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30th May - Design

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Lot 1 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. "Lounge Chair & Ottoman", 1956 design. Rosewood veneer with brown leather upholstery and polished black aluminum base. With Vitra Editor plaque. New Dimensions. Measurements: 90 x 85 x 85 cm; 40 x 66 x 54 cm (ottoman). The "Lounge" armchair and footrest set, made of molded wood with leather upholstery, was designed by Charles and Ray Eames. An icon of 20th century design, this furniture is part of important collections such as that of the MoMA in New York. Vitra has manufactured the Charles and Ray Eames Lounge Chair using the same manufacturing methods since the 1950s. The reason for making the XL version is because, since it was first produced, the average height of the population has increased worldwide by almost 10 cm. For that reason, and in close collaboration with the Eames Office, Vitra has developed a new, larger version so that taller people can also enjoy the exceptional comfort envisioned by Charles and Ray Eames for their original 1956 design. Charles and Ray Ames, 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. 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. 5 000 - 6 000 EUR

Lot 2 - AXEL EINAR HJORTH (Sweden, 1888-1959). "Lovö Low-back chair. Pine wood. It has slight damage and marks of use. Measurements: 80 x 52 x 48 cm. Architect and industrial designer Axel Einar Hjorth was one of the main figures of the Swedish design culture that began to be recognized internationally in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at Högre Konstindustriella Skolan, later to be known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this era were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the assembly section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, along with his contemporaries, Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer for Nordiska Kompaniet (NK) of Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, which featured the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces blended craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs-from the sumptuousness of neoclassicism to the severity of functionalism-are very different in style, materials, and character. Unlike many of his contemporaries, however, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colors and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become a fairly unknown entity in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden. It has slight flaws and marks of use.

Estim. 5 000 - 6 000 EUR

Lot 3 - 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

Lot 4 - HARRY BERTOIA (Italy, 1915 - USA, 1978) for Knoll. Pair of "Diamond" chairs. Chrome base and fabric upholstery. Good condition. With Knoll stamp engraved. Measurements: 75 x 85 x 75 cm. The structure of the Diamond chair has an openwork design that gives it a light and airy aesthetic. The seat features slightly upturned sides that complement the slightly pointed lines of the backrest, creating the shape of a diamond. The slender metal legs contribute to the minimalist look. A painter, graphic artist, sculptor, university professor and furniture designer, Harry Bertoia emigrated to the United States at the age of fifteen, and it was there that he developed his training and career. He studied at the Detroit Society of Arts and Crafts and later at the Cranbrook Academy of Art in Bloomfield, Michigan, where he later became a teacher and created the department of metalwork. During these years he began to experiment with the forms of jewelry, and to explore ideas that would later emerge in his sculpture and designs. In 1943 he began his collaboration with designer Charles Eames, with whom he worked until 1946. After a period working for Point Loma Navel Electronics as a creator of equipment manuals, in 1949 he joined Hans Knoll at Knoll Associates. His first sculpture exhibition took place at the Knoll Showroom in New York in 1951, and the following year Knoll would patent his most famous furniture design, the welded rod "Diamond" chair. Bertoia's designs are now in the collections of major design and contemporary art museums, including MoMA in New York and many others.

Estim. 3 000 - 3 200 EUR

Lot 7 - ISAMU NOGUCHI (Los Angeles, USA 1904 - New York, USA 1988) FOR VITRA. The Noguchi Coffee Table. Blackpainted base with durable glass top. Top engraved Isamu Noguchi, Vitra Design Museum. Minor surface scratches at glass top. Measurements: 40 x 128 x 91 cm. The Japanese American sculptor and designer Isamu Noguchi designed The Noguchi coffee table in 1944 and today it is an iconic piece of Mid-Century Modern design. The table is a marriage of sculptural form and everyday function and is built on two identical wooden elements, almost like Yin and Yang, which support the rounded tabletop made of thick, durable glass. Noguchi himself thought it was his finest design and it is now instantly recognisable. Noguchi designed the first version of the iconic table in 1939 for A. Conger Goodyear, the founder of New York’s Museum of Modern Art. The furniture manufacturer Herman Miller asked Noguchi to design a similar table for his own collection – described as a functional sculpture, the Noguchi table was released in the United States in the late 1940s. In Europe, the table is manufactured by Vitra. Since 2003 (Herman Miller) and 2010 (Vitra Design Museum) respectively, the designer’s signature has been engraved in the glass table tops to distinguish them from counterfeits. Isamu Noguchis career spanned six decades, from the 1920s onward. Known for his sculpture and public artworks, Noguchi also designed stage sets for various Martha Graham productions, and several mass-produced lamps and furniture pieces, some of which are still manufactured and sold. In 1947, Noguchi began a collaboration with the Herman Miller company, when he joined with George Nelson, Paul László and Charles Eames to produce a catalog containing what is often considered to be the most influential body of modern furniture ever produced, including the iconic Noguchi table which remains in production today. His work lives on around the world and at the Isamu Noguchi Foundation and Garden Museum in New York City.

Estim. 1 800 - 2 000 EUR

Lot 8 - 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

Lot 9 - JOSEF HOFFMANN (Brtnice, Czech Republic, 1870 - Vienna, 1956) for Wittman. Sofa "Kubus". Black leather upholstery. In good condition. Measurements: 72 x 166 x 77 cm. Designed by Josef Hoffmann in 1910, the avant-garde Kubus sofa is characterized by its cube-shaped upholstery. It is a timeless model that reflects the designer's strict geometric lines. An architect and industrial designer, Josef Hoffmann studied at the Academy of Applied Arts in Vienna, where he was a disciple of Carl Freiherr von Hasenauer and Otto Wagner, whose theories of functional, modern architecture would profoundly influence his work. He won the Rome Prize in 1895, and the following year joined Wagner's office, collaborating with Olbrich on some projects for the Metropolitan. He established his own office in 1898, and taught at the Vienna School of Decorative Arts from 1899 to 1936. He was also a founding member of the Viennese Secession. In 1900 he traveled to London, where he came into contact with the English school and discovered Mackintosh. On his return he set up a workshop for the production of objects based on designs by artists of the Secession, and thus the Wiener Werkstätte was born, a workshop that exerted a great influence on the industrial design of the twentieth century. By 1903, production began on an international scale. Throughout his life, Hoffmann realized various projects for buildings and furnishings, and exhibited his creations all over the world. He is currently represented in the MAK and the Leopold Museum in Vienna, the Metropolitan and MoMA in New York, the Brohan in Berlin, the Courtauld Institute in London and the Victoria & Albert in London, among many others.

Estim. 5 000 - 5 500 EUR

Lot 14 - IB KOFOD-LARSEN (Denmark, 1921 - 2003). Armchair, ca. 1960. Teak wood, fabric upholstery. Needs refinishing. Measurements: 80 x 72 x 72 cm. Armchair made of teak wood with fabric upholstery. Design by Niels Koefoed, refined and clearly modern, with a certain organic air typical of Danish design of the period. The wood, simply polished, is expressed in all its natural beauty. The body has a high, straight, sloping backrest, separated from the closed arms, with right-angled upper armrests. Danish furniture designer and factory owner Niels Koefoed created a wide range of dining furniture in the typical Danish mid-20th century modern style. The KoefoedsHornslet furniture factory, named after the town in which it was located, was founded by Koefoed's father, Einar Koefoed, in the 1920s. The town of Hornslet had three furniture producers at the turn of the 20th century, each specialising in different areas of the design industry: fine furniture, upholstery and joinery. KoefoedsHornslet was dedicated to the production of fine furniture, although Niels' most popular designs were dining chairs. In 1964, Koefoed designed the modernist Eva Chair, which featured three vertical slats in the backrest, and was produced by Koefoeds in a choice of teak or rosewood. The "Eva" chair was part of a series of three dining chairs, the other two being the highly organic "Ingrid" chair (1960s) and the ladder-back "Lis" chair (1961), all of which are believed to be named after important women at Koefoed's. In 2004, KoefoedHornslet moved production to Thailand, where it continues today.

Estim. 1 500 - 2 000 EUR

Lot 17 - WILLY RIZZO (Naples, 1928-Paris ,2013). Corner cabinet. Italy, 1970s. Black laminated wood and chromed metal. Signes d'usure dus à l'utilisation et au passage du temps. Nécessite une restauration. Measurements: 150 x 80 x 80 cm. Corner unit made up of four superimposed modules of irregular pentagonal shape. Front openings forming shelves, with chromed metal profiles. The Italian designer and photographer first came to prominence in the 1960s as a chronicler and participant in the jet set. Although photography was Rizzo's first love, in the 1970s he developed a second successful career as a designer of luxury furniture. In the 1940s, Rizzo began his career as a photojournalist, working for several French publications. After World War II, Rizzo covered the Nuremberg Trials and travelled to Tunisia for Point de Vue to photograph the conflict in North Africa. He was hired by France Dimanche to take portraits of the rich and famous at events such as the Cannes Film Festival. Rizzo's charm won the trust of royalty, dignitaries and film stars, allowing him to photograph these public figures in natural moments. Rizzo travelled to New York with the Black Star Agency in 1947 to photograph American stars. When he returned to Paris, he began working for Paris Match, as chief photographer. In 1959, he became the artistic director of Marie Claire and collaborated with other fashion magazines, such as Vogue, throughout his career, Rizzo photographed dozens of stars. In 1968 he moved to Rome. It was here that Rizzo began his work in furniture design, starting with his newly rented, ramshackle Roman flat. For personal use only (at first), Rizzo created a series of unique pieces inspired by modernist icons such as Mies van der Rohe and Le Corbusier. But like his brilliant friends - Rodolfo Parisi, Gigli Rizzi, Franco Rapetti, Salvador Dalí, Brigitte Bardot, and other admirers of his work, Rizzo was inundated with design commissions and set up a company. In 1978, Rizzo sold his company and returned to photography.

Estim. 1 200 - 1 500 EUR

Lot 19 - 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

Lot 21 - After "LE CORBUSIER" (Switzerland, 1887 - France, 1965), 80s-90s. LC4 chaise lounge. Structure in chromed metal and upholstered in black leather. Measurements: 80 x 160 x 40 cm. The LC 4 chaise longue, presented at the 1929 Salon d'Automne du Design, is the best known of Le Corbusier's furniture. It is a purist, radical design that won critical acclaim in its time and is today a classic of 20th century design. This modern edition seeks greater comfort by presenting the upholstery with more padding than the original design. Swiss architectural theorist, architect, designer and painter, naturalised French citizen, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Decorative Arts Exhibition of 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.

Estim. 1 800 - 2 000 EUR

Lot 22 - JOHANNES FOERSOM (Denmark, 1947). Set of four chairs. Aluminium legs and leather upholstery (quince-coloured back, grey seat). They show signs of use. Measurements: 96 x 63 x 57 cm. The design of these chairs responds to the assimilation and renovation of the Scandinavian avant-garde language, bringing it back to contemporary tastes. The rectangular backrest harmonises with the cylindrical seats. The ensemble is defined by its formal purity, elegantly proportioned geometry and comfort. Johannes Foersom is a renowned furniture designer in contemporary Scandinavian design. The aim of his creations is to give them lasting value, stimulating healthy development for people and their surroundings. He has often worked in duo with designer Peter Hiort-Lorenzen. The couple strives for the highest quality in cooperation, process and product, and believes that knowledge and innovation are fundamental to the successful development of the firm. The exceptional use of flexibility makes the furniture appear as small architectural marvels. Throughout their careers, both designers have received numerous awards, among them: The Danish State Art's Fund (190,1972 and 1977), Kröyer's Memorial Award (1974, 1975), the Nationalbanken's Jubilee Fund (1980), the Annual Award of the Danish Furniture manufacturers (1985), Design Zentrum Nordrhein Westfalen's Prize for high design quality (1992, 1994, 1995, 1999), the Forsnäs Prize (1994), Bo Bedre's Design Award (1995, 1996, 1997), the Best of Neocon (1995)); Bruno Mathsson Award (1998), the Excellet Swedish From the Table Atlas (2000) and the Finn Juhl Prize (2005).

Estim. 2 000 - 2 500 EUR

Lot 25 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. EA-117 chair from the "Aluminium Group" series, design 1958. Chrome-plated aluminium frame. Upholstery in green wool. Swivel base, with castors. With Vitra stamp. Measurements: 80 cm (height). Now considered a classic of 20th century design, the Aluminium Chair by Charles and Ray Eames was created in 1958 and has been in continuous production ever since. It was created for a private home in Columbus, USA, built by architects Saarinen and Girard. In the Aluminium Chair, the Eameses adapted the shape of the seat to the actual structure of the chair by stretching the fabric or leather between the two parts of the structure, thus making it rigid while maintaining its elasticity. This elastic form allows it to adapt easily to the contours of the body, gradually, thus increasing the comfort of the seat. 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. 1 800 - 2 000 EUR

Lot 26 - HANS J. WEGNER (Denmark, 1914 - 2007) for JOHANNES HANSEN. "Peacock chair, model JG-550, first period, 1970s. Solid ash frame and teak armrests. Wicker seat. In perfect condition. With publisher's stamp. Measurements: 106/36 cm. The Peacock chair was originally produced by Johannes Hansen (this being the case of the piece we are now bidding for, dating from the 1970s), but is currently produced by PP Møbler under model number PP550. It was never mass-produced during Wegner's lifetime and only a few were produced by Johannes Hansen. In terms of design, the Peacock chair borrows its morphology from the traditional English Windsor chair. When designer Finn Juhl first saw the chair's characteristic flat-axis backrest, it reminded him of a peacock's tail and he named it the Peacock Chair. Wegner also experimented with an upholstered version of the chair and exhibited it at the 1953 Cabinetmakers' Guild Exhibition. Hans J. Wegner was a leading figure in furniture design, whose ideas contributed to the international popularity of Danish design in the mid-20th century. His work belongs to the modern school, characterised by a special emphasis on functionality. Throughout his career, this designer was awarded prizes such as the Lunning Prize in 1951, the Grand Prix de Milan at the Milan Triennale of the same year, the Prince Eugene Medal in Sweden and the Danish Exkersberg Medal. In 1959 he was appointed honorary royal designer for industry by the Royal Society of Arts in London. His designs are currently included in collections such as those of the MoMA in New York and Die Neue Samlung in Munich.

Estim. 6 000 - 8 000 EUR

Lot 27 - 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

Lot 28 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Ottoman for the "Egg Chair", model 3127, design 1958. Early 1960s edition. Unlabelled. Square base of profiled cast aluminium. Upholstered in brown wool. With signs of ageing. Porous filling. Upholstery with wear and stains. Measurements: 43 cm (height). The Egg chair was designed in 1958 by Arne Jacobsen for the Radisson SAS Royal hotel in Copenhagen, and was published 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 Arne Jacobsen's other 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 all over 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 moulded polyurethane shell with fibreglass reinforcement, which has been covered with 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. 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 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. 1 800 - 2 000 EUR

Lot 29 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. "Egg Chair, model 3316, design 1958. Early edition from the early 1960s. Unlabelled. Upholstered in black leather. The leather is complete, without holes, and shows very good patina. Needs refinishing. Swivel base with four solid profiled aluminium feet. The seat cushion is damaged and has some loss of inner material. In need of restoration. Measurements: 107/36 cm (height). The Egg chair was designed in 1958 by Arne Jacobsen for the Radisson SAS Royal hotel in Copenhagen, and was published 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 Arne Jacobsen's other 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 all over 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 moulded polyurethane shell with fibreglass reinforcement, which has been covered with 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. 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 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 - 6 000 EUR

Lot 30 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Set of six Oxford chairs. Fritz Hansen publisher, Denmark, 1976. Metal and leather, swivel. The current edition of this model is marketed at 2000€ per piece. They show signs of use. The upholstery has cracked leather. Measurements: 87 x 46 x 55 cm. Set of six Oxford chairs, a design by Arne Jacobsen. With metal structure and body entirely upholstered in black leather. It is a minimalist design, with a structure reduced to its essence, functional and at the same time elegant due to 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 1963, when he was commissioned to build a new wing for their building. 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. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the Danish National Army 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.

Estim. 4 000 - 5 000 EUR

Lot 32 - ETTORE SOTTSASS (Austria, 1917 - Italy, 2007). Sideboard "Casablanca". Edition Memphis s.r.l., Milan, 1981. Wood and laminated plastic. Measurements: 224 x 151 x 40,5 cm. Design catalogued in "Western furniture. 1350 to the present day", by C. Wilk (London; Victoria & Albert Museum, 1996) and in "A grand design: the art of the Victoria & Albert Museum", by M. Baker and B. Richardson (London; V&A Publications, 1996). Richardson (London; V&A Publications, 1997); "Memphis" by B. Fitoussi (Assouline, 1998); "El design italiano 1964-1990" by A. Branzi (Electa, 1996), "Il design in Italia" by G. Gramigna and P. Biondi (Umberto Allemandi & Co., 1999) and other monographs on contemporary design. Other examples of the same design are held in prominent collections around the world, including the Victoria & Albert Museum in London. Sottsass is not only one of the most influential designers of the second half of the 20th century, but also one of the most paradoxical. On the one hand he developed a successful career designing industrial designs for the Olivetti company, from typewriters and computers to office interiors, and on the other he created striking and unconventional objects that challenged the bourgeois clientele to redraw their concept of the limits of "good taste". Between 1981 and 1988, Sottsass created markedly non-conformist furniture together with a small group of international architects, with whom he formed the Memphis Group. The extreme ideas that Sottsass had already elaborated and sketched out in previous decades were implemented in the 1980s, with a playful-looking ease, in collaboration with the founders of Memphis. Together with them, Sottsass discarded traditional design principles and transformed a discipline that had hitherto been governed by production and functionality into a visually communicative spectacle. Like Sottsass himself, design became news, visual sensation and even tactile entertainment. The "Casablanca" sideboard was, along with the "Carlton" dividing unit, Sottsass's contribution to the first Memphis collection (1981). The designer created it to combine storage and display, as well as serving as a room divider, and the angled arms are intended to hold wine bottles. Its striking colours, eye-catching pattern and strange winged shape are a clear rejection of the modernist idea that form should conform to function. The bold décor, on the other hand, opposes the purity of much of the unornamented, minimalist furniture of the 1970s and is inspired by the consumer products of the 1950s. At the same time, Sottsass was inspired by the interiors of the typical American diner to use laminated plastic. Ettore Sottsass was a prominent Italian architect and designer in the second half of the 20th century, founder of the Memphis design group. He studied at the Polytechnic University of Turin, and after serving three years in the army, in 1947 he set up his own office in Milan, called "The Studio". He worked as a design consultant for Olivetti for more than twenty years, producing for the firm the "Valentina" typewriter (1969), which revolutionised the market, and the "Elea 9003" calculator, among other classic designs. He was also internationally known as an architect, involved in numerous projects around the world. Throughout his career he collaborated with leading figures in the world of architecture and design, such as Aldo Cibic, James Irvine and Matteo Thun. In 1981 he founded the Memphis Group, of which he was to become one of the leaders, together with Barbara Radice. Sottsass enjoys international prestige thanks to his pioneering work in the renewal of design and architecture, which has managed to overcome the severe functionalism that preceded and followed the Second World War. In his language, this influential master of Italian design puts the potential energy and vitality of design and colour before rigidity and intellectuality.

Estim. 15 000 - 18 000 EUR

Lot 33 - 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

Lot 34 - JOHANNES FOERSOM (Denmark, 1947). Set of four chairs. Aluminium legs and leather upholstery (quince-coloured back, grey seat). They show signs of use. Measurements: 96 x 63 x 57 cm. The design of these chairs responds to the assimilation and renovation of the Scandinavian avant-garde language, bringing it back to contemporary tastes. The rectangular backrest harmonises with the cylindrical seats. The ensemble is defined by its formal purity, elegantly proportioned geometry and comfort. Johannes Foersom is a renowned furniture designer in contemporary Scandinavian design. The aim of his creations is to give them lasting value, stimulating healthy development for people and their surroundings. He has often worked in duo with designer Peter Hiort-Lorenzen. The couple strives for the highest quality in cooperation, process and product, and believes that knowledge and innovation are fundamental to the successful development of the firm. The exceptional use of flexibility makes the furniture appear as small architectural marvels. Throughout their careers, both designers have received numerous awards, among them: The Danish State Art's Fund (190,1972 and 1977), Kröyer's Memorial Award (1974, 1975), the Nationalbanken's Jubilee Fund (1980), the Annual Award of the Danish Furniture manufacturers (1985), Design Zentrum Nordrhein Westfalen's Prize for high design quality (1992, 1994, 1995, 1999), the Forsnäs Prize (1994), Bo Bedre's Design Award (1995, 1996, 1997), the Best of Neocon (1995)); Bruno Mathsson Award (1998), the Excellet Swedish From the Table Atlas (2000) and the Finn Juhl Prize (2005).

Estim. 2 000 - 2 500 EUR

Lot 35 - 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

Lot 36 - LE CORBUSIER; PIERRE JEANNERET (Genoa, 1896-1967), CHARLOTTE PERRIAND (France, 1903-1999) for CASSINA. Armchair LC 2, design 1928. Chrome-plated tubular steel frame, loose cushions upholstered in brown leather. Stamp and serial number engraved on the frame. Minor signs of wear. Frame with small marks. Measurements: 67/47 cm (height). The LC2 armchair was designed by Le Corbusier and Charlotte Perriand for Cassina (1928) and, like the contemporary LC3 series, was defined by its creators as a "basket of cushions", and conceived as a response to the traditional armchair, which inverts the dialogue between structure and cushions, leaving the former visible. Architectural theorist, architect, designer and painter, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Exposition des Arts Décoratifs in 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.

Estim. 3 500 - 4 000 EUR

Lot 37 - MARCEL BREUER (Hungary, 1902 - United States, 1981) for KNOLL. Pair of "Wassily" chairs, design 1925. Chrome-plated tubular steel frame, seat, backrest and armrests upholstered in black leather. Made in the Knoll studio. Engraved signature. Slight signs of wear, wear marks and patina. Measurements: 74/42 cm (height) x 79 x 70 cm. The Wassily chair, also known as Model B3, was the first tubular chair on the market, initially produced and marketed between 1926 and 1929 by the Austrian firm Thonet until World War II, when the firm ceased production. It is a large armchair with a light, sober and functional structure, based on chromed steel tubes that intertwine to support the upholstered elements (seat, backrest and armrests). Marcel Breuer was a Hungarian architect and designer, one of the main masters of the Modern Movement, very interested in modular construction and simple forms. He studied at the Bauhaus in Weimar at the time when it was directed by Walter Gropius, and later he would take charge of the furniture workshop of this school. There he designed the B3 chair, later known as the Wassily chair, made in 1925, the first tubular steel chair in history, which combined the flexible conditions of this material with its ease of large-scale industrial production. Breuer would continue at the Bauhaus until 1928, when he settled in Berlin to devote himself to architecture. However, with the rise of Nazism he had to leave Germany, because of his Jewish origin, and moved first to England in 1933, and later to the United States, where he lived for the rest of his life, from 1937. Today his furniture designs are part of the most important collections in the world, including the MoMA in New York and the Victoria & Albert in London. It shows slight signs of wear, use marks and patina.

Estim. 4 000 - 4 500 EUR

Lot 39 - LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969). Barcelona" chair, designed for the 1929 Barcelona International Exposition. Stainless steel frame. Brown leather straps. Seat and backrest later upholstered in cognac leather. Edition from the 1960s It shows signs of wear and tear. The upholstery is new. Measurements: 75 x 77 x 80 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 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. 3 000 - 3 500 EUR

Lot 40 - LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969). Barcelona" chair, designed for the 1929 Barcelona International Exposition. Stainless steel frame. Brown leather straps. Seat and backrest later upholstered in cognac leather. Edition from the 1960s. Shows signs of wear and tear. Back upholstery is new. Measurements: 75 x 77 x 80 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 which was itself 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. 3 000 - 3 500 EUR

Lot 41 - 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

Lot 46 - ALDO TURA (Italy, 1909-1963). Bar cabinet, 60's design. Lacquered goatskin, rosewood, brass, glass, mirror. In good condition. Measurements: 158 x 81 x 40 cm. This highly personal piece of bar furniture shows the confluence of interests that motivated Aldo Tura's creations and gave them a singular stamp, as is the case of experimenting with different materials or printing unorthodox treatments on the surfaces: see here the attractive patina achieved with the brownish lacquering of the two semicircular doors, outlined with studs and fastened to the furniture with attractive hardware. Aldo Tura absorbed the precepts of Art Deco, but he went beyond its minimalist legacy in search of a more dynamic style, with historicist echoes. The rectangular-bodied sea cabinet, which houses a glazed interior, sits on a turned base with a globular belly. The doors open with iron handles in the form of turnstones. Aldo Tura began his career in experimental furniture design in the 1930s. After the sharp, angular forms of Art Deco, wood began to be used in free forms, full of curves, and Tura saw in this new taste a new direction for furniture design. His work is a significant combination of free and uninhibited forms, sometimes exceptionally ironic. His designs are also examples of the highest craftsmanship, often being produced in limited edition series, and even just a prototype. In the 1950s, Tura discovered the evocative charm of furniture painted with Venetian architectural views, and also began to experiment with various materials, such as eggshell, parchment, goatskin or wood veneers.

Estim. 6 000 - 8 000 EUR

Lot 51 - BØRGE MOGENSEN (Denmark, 1914 – 1972). Birch. Upholstery in ecru colour fabric. Birch. Measurements: 84 x 60 x 47 cm. Pair of Danish armchairs with a birch structure. Light in structure, its legs have a cylindrical section, wider in the center, and the armrests have a markedly curved, flattened format. 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. 2 000 - 2 500 EUR

Lot 52 - HARRY BERTOIA (Italy, 1915 – USA, 1978). Children's chair, 1950. Black enamelled metal. The metal has slight oxidation. Measurements: 65 x 53 x 49 cm. The seat and back of this children's chair have an openwork design that gives it a light and airy aesthetic. The seat features slightly upturned sides that complement the rounded lines of the backrest. Thin metal legs contribute to the chair's minimalist look Painter, graphic artist, sculptor, university professor and furniture designer, Harry Bertoia emigrated to the United States when he was fifteen, and it will be there where he developed his training and career. He studied at the Detroit Society of Arts and Crafts and later at the Cranbrook Academy of Art in Bloomfield, Michigan, where he later taught and created the metalwork department. In these years he began to experiment with jewelry forms, and to explore ideas that would later emerge in his sculpture and his designs. In 1943 he began his collaboration with the designer Charles Eames, with whom he would work until 1946. After a period working for Point Loma Navel Electronics as a creator of equipment manuals, in 1949 he joined Hans Knoll at Knoll Associates. His first sculpture exhibition took place at the Knoll Showroom in New York in 1951, and the following year Knoll patented his most famous furniture design, the welded-rod “Diamond” chair. Bertoia's designs are currently present in the collections of important contemporary art and design museums, such as the MoMA in New York and many others.

Estim. 500 - 600 EUR

Lot 53 - CHARLOTTE PERRIAND (France, 1903 – 1999). Set of six chairs modelled on the "Les Arcs" chair. Chromed tubular steel frame, cognac-coloured patinated grain leather upholstery. 1970s. One chair is stamped 1972. With wear, patina and marks. Measurements: 82 x 48 x 59 cm. Charlotte Perriand used this model for the interior decoration of the famous Les Arcs ski resort in Savoie, France, in the 1960s. They present 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 smooth curves. The upholstery is joined to the structure by cognac-colored artificial leather bands, like the rest of the seat, and is decorated with metallic studs. Charlotte Perriand worked in Le Corbusier's studio as head of furniture and interiors. She was a French artist, architect and designer of great international prestige, promoter of modern interior architecture. Inspired by Japanese minimalism, she developed the concept of storage furniture and, together with Jean Prouvé, she practiced the democratization of interior design with key pieces of the 20th century. She became known at just 24 years old with her “Bar sous le Toit” made of chromed steel and anodized aluminum that was presented at the Salon d'Automne in 1927. Shortly after she began her journey of more than ten years together with Pierre Jeanneret and Le Corbusier. In 1927 she established her first studio of her own. She developed the concept of domestic storage and multifunctional furniture, equipping interiors for an emerging way of life and standardizing decoration, thus avoiding all extravagance. He collaborated with Le Corbusier on numerous architectural projects, designing the equipment for different homes such as the villas La Roche-Jeanneret, Church in Ville-d'Avray, Stein-de Monzie and the Villa Savoye, as well as the interiors of the Swiss Pavilion in the University City and the City of Refuge of the Army of Health, both in Paris. Additionally, she worked with him on the definition of the cellule minimum (1929). Her relationship with Le Corbusier was resumed after the war, developing the first prototype of the integrated kitchen for the Marseille Housing Unit. She also collaborated with Fernand Léger. Her career spanned places as diverse as Brazil, Congo, England, France, Japan, French New Guinea, Switzerland, and Vietnam. The Design Museum in London dedicated an exhibition to the designer in which her career was shown.

Estim. 5 500 - 6 000 EUR

Lot 54 - 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

Lot 55 - 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

Lot 56 - 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

Lot 57 - POUL HENNINGSEN (Denmark, 1894 - 1967) for Louis Poulsen. Table lamp PH 2/2 "The Question mark". Limited edition. Shades in three-layer blown opaline glass, shiny on the outside, sandblasted on the inside. Top plate, base and stand in untreated brushed brass, mounted with brown textile cord. Adjustable with a handle in the center of the arm (can be tilted 45 degrees right and left). Delivered unassembled, in original box. Photos of the final model. In perfect condition. Measurements: 41 x 20 x 20 x 20 cm. The table lamp PH 2/2, with brass shaft in the shape of a question mark, was designed by Poul Henningsen for Louis Poulsen. It is a variant created from his 1958 PH Artichoke and, like the former, is characterized above all by the quality of a design that visibly contributes to beautifying the architectural space in which it is placed. The overlapping sheets of blown glass that make up its screen use the hallmarks of light to avoid glare and create an aesthetic effect of great beauty; they redirect and reflect light, resulting in a unique and distinctive illumination. Danish designer, architect and critic, Poul Henningsen was one of the key figures in the cultural life of Denmark in the interwar period. He studied architecture between 1911 and 1917, but never graduated, as he decided to become an inventor and painter. Nevertheless, he worked as an architect and became one of the most prominent advocates of functionalism. In his career as a designer, his most famous creation was the "PH Artichoke" lamp, a simple lamp that used hallmarks of light to avoid glare and create an aesthetic effect of great beauty. Its success enabled Henningsen to finance his later work. He is currently representing at the Danish Museum of Art and Design, the MoMA in New York and the Victoria & Albert in London, among many others.

Estim. 1 500 - 1 600 EUR

Lot 58 - ALDO TURA (Italy, 1909-1963). Bar cabinet, ca. 1950. Lacquered wood, goatskin, brass and mirror. It has marks of use. Measurements: 158 x 80 x 44 cm. This highly personal piece of bar furniture shows the confluence of interests that motivated Aldo Tura's creations and gave them a singular stamp, as is the case of experimenting with different materials or printing unorthodox treatments on surfaces: see here the attractive patina achieved with the lacquered brownish tones of the two semicircular doors, outlined with studs and attached to the furniture with attractive hardware. Aldo Tura absorbed the precepts of Art Deco, but he went beyond its minimalist legacy in search of a more dynamic style, with historicist echoes. The rectangular-bodied sea cabinet, which houses a glazed interior, sits on a turned base with a globular belly. The doors open with iron handles in the form of turnstones. Aldo Tura began his career in experimental furniture design in the 1930s. After the sharp, angular forms of Art Deco, wood began to be used in free forms, full of curves, and Tura saw in this new taste a new direction for furniture design. His work is a significant combination of free and uninhibited forms, sometimes exceptionally ironic. His designs are also examples of the highest craftsmanship, often being produced in limited edition series, and even just a prototype. In the 1950s, Tura discovered the evocative charm of furniture painted with Venetian architectural views, and also began to experiment with various materials, such as eggshell, parchment, goatskin or wood veneers. It presents marks of use.

Estim. 5 000 - 7 000 EUR

Lot 60 - "LE CORBUSIER"; CHARLES ÉDOUARD JEANNERET-GRIS (Switzerland, 1887 - France, 1965). LC1 chair. Chrome-plated metal structure and ponyhide upholstery. It shows marks of use and the passage of time. Measurements: 64 x 59 x 64 cm. The first design created by Le Corbusier, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928. Le Corbusier, Jeanneret and Perriand sought to design furniture for all rooms of the house, and so they created pieces like the LC9, a very simple stool for the bathroom, with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as the MoMA in New York or the Victoria & Albert in London. Architectural theorist, architect, designer and painter Swiss, naturalized French, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the twentieth century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the garden-terrace, the "pilotis", the longitudinal window and the free facade. Among his most outstanding architectural projects are the Swiss Pavilion of the Cité Universitaire de Paris, the Unité d'Habitation in Marseille and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier made his first creations with Pierre Jeanneret and Charlotte Perriand, obtaining the definitive impulse in the Paris Decorative Arts Exhibition of 1925. Already his first chairs and armchairs were conceived in terms of comfort, and based on anthropometric studies that guarantee a total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterized by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He would continue to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionize the mass production of modern furniture. We must also highlight the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all rooms of the house, and so they created pieces like the LC9, a stool for the bathroom, very simple, with fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently edited by the Italian company Cassina, and are present in important collections such as the MoMA in New York or the Victoria & Albert in London.

Estim. 2 500 - 2 800 EUR

Lot 61 - 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

Lot 66 - ADO CHALE (Brussels, 1928). Pair of "Pin" bowls. Bronze. In good condition. Measurements: 4,5 x 15 x 13 cm and 4 x 9,5 cm. With his creations in bronze and aluminum, Ado Chale develops new forms and surfaces, while seducing the contemporary market. Self-taught, as a young man, Ado Chale worked as a blacksmith and in a sheet metal workshop. His passion for mineralogy began in the 1950s during a trip to Germany. Later, in 1962, he opened a gallery in Brussels where he exhibited the first cement boards inlaid with small marcasites collected at the foot of the cliffs of northern France. In the late 1960s he traveled the world (Arizona, India, Afghanistan, Pakistan, Madagascar, France) in search of semi-precious stones. Among his favorite materials were fossilized sequoia, malachite, chalcedony agate, carnelian, rhodochrosite, lapis lazuli, jade, hematite, tiger's eye, jasper, turquoise or amethyst, elements that were cast in epoxy resin, a new material at the time that allowed him to expand the aesthetic possibilities: the trays are enlarged and completely covered with diamond-polished stones. From the 1960s to the 1980s his success multiplied and even the Belgian Court was enraptured by his designs. He exhibited at the Galliera Museum in Paris, at the Papal Palace in Avignon and at the Museum of Fine Arts in Nancy. In 1988 he was invited to exhibit his work in Japan, at the famous Seibu luxury store in Tokyo. There he attracted the Asian market. In 2002 he exhibited at the Parisian gallery of Yves Gastou, which meant an increase in international clientele that would open the way to numerous collaborations with Belgian interior designers, but also world-renowned ones such as Alberto Pinto, Peter Marino and Jacques Grange.

Estim. 3 000 - 3 200 EUR

Lot 67 - GEORGE NELSON (United States, 1908 - 1986) for VITRA. Set of four "Perch" office chairs, ca. 1990. Dark brown leather seat and back, chrome base, Height adjustable and swivel seat. In good condition, practically new. Measurements: 70 x 70 x 102 cm. Pair of office chairs "Perch" raised on black plastic wheels supporting a five-spoke chromed steel base. Seat and backrest upholstered in black leather, height adjustable and swivel. George Nelson graduated in architecture from Yale University (1928), and later studied art in Rome. He specialized in industrial, interior and exhibition design, and was, along with Charles and Ray Eames, one of the founding fathers of American modernism. While in Italy he traveled the length and breadth of Europe, meeting a number of pioneers of the modern movement, including Mies van der Rohe. In 1935 he joined the editorial staff of "Architectural Forum", a magazine of which he would first become associate editor until 1943, and then editorial advisor until 1949. During this period he worked with Frank Lloyd Wright on a special issue of the magazine, which marked Wright's return to the scene at the time. Nelson defended, sometimes fiercely, the principles of the modern movement, even irritating many of his colleagues who, as industrial designers, made, according to Nelson, too many concessions to the commercial forces of industry. The American believed that the work of a designer should serve to improve the world because, in his view, nature is already perfect, and man spoiled it by creating things that did not really follow natural rules. In 1945 Nelson began working for the firm Herman Miller, and it was then that he really began to design furniture, occupying the position of design director. That same year Nelson's first collection for the firm was published, beginning a collaboration that would result in some of the most famous furniture designs of the 20th century. Today his designs can be seen in the Vitra Museum of Design (he began collaborating with the firm in 1957) and the MoMA in New York, among many other public and private collections.

Estim. 3 500 - 4 000 EUR

Lot 68 - VINCENT MARTINEZ BURJASSOT (Valencia, 1949) for Punt Mobles. Halley" table. Black metal and wood. The wooden top has been made to order. In very good condition. This vintage producer has no defects, but may have slight wear marks. Liero wear commensurate with use and age. Measurements: 72 x 90 x 90 cm. The Halley table is distinguished by its precise and linear geometry that seeks in its constructive contradiction to recall the projection of a kite. Its materiality is shaped by combining wood and metal. It received recognition from the Staatliches Museum für Angewandte, Munich, Germany. "The moment when thought becomes an object is exciting, projects are first and foremost ideas. Ideas are unreal until action inserts them into the real. The user as a referent. Designing for a world where the quality of life of all people is better," says Vicent Martínez. The importance of Vicent Martínez is reflected in his presence in museums such as the Museu d'Arts Decoratives. Barcelona, Spain: La Torre bookshelf, Anaconda table, Concert modular collection and Literatura Classic bookshelf. 1994; the personal and professional archive 1965-2010 deposited in the Arxiu Valencià del Disseny. 2019; the Museum Fur Musem fur Angewandte Kunst. Cologne, Germany: Shelves Literatura Classic and La Torre. 1992 and the Staatliches Museum für Angewandte. Munich, Germany: Halley and Magic Tables. 1992. Throughout his career as an artist he has participated in the IVAM. Valencian Design 2009-2019 Alcoi Venue. 2020; 30 Years of Classic Literature. School of Art and Design of Valencia. 2015 as well as in other important exhibitions.

Estim. 600 - 800 EUR

Lot 69 - Attributed to PEDRO MIRALLES CLAVER (Valencia, 1955-1993) for Punt Mobles. Compass" desk. Cherry wood. In good condition. This vintage lot may have some wear, such as scratches and other signs of age. Measurements: 110 x 100 x 53 cm. Pedro Miralles designed this unique desk, which he called "Escritorio Compás" in 1990 for the Valencian company Punt Mobles, which also produced the Alfiler Console (1992). The piece of furniture, in cherry wood, takes the form of a compass open at an angle of about thirty degrees, with a louvered top that houses a desk top and shelves for stationery and pens. Pedro Miralles was a Spanish industrial designer and architect, linked to the Movida Madrileña. He was one of the leading Spanish designers of the late twentieth century. He graduated in Architecture, studies that began in Valencia and finished in Madrid. He met people linked to postmodern culture in the Spanish capital: the architect Rafael Moneo, his teacher at the university, and some of the representatives of the Movida Madrileña movement, such as the film director Pedro Almodóvar and the fashion designer Jesús del Pozo. A year later, he held his first individual furniture exhibition in Valencia. As an industrial designer, in 1987 he took a master's degree at the prestigious Domus Academy in Milan. Since then, he has worked for Spanish, French and Italian companies. His outstanding works include the Hakernar Chair (1987); Andrew Sisters Chairs (1988); Lyns Chair (1989); Compass Desk (1990), Liquid Lamp (1991); Arabesque Chair (1992). He would work for Punt Mobles and Andreu World, with the Eboli collection (1988); he worked as art director at Ebanis, where he created the Maklas collection (1989)... in addition to his contributions to companies such as Muebles DO+CE and Arflex & Martínez Medina.

Estim. 2 400 - 2 800 EUR

Lot 72 - Large chandelier attributed to CARLO NASON (Murano-Italy,1935). Italy, 1970s. Transparent and pink Murano glass. In very good condition. This vintage chandelier has no flaws but may have slight use marks. It shows light wear and tear according to the use and age. Electrical components rewired and/or new. One light colored piece is missing. One of the lilac colored pieces was broken and has been repaired. Measurements: 112 x 60 cm. Fantastic large lamp attributed to the master glassmaker Carlo Nason. It has an intricate structure formed by multiple organically inspired Murano crystals in white and pink. Italian designer Carlo Nason was born into a family of skilled glassmakers in 1935 in Murano, Venice. His father, Vincenzo Nason, ran the renowned NasonMoretti glass business and opened a second glass business under the name Vincenzo Nason & C in 1941. From an early age, the younger Nason was trained in the art of glassblowing, learning about the properties of both the material and the craft techniques used in molding and decorating glass.The first objects designed by Nason date back to 1959 and are included in a collection of molded vases produced by V Nason & C. They are currently housed at the Corning Museum of Glass in Corning, New York.Driven by his passion for design, especially clean geometric forms, Nason decided in the 1960s to distance himself from his family's business, which specialized primarily in highly traditional and ornate decorative objects. Nason redirected his focus to glass lighting design in a modernist idiom.Nason intended to produce his first solo designs himself in small batches, but soon his spirit of experimentation and innovation caught the attention of Murano glass lighting manufacturer AV Mazzega, and the company invited Nason to collaborate on new collections. The partnership lasted from 1965 through the 1980s and resulted in a variety of iconic lighting designs that remain in demand today. Parallel to the collaboration with AV Mazzega, Nason also produced designs for other major Murano glass companies, such as De Majo, i-tre, Murano Due, Vistosi and Firme di Vetro.Nason continued to create designs in the 1980s and 1990s, but also worked as a consultant for Casinos Austria and worked as a photographer. Nason's works have been exhibited for decades in various art and design museums and galleries in Paris, Milan and New York. He lives and works in Murano.

Estim. 4 000 - 4 200 EUR

Lot 73 - Pair of armchairs attributed to FRANÇOIS BAUCHET (Montluçon, France, 1948) for Cinna. Metal feet. Gray fabric upholstery. Reupholstered. No copies exist. The label was removed during reupholstering. Measurements: 88 x 89 x 100 cm; 36 cm (seat height). Pair of armchairs with the body entirely upholstered in gray. It is a design of rounded shapes and angular volumes, welcoming and comfortable, with a structure of traditional base renewed in a modern key through color and purification of forms. Trained at the École des Beaux-Arts in Bourges, François Bauchet made his first foray into the world of product design in 1981. He taught at the École des Beaux-Arts in Mâcon and has been teaching at the École des Beaux-Arts in Saint-Etienne since 1982. In 1983 he presented a project at the Salon des Artistes Décorateurs (SAD), and from 1984 to 1998, he collaborated with Galerie Neotu. In 1987, he designed the offices of the Fondation Cartier in Jouy-en-Josas, near Paris, and participated in Documenta 8 in Kassel (Germany). Other notable works include the reception furniture for the Centre d'Art in Vassivière-en-Limousin and the reception area of the Museum of Art and Industry in Saint-Etienne. Since 1999, he has been collaborating with Galerie Kreo. In 2000, the Musée des Arts Décoratifs de Paris organized a solo exhibition of his work. In 2002, François Bauchet was awarded "Créateur de l'année" (Creator of the year) at the Salon du meuble in Paris. He works for Cinna; Ligne Roset; Ercuis; Haviland; GHM, and Thévenon. His work is currently held at the Musée des Arts Décoratifs in Paris; the Design Museum in Lisbon, Portugal; and the Indianapolis Museum of Art.

Estim. 3 000 - 3 200 EUR

Lot 77 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Egg Chair with ottoman. Armchair, model 3316, with tilt function. Stool, model 3127. Paul Smith fabric. Made by Fritz Hansen, 2014, with label. In good condition despite use and age. Fabric is slightly faded. Measurements: 105 x 86 x 82 cm (Egg Chair). 39 x 55 x 40 cm (ottoman). 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. 6 500 - 7 000 EUR

Lot 78 - 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

Lot 82 - HANS J. WEGNER (Denmark, 1914 - 2007) for CARL HANSEN & SON. Set of six Wishbone Y-chairs, model CH-24. Soap oak with braided paper thread seats. No signs of use. Comes with original boxes. Designed in the 1950s by Hans J. Wegner, the CH24 Wishbone has become Carl Hansen's most popular signature chair and an icon of world design. Hans J. Wegner was a leading figure in furniture design, whose ideas contributed to the international popularity of Danish design in the mid-20th century. His work belongs to the modern school, characterized by a special emphasis on functionality. He began his training at a very young age, as an apprentice to the cabinetmaker H. F. Stahlberg. He soon discovered a special taste for the use of wood, and his work in the cabinetmaking workshop allowed him to experiment with different types and designs. At the age of seventeen he completed his apprenticeship, although he remained in the workshop for another three years, until he joined the army. After his military service he entered a technical school, and then the Danmarks Designskole, where he was taught by O. Mølgaard Nielsen, and the Academy of Architecture in Copenhagen. In the Danish capital he came into contact with the Furniture Exhibitions of the Carpenters' Guild, where he began to show his creations in 1927. During these years Wegner collaborated with master cabinetmakers such as J. Hansen, L. Pontoppidan, N. Vodder, J. Kjaer, A. J. Iversen, Moos and R. Rasmussen, as well as with the most prominent Danish architects of the time, among them K. Klint, V. Lauritzen and V. Lauritzen. Klint, V. Lauritzen. O. Wanscher and M. Voltelen. The annual exhibitions would give the young cabinetmaker experience of what could be achieved with the combination of design and craftsmanship, which led him to devote himself fully to design. Already in his early pieces, Wegner showed his interest in the concept of "stripping antique chairs of their outer style and showing them in their pure structure." Throughout his career, the designer was awarded prizes such as the Lunning Prize in 1951, the Grand Prix de Milan at the Milan Triennale of the same year, the Prince Eugene Medal in Sweden and the Danish Exkersberg Medal. In 1959 he was appointed honorary royal designer for industry by the Royal Society of Arts in London. Currently his designs are present in collections such as the MoMA in New York or Die Neue Samlung in Munich.

Estim. 4 500 - 5 000 EUR

Lot 83 - 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

Lot 84 - JORGEN KASTHOLM (Denmark, 1931 - 2007) and PREBEN FABRICIUS (Denmark, 1931 - 1984) for KILL INTERNATIONAL. Armchair with stool model FK-85. Steel frame. Black leather upholstery. Produced by Kill International, with sticker. Normal marks of use due to age. Measurements: Armchair 94 x 75 x 85 cm. Seat height 38 cm. Stool 37 x 60 x 50 cm. The FK-85 was created by designers Preben Fabricius and Jørgen Kastholm. It consists of a lightweight structure in cast aluminum, with seat, backrest and armrests upholstered in leather. Its sober and elegant design, with simple lines, makes it a timeless product but at the same time captures all the spirit of the time. 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 and 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 + Folkwa.

Estim. 3 800 - 4 000 EUR

Lot 85 - LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. Daybed "Barcelona". Designed for the 1929 Barcelona World Exposition. Tensioned African Ramin wood frame. Polished stainless steel tube legs. Portgreen' leather upholstered cushion with buttons and stitching. Includes matching neck pillow. Manufactured by Knoll International. With original packaging. Packaging dimensions: 26 x 226 x 103 cm. Measurements: 41 x 195 x 95 cm. The Barcelona sofa bed is a classic work of 20th century industrial design. Mies van der Rohe created it, along with the chair and 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. 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 - 10 000 EUR

Lot 88 - 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 black aniline leather. Armrests lined with harness leather cords. Lange Production Editor. Brand new, Delivered in original packaging. With photos of the model. Measurements: 81 x 150 cm. This design was created by the designers Preben Fabricius and Jørgen Kastholm, composed of a light 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, as well as a dyed 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 period. 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 it to devote himself to furniture design. He attended the Copenhagen School of Interior Design, where he was taught by Finn Juhl. There he also met the cabinetmaker Preben Fabricius, who later became 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 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. Their minimalist creations, at once attractive and comfortable, were generally steel and leather furniture. The two designers worked together between 1961 and 1968, a period of seven years in which they produced many 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. 7 000 - 8 000 EUR

Lot 89 - 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

Lot 94 - 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 83 x 83 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

Lot 95 - 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

Lot 96 - 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

Lot 97 - 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

Lot 98 - 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

Lot 99 - 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

Lot 100 - 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
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Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.
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