With Herman Miller label. Unused. In original packaging. Packaging dimensions: 107 x 69 x 69 cm. Size. B. The Aeron chair, designed by William Stump and Donald Chadwick, brings together material innovation and ergonomics in a thoroughly thought out and studied manner. It was especially known for changing people's perception of what an office chair could be, and in doing so soon found a place in popular culture. It is, consequently, a piece of furniture that seeks positivity for health, cross-performance, inclusive size and sensitivity to the environment. The result is a comfortable chair without the standard use of foam, fabric or leather. As editor Hermann Miller herself states, "While its iconic form has remained largely unchanged, the Aeron chair has been remastered from the pitchers to meet the needs of today's work. With the help of the original co-designer, Don Chadwick, the chair has been carefully updated based on the latest research around the science of ergonomics and advances in materials, manufacturing and technology." William Stump (William Eugene "Bill" Stumpf, 1936-2006) and Donald Chadwick (also known as Don Chadwick, born 1936) teamed up to create one of Herman Miller's best-known designs. In designing the Aeron chair, Chadwick and Stumpf took on a major challenge, making an office chair that truly supports the human form, and resulted in a chair without a single straight line.

Estim. 2 000 - 2 200 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 – 1978) & RAY EAMES (USA, 1912 – 1988) for VITRA Editor. A set of eight Soft Pad armchairs, model EA-208. Designed in 1969. Full-leather edition with newly upholstered black aniline leather. Swivel base and armrests in chromed aluminium. Made at Vitra, with labels. Slight marks of use. Measurements: 85 x 58 x 58 cm. The Soft Pad office chair by Charles and Ray Eames was created in 1969 for Vitra. It has an argonomic shape that adapts easily to the contours of the body, and is in keeping with the elegant language developed by the Eames couple in the fifties and sixties. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 12 000 - 14 000 EUR

Mon 01 Jul

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. A low back Oxford office armchair with dark brown leather upholstery, chrome-plated frame and armrests, on five-star swivel base with castors. Height adjustable and with tilt-function. Brown label. Produced by Fritz Hansen. With certificate. In good condition. Measurements: 88/104 x 60 x 56 cm. 44-60 cm. (seat height). It is a minimalist design, with a structure reduced to its essence, functional and at the same time elegant for its harmonious combination of straight lines and soft curves. The original design of the Oxford chair was created by Jacobsen for the professors at St. Catherine's College, Oxford, in 1965. An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. Among his most outstanding architectural works are St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the Danish National Army in the same city, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also called "Chair number 7", of which more than five million copies were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the movie "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and today we can find them in collections such as those of the Victoria & Albert Museum in London or the MoMA in New York, among many others.

Estim. 1 400 - 1 600 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. A set of six Soft Pad armchairs, model EA-208. Designed in 1969. Full-leather edition with seat and backrest newly upholstered in cognac coloured aniline leather. Swivel base and armrests in chromed aluminium. Made at Vitra, with labels. Slight marks of use. Measurements: 83 x 58 x 60 cm. The Soft Pad office chair by Charles and Ray Eames was created in 1969 for Vitra. It has an argonomic shape that adapts easily to the contours of the body, and is in keeping with the elegant language developed by the Eames couple in the fifties and sixties. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 8 000 - 10 000 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 – 1978) AND RAY EAMES (USA, 1912 – 1988) for VITRA. A high-back office armchair, model EA-119. Height adjustable and with tilt function. Original black leather upholstery, backside with black hopsak, armrests and five-star base in clome-plated aluminium, with castors. Designed in 1958. Slight traces of wear. Measurements: 102/115 x 58 x 58 cm; 43/56 cm. (seat height). Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He would eventually teach there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Award, given by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they would remain for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House," now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fiberglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 2 400 - 2 600 EUR

Mon 01 Jul

POUL KJÆRHOLM (Denmark, 1929 - 1980) for FRITZ HANSEN. Coffee table, model PK-61. Glass top, steel frame. Manufactured by Fritz Hansen. With stamp in steel frame. Small signs of use, glass with minor scratches at the surface. Measurements: 33 x 80 x 80 cm. The PK61 coffee table is almost as elementary and minimalist as the style of Poul Kjærholm, its intellectual creator. Despite the extreme distillation of the structure into a set of identical elements, the square and aesthetic design shows Kjærholm's development from industrial designer to furniture architect. Poul Kjærholm was a Danish designer trained at the Danish School of Arts and Crafts in Copenhagen, where he entered in 1952 after beginning his apprenticeship with cabinetmaker Gronbech in 1948. Since the mid-fifties he worked for his friend EjvindKoldChristiansen, a businessman who always gave him total creative freedom. In his earliest creations, such as his PKO plywood furniture series, his strong personality is already evident. In 1958 he attracted international attention with his contribution to the "Formes Scandinaves" exhibition in Paris, and in the same year he won the Lunning Prize for his PK 22 chair. In 1957 and 1960 he was awarded the Grand Prix at the Milan Triennale, and in 1959 he was admitted to the Royal Danish Academy of Fine Arts. In 1973 he was appointed director of the Danish Design Institute, where he taught from 1976. Today his designs are held in leading design collections, including those of the Victoria & ALbert Museum in London and the MOMA in New York.

Estim. 2 500 - 2 800 EUR

Mon 01 Jul

PREBEN FABRICIUS (Denmark, 1931 - 1984) for KNOLL. ‘Conversation Chairs’, model 710. Designed in 1972. Dark cromed steel frame, loose cushions with black leather upholstery. Armrests with leather details. Underclothing with logo. Manufactured at Walter Knoll, with makers labels. Measurements: 78 x 72 x 78 cm. Seat height 42 cm. Minor marks from use. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 2 000 - 2 200 EUR

Mon 01 Jul

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Set of six "Syveren" chairs, model 3207, design 1955. With moulded plywood shell, chrome-plated tubular steel frame. Re-upholstered in black aniline leather on the shell and armrests. Looks professionally reupholstered. Measurements: 76/44.5 cm (height). The aniline leather is made from raw hides. The leather has a completely natural bare surface, where all natural markings are visible. This helps to bring out the character of the leather. The leather is full grain, which means that the natural surface structure is preserved. The aniline leather changes over time with use and exposure to light and quickly acquires a natural patina. The Syveren 3107 chair, designed in 1955 by Arne Jacobsen and belonging to Series 7, is by far the best-selling chair in the history of the Fritz Hansen company, and perhaps also in the history of furniture. The moulded seat is an evolution of the Ant Chair, an earlier design by the same creator, and its laminated structure represents the culmination of this construction technique. In fact, the visionary Jacobsen exploited the possibilities of laminate to the full to achieve the perfection of an iconic form. An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others. The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the EggChair and Swan armchairs, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers PietHein and Poul Kjaerholm.

Estim. 5 000 - 5 500 EUR

Mon 01 Jul

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Set of six armchairs "Series 7". Model 3207, design 1955. Moulded plywood shell, chromed tubular steel frame. Re-upholstered in light cognac coloured Vacona leather on shell and armrests. Re-upholstered by a professional upholsterer. Manufactured by Fritz Hansen. Measurements: 76/44,5 cm (height). The 3207 chair is the evolution of the FH 3107 but with armrests. The model 3107, designed in 1955 by Arne Jacobsen and belonging to the Series 7, is by far the best-selling chair in the history of the Fritz Hansen company, and perhaps also in the history of furniture. The moulded seat is an evolution of the Ant Chair, an earlier design by the same creator, and its laminated structure represents the culmination of this construction technique. In fact, the visionary Jacobsen exploited the possibilities of laminate to the full to achieve the perfection of an iconic form. An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others. The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the EggChair and Swan armchairs, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers PietHein and Poul Kjaerholm.

Estim. 5 000 - 5 500 EUR

Mon 01 Jul

CHARLES EAMES (USA, 1907 – 1978) & RAY EAMES (USA, 1912 – 1988) for VITRA Editor. Office chair, model EA-117. Designed in 1958. Black leather 'Full leather'. Latest generation with chrome ring, polished aluminum frame, rotating stem and five-step foot with wheels, black leather covering both front and rear, tilting function, height adjustable with gas cartridge. Manufactured by Vitra. It has slight marks of use. Measurements: 82/93 cm (height); 43/55 cm (seat height). The model EA-117 office chair by Charles and Ray Eames was launched in 1958 for Vitra. It has an ergonomic shape that easily adapts to the contours of the body, and is in line with the elegant language developed by the Eames couple in the 1950s and 1960s. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine arts and cinema, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio tackling residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He would eventually teach there, directing the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his Cranbrook colleague, Ray Kaiser. Together they settled in Los Angeles, where they will remain for the rest of their lives. In the late 1940s, Ray and Charles together designed their home, known as the “Eames House,” considered today a masterpiece of modern architecture. In the 1950s, the couple continued working in architecture and furniture design, being pioneers in the use of new techniques and materials such as fiberglass or plastic resin for the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 2 000 - 2 500 EUR

Mon 01 Jul

LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. Armchair "Barcelona". Chrome-plated steel frame, loose comfort cushions upholstered in black leather sewn with buttons. Lower upholstery with black leather straps. With certificate and Knoll stamp. Literature: C. & P. Fiell. 1000 chairs. Mentioned and photographed on p. 172. Apparently unused. With original packaging. Brand new. Measurements: 80 x 75 x 70 cm. Packaging dimensions: 84 x 89 x 84 cm. The Barcelona chair (model MR90) is a classic of 20th century industrial design. Mies van der Rohe created it, together with the ottoman and the matching side table, for the German pavilion at the 1929 Barcelona International Exposition, a building which was also a landmark in the architecture of the last century. The chairs were so admired that they were used as thrones for the King and Queen of Spain when they visited the Barcelona pavilion. They were seats with a structure made entirely of polished stainless steel, with the seat and backrest entirely covered in pigskin upholstery. Later, in 1950, some adjustments were made to the design for mass production. Van der Rohe based his creation, in his personal brand of modern classicism, on the "sella curulis", a type of seat used by Roman magistrates in antiquity. On the other hand, the visible joining of the frame and seat cushions as separate components, and the combined use of traditional and modern materials, appropriately matched to their function, eloquently reveal Mies' personal vision of international style. Today, both the Barcelona chair and the matching ottoman and side table are still produced by Knoll, the firm that bought the licence from the architect in 1953. The modern models are produced in two different steel configurations, and in various types of leather in different colours. Examples of the Barcelona chair can be found in important collections around the world, such as the MoMA in New York. An architect and industrial designer, Mies van der Rohe trained with Bruno Paul and Peter Behrens, and opened his own studio in Berlin in 1912. Between 1930 and 1933 he directed the Bauhaus in Dessau, although the political situation in Germany forced him to emigrate to the United States shortly afterwards. There he continued his brilliant career, while at the same time teaching at the Illinois Technology Institute in Chicago. During his career he designed emblematic buildings, mainly in Germany and the United States, particularly his skyscrapers in New York and Chicago, the German Pavilion for the 1929 Barcelona International Exposition, and the NeueNationalgalerie in Berlin.

Estim. 6 000 - 7 000 EUR

Mon 01 Jul

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Coffee table model 3513. Rosewood veneered top, aluminium frame, tripod base with profiled stem. Antique model. Manufactured by Fritz Hansen. Slight signs of wear and tear due to use and age. Refurbished top. Measurements: 47.5 cm (height) x 110 cm (diameter). Round coffee table of strictly contemporary design, with a dark-grained Brazilian rosewood top and aluminium legs that extend to form a star base and join into a central shaft. An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others. The Danish company Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the Egg Chair and Swan chair, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers Piet Hein and Poul Kjaerholm.

Estim. 2 500 - 3 000 EUR

Mon 01 Jul

FRANK OWEN GEHRY (Toronto, 1929) for Knoll. Hat Trick armchair in bent and interlocking maple wood strips. Manufactured by Knoll International, USA, with stamp. Light marks of use. Measurements: 85 x 59 x 56 cm. Seat height 46 cm. Frank Gehry was born in Toronto and moved with his family to Los Angeles in 1947. He graduated from the University of Southern California in 1954 and began working full time with Victor Gruen Associates, where he had been apprenticing part-time while still in school. He was admitted to Harvard Graduate School of Design to study urban planning. When he returned to Los Angeles, he rejoined Gruen where he stayed until 1960. In 1961 he moved to Paris, where he worked in the studio of André Rémondet. He remained in the French capital for a year, during which time he studied the works of Le Corbusier and other French and European architects, as well as existing Romanesque churches in France. In 1962 Gehry returned to LA and opened his architectural practice in L.A. With magnificent buildings such as the Guggenheim Bilbao Disney Concert Hall in Los Angeles and the new Foundation Louis Vuitton in Paris, Gehry has changed the nature and spirit of contemporary architecture. Yet the world’s best-known living architect has also enjoyed a prolific career as a designer of artful and functional objects, ranging from furniture to jewelry, that even at smaller scale are as lively and captivating as his architectural designs. In 1972 Gehry introduced a series of corrugated cardboard furniture under the name Easy Edges. The Easy Edges were a great success and brought Gehry overnight fame as a furniture designer. Frank Gehry came to Knoll in 1989 with an idea for a new generation of bentwood furniture inspired by the simple bushel basket. After three years of experimentation and exploration, the collection was debuted in the Frank Gehry: New Furniture Prototypes show at The Museum of Modern Art in New York. Each piece is named after a different hockey term such as Power Play, Cross Check and Hat Trick. Inspired by the surprising strength of the apple crates he played on as a child, Frank Gehry created his thoroughly original collection of bentwood furniture. The ribbon-like designs transcend the conventions of style by exploring, as the great modernists did, the essential challenge of deriving form from function. Frank Gehry has taught at several American art academies, design schools and universities and in 2011 he became a professor at the University of Southern California - and has received several honorary doctorates.

Estim. 2 000 - 2 200 EUR

Mon 01 Jul

PREBEN FABRICIUS (Denmark, 1931 - 1984) for KNOLL. ‘Conversation Chairs’, model 710. Designed in 1972. Dark cromed steel frame, loose cushions with black leather upholstery. Armrests with leather details. Underclothing with logo. Manufactured at Walter Knoll, with makers labels. Measurements: 78 x 72 x 78 cm. Seat height 42 cm. Minor marks from use. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 2 000 - 2 200 EUR

Mon 01 Jul

UMBERTO ASNAGO (b. Italy, 1949) for GIORGETTI. Two-seater sofa in black leather, armrests in polished pau ferro, black painted legs, model Progetti. Measurements: 83 x 135 x 71 cm. Seat height 46 cm. The arms are in polished pau ferro, a precious wood with a reddish colour, whose idea comes from an elegant handle of an antique stick. Umberto Asnago attended the Istituto d’Arte in Cantù. After learning how to work with solid wood by experiencing it in local carpentries, he started working with Giorgetti in 1968 and he soon became head of the Giorgetti Design Research Centre. In the 1970s, the company began an intense process of industrialisation and innovation that led to the expansion of its domestic and foreign markets. In 1987, the Giorgetti Design Research Centre signed the Progetti collection, a series of sofas and armchairs characterised by a unique wooden armrest, propelling the company into the ranks of Made-in-Italy ambassadors throughout the world and which greatly contributes the Giorgetti brand. Asiago left Giorgetti in 2006 to pursue a career as a designer. He worked with many famous companies such as Penta Light, Arflex, Busnelli, Medea and Porada by realizing pieces all carrying his hallmark. In 2011 he returned in Giorgetti and designed a new collection and In 2017, Asnago created the limited Pure Armchair edition to celebrate the Progetti collection's thirtieth anniversary. In 2019 he started a new collaboration with Frigerio for a full intriguing range of furnishing elements featuring a capable use of solid wood and hide leather covers.

Estim. 2 000 - 2 200 EUR

Mon 01 Jul

Following models of ICO PARISI (1916, Palermo-1996, Como, Lombardy). Set of 6 dining chairs. Italy, 1960s. Rosewood. Measurements: 89 x 45 x 47 cm. The Italian design is evident in the visual slenderness of the set: the rounded legs, narrower towards the foot, visually lighten the structure, while the formal refinement of the openwork backrest imprints the characteristic European stamp. A subtle but marked curve defines the backrest at the top. The architect-designer Domenico "Ico" Parisi trained in the construction industry in Como between 1931 and 1935, and in 1936 he began working in the office of the rationalist architect Giuseppe Terragni in Como, which marked the beginning of his professional career, which was also briefly linked to the world of cinema in the late 1930s. Returning to his initial vocation, design, Parisi was one of the founding members of two architectural groups: Alta Quota and Gruppo Como. In 1947 he married fellow designer Luisa Aiani, a former student of Gio Ponti, also a member of Alta Quota, and the two founded their studio La Ruota in Como in April 1948. Between 1949 and 1952, Parisi studied architecture with Alberto Sartoris at the Athenaeum Institute in Lausanne (Switzerland). In 1952 he became a member of the Milan Art Club, and in 1956 of the Association of Industrial Design (ADI). Parisi designed many interiors, furniture (mainly wood and metal), glass, jewelry and architectural projects, both alone and with Luisa. His studio was a meeting point for collaborations between established artists and emerging designers. His clients included: Singer & Sons, Altamira , M.I.M. , Longhi , and Cassina. Ico, in collaboration with architects Silvio Longhi and Luigi Antonietti, designed the Living Room pavilion for the 10th Milan Triennale. The couple's collaboration with Cassina was very fruitful, resulting in many famous designs, such as the Model 691 (1955) and Model 839 chairs, both nominated for the Compasso d'Oro in 1955.

Estim. 2 800 - 3 000 EUR

Mon 01 Jul

JORDI VILANOVA (Barcelona, 1925-1998). Sideboard "Diagonal". ca.1970. Walnut wood. Measurements: 80 x 330 x 46 cm. Diagonal" sideboard designed by Jordi Vilanova in the seventies. It stands out for its imposing presence, given its robustness and purity of lines, as well as its brutalist appearance. It consists of four modules, one of them with drawers, the others with interior shelves and doors. The metal handles have a geometric design in keeping with the essentialist structure of the unit, which rises from the floor by means of two single points of support. The polished finish of the metal dialogues with the dark walnut wood to form an attractive ensemble. Catalan interior designer and cabinetmaker, Jordi Vilanova entered the Escuela de Trabajo y Oficios Artísticos de la Lonja in 1939. He completed his training in the workshop of Busquets, and between 1940 and 1953 he collaborated in the studio of Lluís Gili. Jordi Vilanova was founder and promoter of the Catalan art magazine "Questions d'Art" (1967-74). In 1974 he opened premises with a permanent exhibition of furniture and upholstery of his own design, forming part of the Official College of Interior Decorators and Designers of Barcelona and the SAD. His modern furniture and his way of resolving spaces were initially aimed at a large public of limited economic resources and, consequently, homes with less living space. However, this great majority did not understand his proposal. Instead, it was the Catalan bourgeoisie, eager to break with outdated stylistic canons, who embraced his work. His specialty was furniture for children, such as the Delta stool, which won the Delta de Plata Prize awarded by the ADI/FAD in 1964. He held exhibitions of his work in Scandinavia. Among his most representative designs are the Tiracord and Billar chairs (1961), the Montseny MP bunk bed (1961), the Tartera (1966) and Petit (1978) rocking chairs and the Z magazine rack (1987) designed together with his son Pau Vilanova Vila-Abadal. It is currently represented in the Design Museum of Barcelona.

Estim. 5 000 - 6 000 EUR

Mon 01 Jul

JORDI VILANOVA (Barcelona, 1925-1998). Bench, ca. 1960. Wood. Measurements: 32 x 150 x 56 cm. Designed by Jordi Vilanova in the 1960s, this generously sized and exquisitely crafted wooden bench is part of the extensive universe of furniture that Vilanova designed for both private and public spaces. It is formed by three wide slats joined by six tube-shaped cores and four legs with rounded ends, all in varnished wood. It can also be used as a low table. Catalan interior designer and cabinetmaker, Jordi Vilanova entered the Escuela de Trabajo y Oficios Artísticos de la Lonja in 1939. He completed his training in the workshop of Busquets, and between 1940 and 1953 he collaborated in the studio of Lluís Gili. Jordi Vilanova was founder and promoter of the Catalan art magazine "Questions d'Art" (1967-74). In 1974 he opened premises with a permanent exhibition of furniture and upholstery of his own design, forming part of the Official College of Interior Decorators and Designers of Barcelona and the SAD. His modern furniture and his way of resolving spaces were initially aimed at a large public of limited economic resources and, consequently, homes with less living space. However, this great majority did not understand his proposal. Instead, it was the Catalan bourgeoisie, eager to break with outdated stylistic canons, who embraced his work. His specialty was furniture for children, such as the Delta stool, which won the Delta de Plata Prize awarded by the ADI/FAD in 1964. He held exhibitions of his work in Scandinavia. Among his most representative designs are the Tiracord and Billar chairs (1961), the Montseny MP bunk bed (1961), the Tartera (1966) and Petit (1978) rocking chairs and the Z magazine rack (1987) designed together with his son Pau Vilanova Vila-Abadal. It is currently represented in the Design Museum of Barcelona.

Estim. 2 000 - 2 500 EUR

Mon 01 Jul

PHILIPPE STARCK (Paris, 1949) for Alfi. Hot Fredo Thermo, 1993. Polyester and glass. With original box. In perfect condition. Measurements: 38 x 19 x 13 cm. The rounded and organic shapes that characterized Philippe Starck's creations are revealed in the design of this attractive thermo. Philippe Starck is a French industrial designer recognized worldwide for the functionality of his designs as much as for their aesthetics. He is a Knight of the Order of Arts and Letters of France, and has won international awards such as the Interior Architecture Award and the Auszeichnung für hohe Designqualität, among others. Philippe Starck told Casa Vogue, "My concept of democratic design is based on the following idea: to give quality pieces at affordable prices to the greatest number of people. To lower the price and increase the quality. It's my political conscience." In 1969, Starck designed an inflatable structure, based on the idea of materiality, which reflected his initial interest in living spaces. Not long after, Pierre Cardin, seduced by iconoclastic design, offered him the position of artistic director at his publishing house. In 1970, Philippe Starck founded his first industrial design company, Starck Product, later renamed Ubik after Philip K. Dick's famous novel. Here he began working with the major design manufacturers in Italy, Driade, Alessi, Kartell, and others throughout Europe, Drimmer in Austria, Vitra in Switzerland and Disform in Spain, for example. In 1983, then French President François Mitterrand, on the recommendation of his Minister of Culture, Jack Lang, chose Starck to renovate the president's private apartments at the Élysée. The following year he designed the Café Costes. Over the years, Starck worked with top Italian furniture brands, including the creation of the iconic Generic chair for Kartell, the innovative Lady Hio table for Glass Italia and elegant sofas and armchairs for the likes of Cassina and Driade. Starck has won prestigious awards such as the "Oscar du luminaire" (1980), the Silver Delta Award (1986), the Platinum Circle (1987), the Grand Prix National de la Création Industrielle (1988), the Interior Architecture Award (1990), the Twelfth Annual Interiors Award (1991), the Good Design Award (1995, 2000), the Auszeichnung für hohe Designqualität (1998) and the German Ranking Design Award (2000), among others. In 1985, he was also made a knight of the French Order of Arts and Letters. With its original box. In perfect condition.

Estim. 350 - 400 EUR

Tue 02 Jul

PHILIPPE STARCK (Paris, 1949) for Disform. Miss Dorn" chair, 1982. Black canvas and steel. Presents some wear marks, mainly on the backrest. Measurements: 70 x 53 x 44 cm. Postmodern style chair, sensual shape and strong character. Its circular structure in black tubular steel wraps forming an arc around the cylindrical seat upholstered in black canvas. Philippe Starck designed this iconic chair in the early 1980s for the Catalan company Disform. Starck is the son of André Starck, an aeronautical engineer who has often inspired Philippe's work. He studied at the École Nissim de Camondo in Paris. While working for Adidas, Starck created his first industrial design company, Starck Product, which he later renamed Ubik, after the Philip K. Dick novel, and began working with manufacturers in Italy (Driade), Alessi, Kartell and internationally, including Drimmer in Austria, Vitra in Switzerland and Disform in Spain. In 1983, then French President François Mitterrand, on the recommendation of his Minister of Culture, Jack Lang, chose Starck to renovate the president's private apartments at the Elysée. The following year he designed the Café Costes. Starck's output expanded to include furniture, decoration, architecture, street furniture, industry (wind turbines, photo booths), sanitary ware, kitchens, floor and wall coverings, lighting, household appliances, office equipment such as staplers, utensils, tableware, clothing, accessories, toys, glassware, graphic design and publishing, food, and vehicles for land, sea, air and space.

Estim. 1 600 - 1 800 EUR

Tue 02 Jul

PHILIPPE STARCK (Paris, 1949) for DRIADE. Six "Von Vogelsang" chairs, ca.1985. Tubular steel and perforated steel sheet. Measurements: 72 x 54 x 51 cm; 43 cm seat height. Model created by Philippe Starck in the mid-1980s. It is one of Starck's stellar designs for Driade. With sublime simplicity, the tubular structure is combined with a slightly curved Puncture seat, so that the front legs meet the arc that marks the perimeter of the missing backrest. Formal economy and ingenuity in equal parts. Philippe Starck is a French industrial designer recognized worldwide for the functionality of his designs as much as for their aesthetics. He is a Knight of the Order of Arts and Letters of France, and has won international awards such as the Interior Architecture Award and the Auszeichnung für hohe Designqualität, among others. Philippe Starck told Casa Vogue, "My concept of democratic design is based on the following idea: to give quality pieces at affordable prices to the greatest number of people. To lower the price and increase the quality. It's my political conscience." In 1969, Starck designed an inflatable structure, based on the idea of materiality, which reflected his initial interest in living spaces. Not long after, Pierre Cardin, seduced by iconoclastic design, offered him the position of artistic director at his publishing house. In 1970, Philippe Starck founded his first industrial design company, Starck Product, later renamed Ubik after Philip K. Dick's famous novel. Here he began working with the major design manufacturers in Italy, Driade, Alessi, Kartell, and others throughout Europe, Drimmer in Austria, Vitra in Switzerland and Disform in Spain, for example. In 1983, then French President François Mitterrand, on the recommendation of his Minister of Culture, Jack Lang, chose Starck to renovate the president's private apartments at the Élysée. The following year he designed the Café Costes. Over the years, Starck worked with top Italian furniture brands, including the creation of the iconic Generic chair for Kartell, the innovative Lady Hio table for Glass Italia and elegant sofas and armchairs for the likes of Cassina and Driade. Starck has won prestigious awards such as the "Oscar du luminaire" (1980), the Silver Delta Award (1986), the Platinum Circle (1987), the Grand Prix National de la Création Industrielle (1988), the Interior Architecture Award (1990), the Twelfth Annual Interiors Award (1991), the Good Design Award (1995, 2000), the Auszeichnung für hohe Designqualität (1998) and the German Ranking Design Award (2000), among others. In 1985, he was also made a knight of the French Order of Arts and Letters.

Estim. 5 000 - 6 000 EUR

Tue 02 Jul

JAIME TRESSERRA CLAPÉS (Barcelona, 1943). Jocker game table with 4 Spinnacker chairs. Walnut wood, leather upholstered chairs, nickel hardware. Center with removable lid to store chips. Presents stains on the upholstery. Measurements: 73 x 110 x 110 cm. table; 76 x 52 x 55 x 55 cm. chairs. Game table in light walnut, circular leather top, with four ashtrays and four integrated coasters, saving space and stylized in functional and aesthetic design. The play of curves and counter-curves printed on the wood trace elegant arches that add dynamism without the design losing any geometric rigor. The center has a removable lid for storing tokens. The chairs, also with a walnut frame, have a backrest and seat upholstered in ecru leather with soft upholstery. Exclusive designer of the Tresserra Collection, Jaime Tresserra studied law at the University of Barcelona, although he later abandoned his studies to become an interior designer, designing exclusive furniture for his clients. After several years as an interior designer, Tresserra decided to create his own company, and presented his first furniture collection at the International Furniture Fair in Valencia in 1987, where he won the award for best modern furniture design. During the following years he continued to present his creations annually at the International Furniture Fairs in Milan and Cologne, achieving a good reception from both the public and the critics. These were also years in which he tackled large-scale interior design projects, such as the El Dorado Petit restaurant in New York, the headquarters of the Cuatrecasas law firm and others. In the early nineties his designs received awards such as the ID International Design Magazine Award, for the Carlton-House piece "Butterfly"; the International Design Review Award'90 in New York, or the ID Golden Award for the design "Dune". For the 1992 Barcelona Olympic Games, he designed the interior design of the twenty-eight luxury apartments located on the top floors of the building for the Arts Building (today Hotel Arts), a work that earned him great international recognition. Two years later, in 1994, he created the Tresserra Collection brand, which was presented in a new showroom. The recognition of the handcrafted quality of his pieces, his presence in the most important fairs and the relevance of his latest projects led to the opening of his own stores in cities such as Paris, Madrid, London, Moscow, Berlin, Boston, Chicago and St. Petersburg in 2000.

Estim. 5 000 - 6 000 EUR

Tue 02 Jul

JORDI VILANOVA (Barcelona, 1925-1998). Pair of armchairs, 1960 Skay and walnut. Measurements: 92 cm x 59 cm x 54 cm. Chair designed and produced in 1967 by the Catalan designer Jordi Vilanova. With a square structure in T-shaped wooden profiles, curved arm and round seat and back upholstered in black skay. A design of medieval inspiration and large proportions. Catalan interior designer and cabinetmaker, Jordi Vilanova entered the Escuela de Trabajo y Oficios Artísticos de la Lonja in 1939. He completed his training in the workshop of Busquets, and between 1940 and 1953 he collaborated in the studio of Lluís Gili. Jordi Vilanova was founder and promoter of the Catalan art magazine "Questions d'Art" (1967-74). In 1974 he opened premises with a permanent exhibition of furniture and upholstery of his own design, forming part of the Official College of Interior Decorators and Designers of Barcelona and the SAD. His modern furniture and his way of resolving spaces were initially aimed at a large public of limited economic resources and, consequently, homes with less living space. However, this great majority did not understand his proposal. Instead, it was the Catalan bourgeoisie, eager to break with outdated stylistic canons, who embraced his work. His specialty was furniture for children, such as the Delta stool, which won the Delta de Plata Prize awarded by the ADI/FAD in 1964. He held exhibitions of his work in Scandinavia. Among his most representative designs are the Tiracord and Billar chairs (1961), the Montseny MP bunk bed (1961), the Tartera (1966) and Petit (1978) rocking chairs and the Z magazine rack (1987) designed together with his son Pau Vilanova Vila-Abadal. It is currently represented in the Design Museum of Barcelona.

Estim. 1 200 - 1 600 EUR

Tue 02 Jul

VLADIMIR KAGAN (Worms, Germany, 1927-Florida, USA, 2016) for Fendi. Swivel armchair "Broadway", New York, 1950s-60s. Leather and metal. With metal plate by Kagan. Fendi edition. Presents marks of use and slight flaws. Measurements: 70 x 96 x 92 cm. In his Broadway collection, the successful creator Vladimir Kagan defends a design of clear lines, of great cleanliness and amplitude, denoting a distinctly modern formal purification. Although of German origin, Vladimir Kagan grew up in the United States. He studied architecture at Columbia University before joining the New York carpentry shop of his father, master cabinetmaker and art collector Illi Kagan. Between 1950 and 1960, Kagan partnered with textile designer and printer Hugo Dreyfuss. Kagan's decidedly modern, sculptural furniture met with rapid success. His projects include the cocktail lounges for delegates at the first United Nations headquarters in Lake Success, New York (1947-48); the curvaceous Serpentine sofa (1949); and the iconic Omnibus seating collection (c. 1970), among others. From 1990 to 1992 he was president of the New York chapter of the American Society of Interior Designers (ASID). In 1998 he reintroduced some of his classic designs at the International Contemporary Furniture Fair (ICFF) in New York, formally relaunching his career. In 2008, he launched the Vladimir Kagan Couture Collection, which includes a selection of designs from the 1950s through the 21st century. And in 2015, Kagan designed a collection of limited-edition art furniture for Carpenters Workshop. The designer's work is in numerous private and public collections, including the Vitra Design Museum in Weil am Rhein, Germany, the Metropolitan Museum of Art in New York, Die Neue Sammlung in Munich, the San Francisco Museum of Modern Art, and the Victoria and Albert Museum in London, among others. In 1980, the Fashion Institute of Technology in New York paid tribute to Kagan with a thirty-year retrospective exhibition: Vladimir Kagan: Three Decades of Design. In 2002, the Brooklyn Museum of Art presented him with a Lifetime Achievement Award; in 2001, the Pinnacle Award from the American Society of Furniture Designers; and in 2000, the Lifetime Achievement Award from the American Society of Furniture Designers.

Estim. 5 500 - 6 000 EUR

Tue 02 Jul

PHILIPPE STARCK (Paris, 1949) for Alessi. Thompson's "Poe" radio for Alessi. FM/MW Radio P LL. In original box. Measurements: 25,5 x 16,5 x 17 cm. Philippe Stark designed a whole cast of radios for Thompson, among which stand out names like "Oye Oye" and "Poe". The rounded shapes, with a speaker at the top, is an element shared by several of these original, simple and elegant designs. Philippe Starck is a French industrial designer recognized worldwide for the functionality of his designs as much as for their aesthetics. He is a Knight of the Order of Arts and Letters of France, and has won international awards such as the Interior Architecture Award and the Auszeichnung für hohe Designqualität, among others. Philippe Starck told Casa Vogue, "My concept of democratic design is based on the following idea: to give quality pieces at affordable prices to the greatest number of people. To lower the price and increase the quality. It's my political conscience." In 1969, Starck designed an inflatable structure, based on the idea of materiality, which reflected his initial interest in living spaces. Not long after, Pierre Cardin, seduced by iconoclastic design, offered him the position of artistic director at his publishing house. In 1970, Philippe Starck founded his first industrial design company, Starck Product, later renamed Ubik after Philip K. Dick's famous novel. Here he began working with the major design manufacturers in Italy, Driade, Alessi, Kartell, and others throughout Europe, Drimmer in Austria, Vitra in Switzerland and Disform in Spain, for example. In 1983, then French President François Mitterrand, on the recommendation of his Minister of Culture, Jack Lang, chose Starck to renovate the president's private apartments at the Élysée. The following year he designed the Café Costes. Over the years, Starck worked with top Italian furniture brands, including the creation of the iconic Generic chair for Kartell, the innovative Lady Hio table for Glass Italia and elegant sofas and armchairs for the likes of Cassina and Driade. Starck has won prestigious awards such as the "Oscar du luminaire" (1980), the Silver Delta Award (1986), the Platinum Circle (1987), the Grand Prix National de la Création Industrielle (1988), the Interior Architecture Award (1990), the Twelfth Annual Interiors Award (1991), the Good Design Award (1995, 2000), the Auszeichnung für hohe Designqualität (1998) and the German Ranking Design Award (2000), among others. In 1985, he was also made a knight of the French Order of Arts and Letters.

Estim. 200 - 300 EUR

Tue 02 Jul

PHILIPPE STARCK (Paris, 1949) for Alessi. Desk accessory for letters "Liberté", 1992. Bakelite plastic imitating wood and green hard silicone. Stamp on the base. Measurements: 9 x 23 x 17 cm. Philippe Starck is a French industrial designer recognized worldwide for the functionality of his designs as much as for their aesthetics. He is a Knight of the Order of Arts and Letters of France, and has won international awards such as the Interior Architecture Award or the Auszeichnung für hohe Designqualität, among others. Philippe Starck told Casa Vogue, "My concept of democratic design is based on the following idea: to give quality pieces at affordable prices to the greatest number of people. To lower the price and increase the quality. It's my political conscience." In 1969, Starck designed an inflatable structure, based on the idea of materiality, which reflected his initial interest in living spaces. Not long after, Pierre Cardin, seduced by iconoclastic design, offered him the position of artistic director at his publishing house. In 1970, Philippe Starck founded his first industrial design company, Starck Product, later renamed Ubik after Philip K. Dick's famous novel. Here he began working with the major design manufacturers in Italy, Driade, Alessi, Kartell, and others throughout Europe, Drimmer in Austria, Vitra in Switzerland and Disform in Spain, for example. In 1983, then French President François Mitterrand, on the recommendation of his Minister of Culture, Jack Lang, chose Starck to renovate the president's private apartments at the Élysée. The following year he designed the Café Costes. Over the years, Starck worked with top Italian furniture brands, including the creation of the iconic Generic chair for Kartell, the innovative Lady Hio table for Glass Italia and elegant sofas and armchairs for the likes of Cassina and Driade. Starck has won prestigious awards such as the "Oscar du luminaire" (1980), the Silver Delta Award (1986), the Platinum Circle (1987), the Grand Prix National de la Création Industrielle (1988), the Interior Architecture Award (1990), the Twelfth Annual Interiors Award (1991), the Good Design Award (1995, 2000), the Auszeichnung für hohe Designqualität (1998) and the German Ranking Design Award (2000), among others. In 1985, he was also made a knight of the French Order of Arts and Letters.

Estim. 200 - 300 EUR
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