1st July - Design I | Drouot.com

Lot 1 - MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Newly upholstered in brown leather. Measurements: 73 x 170 x 90 cm; 43 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Estim. 9 000 - 10 000 EUR

Lot 2 - BOREK SIPEK (Prague, Czech Republic, 1949-2016) for Driade. Armchair "Prosim Sedni", 1980s. Cherry wood, leather seat and blue upholstery. It shows wear commensurate with use and age. Measurements: 92 x 70 x 93 cm. Known as "the father of neo-baroque", Borek Šípek was a Czech architect, designer and artist. His postmodernist armchair "Prosim" (also known as Papillon Chair), with its striking curves in black leather and rich upholstery, juxtaposed with sculpted cherry wood, exemplifies the unique style for which he is known. It was used as furniture for Mirror Universe Terok Nor in the "Crossover" episode of Deep Space Nine. Borek Sipek trained in interior design at the School of Arts and Crafts in Prague. He completed his studies in Architecture at the University of Applied Arts in Hamburg and Philosophy at the Technical University of Stuttgart, later establishing his design studio in Amsterdam in 1983. In the 1980s he began collaborating with Driade, for whom he designed furniture and objects characterized by their tremendous originality, a collaboration that was decisive for the success of his career. At Driade he became one of the brand's main collaborators alongside Philippe Starck, Oscar Tusquets and Antonia Astori. He was later one of the initiators of the construction of the Ajeto glass factory to support the traditions of Bohemian glassblowing, where the best craftsmen were dedicated to the creation of high-end pieces. He firmly entered Milan's design circles, where he was invited to collaborate with Alessi, Cleto Murani, Sawaya & Moroni, Wittmann and the Swiss brand Vitra. In the late 1980s, he traveled to Asia, where he became acquainted with the Japanese polychrome lacquer technique: he created an atypical Urushi Arai collection, where his usual techniques for glass were rendered in wood. Throughout his career he has received numerous awards, including the honorable mention in the German Architecture Prize (1983), the Dutch Kho Liang Le Dutch Kho Liang Design Award (1989), La Croix Chevalier dans l'ordre des Arts et Lettres by the French government (1991), the Prince Bernhard Fonds Award for Architecture and Applied Arts of the Netherlands (1993) and the Talent De L'Originalite" - Le Sommet du Luxe et de la Creation award, among others. Between 1990 and 2003 he held the title of court architect of Prague Castle appointed by Václav Havel, president of the former Czechoslovakia, later the Czech Republic.

Estim. 4 000 - 4 200 EUR

Lot 3 - 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 4 - SIGURD RESSELL (Meldal, Norway, 1920- Møre og Romsdal, Norway) for VATNE. Pair of Falcon chairs with stool, Norway, 1970s. Wooden structure and leather upholstery. Measurements: 57 x 57 x 39 cm. Designed by Ressell in 1974, the Falcon armchair is his most iconic creation and is characterized by its open forms, its solid and refined structure, the back and seat upholstery and the diagonal uprights and crosspieces that support the body. Born in Norway in 1920, Sigurd Ressell began his career when one of his drawings was praised by Niels Vodder, a master furniture designer who worked in collaboration with Finn Juhl. Later, a prototype would emerge from that drawing, kick-starting the young Swedish designer's career. In 1958, his SR 600 model won a prize at the Copenhagen Cabinetmakers' Guild Exhibition. Today, his most iconic design is the Falcon chair, produced by the Norwegian firm Vatne, a best-selling chair in Europe for more than thirty years.

Estim. 3 000 - 3 200 EUR

Lot 5 - HANS J. WEGNER (Denmark, 1914 - 2007) for Fritz Hansen. 'China Chair’ in Brazilian Rosewood with natural leather cushion. Model 4283. Designed 1944. Manufactured by Fritz Hansen in 1967, with label. Cushion with signs of wear. Measurements: 81,5 x 58 x 55 cm. With Cites certificate that permit sales within Europe. The China Chair was designed by Hans J. Wegner in 1944. Inspired by the timeless aesthetic of ancient Chinese design in the 17th and 18th century, the China Chair epitomises his lifelong quest to understand the nature of wood and explore its possibilities. In his modern interpretation, he unfolds his talent as a wood craftsman and his flair for expressive and sculptural functionalism. The China Chair shows Wegner’s firm belief that furniture should be beautiful from all angles, as freestanding monuments to the inseparable relationship between handcrafted forms and the fine, natural materials 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. Kjær, 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 Eckersberg 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. Wegner has been referred to as the "King of Chairs" for his proliferated work designing seating. In his lifetime he designed over 500 different chairs, over 100 of which were put into mass production and many of which have become recognizable design icons.

Estim. 12 000 - 14 000 EUR

Lot 6 - Attributed to PIERRE DARIEL (France). Hendaye bench, ca. 1930's. Beech and oak. Back and seat made of rattan grating. Measurements: 76 x 120 x 65 cm. Bench whose design is attributed to Pierre Dariel, a French cabinetmaker and designer who specialized in outdoor seating. He worked in collaboration with the designer and architect Robert Mallet-Steven (Paris, 1886-1945). This is a piece of furniture with a daring design for the time, based on geometric lines, looking for the contrast between straight and curved lines. The structure is made of beech and oak. The seat and backrest (folding) are made of grille.

Estim. 2 000 - 2 500 EUR

Lot 7 - GERRIT RIETVELD (Utrecht, 1888 - Utrecht,1964). "Red and Blue Chair. Wood and fabric. Follows the original design of 1918. Measurements: 88 x 79 x 60,5 cm; 33,5 cm (seat height). "Rood-blauwe stoel" (The Red Blue Chair) is an icon of international design, designed in 1917 by Gerrit Rietveld. It represents one of the first explorations of the De Stijl art movement in three dimensions. The original chair had a natural finish and was later painted in the De Stijl primary color palette of black, gray and white. However, it was later changed to resemble the paintings of Piet Mondrian when Rietveld came into contact with the artist's work in 1918. Rietveld eventually joined the De Stijl movement in 1919. Because of its extremely simplified conception, this model was conceived to be mass-produced. The chair is currently on display at the Museum of Modern Art in New York. The son of a cabinetmaker, Rietveld learned his trade in his father's workshop. In 1918, Rietveld started his own furniture factory while studying architecture. In the summer of 1918 he designed the Red and Blue Chair, initially with a natural wood finish, although in 1924, after joining De Stijl, he changed its finish to the colors that gave it its name. In 1919 he begins to collaborate with Truus Schröder - Schräder. In 1923 he participates in the Stiljiana architecture exhibition of L'Effort Moderne in Paris, and collaborates with Vilmos Huzar in the design for the Berlin art exhibition. In 1924, together with Schröder, he designed his best-known architectural work: the Rietveld Schröder House in Utrecht. The house has a conventional ground floor, the upper part being radical, in which the walls are sliding, so that the space can be modified. The design looks like a three-dimensional realization of a Mondrian painting. Rietveld broke with the De Stijl movement in 1928 and joined the Nieuwe Zakelijkheid. That same year he joined the International Congress of Modern Architecture (CIAM). In 1934 he designed the Zig-Zag chair and began the project for the van Gogh Museum in Amsterdam, for which he only made sketches. He begins a very socially involved period, especially with his social architecture and with the design of cheap and easy-to-make furniture (Krat series). In 1951 he designs a retrospective exhibition on the De Stijl movement in Amsterdam, Venice and New York. In 1954 his first retrospective exhibition is held at the Centraal Museum dedicated to his architecture. He is considered one of the most important architects of Holland.

Estim. 2 500 - 3 000 EUR

Lot 8 - ANDREA BRANZI (Florence, 1938-Milan, 2023) for Cassina. Pair of "Reverse" chairs, 1990s. Beech wood. Lacquered aluminum. With Cassina label. Shows wear and tear due to use and age. Measurements: 63 x 49 x 76 cm. The Reverse chair is an iconic creation designed by Andrea Branzi for Cassina of Italy. The Reverse armchairs are made with solid bent beech wood and a gray lacquered aluminum frame. With their fantastic sculptural armrests, they are an eye-catcher in any home. Andrea Branzi, architect and designer, graduated in Florence in 1967, lives and works in Milan. From 1964 to 1974 he was a partner of Archizoom Associati, protagonists of the Florentine radical movement, and one of the most respected voices of the radical architecture movement. A prominent member of the Alchimia studio, founded in 1976, from 1981 he participated in the experience of the Memphis group. In 1982, Branzi opened his own studio to dedicate himself to architecture, urban planning, interior design and industrial design. In 1983 he was one of the founders of the Domus Academy in Milan, the first international school specializing in industrial design, design management and fashion. Branzi has collaborated with several Italian architectural magazines, such as Interni, Domus, Casabella and MODO. In 1994 he received the ADI Compasso d'Oro Lifetime Achievement Award.

Estim. 2 500 - 2 800 EUR

Lot 9 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Medium "Oxford" chair. Black leather upholstery. Height adjustable and with tilt function. Produced by Fritz Hansen 2017, with label. Brown label. In good condition. Measurements: 100-114 cm (height) x 62 x 60 cm. Seat height 42-56 cm. Oxford model chair with aluminum frame and body upholstered in black leather, with medium height backrest. 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. 1 500 - 1 600 EUR

Lot 10 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. Chair model EA-108. Black frame, black hopak upholstery. Shows signs of use. Measurements: 73 x 59 x 60 cm. Seat height 46 cm. Now considered a classic of 20th century design, the Aluminum 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 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. Such an enthusiastic design was perfectly received by critics and the public alike, giving rise to a complete range of models for the Eames Aluminium Group: the Aluminium Chairs EA 101, 103 and 104 (especially suitable as dining chairs), the models EA 105, 107 and 108 (used more in meeting rooms), the Aluminium Chairs EA 115, 116 and EA 124, 125 form two seating groups and the versions EA 117, 118 and 119 are the work chairs of this product family. The seat tilt mechanism can be adjusted to the user's weight for optimum comfort. 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. 700 - 750 EUR

Lot 11 - HORST BRÜNING (Germany, 1934) for Kill International. Three-seater sofa, Germany, 1960s. Black leather upholstery. In very good original condition. Measurements: 79 x 198 x 80 cm; 42 cm (seat height). The three-seater sofa in tender presents a sober and elegant design, with simple lines, which makes it a timeless product, but at the same time captures all the spirit of the era. It is a piece of furniture that brings together design, quality of materials and functionality in a single object. Trained in Architecture and Interior Design at the Faculty of Graphic Arts in Hamburg until 1956. He also lived in Copenhagen and Stockholm, where he studied industrial design. In 1963 he opened an architecture and design office in Stuttgart. During this period, Brüning came into contact with Kill International and the architectural duo Fabricius & Kastholm, which involved a successful exchange of ideas, eventually leading to international recognition and success.

Estim. 8 000 - 8 500 EUR

Lot 12 - DE SEDE modular sofa, coffee brown leather, model DS-76. Six moduls consisting of one corner element, three regular element, two outer elements with two moveable cushions and two small pillows. Modular sofa whose individual pieces can be zipped together to create multiple variations. Each sofa element can be converted into a guest bed or daybed and back to sofa in a matter of seconds. Fully leather upholstrery and all moduls are freestanding. Belted spring suspension on seat and the frame made of solid beech. 5 assembly bracket in metal included. Switzerland. Designed in 1972. First edition. Original receipt from 1972 enclosed. Leather with traces of wear. Measurements: 72 x 96 x 98 cm. per module. Bed size 19 x 220 x 93 cm. The design is characterized by round edges that are noticeable in the shape of the coffee brown leather upholstery that underline the clear structured design. Moreover, this piece of furniture is designed to provide an ultimate level of comfort due to the thick seating cushions and the very deep and large seat. Based in Klingnau, located in northern Switzerland near the German border, the De Sede company has been producing high-end furniture since the 1960s, when it began collaborating with international designers to create premium handmade leather chairs, lounges and sofas. Over the years, De Sede's product offering has expanded to include tables, beds and other furniture. Generous proportions balanced by elegant shapes characterise De Sede furniture. High quality craftsmanship means that each piece has been built to last.

Estim. 5 000 - 5 500 EUR

Lot 13 - DE SEDE modular sofa, modul DS-15. Consisting of two corner element, five regular elements and ottoman. Upholstery in thick brown leather with contrast stitches. Modular sofa whose individual pieces can be zipped together to create multiple variations. The individual elements are fully upholstered and can also be placed separately. Switzerland. Designed in 1970s. Measurements: Corner element 68 x 80 x 80 cm. Regular element 68 x 64 x 80 cm. Ottoman 36 x 70 x 70 cm. Based in Klingnau, located in northern Switzerland near the German border, the De Sede company has been producing high-end furniture since the 1960s, when it began collaborating with international designers to create premium handmade leather chairs, lounges and sofas. Over the years, De Sede's product offering has expanded to include tables, beds and other furniture. Generous proportions balanced by elegant shapes characterise De Sede furniture. High quality craftsmanship means that each piece has been built to last.

Estim. 6 000 - 7 000 EUR

Lot 14 - PIET HEIN (1905-1996) & BRUNO MATHSSON (1907-1988) for FRITZ HANSEN. 'Superelipse' dining table with chromed steel legs, white laminated top with aluminum edge. Designed in 1968. Produced by Fritz Hansen in 1992. With stamp underneath the top. Measurements: 70 x 150 x 100 cm. The iconic Superellipse table which was created in collaboration with Bruno Mathsson and has been produced at Fritz Hansen since 1968. After Piet Hein had used the Superellipse as the solution to a traffic challenge at Sergels Torg in Stockholm, he saw countless possibilities for use. The table represents Piet Hein's ability as a furniture designer, since in addition to the table top he also designed the iconic tension legs.

Estim. 400 - 500 EUR

Lot 15 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. Three-seated sofa, model 710. Designed in 1972. Cromed steel frame, loose cushions with dark brown leather upholstery. Armrests with leather details. Canvas underclothing. Manufactured at Arnold Exclusiv, with makers labels. In good vintage condition with traces from use. Measurements: 76 x 210 x 78 cm. 40 cm. (seat height). As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 4 000 - 5 000 EUR

Lot 16 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. “Segmented table”. A large boatformed dining table with chromed steel and aluminum base, white laminated top with black vinyl edge. Produced at Vitra 2007, with label. In good vintage condition with minor retouches on top. Measurements: 72 x 300 x 130 cm. The design story of the Eames Tables goes back to the 1940s, when Charles and Ray Eames developed the first versions of what later became the table base. Suited for a variety of chairs and tables, these early designs already reflect the couple's characteristic method of thinking in systems. The bases used today for the Eames Tables were created in the 1960s in conjunction with the development of the Soft Pad Chairs. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 3 000 - 3 200 EUR

Lot 17 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. ‘Conversation Chairs’, model 710. Cromed steel frame, loose cushions with dark brown leather upholstery. Designed in 1972. Manufactured at Arnold Exclusiv, with makers labels. Minor marks from use. Measurements: 74 x 74 x 78 cm. Seat height 40 cm. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 2 000 - 2 200 EUR

Lot 18 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. ‘Conversation Chairs’, model 710. Cromed steel frame, loose cushions with dark brown leather upholstery. Designed in 1972. Manufactured at Arnold Exclusiv, with makers labels. Minor marks from use. Measurements: 74 x 74 x 78 cm. Seat height 40 cm. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 2 000 - 2 200 EUR

Lot 19 - AUSTRAL GROUP (Antoni Bonet, Juan Kurchan and Jorge Ferrari-Hardoy) for Ededis-Isist. BKF armchair ("Butterfly Chair"). Original design from 1938. Early 1990's copy published by Ededis. Metal structure painted in black epoxy and brown leather cover. Measurements: 91 x 79 x 67 cm. The BKF chair, also known as "Butterfly", is an iron and leather chair created in Buenos Aires by the Austral Group, composed by Antoni Bonet, Juan Kurchan and Jorge Ferrari. Today it is considered the main symbol of Argentine design, and one of the most celebrated internationally. It was created in 1938, and presented at the Salón de Artistas Decoradores de Buenos Aires in 1940. It was the result of the happy meeting of three young architects who met in Paris, in Le Corbusier's studio. Antonio Bonet, Juan Kurchan and Jorge Ferrari-Hardoy spent a year studying with the master, absorbing his legacy. They were particularly influenced by the book "L'Art Décoratifs d'Aujourd'hui", in which Le Corbusier demolished the idea of decorative art in favor of modern design. In his book, the architect analyzes new designs, from furniture and technical objects to mass-produced industrial products and solutions conceived in military contexts that could be transferred to the domestic environment. Upon their return to Argentina, the three young men founded Grupo Austral, a design collective prepared to investigate new horizons in architecture. The precedent for the Butterfly chair was the Tripolina: a redesign of a classic piece of military furniture. The three designers studied its potential and redesigned it, improving its features to give it a place of honor in the new domestic environment. They focused on the structure, drawing inspiration from the international tubular metal trend of the rationalist movement. The wooden frame with metal joints was replaced by two curved metal elements to create a single loop. The structure is linear, pure and continuous like a Möbius strip. It is versatile, lightweight and stackable like a chair, but also comfortable and spacious like an armchair. The level of comfort it offers is reminiscent of a hammock, the traditional Latin American chair that forms a cocoon-like womb and offers the lightness and cleanliness of a hanging canvas. Today, the Butterfly continues to be recognized as a modern classic that enjoys universal success.

Estim. 1 800 - 2 000 EUR

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

Estim. 9 000 - 11 000 EUR

Lot 21 - MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Original leather with signs of wear due to age. Measurements: 73 x 170 x 85 cm; 42 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Estim. 5 000 - 5 500 EUR

Lot 22 - PETER HVIDT (Denmark, 1916-1986) AND ORLA MØLGAARD-NIELSEN (Denmark, 1907-1993) for France & Daverkosen. Daybed with teak frame, upholstery in velour. Model FD-417. Produced by France & Daverkosen. Age-related trace of use. Measurements: 82 x 191 x 75 cm. Peter Hvidt was trained as an architect from the The Academy of Fine Arts' School of Architecture in Copenhagen in 1940. Orla Mølgaard-Nielsen had a background as a cabinetmaker and also in 1940 trained as an architect from the Academy of Fine Arts' School of Architecture. Peter Hvidt and Orla Mølgaard-Nielsen were pioneers of mid-century Danish design and in 1944 they founded the Copenhagen-based company Hvidt & Mølgaard, which they ran together until 1975 where both retired. Together they designed over 256 pieces of furniture together during their careers. The duo established a simple and precise aesthetic by designing countless pieces of furniture over the years, many of which became icons of the era. Today, their work is eexhibited at MoMA, the National Gallery of Melbourne and the Copenhagen Design Museum.

Estim. 2 000 - 2 200 EUR

Lot 23 - 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 24 - MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Original leather with signs of wear due to age. Measurements: 73 x 170 x 85 cm; 42 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Estim. 5 000 - 5 500 EUR

Lot 25 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. “Segmented table”. A large circular dining table with chromed and black lacquered steel and aluminium frame, on four-star base, solid dark stained oak top with black vinyl edge. In good vintage condition with minor retouches on top. Measurements: H. 72 cm. Diam. 170 cm. The design story of the Eames Tables goes back to the 1940s, when Charles and Ray Eames developed the first versions of what later became the table base. Suited for a variety of chairs and tables, these early designs already reflect the couple's characteristic method of thinking in systems. The bases used today for the Eames Tables were created in the 1960s in conjunction with the development of the Soft Pad Chairs. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 3 000 - 3 500 EUR

Lot 26 - 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 27 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Swan chair. Black leather. Swivel central column with square aluminum base. Produced by Fritz Hansen, 2008, with label. Leather in good considering its age and the passage of time, base with few marks. Measurements: 78 x 75 x 65 cm. 41 cm. (seat height) The Swan chair was designed in 1958 by Arne Jacobsen for the Radisson SAS Royal hotel in Copenhagen, and was edited by the Danish firm Fritz Hansen. It soon became a symbol of modern design. Among the rest of Arne Jacobsen's designs for the SAS Royal are the "Egg Chair", "Swan Chair", "Swan Sofa", "Series 3300" and "Drop Chair", furniture with which Jacobsen has written the history of Danish design around the world. Architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. Among his most outstanding architectural works are St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in the same city, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also called "Chair number 7", of which more than five million copies were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the movie "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and today we can find them in collections such as those of the Victoria & Albert Museum in London or the MoMA in New York, among many others. The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with designers and architects of international prestige. Its collection includes the Egg Chair and Swan chair, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers Piet Hein and Poul Kjaerholm.

Estim. 3 000 - 3 200 EUR

Lot 28 - 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 29 - 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 30 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. Chair model EA-108. Black frame, black hopak upholstery. Vitra editor, with label. Shows signs of use. Measurements: 73 x 59 x 60 cm. Seat height 46 cm. Now considered a classic of 20th century design, the Aluminum 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 structure of the chair itself 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. Such an enthusiastic design was perfectly received by critics and the public alike, giving rise to a complete range of models for the Eames Aluminium Group: the Aluminium Chairs EA 101, 103 and 104 (especially suitable as dining chairs), the models EA 105, 107 and 108 (used more in meeting rooms), the Aluminium Chairs EA 115, 116 and EA 124, 125 form two seating groups and the versions EA 117, 118 and 119 are the work chairs of this product family. The seat tilt mechanism can be adjusted to the user's weight for optimum comfort. 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. 700 - 750 EUR

Lot 31 - ARNE JACOBSEN (Denmark, 1902 - 1971) for Louis Poulsen. Floor lamp "AJ". Black metal. Unused. In original packaging. Measurements: 130 cm. height). Designed in 1957 by Jacobsen for the SAS Royal Hotel in Copenhagen, the table lamp "AJ" a design considered today a classic masterpiece, icon of the Scandinavian modern style of the mid-twentieth century. Few desk lamps have its appeal, based on its characteristic asymmetrical shape and swiveling diffuser, which makes it a perfect reading lamp. 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. As a designer, he created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS hotel. 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. 1 200 - 1 300 EUR

Lot 32 - POUL HENNINGSEN (Denmark, 1884-1967) for Louis Poulsen. PH 3/2 table lamp, Limited Edition. Blown white opaline glass shades. Brushed brass frame. New, brand new. Delivered unassembled in its original box. Photos of the final model. Measurements: 47.2 x 29 x 29 cm. The table lamp PH 3/2 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 contributes visibly to beautify 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. New, brand new. Delivered disassembled in its original box .

Estim. 1 700 - 1 900 EUR

Lot 33 - OLE WANSCHER (Denmark, 1903-1985) for FRANCE & SON. A pair of “Senator” armchairs. Solid teak frame. Original loose brown leather cushions. Made in France & Son, with label from here. In good vintage condition. Measurements: 79 x 68 x 74 cm. Seat height 43 cm. Considered integral to the core aesthetics and functionality of Danish design, Ole Wanscher studied alongside Kaare Klint at the Royal Danish Academy of Fine Arts. He subsequently worked at Klint's design studio before becoming an independent furniture designer. In 1958, the Danish newspaper Politiken wrote: “Owning a Wanscher chair is an adventure every day, and it will continue to be so, even if hundreds of years pass, for this is how long it lasts.” Today, his modern classics are still revered. for its details and deep respect for materials. While traveling through Egypt and Europe, Wanscher studied furniture design, finding inspiration in various visual expressions that he incorporated into his own unique design aesthetic. He saw furniture design as a branch of architecture and emphasized slender dimensions and sturdy forms, a pursuit exemplified in many of his works, particularly the Colonial Chair and the Colonial Sofa. Wanscher created his best-known designs primarily between the late 1940s and early 1960s, in the post-war era, when the philosophy of "design for all" emerged. In Denmark, some of the biggest names in design created functional and affordable furniture for Danes and the small spaces in which they lived. Wanscher was very interested in industrially produced but high-quality furniture, designing several successful pieces. Wanscher's design earned him numerous accolades, including the Annual Prize of the Copenhagen Carpenters' Guild and the gold medal at the Milan Triennale in 1960, honors that underlined Wanscher's esteemed reputation both in Denmark and internationally. France & Søn - and its predecessor, France & Daverkosen - are among the most sought-after names on the vintage market today. Many of the pieces that still circulate retain their original labels. Its productions were designed by the most important Danish designers of the mid-century, such as Hvidt & Mølgaard, Grete Jalk, Finn Juhl, Arne Vodder and Ole Wanscher.

Estim. 1 800 - 2 000 EUR

Lot 34 - CHRISTIAN HECKSCHER (Belgium, 1951). Dining table, 1980s. Unique piece. Brass. Presents marks of use typical of the passage of time. Measurements: 266 x 111 cm. Table entirely made of brass, without moldings or ornaments, raised on two rectangular structures in the same material, creating an open base that prints rotundity to the design. The designer extracts poetry from the simple object, having learned from the modern movement the combination of rigor and originality. In Brussels, Christian Heckscher worked as an apprentice during the day at the prestigious advertising firm J. Walter Thompson, while at night he trained in a metal sculptor's studio where he developed the concept of creating engraved metal furniture. Since then he has not stopped designing and producing intricate engravings on metal surfaces. Throughout his career as a designer he has received commissions from high-profile clients in Europe, North America and Asia. In 1980 he moved his workshop from Brussels to the United States, where he became internationally recognized as a truly exceptional craftsman. The artist himself states "What I enjoy in creating furniture is to design and produce an object that is functional and radiates feelings and emotions, an entity that one wants to connect with, live with and appreciate."

Estim. 22 000 - 25 000 EUR

Lot 35 - 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 36 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. A pair of ‘Conversation Chairs’, model 710. Cromed steel frame, loose cushions with dark brown leather upholstery. Designed in 1972. Manufactured at Arnold Exclusiv, with makers labels. Minor marks from use. Measurements: 74 x 74 x 78 cm. Seat height 40 cm. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 4 000 - 4 500 EUR

Lot 37 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for Vitra. Stool "Time Life", model B. Solid walnut. Designed in 1960 for Rockefeller Centre, New York. Manufactured by Vitra. Certificate included. Exhibition model. Measurements: H. 38 cm. Diam. 32,5 cm. Time Life stool model designed by the Eames couple, whose suggestive turned shaft structure has given them alternative names such as "chess pieces". They allow versatile use as a seat or side table. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He would eventually teach there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Award, given by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they would remain for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House," now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fiberglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 1 000 - 1 200 EUR

Lot 38 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for ARNOLD EXCLUSIV. Two-seated sofa, model 710. Cromed steel frame, loose cushions with dark brown leather upholstery. Armrests with leather details. Canvas underclothing. Designed in 1972. Manufactured at Arnold Exclusiv, with makers labels. In good vintage condition with traces from use. Measurements: 76 x 141 x 78 cm. 40 cm. (seat height) As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 3 500 - 4 000 EUR

Lot 39 - 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 40 - POUL KJÆRHOLM (Denmark, 1929 - 1980) for FRITZ HANSEN. PK-22 lounge chair, designed 1955. Steel frame. Upholstered in black leather. Made at Fritz Hansen in 1991, with label from here. Shows minor signs of wear and patina due to age. Measurements: 72 x 63 x 62 cm. Seat height 33 cm. The PK22 series of chairs are excellent examples of Poul Kjaerholm's ability to work with exquisite, minimalist materials. In the search for the ideal form they were created in a combination of elegant luxury and comfort. Poul Kjærholm was a Danish designer trained at the Danish School of Arts and Crafts in Copenhagen, where he entered in 1952 after having started his apprenticeship with the cabinetmaker Gronbech in 1948. From the mid-1950s he worked for his friend EjvindKoldChristiansen, a businessman who always gave him total creative freedom. His earliest creations, such as his plywood furniture series PKO, already reveal his strong personality. 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. His designs are now held in leading design collections, including those of the Victoria & Albert Museum in London and the MOMA in New York.

Estim. 2 200 - 2 400 EUR

Lot 41 - 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 42 - 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 43 - 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

Lot 44 - PETER HVIDT (Denmark, 1916-1986) AND ORLA MOLGAARD-NIELSEN (Denmark, 1907-1993) for France & Daverkosen. Coffee table model FD 515, design 1956. Solid teak wood with circular top. Includes wicker newspaper rack with brass hardware. Made by France & Daverkosen, labeled here. Slight marks of use. Measurements: 50 x 99 x 99 cm. Coffee table designed in 1956 by Danish designer couple Peter Hvidt and Orla Mølgaard-Nielsen, in solid wood, with circular top housing a wicker newspaper rack. Peter Hvidt (1916-1986) and Orla Mølgaard-Nielsen (1907-1993) were pioneers of mid-century Danish design and founders of the Copenhagen-based firm Hvidt & Mølgaard. The duo established a simple and precise aesthetic by designing countless pieces of furniture over the years, many of which became icons of the era. Today, their work is exhibited at MoMA, the National Gallery of Melbourne and the Copenhagen Design Museum. Naharro mobiliario distributes the pieces manufactured by different brands of furniture designed by Hvidt & Mølgaard in its stores in Madrid and online store, with delivery and assembly service throughout Spain. Ask us for any additional information.

Estim. 1 800 - 2 000 EUR

Lot 45 - DONALD CHADWICK (1936) & WILLIAM STUMP (1936-2006) for HERMANN MILLER. Aeron multi-adjustable office chair, 1992 design. Latest generation with leather upholstered armrests. Made of polished aluminum and recycled plastic. Made from 66% recycled material, 94% of the chair is recyclable. With Herman Miller label. Unused. In original packaging. Packaging dimensions: 107 x 69 x 69 cm. Size. B. The Aeron chair, designed by William Stump and Donald Chadwick, brings together material innovation and ergonomics in a thoroughly thought out and studied manner. It was especially known for changing people's perception of what an office chair could be, and in doing so soon found a place in popular culture. It is, consequently, a piece of furniture that seeks positivity for health, cross-performance, inclusive size and sensitivity to the environment. The result is a comfortable chair without the standard use of foam, fabric or leather. As editor Hermann Miller herself states, "While its iconic form has remained largely unchanged, the Aeron chair has been remastered from the pitchers to meet the needs of today's work. With the help of the original co-designer, Don Chadwick, the chair has been carefully updated based on the latest research around the science of ergonomics and advances in materials, manufacturing and technology." William Stump (William Eugene "Bill" Stumpf, 1936-2006) and Donald Chadwick (also known as Don Chadwick, born 1936) teamed up to create one of Herman Miller's best-known designs. In designing the Aeron chair, Chadwick and Stumpf took on a major challenge, making an office chair that truly supports the human form, and resulted in a chair without a single straight line.

Estim. 2 000 - 2 200 EUR

Lot 46 - POUL HENNINGSEN (Denmark, 1894 - 1967) for Louis Poulsen. Ceiling lamp PH 3/3. Limited edition. Blown white opaline glass and brushed brass lampshades, Brushed brass canopy. 4 meters of white fabric cord. In perfect condition. Delivered unassembled, in its original box. Photos of the final model. Measurements: 28,7 x 28,7 x 30 cm. Ceiling lamp model PH 3/3, composed of several circular pieces in opal glass, which nest into each other to form a diffuser of light and aerodynamic design. It was designed by Poul Henningsen for Louis Poulsen. 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. In perfect condition. Delivered unassembled, in its original box.

Estim. 1 500 - 1 700 EUR

Lot 47 - 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 48 - 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 49 - 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 50 - 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 51 - 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 52 - EILEEN GRAY (Enniscorthy, Ireland, 1878-Paris, 1976) for CLASSICON. Pair of height-adjustable side tables, model E 1027. Design 1927. Chrome-plated tubular steel frame. Transparent glass top. Made at ClassiCon. With identification numbers. Stock photo. Tables are unused in original packaging. Its distinctive and ingeniously proportioned form has made this height-adjustable table one of the most popular design icons of the 20th century. It is named after the E 1027 "Maison en bord de mer" summer house that Eileen Gray built for herself and her collaborator, Jean Badovici. The secret code name also comes from her: E is for Eileen, 10 for Jean (J is the tenth letter of the alphabet), 2 for B (Badovici) and 7 for G (Bray). Eileen Gray studied at the Slade School of Fine Art in London from 1898 to 1902, while learning the art of lacquering in the furniture workshop of D. Charles in Dean Street. He visited Paris for the first time in 1900 and between 1902 and 1905 attended classes at the École Colarossi and the Académie Julian. In 1907 he settled in Paris, in an apartment on Rue Bonaparte, which would be his home until his death in 1976. During his stay in France he learned Japanese lacquer techniques from the craftsman Seizo Sougarawa. Around 1910 he began designing lacquered screens and panels with figurative motifs and in 1913 he exhibited his work at the Salon des Artistes Décorateurs, where his designs attracted the attention of the couturier and art collector Jacques Doucet. She became his main client and completed several commissions for him, such as the four-panel screen Le Destin (1914) and the Lotus table (1915), before her work was interrupted by World War I. In 1915 Eileen Gray moved to London with the craftsman Sougarawa, where she lived for two years. In 1917 she returned to Paris and two years later received her first major commission, an apartment for Mme Mathieu Lévy in Rue Lota, for which she designed her famous lacquered block screens. In 1922, after having carried out several commissions for important clients in Art Deco style, Eileen Gray opened her store, the Galerie Jean Désert. That same year she exhibited her work in Amsterdam with the architect De Stijl Jan Wils. The Dutch avant-garde received with admiration her design for a "bedroom dresser for Monte Carlo" originally exhibited at the 1923 Salon de Artistes Décorateurs. This admiration was reciprocated when Gray attended an exhibition of Dutch design in Paris that same year. Her work from this event reflected a clear geometric influence of De Stijl. In 1924 Eileen Gray and architect Jean Badovici took a trip to see modern architecture and he convinced her to take up architecture. This became the Irish designer's most brilliant period. In 1926 Gray designed one of the most important houses of the Modern Movement, the E 1027 for which she created some of her timeless designs such as the Transat Chair (1925) or her famous E 1027 table (1927) of tubular steel and glass. In 1929 he created one of his most recognized designs in the Bibendum armchair whose silhouette was based on the Michelin doll. Between 1930 and 1931 he designed the interior plans for Badovici's own apartment on Rue Chateaubriand, and then another house for his own use, the Tempe a Pailla in Castella, which he completed in 1934. The last project was an exhibition held at the Pavillon des Temps Nouveaux designed by Le Corbusier in 1937 and the presentation of a project for the Centre de Vacances that was never realized. From then on Eileen Gray faded into the background until the 1970s, where her designs acquired a remarkable fame until today.

Estim. 1 800 - 2 000 EUR

Lot 53 - CHARLES EAMES (USA, 1907 – 1978) AND RAY EAMES (USA, 1912 – 1988) for VITRA. A high-back office armchair, model EA-119. Height adjustable and with tilt function. Original black leather upholstery, backside with black hopsak, armrests and five-star base in clome-plated aluminium, with castors. Designed in 1958. Slight traces of wear. Measurements: 102/115 x 58 x 58 cm; 43/56 cm. (seat height). Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He would eventually teach there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Award, given by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they would remain for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House," now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fiberglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 2 400 - 2 600 EUR

Lot 54 - POUL KJÆRHOLM (Denmark, 1929 - 1980) for FRITZ HANSEN. Coffee table, model PK-61. Glass top, steel frame. Manufactured by Fritz Hansen. With stamp in steel frame. Small signs of use, glass with minor scratches at the surface. Measurements: 33 x 80 x 80 cm. The PK61 coffee table is almost as elementary and minimalist as the style of Poul Kjærholm, its intellectual creator. Despite the extreme distillation of the structure into a set of identical elements, the square and aesthetic design shows Kjærholm's development from industrial designer to furniture architect. Poul Kjærholm was a Danish designer trained at the Danish School of Arts and Crafts in Copenhagen, where he entered in 1952 after beginning his apprenticeship with cabinetmaker Gronbech in 1948. Since the mid-fifties he worked for his friend EjvindKoldChristiansen, a businessman who always gave him total creative freedom. In his earliest creations, such as his PKO plywood furniture series, his strong personality is already evident. In 1958 he attracted international attention with his contribution to the "Formes Scandinaves" exhibition in Paris, and in the same year he won the Lunning Prize for his PK 22 chair. In 1957 and 1960 he was awarded the Grand Prix at the Milan Triennale, and in 1959 he was admitted to the Royal Danish Academy of Fine Arts. In 1973 he was appointed director of the Danish Design Institute, where he taught from 1976. Today his designs are held in leading design collections, including those of the Victoria & ALbert Museum in London and the MOMA in New York.

Estim. 2 500 - 2 800 EUR

Lot 55 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for KNOLL. ‘Conversation Chairs’, model 710. Designed in 1972. Dark cromed steel frame, loose cushions with black leather upholstery. Armrests with leather details. Underclothing with logo. Manufactured at Walter Knoll, with makers labels. Measurements: 78 x 72 x 78 cm. Seat height 42 cm. Minor marks from use. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 2 000 - 2 200 EUR

Lot 56 - ILLUM WIKKELSO (Denmark, 1919 - 1999) for RYESBERG FURNITURE. 3-seater sofa. Upholstery in brown patinated leather. Manufactured by Ryesberg Furniture. Shows signs of use and age. Measurements: 74 x 240 x 82 cm. Seat height 43 cm. Spacious three-seater armchair designed by Illum Wikkelsø and manufactured by Ryesberg Furniture, characterized by a structure reduced to its essence entirely upholstered in brown patinated leather. It stands on tubular legs with a circular base that add lightness to the structure. Illum Wikkelsø was one of the most renowned Danish designers, despite being one of the least known. It is known that he graduated from the School of Arts and Crafts in Copenhagen, and that he worked for Jacob Kjaer and for the architectural firm of Peter Hvidt and Orla Molgaard-Nielso, where he left his mark on Danish furniture design, which came to spread around the world.

Estim. 2 200 - 2 500 EUR

Lot 57 - BOREK SIPEK (Prague, Czech Republic, 1949-2016) for DRIADE. Cheesemaker. Glass. With its box. Measurements: 25 x 35 x 35 cm. Qusera designed by Borek Sipek, consisting of a bell in transparent glass decorated with handles in the form of glass rings in different colors. Sipek has become one of the key figures in postmodernist design craftsmanship, not only for the success his creations achieved, but also for the role he played in safeguarding the Czech glass industry. Borek Sipek was trained in interior design at the School of Arts and Crafts in Prague. He completed his studies in Architecture at the University of Applied Arts in Hamburg and Philosophy at the Technical University of Stuttgart, and later established his design workshop in Amsterdam in 1983. In the 1980s he began collaborating with Driade, for whom he designed furniture and objects characterized by their tremendous originality, a collaboration that was decisive for the success of his career. At Driade he became one of the brand's main collaborators alongside Philippe Starck, Oscar Tusquets and Antonia Astori. He was later one of the initiators of the construction of the Ajeto glass factory to support the traditions of Bohemian glassblowing, where the best craftsmen were dedicated to the creation of high-end pieces. He firmly entered Milan's design circles, where he was invited to collaborate with Alessi, Cleto Murani, Sawaya & Moroni, Wittmann and the Swiss brand Vitra. In the late 1980s, he traveled to Asia, where he became acquainted with the Japanese polychrome lacquer technique: he created an atypical Urushi Arai collection, where his usual techniques for glass were rendered in wood. Throughout his career he has received numerous awards, including the honorable mention in the German Architecture Prize (1983), the Dutch Kho Liang Le Dutch Kho Liang Design Award (1989), La Croix Chevalier dans l'ordre des Arts et Lettres by the French government (1991), the Prince Bernhard Fonds Award for Architecture and Applied Arts of the Netherlands (1993) and the Talent De L'Originalite" - Le Sommet du Luxe et de la Creation award, among others. Between 1990 and 2003 he held the title of court architect of Prague Castle appointed by Václav Havel, president of the former Czechoslovakia, later the Czech Republic.

Estim. 650 - 800 EUR

Lot 58 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Set of six "Syveren" chairs, model 3207, design 1955. With moulded plywood shell, chrome-plated tubular steel frame. Re-upholstered in black aniline leather on the shell and armrests. Looks professionally reupholstered. Measurements: 76/44.5 cm (height). The aniline leather is made from raw hides. The leather has a completely natural bare surface, where all natural markings are visible. This helps to bring out the character of the leather. The leather is full grain, which means that the natural surface structure is preserved. The aniline leather changes over time with use and exposure to light and quickly acquires a natural patina. The Syveren 3107 chair, designed in 1955 by Arne Jacobsen and belonging to Series 7, is by far the best-selling chair in the history of the Fritz Hansen company, and perhaps also in the history of furniture. The moulded seat is an evolution of the Ant Chair, an earlier design by the same creator, and its laminated structure represents the culmination of this construction technique. In fact, the visionary Jacobsen exploited the possibilities of laminate to the full to achieve the perfection of an iconic form. An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others. The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the EggChair and Swan armchairs, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers PietHein and Poul Kjaerholm.

Estim. 5 000 - 5 500 EUR

Lot 59 - 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 60 - 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 61 - 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 62 - 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 63 - 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 64 - POUL KJÆRHOLM (Denmark, 1929 - 1980) for FRITZ HANSEN. PK-22 lounge chair, designed 1955. Steel frame. Upholstered in black leather. Made at Fritz Hansen in 1991, with label from here. Shows minor signs of wear and patina due to age. Measurements: 72 x 63 x 62 cm. Seat height 33 cm. The PK22 series of chairs are excellent examples of Poul Kjaerholm's ability to work with exquisite, minimalist materials. In the search for the ideal form they were created in a combination of elegant luxury and comfort. Poul Kjærholm was a Danish designer trained at the Danish School of Arts and Crafts in Copenhagen, where he entered in 1952 after having started his apprenticeship with the cabinetmaker Gronbech in 1948. From the mid-1950s he worked for his friend EjvindKoldChristiansen, a businessman who always gave him total creative freedom. His earliest creations, such as his plywood furniture series PKO, already reveal his strong personality. 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. His designs are now held in leading design collections, including those of the Victoria & Albert Museum in London and the MOMA in New York.

Estim. 2 200 - 2 400 EUR

Lot 65 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for KNOLL. ‘Conversation Chairs’, model 710. Designed in 1972. Dark cromed steel frame, loose cushions with black leather upholstery. Armrests with leather details. Underclothing with logo. Manufactured at Walter Knoll, with makers labels. Measurements: 78 x 72 x 78 cm. Seat height 42 cm. Minor marks from use. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 2 000 - 2 200 EUR

Lot 66 - DE SEDE. A set at eight dining chairs, model DS-203. Legs, armrests, back and seat covered with black leather. Stamped De Sede in leather and underclothing with logo. Minor marks of use. Measurements: 80 x 66 x 60 cm. Seat height 47 cm. Based in Klingnau, located in northern Switzerland near the German border, the De Sede company has been producing high-end furniture since the 1960s, when it began collaborating with international designers to create premium handmade leather chairs, lounges and sofas. Over the years, De Sede's product offering has expanded to include tables, beds and other furniture. Generous proportions balanced by elegant shapes characterise De Sede furniture. High quality craftsmanship means that each piece has been built to last.

Estim. 4 000 - 4 500 EUR

Lot 67 - GIANCARLO FASSINA (Milan, 1935-2019) & MICHELE DE LUCCHI (Ferrara, 1951) for ARTEMIDE. A set of 3 Tolomeo table lamps, size mini. Aluminum. All in original packaging. Unused. With Artemide label. Measurements: Height 54 cm. Maximum height 108 cm. Each of the table lamps has a hinged shaft to adjust the height of the spotlight. The Tolomeo lamp meant success for the tandem of designers Fassina and Lucchi. De Lucchi graduated as an architect in Florence in 1975. He has designed lamps and other objects for major Italian and European brands and has designed and restructured buildings for important companies such as Deutsche Bank, Novartis and Poste Italiane. Fassina, on the other hand, trained in architecture in Milan, his hometown. Throughout his career as a designer, he has focused his attention on lamps and furniture.

Estim. 800 - 1 000 EUR

Lot 68 - UMBERTO ASNAGO (b. Italy, 1949) for GIORGETTI. Two-seater sofa in black leather, armrests in polished pau ferro, black painted legs, model Progetti. Measurements: 83 x 135 x 71 cm. Seat height 46 cm. The arms are in polished pau ferro, a precious wood with a reddish colour, whose idea comes from an elegant handle of an antique stick. Umberto Asnago attended the Istituto d’Arte in Cantù. After learning how to work with solid wood by experiencing it in local carpentries, he started working with Giorgetti in 1968 and he soon became head of the Giorgetti Design Research Centre. In the 1970s, the company began an intense process of industrialisation and innovation that led to the expansion of its domestic and foreign markets. In 1987, the Giorgetti Design Research Centre signed the Progetti collection, a series of sofas and armchairs characterised by a unique wooden armrest, propelling the company into the ranks of Made-in-Italy ambassadors throughout the world and which greatly contributes the Giorgetti brand. Asiago left Giorgetti in 2006 to pursue a career as a designer. He worked with many famous companies such as Penta Light, Arflex, Busnelli, Medea and Porada by realizing pieces all carrying his hallmark. In 2011 he returned in Giorgetti and designed a new collection and In 2017, Asnago created the limited Pure Armchair edition to celebrate the Progetti collection's thirtieth anniversary. In 2019 he started a new collaboration with Frigerio for a full intriguing range of furnishing elements featuring a capable use of solid wood and hide leather covers.

Estim. 2 000 - 2 200 EUR

Lot 69 - HARVEY PROBBER (Brooklyn, New York, 1922-Greenwich, Connecticut, 2003). Coffee or game table. Walnut top with a terrazzo insert and ebonized wood base. Brass feet. Good condition. Measurements: 62 x 127 x 127 cm. The bidding table is raised on four ebonized wood legs supported by brass feet. They are joined two by two by means of crossed crossbeams. The walnut tabletop gives way in its center to a removable terrazzo circumference. Considered the father of "modular seating" (he is credited with its invention in the 1940s), Harvey Probber was part of the generation that gave rise to American modernism with creators such as Herman Miller, Hans Knoll, Georg Tanier and Jack Lenor Larsen. He founded Harvey Probber, Inc. in 1945 and, by the mid-20th century, Harvey Probber had become one of America's leading designers. His idiom favored the use of exotic woods, highly polished lacquers, hand-rubbed finishes and opulent upholstery, materials largely abandoned by more radical Bauhaus-influenced designers. Probber's work has received two "Best of Neocon" gold awards from the Resource Council of the Institute of Business Designers for the Houston Chair (1977) and the Advent III Customization Program (1981). He never abandoned his interest in seating modules and continued to explore variations of the concept.

Estim. 2 500 - 2 700 EUR

Lot 70 - Floor lamp from the 70s. Glass and brass. The lamp is delivered without lampshade. Measurements: 95 x 20 x 20 cm. The indicated diameter corresponds to the base. Golden brass base from which emerge rough overlapping cylindrical glass structures. It is a simple but elegant design of clean and balanced lines.

Estim. 1 200 - 1 300 EUR

Lot 71 - Following models of ICO PARISI (1916, Palermo-1996, Como, Lombardy). Set of 6 dining chairs. Italy, 1960s. Rosewood. Measurements: 89 x 45 x 47 cm. The Italian design is evident in the visual slenderness of the set: the rounded legs, narrower towards the foot, visually lighten the structure, while the formal refinement of the openwork backrest imprints the characteristic European stamp. A subtle but marked curve defines the backrest at the top. The architect-designer Domenico "Ico" Parisi trained in the construction industry in Como between 1931 and 1935, and in 1936 he began working in the office of the rationalist architect Giuseppe Terragni in Como, which marked the beginning of his professional career, which was also briefly linked to the world of cinema in the late 1930s. Returning to his initial vocation, design, Parisi was one of the founding members of two architectural groups: Alta Quota and Gruppo Como. In 1947 he married fellow designer Luisa Aiani, a former student of Gio Ponti, also a member of Alta Quota, and the two founded their studio La Ruota in Como in April 1948. Between 1949 and 1952, Parisi studied architecture with Alberto Sartoris at the Athenaeum Institute in Lausanne (Switzerland). In 1952 he became a member of the Milan Art Club, and in 1956 of the Association of Industrial Design (ADI). Parisi designed many interiors, furniture (mainly wood and metal), glass, jewelry and architectural projects, both alone and with Luisa. His studio was a meeting point for collaborations between established artists and emerging designers. His clients included: Singer & Sons, Altamira , M.I.M. , Longhi , and Cassina. Ico, in collaboration with architects Silvio Longhi and Luigi Antonietti, designed the Living Room pavilion for the 10th Milan Triennale. The couple's collaboration with Cassina was very fruitful, resulting in many famous designs, such as the Model 691 (1955) and Model 839 chairs, both nominated for the Compasso d'Oro in 1955.

Estim. 2 800 - 3 000 EUR

Lot 72 - PIERLUIGI CERRI (Orta San Giulio, 1939) for Poltrona Frau. Three-seater sofa "Ouverture", early 1980s. Steel structure and white leather upholstery. Measurements: 80 x 260 x 85 cm; 45 cm (seat height). The Ouverture sofa is one of Pierluigi Cerri's most popular designs for Poltrona Frau. It is distinguished by its T-shaped beam without welds, which is joined together by aluminum profiles in a sophisticated interlocking game. A visual interplay of circular holes gives the piece of furniture its personality. Poltrona Frau, the editor, says "Ouverture is an exemplary prototype of that markedly technological taste destined to revolutionize furnishings, with industrial and metropolitan reminiscences". An indefatigable creator, Pierluigi Cerri studied architecture at the Politecnico di Milano. In 1974 he was a founding partner of Gregotti Associati. Member of the Alliance Graphique Internationale, in 1976 he is also the Image Director of the Venice Biennale. He was director of the magazines Casabella and Rassegna. He has designed installations in the most important international museums (IDZ in Berlin, Palazzo della Promotrice delle Belle Arti in Turin, Centre Georges Pompidou in Paris, Palazzo a Vela in Turin, Design Zentrum in Stuttgart and Berlin, Sogetsu Kaikan in Tokyo, Lingotto in Turin, Museo de Arte Contemporaneo in Madrid, Accademia di Brera in Milan, Science Museum in London, Forte del Belvedere in Florence, Kunst-und Austellungshalle in Bonn, Palazzo Grassi in Venice, Palazzo Reale in Milan, Nationalgalerie in Berlin, Moderna Museet in Stockholm, Musée d'Art Moderne in Paris and the Triennale in Milan). He has worked with image design for brands such as Prada, Ferrari Auto, Lingotto, Pitti Immagine, Unifor, iGuzzini and Fratelli Guzzini, Palazzo Grassi, Pirelli and Saras. He has designed objects for Unifor, B&B Italia, Poltrona Frau, Fontana Arte, Arflex, Molteni & C. and Fusital, and has designed sets for RAI3 and Rai 2. In 1998, Pierluigi Cerri and Alessandro Colombo set up the Cerri & Associati studio.

Estim. 3 500 - 3 800 EUR

Lot 73 - ACHILLE CASTIGLIONI (Milan, 1918 - 2002) Set of 2 wall lamps "Padina". Italy, 1960s. Fused glass. Note: The lamp must be installed by a professional according to local requirements. Measurements: 16 x 30 x 30 cm. Pair of wall lamps in circular format characterized by their frame in opalescent glass. Castiglioni studied architecture at the Politecnico di Milano and graduated in 1937. In that year he began architectural design practices with his brother Livio and Luigi Caccia Dominioni. After World War II, he and Livio worked with his younger brother Achille, who had graduated in architecture in 1944. Much of their work focused on product and exhibition design, but they also undertook a number of architectural projects, including the 1952-1953 reconstruction of the Palazzo della Permanente.

Estim. 2 200 - 2 500 EUR

Lot 74 - Bench. ca. 1960. Beech wood. Iron base. Measurements: 39 x 250 x 34 cm. Large bench. Designed and manufactured around 1960. It consists of thick varnished solid wood slats, forming the seat. On a black lacquered iron structure. Attached are two thin wooden trays that fit into the sliding surface. This type of bench was very popular during the fifties, sixties and seventies and designs were projected with all kinds of materials by great designers such as Charlotte Perriand, Alain Richard or Georges Nelson.

Estim. 2 000 - 2 500 EUR

Lot 75 - PEP BONET BERTRAN (Barcelona, 1941) for BD Editions Tuman armchair, 1968. In chromed steel and black leather. Measurements: 76 x 60 x 90 cm. The Tuman armchair was designed by Pep Bonet for Levesta and for Bd Ediciones, of which he was founder. In this armchair Bonet is close to the rationalist trend advocated by the Bauhaus and applied by GATEPAC. Thus, his design refers to classic, functional and essential formulations without renouncing formal beauty, combined with an intelligent use of new materials. He started from the need to create a piece of furniture suitable for the spaces he was building, a modern, formally original, comfortable and relatively inexpensive seat. The formal reference for this design is the Tucuman bird, and despite its sinuousness it gives the impression that its structure is composed of a single piece. The large cushion that forms the seat is supported by steel leaf springs, which originally accounted for thirty percent of the production cost, and which give the chair great elasticity and comfort. The original model is upholstered in skai, a symbol of modernity in the sixties and seventies, and in fact the Tuman armchair won Bonet the 1974 design prize in the competition for furniture upholstered in this material at the Spanish Furniture Fair in Valencia. Pep Bonet is a Catalan architect and designer trained at the Escuela Técnica Superior de Arquitectura, a member of Studio PER along with Cristian Cirici, Lluís Clotet and Óscar Tusquets, and a founding partner of BD Ediciones de Diseño. He has received awards such as the FAD Interior Architecture Award and the Delta ADI-FAD, among others.

Estim. 1 200 - 1 500 EUR

Lot 76 - BOREK SIPEK (Prague, Czech Republic, 1949-2016) for DRIADE. Fountain or tray "Bernard", 1990. Delft porcelain glazed in blue and white. Made by Koninklijke Porceleyne Fles, Delft for Driade, Caorso. With porcelain stamp. With its box. Measurements: 10 x 53 x 34,5 cm. Tray model Bernard designed by Borek Sipek. His style is recognizable in the organicist solutions that he prints to the molded and mixtilinear eaves. Sipek has become one of the key figures of postmodernist design craftsmanship, not only for the success achieved by his creations, but also for the role he played in safeguarding the Czech glass industry. His unique and unparalleled language abandons the label of "neo-baroque", crossing national borders and becoming a benchmark in the international market. In its apparent random mix of styles from different eras and materials hides a study based on calculation and technical innovation. In this way, organic shapes combine with sharp corners and edges, while the multiplicity of materials used (metal, leather, porcelain, blown glass, etc.) give his creations a unique and totally transgressive character. Decorated Borek Sipek trained in interior design at the School of Arts and Crafts in Prague. He completed his studies in Architecture at the University of Applied Arts in Hamburg and Philosophy at the Technical University of Stuttgart, later establishing his design studio in Amsterdam in 1983. In the 1980s he began collaborating with Driade, for whom he designed furniture and objects characterized by their tremendous originality, a collaboration that was decisive for the success of his career. At Driade he became one of the brand's main collaborators alongside Philippe Starck, Oscar Tusquets and Antonia Astori. He was later one of the initiators of the construction of the Ajeto glass factory to support the traditions of Bohemian glassblowing, where the best craftsmen were dedicated to the creation of high-end pieces. He firmly entered Milan's design circles, where he was invited to collaborate with Alessi, Cleto Murani, Sawaya & Moroni, Wittmann and the Swiss brand Vitra. In the late 1980s, he traveled to Asia, where he became acquainted with the Japanese polychrome lacquer technique: he created an atypical Urushi Arai collection, where his usual techniques for glass were rendered in wood. Throughout his career he has received numerous awards, including the honorable mention in the German Architecture Prize (1983), the Dutch Kho Liang Le Dutch Kho Liang Design Award (1989), La Croix Chevalier dans l'ordre des Arts et Lettres by the French government (1991), the Prince Bernhard Fonds Award for Architecture and Applied Arts of the Netherlands (1993) and the Talent De L'Originalite" - Le Sommet du Luxe et de la Creation award, among others. Between 1990 and 2003 he held the title of court architect of Prague Castle appointed by Václav Havel, president of the former Czechoslovakia, later the Czech Republic.

Estim. 300 - 400 EUR

Lot 77 - NANIMARQUINA. Rug. Wool. Signed. Needs cleaning. Measurements: 237 x 170 cm. The Catalan firm Nanimarquina has become a partner for architects, designers and hotel chains, offering experience in the creation of rugs with the essence of many cultures of the world, made entirely by hand by professional craftsmen. Nanimarquina defends a line of standard designs that can be customized in size and color, offering a solid program of personalized design that gives rise to original, creative and different pieces that give life and create a home. Among the materials with which the company works, the following stand out: wool, cotton, jute and coco.

Estim. 400 - 500 EUR

Lot 78 - FLORENCE KNOLL (Saginaw, United States, 1917 - Coral Gables, 2019). Side table, ca. 1960's. In marbled marble. Steel legs. Rust stains. Measurements: 58 x 105 x 41 cm. Table of refined and elegant design, based on clean lines and essentialist concept. The white marble top, marbled in rich grey shades, rests on a minimal steel support. Florence Knoll was an architect and furniture designer who studied with Mies van der Rohe and Eliel Saarinen. She created the new model for the modern office in postwar America. The company she created with her husband, Knoll Associates, became a leader in innovative interior design and modern furniture in the 1950s and 1960s, becoming one of the most important publishers of Scandinavian design.

Estim. 1 800 - 2 000 EUR

Lot 79 - ALESSANDRO MENDINI (Milan, 1931-2019) for Alessi. Bombonera "La Tavola di Babele", "Peyrano" Collection. 1990. Stainless steel. In original box. Measurements: 12 x 28 x 18 cm. Alessandro Mendini is one of the main personalities of the Italian Radical design movement, as well as an important planner, designer and critic of the Italian panorama. Trained at the Polytechnic of Madrid in 1959, his activity was not limited only to architecture, but also excelled in the field of design. His theoretical work was also very important, both with the famous Studio Alchimia and with his brother Francesco, also an architect, with whom he founded the Atelier Mendini (1989). He was director of Casabella (1970-1976) and Domus (1980-1985 and 2010-2011), and founder of the magazines Modo (1977) and Ollo (1988). Mendini collaborated with renowned international brands such as Alessi, Bisazza, Cartier, Hermès, Philips, Swatch and Venini, for which he designed collections of household items, objects and furniture. Also worth mentioning are the Anna G. corkscrew for Alessi (1994) and, in the new century, the luxurious column for Cartier (2002), the Magis Proust armchair for Magis (2011) and the Amuleto lamp (2013) for Ramun. At the architectural level, his creations include the Alessi factory in Omegna, the Byblos Art Hotel-Villa Amistà in Verona and the multifunctional complex (including the municipal theater) in Arezzo, among other buildings. Outside Italy, the Paradiso Tower in Hiroshima (Japan), a neighborhood in Lugano (Switzerland), the Madsack headquarters in Hannover and a commercial building in Lörrach (Germany), as well as numerous buildings in Europe, the United States and Asia. His numerous awards include two Compasso d'Oro design awards (1979 and 1981). He also received the New York Architectural League Award, the honorary degree from the Milan Polytechnic and the Ecole Normale Supérieure de Cachan (France), and the 2015 European Architecture Prize.

Estim. 600 - 800 EUR

Lot 80 - YOSHITOMO NARA (Japan, 1959) for Cereal, BOZART. Ashtray "Too Young To Die", 2002. Ceramic. Sealed at the base. Numbered 10060. In original box. In good condition. Measurements: 24.5 cm (diameter). Yoshitomo has become a cult artist, and his works are sought after by the most prestigious galleries. The secret of his popularity seems to lie in the fact that he amalgamates coldness and tenderness, violence and innocence, perversity and naïff aesthetics. He drinks from multiple languages: graffiti, anime, punk art, comics... He currently lives in Tokyo and has exhibited in many parts of the world. He graduated in Fine Arts at the University of Aichi in 1985, obtaining a master's degree at the same university after two years. Between 1988 and 1993 he studied at the Kunstakademie in Düsseldorf. Nara emerged from the Japanese pop art movement of the 1990s. His works are at the same time bellicose and simple. In them he even depicts children or animals with weapons and an inquisitive gaze, but for Nara his creations are not aggressive at all. Nara was educated after World War II and is the spokesman for a generation that takes refuge behind naïve or kawaii aesthetics to demonstrate its disagreement with traditional Japanese society. In good condition.

Estim. 3 500 - 3 800 EUR

Lot 81 - Chair, second half of the 20th century. In solid teak root, hand carved in one piece. The legs are assembled. It shows marks of use and wear. Measurements: 103 x 87 x 70 cm. The robust appearance and the artistic finish of this chair are determined by the skillful carving of the wood in one piece. This gives it a highly expressive imprint, with the open backrest following the irregular growth of the trunks. The legs are assembled but visually integrate perfectly with the sculptural appearance of the whole. It shows signs of wear and tear.

Estim. 1 500 - 2 000 EUR

Lot 82 - CHARLOTTE PERRIAND (France, 1903 - 1999). Bench "Banquette", ca. 1960. Wood and formica. Black lacquered metal frame. White fabric cushions with foam. Cushions with modular function. Measurements: 35 x 260 x 70 cm. Designed by Charlotte Perriand between 1959 and 1967, this model was part of a series of furniture for the homes of the managers and staff of the mining company "Miferma" in the town of Cansado, on the Atlantic coast of Mauritania. It is characterized by its sophisticated and timeless aesthetics, noticeable in the minimal lines that integrate the bench made of wooden slats, with the drawer and top in formica, whose whiteness is assimilated to the white of the cushions. It is a minimalist and functional, yet elegant design. 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, practiced the democratization of interior design with key pieces of the twentieth century. She became known at the age of 24 with her "Bar sous le Toit" in chromed steel and anodized aluminum, which was presented at the 1927 Salon d'Automne. Shortly thereafter he began his more than ten-year career alongside Pierre Jeanneret and Le Corbusier. In 1927 he established his first studio of his own. He developed the concept of domestic storage and multifunctional furniture, equipping interiors for an emerging way of life and standardizing decoration, thus avoiding any extravagance. He collaborated with Le Corbusier on numerous architectural projects, designing the fittings for different dwellings such as the villas La Roche-Jeanneret, Church en Ville-d'Avray, Stein-de Monzie and the Villa Savoye, as well as the interiors of the Swiss Pavilion in the Cité Universitaire and the Cité Refuge de l'Armée du Salut, both in Paris. He also worked with him on the definition of the cellule minimum (1929). His relationship with Le Corbusier resumed after the war, developing the first prototype of the integrated kitchen for the Unité d'Habitation de Marseille. He also collaborated with Fernand Léger. His career spanned places as diverse as Brazil, Congo, England, France, Japan, French New Guinea, Switzerland, and Vietnam. The Design Museum of London dedicated an exhibition to the designer in which her career was shown.

Estim. 8 000 - 9 000 EUR

Lot 83 - ROBERT SONNEMAN (USA, 1943) for Luci Cinisello. Floor lamp P395. ca.1970. Metal. Measurements: 140 x 25 x 25 cm. Floor lamp designed by the North American Robert Sonneman for the firm Luci Cinisello of Milan in the 1960s and 1970s. The structure is entirely of metal and responds to the minimalist design characteristic of the author. Robert Sonneman specialized in the design of avant-garde lamps. At 19, fresh out of the Navy, Sonneman answered an ad to work at George Kovacs' studio on Manhattan's Upper East Side, where he became the sole employee. "Although my parents were in lighting, they had a traditional perspective, and Kovacs introduced me to modernism," Sonneman once said. "It was 1961, and I was immediately captivated by the movement." While working for Kovacs, Sonneman became captivated by the work of the Bauhaus, and began experimenting with the influential art and design school's ideas of functional simplicity in lighting. In 1967 he opened his own studio. Although Sonneman Design Group manufactured furniture for a brief period, the designer eventually decided to focus on the category that had always fascinated him; the brand became known for its floor lamps, sconces, pendants and chandeliers that feature unconventional treatments of form and balance, often inspired by modern architecture. Sonneman once said of his work, "I saw the lamps I built as lighting machines that glorified industrial aesthetics."

Estim. 1 300 - 1 600 EUR

Lot 84 - 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 85 - PAUL McCOBB (Medford, Massachusetts, 1917 - 1969) for Winchendon "Planner Group". Rare combination of a green and black McCobb Cabinet on a white McCobb Bench. Maple wood. In very good condition with some lacquer chipping. Measurements: 87 x 156 x 46 cm. This set formed by McCobb Cabinet green and black on a white McCobb Bench is distinguished by its timeless elegance and functional simplicity, basic characteristics of McCobb's creative language. Paul McCobb was a self-taught designer particularly interested in perspective and scale whose creations were distinguished by the use of simple forms, fine lines and a marked lightness. He was a strong advocate of the importance of accessible and affordable design, so he worked with manufacturers to develop modern furniture solutions that were accessible to the average consumer. In 1945 he founded his own firm, Paul McCobb Design Associates, and began designing furniture for manufacturers such as Winchendon Furniture Company, H. Sacks & Sons and Directional Furniture. Among his most famous designs were the Planner Group collection for Winchendon Furniture, which included blond wood bookcases, desks and chairs, and the Irwin collection for Calvin Furniture, featuring chrome-plated metal and glass furniture.

Estim. 2 200 - 2 500 EUR

Lot 86 - PEP BONET (Barcelona, 1941) and CRISTIAN CIRICI (Barcelona, 1941) for BD Ediciones Pair of side tables "Sevilla". 1976 Lacquered steel and glass. Measurements: 60 x 70 x 70 cm. Pair of side tables designed by Cristian Cirici and Pep Bonet in 1976, and produced by BD Ediciones. Minimalist design, consisting of a black lacquered steel base and rectangular legs with "L" section. The tempered glass top is encased in a black painted perimeter frame. They belong to a collection of tables of the same name, which won the Delta de Oro Award from the ADI FAD in 1976. Pep Bonet is a Catalan architect and designer trained at the Escuela Técnica Superior de Arquitectura, a member of Studio PER along with Cristian Cirici, Lluís Clotet and Óscar Tusquets, and a founding partner of BD Ediciones de Diseño. He has received awards such as the FAD Interior Architecture Award and the Delta ADI-FAD, among others. Cristian Cirici i Alomar studied at the Barcelona School of Architecture, where he taught from 1976 to 1978, as well as at the Eina School and at several American universities. In 1964 he founded the firm Studio PER together with Òscar Tusquets, Lluís Clotet and Josep Bonet; with the latter he formed a professional tandem for several years. In their early work these architects show the influence of pop-art and Robert Venturi, a fact that will lead them to postmodern architecture.2 One of their first works was the Tokyo building (1972-1974). In 1979 he restored the Thomas House, a modernist work by Lluís Domènech i Montaner, for which he won the 1980 National Restoration Prize. In 1972 he was a founding member of the design firm BD Barcelona Design.

Estim. 1 800 - 2 000 EUR

Lot 87 - JORDI VILANOVA (Barcelona, 1925-1998). MP chest of drawers, ca. 1962. Walnut wood. Measurements: 135 cm x 64 cm x 41 cm. This walnut chest of drawers designed and produced in 1962 by Jordi Vilanova contains all the details characteristic of the designer's work: stylized forms, classic style in the construction and an elegant finish on the handles. An exercise in proportions and formal economy. Catalan interior designer and cabinetmaker, Jordi Vilanova enrolled in 1939 at the Escuela de Trabajo y Oficios Artísticos de la Lonja. He completed his training in the workshop of Busquets, and between 1940 and 1953 he collaborated in the studio of Lluís Gili. Jordi Vilanova was founder and promoter of the Catalan art magazine "Questions d'Art" (1967-74). In 1974 he opened premises with a permanent exhibition of furniture and upholstery of his own design, forming part of the Official College of Interior Decorators and Designers of Barcelona and the SAD. His modern furniture and his way of resolving spaces were initially aimed at a large public of limited economic resources and, consequently, homes with less living space. However, this great majority did not understand his proposal. Instead, it was the Catalan bourgeoisie, eager to break with outdated stylistic canons, who embraced his work. His specialty was furniture for children, such as the Delta stool, which won the Delta de Plata Prize awarded by the ADI/FAD in 1964. He held exhibitions of his work in Scandinavia. Among his most representative designs are the Tiracord and Billar chairs (1961), the Montseny MP bunk bed (1961), the Tartera (1966) and Petit (1978) rocking chairs and the Z magazine rack (1987) designed together with his son Pau Vilanova Vila-Abadal. It is currently represented in the Design Museum of Barcelona.

Estim. 1 800 - 2 200 EUR

Lot 88 - Pair of sun loungers, ca. 1970. Iron and wicker. Measurements: 80 x 150 x 60 cm. Pair of sun loungers designed in the seventies, according to a modern concept based on the elegance of shapes, functionality and purity of lines. The tubular iron support draws in the air triangles and semicircles that essentialize the design. The surface, made in a single piece, is made of wicker.

Estim. 5 000 - 6 000 EUR

Lot 89 - Set of four sconces of Italian design of the 60s. Tinted green glass and metal. Measurements: 11 x 34 x 34 cm. Wall lamp of quadrangular format outlined by four plates of tinted glass with the lower profile warped. The Italian design of the 60s remains attentive to the aesthetic guidelines governing European design: the tendency to favor simple and defined shapes, flat colors ... In short, an elegance without stridency.

Estim. 2 000 - 2 200 EUR

Lot 90 - Daybed STEINER. France, 1950s. Fabric upholstery. Wooden structure. Measurements: 183 x 77 x 42 cm. This daybed follows the Danish midcentury aesthetic. It is raised on diagonal legs that extend towards the headboard (slightly inclined in height to increase comfort) and the foot area. The rest of the structure is cantilevered, i.e., without wooden reinforcement. The blue and black checkered upholstery contrasts with the brightness of the wood.

Estim. 3 000 - 3 200 EUR

Lot 91 - SVEND-AAGE HOLM-SORENSEN (Denmark, 1913-2004). Floor lamp "Fishing rod", 1960s. Teak wood, iron and brass. Cream-colored cylindrical lampshade. Measurements: 70 x 163 cm. The "Fishing Pole" floor lamp rises on a cast iron foot that balances the teak pole with brass details. The cylindrical shade is suspended from the top of the "pole". Svend Aage Holm-Sørensen was a designer who specialized in lamp making. He began his design career in the 1950s and many of his creations feature metal surfaces with various ornaments and Punctures. He also designed furniture and small objects.

Estim. 5 000 - 5 500 EUR

Lot 92 - CARLO DE CARLI (Italy, 1910-1999), for Fiarm Coat rack and umbrella stand set, ca.1960s. White wood. In good condition, shows signs of wear due to the passage of time. Measurements: 178 x 40 x 40 cm. (coat rack). 56 x 28 x 28 x 28 cm (umbrella stand). Set consisting of rotating coat rack and umbrella stand. In this design of the sixties published by Fiarm, De Carli puts in dialogue the full and empty, the balls in dark wood and the filiform fretwork. After turning to architecture in the 1950s, De Carli began to focus on furniture design, creating elegant and modern pieces for the most prestigious Italian manufacturers, such as Cassina and Tecno. He also worked on interior design projects for public and private buildings, such as apartments, hotels and offices. De Carli's style is characterized by understated elegance, simplicity and attention to detail. Throughout his career, De Carli received numerous awards and distinctions for his work, including the prestigious Compasso d'Oro in 1955 and 1960. Today, his furniture and interior architecture projects are considered emblematic examples of modern Italian design.

Estim. 1 400 - 1 600 EUR

Lot 93 - Two vases. Driade. In porcelain. With stamp on the base. Measurements: 21 x 11,5 x 11 cm. Pair of vases edited by Driade. One of them with the base slightly atrompetada and the other in the form of inverted cone, are glazed in white with fillet and interior in cobalt blue.

Estim. 100 - 200 EUR

Lot 94 - ROSENTHAL Studio-Line. Juicer. Porcelain. With stamps on the base. Measurements: 20 x 13 x 13 cm. Juicer in white glazed porcelain from the prestigious German brand Rosenthal. It belongs to its Studio-Line collection of design tableware. The German manufacture of ceramics, porcelain and glassware Rosenthal was created in 1879 in Selb, Bavaria, by Philip Rosenthal (1855-1937), and is still in operation today. Its first success in the market took place at the beginning of the 20th century, thanks to its delicate figural statuettes and its table services, of simplified and refined forms, very different from the earlier Art Nouveau pieces. After World War II, the factory completely renewed its repertoire and hired important designers such as Löwy or Wirkkala.

Estim. 125 - 150 EUR

Lot 95 - ETTORE SOTTSASS (Austria, 1917 - Italy, 2007). Mug. Silver. Manufacture stamp on the back: "Swid Powell, Argentina". Measurements: 5,6 x 11 x 5,5 cm. Sottsass is one of the most influential designers of the second half of the 20th century. On the one hand he developed a successful career making industrial designs for the Olivetti firm, from typewriters and computers to office interiors, and on the other he created striking and unconventional objects that challenge the bourgeois clientele to redraw their concept of the limit of "good taste". Between 1981 and 1988, Sottsass created markedly nonconformist 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 the previous decades were implemented in the 1980s, with a playful-looking ease, in collaboration with the Memphis founders. 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. He is currently represented at MoMA and the Metropolitan in New York, the Design Museum in London, the Centre Pompidou in Paris and the Art Institute of Chicago, among others.

Estim. 200 - 250 EUR

Lot 96 - DOROTHY HAFNER (USA, 1952). Tea set. Teapot, milk and sugar bowl. Porcelain. Stamps on the base. Measurements: 28 x 24 x 9 cm. Set of three pieces of tea. Modern in design concept with bold lines, this is the work of ceramicist and glass artist Dorothy Hafner. Born in Woodbridge, Connecticut, Hafner graduated from Skidmore College in 1974, where she also pursued graduate studies. She then worked as production director of the International Craft Film Festival, and beginning in 1976 she was director of the international department of the Museum of Contemporary Craft in New York. For the next two years she was artist-in-residence at Artpark in Lewiston, New York. In 1979 she founded Art in Dining in New York, under whose banner she designed porcelain tableware for such firms as Neiman Marcus and Tiffany & Co. and from 1982 her work was also distributed by Rosenthal. His work has received numerous honors and awards Hafner began his career as a ceramist, but in 1997 he devoted himself exclusively to glass Two of his works are part of the collection of the Smithsonian American Art Museum.

Estim. 400 - 450 EUR

Lot 97 - PIERO FORNASETTI (Italy, 1913 - 1988). Two candleholders: "Otto" and "Burlesque". Stamped ceramic. Stamps on the base. Measurements: 15 x 8,5 x 8,5 cm. each. Piero Fornasetti was an outstanding Italian designer, sculptor, painter, interior decorator and engraver. Trained at the Brera Academy in Milan, he was the author of thousands of objects, lighting and furniture pieces with a main decorative theme: the face of the 19th century soprano Lina Cavalieri. He was also known for his expressive use of black and white, as well as the sun motif and other climatological elements. Today his son, Barnaba Fornasetti, continues to create designs for the firm that bears his surname.

Estim. 250 - 300 EUR

Lot 98 - ALDO CIBIC (Italy, 1955) for Flavia Memphis. Sugar bowl. 1985. Glazed porcelain. With seal on the base. Measurements: 7 x 14 x 14 cm. Designer and academic active since the late 70's, Aldo Cibic has an initial self-taught training. His career took off in 1980 when he moved to Milan to join the studio of Ettore Sottsass, soon becoming one of the partners. In 1981 he took part in the founding of the Memphis group, the important movement that challenged the Modern and re-founded design, which marked not only the period, but the entire subsequent evolution of design and architecture. Cibic was part of Memphis until its dissolution in 1987.

Estim. 200 - 250 EUR

Lot 99 - ALDO ROSSI (Milan, 1931 - 1997) for Tendense. Vase. Porcelain. Measurements: 25 x 12 x 12 cm. Aldo Rossi was an Italian architect, theorist, writer and designer, author of important projects in Europe and the United States and winner in 1990 of the Pritzker Architecture Prize (equivalent to the Nobel Prize). He was considered one of the main exponents of the postmodern movement. He studied architecture at the Politecnico di Milano, where he graduated in 1959. In 1963 he began teaching, first as an assistant to Ludovico Quaroni (1963) at the School of Urban Planning in Arezzo, then to Carlo Aymonino at the Istituto Universitario di Architettura di Venezia. He became interested in the urban planning of cities, even publishing a book on the subject. For the 1979 Venice Biennale he designed a floating theater, the Teatro del Mondo, with a capacity for 250 spectators seated around the stage. More recently he also designed the building of the National Opera of Genoa. His first work in America was also a theater, the Lighthouse Theatre, located on Lake Ontario in Toronto, Canada. In 1995 he built the current building of the Bonnefanten Museum in Maastricht, The Netherlands. At the architectural level the following works stand out: the Teatro del Mondo floating theater (Venice), the Friedrichstadt Housing Building (Berlin), the San Cataldo Cemetery (Modena), the National Opera House (Genoa), the Paganini Theater and the development of the Piazza della Pilotta (Italy) and the Museum of the Sea of Galicia (together with César Portela; Vigo, Spain). His creations in the field of industrial design can be seen today in such outstanding collections as the MoMA in New York.

Estim. 150 - 250 EUR

Lot 100 - CARPENTER CUSTOM high chest of drawers. Germany, 1970s. Oak wood. Solid oak handles and edge details with oak veneered surfaces. Very good original condition. Measurements: 111 x 63 x 44 cm. German chest of drawers designed by the German manufacturer Carpenter Custom Tall in the 70's that reflects the character of the German furniture of the time. It is a piece of furniture of harmonic proportions and geometric structure, of clean lines but avoiding being monolithic playing with the recessed bodies. The cabinetmaker respects the natural wood, and as such we see here, the oak, taking advantage of its expressive grain on the front, its organic and irregular character in contrast with the geometric rigor of the structure. The furniture has drawers with ring handles entirely made of solid oak.

Estim. 2 200 - 2 500 EUR

1st July - Design I

Setdart.com - +34932463241 - Email