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30th July - Design: Avant-garde furniture

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Lot 2 - PETER GHYCZY (Budapest, 1940 - The Netherlands, 2022) for Reuter Products. "Garden Egg Chair, 1960s. Polyurethane and fabric upholstery. In good condition with signs of use and age. Repaired hinge. Measurements: 98 x 84 x 74 cm. The Garden Egg Chair was designed for both indoors and outdoors, although, as a design icon and collector's item, it is rarely used outdoors. It was one of the first chairs made of polyurethane, as well as one of the forerunners in the use of hinges. It appears in several motion pictures. Its appearance reflects the aesthetic patterns of the time: the Space Age look (name given to the period in which the space race was launched, starting in 1957 with the launch of Sputnik. This fever to conquer space also reached design, and during the sixties and seventies a decoration model was developed based on an idyllic vision of the future, and everything to do with spaceships, new technologies and innovative materials), brightly colored plastic lacquer, portability and informality of the low seat. Peter Ghyczy is one of many 20th century designers who were also immigrants - among them Henry van de Velde, Marcel Breuer, Hans Gugelot, Peter Maly... and who had a great impact on German and international design. He completed his secondary education in Germany, studying sculpture in Düsseldorf before training in architecture at the Technical University of Aachen in 1960, specializing in construction engineering. During his studies, Ghyczy worked as an assistant to the renowned German architect Rudolf Steinbach (1903-1966) and on projects in Paris and Egypt. In 1968 he took up a position at Elastogran in Lemförde in southern Lower Saxony, where he was responsible for the development of polyurethane products. He also worked for Vitra.

Estim. 2 200 - 2 500 EUR

Lot 3 - Lounge Chair in the style of GIO PONTI (Milan, 1891 - 1979). Brass structure. Upholstery in blue and gray velvet. New upholstery in very good condition. Measurements: 96 x 72 x 80 cm. Armchair with brass tube feet and upper structure of angular shapes that embrace the user. It is a design halfway between the design tradition of the twentieth century and futuristic fantasy, dominated by a bichrome that avoids the stridencies and characterized by the play of planes and volumes. Architect, designer and academic, Gio Ponti is, along with Ettore Sottsass, the leader of the most sought-after Italian designers of the 20th century by collectors. In addition to the elegance of his furniture, sensitive to functionality, yet original at the same time, Ponti is recognized for his volcanic creativity, which led him to produce and design until the 1970s. His ability to give voice to new trends made him the "inventor" of the Made in Italy design concept. Ponti studied architecture at the Politecnico. After World War I, in which he had to serve, he worked as artistic director for the respected ceramic manufacturing company Richard-Ginori. Between 1923 and 1927 he partnered with architects Mino Fiocchi and Emilio Lancia, opening his own studio in 1928, and founded the famous design magazine Domus, through whose pages (and those of Lo Stile, a magazine he would found and edit in the 1940s) Ponti influenced international taste in design for more than fifty years. By 1933, Ponti partnered with engineers Antonio Fornaroli and Eugenio Soncini to create the Ponti-Fornaroli-Soncini studio, which firmly embraced the modernist aesthetic and worked until 1945. In 1950, Ponti was awarded the commission for what would become one of the iconic buildings of the 20th century, the 32-story Pirelli Tower in Milan. Throughout his career, Ponti played many different roles: architect, industrial designer, craftsman, teacher, painter, editor and journalist.

Estim. 3 000 - 3 200 EUR

Lot 4 - Pair of Art Deco cabinets attributed to PAOLO BUFFA (1903-1970). Italy, 1940s. Lacquered wood and parchment. Keys included. Measurements: 120 x 80 x 40 cm. Extraordinary pair of desks or secretaire, Art Deco style and period, attributed to the Italian designer Paolo Buffa. Refined and elegant, they follow the style of the splendid designer and are made of black lacquered wood and parchment. The design, with clean and simple lines, focuses attention on its long legs of decreasing diameter and on the contrast created by the materials. With a black and white exterior, it impresses when you open its door and discover the red and embossed leather, which creates an elegant and striking effect. Paolo Buffa's work stands out for the perfection of execution and the neoclassical influence on his style, which the designer acquired during his training at Gio Ponti's studio throughout the 1920s. The solid and elegant lines that characterize his furniture seem to emulate a continuity between the 19th and 20th centuries. Of this pair of design gems, the use of parchment stands out. This element of animal origin is obtained from the hairless and well stretched skin of the cow or lamb, although even squirrel skin has been used. Its origin dates back to a time before Christ, remains of papyrus have been found from the second century B.C. Its use has been varied, from writing and illuminations to the coating of other objects such as books or furniture for decorative purposes, conferring luxury and prestige to the piece. The design, although always evolving, does not lose the essence of good materials.

Estim. 2 500 - 2 600 EUR

Lot 6 - VERNER PANTON (Denmark, 1926 - 1998) for Fritz Hansen. Bachelor" chair, Denmark, 1950s. Tubular steel frame. Measurements: 37 x 52 x 63 cm. The "Bachelor" chair is known to be Verner Panton's first success. It was an original work by Fritz Hansen designed and created in 1953. The chair was marketed to businesses and was known as the "Bachelor" chair because it was intended for households just starting out. Both the design and construction of the chair are quite simple. It consists of a folding seat and a tubular steel frame. Its "demountable" design and simple construction made it a viable product for export. Two intermediate struts connect the N-shaped side segment to the main section. Since its creation in 1953, this simple chair has become a design icon, inspiring architects and designers around the world. Verner Panton was one of the most influential Danish industrial designers of the late 20th century. He introduced the pop aesthetic into Scandinavian furniture. He attended the Odense Technical School and then studied architecture at the Royal Academy of Fine Arts in Copenhagen. Between 1950 and 1952 he worked in the architectural studio of Arne Jacobsen. In 1955 he opened his own architecture and design studio. He became famous with his furniture based on geometric forms manufactured by the company Plus-linje. Panton's spatial compositions are renowned for fusing floors, walls and ceilings, as well as furniture, lamps, fabrics and enamel or plastic panels to form a spatial unity that is as seamless as it is indivisible. The Visiona halls at the Cologne Furniture Fair (1968 and 1970), the offices of the Spiegel publishing house (1969) and the Varna restaurant in Aarhus (1970) are some of the most outstanding examples. The collaboration between Panton and Vitra began in the early 1960s. With this company he develops his best-known design: the Panton chair, made from a single piece of injection molded plastic, introduced in 1967. It is represented in the MOMA and major museums of decorative art and design.

Estim. 3 000 - 3 500 EUR

Lot 8 - HANS J. WEGNER (Denmark, 1914 - 2007) for JOHANNES HANSEN. "Peacock chair, model JG-550, first period, 1970s. Solid ash frame and teak armrests. Wicker seat. In perfect condition. With publisher's stamp. Measurements: 106/36 cm. The Peacock chair was originally produced by Johannes Hansen (this being the case of the piece we are now bidding for, dating from the 1970s), but is currently produced by PP Møbler under model number PP550. It was never mass-produced during Wegner's lifetime and only a few were produced by Johannes Hansen. In terms of design, the Peacock chair borrows its morphology from the traditional English Windsor chair. When designer Finn Juhl first saw the chair's characteristic flat-axis backrest, it reminded him of a peacock's tail and he named it the Peacock Chair. Wegner also experimented with an upholstered version of the chair and exhibited it at the 1953 Cabinetmakers' Guild Exhibition. Hans J. Wegner was a leading figure in furniture design, whose ideas contributed to the international popularity of Danish design in the mid-20th century. His work belongs to the modern school, characterised by a special emphasis on functionality. Throughout his career, this designer was awarded prizes such as the Lunning Prize in 1951, the Grand Prix de Milan at the Milan Triennale of the same year, the Prince Eugene Medal in Sweden and the Danish Exkersberg Medal. In 1959 he was appointed honorary royal designer for industry by the Royal Society of Arts in London. His designs are currently included in collections such as those of the MoMA in New York and Die Neue Samlung in Munich.

Estim. 6 000 - 8 000 EUR

Lot 12 - LUIS PEREZ DE LA OLIVA (Spain, mid-20th century) for GRIN LUZ/FASE. Table lamp "Concorde/Tiburon", 1967. Lacquered metal and solid wood. Measurements: 55 x 31 x 42 cm. Concorde desk lamp with a tilting shade that offers different lighting angles. It rises on a circular base from which emerges the curved shaft in wood on which supports a metal structure. The tilting shade hangs from the latter. Fase lamps are distinguished by their impeccable design, functionality and quality of materials. A true emblem of Spanish manufacturing, Fase has exported its lighting to more than 32 countries in the last 30 years. Spanish lighting manufacturer Fase was founded in Madrid in 1964 by industrial designer Pedro Martín. Martín first sold his self-produced lamps in markets, before successfully establishing a factory in Torrejón de Ardoz, just outside Madrid. In the 1970s, Fase was a major player in the Spanish manufacturing industry, contributing to an economy struggling with oil crises and a difficult transition to democracy. Fase sold lighting for more than three decades to 32 different countries, with its largest markets being the United Kingdom, France, Italy, Germany, United Arab Emirates, Japan, Canada and the United States. Despite Fase's commercial success, information about the company and its history is scarce and sources often contradictory. Early Fase designs are considered modern, with original combinations of metals such as chrome and steel, with marble and wood, in a range of bright colors. Often, the fixtures could also be moved thanks to a sophisticated swivel system devised by early Fase designers, which soon became a trademark along with their glass diffusers. Important Fase designs include Boomerang 64, Boomerang 2000, 520, Faro and President, all of which are believed to have been designed in the 1960s. Beginning in the 1970s, Fase introduced modern Italian and Bauhaus-inspired designs to a Spanish public that, emerging from the Franco period, was unfamiliar with the most iconic styles of the 20th century. In addition to combining traditional materials such as wood with a modernist aesthetic, Fase created many lamps in a thoroughly modernist style. Lamps from this period include the Tharsis and the Babylon, both in chrome but with single and double lamps respectively, as well as the Harpoon and the stainless steel Impala (all from the 1970s). Fase's lighting designers and workers remain largely anonymous, resulting in many lamps being falsely advertised as being produced by the Spanish manufacturer, giving rise to a whole genre of "Fase-type" lighting, which can be seen in lamps produced by Madrid-based lighting manufacturers Lupela, GEI (Gabinete Estudios Industriales) and Ma-Of. Authentic Fase lamps can be identified by the company name or logo, usually found on the lamp base or socket. In the 1980s, Fase began manufacturing halogen lamps. Although these lamps were very popular and novel at the time, the break with tradition was unsuccessful and ultimately contributed to the company's demise.

Estim. 900 - 1 000 EUR

Lot 13 - JOAN ANTONI BLANC (Tortosa, 1940) for Tramo. Table lamp "Seta/Tulip", 1968. Double plastic lampshade in yellow and white inside that produces a spectacular light. Very good overall condition with some signs of age. Selection adi fad. Measurements: 56 cm (height) x 36 cm (lampshade diameter). The lamp "Seta/Tulip" is distinguished by its semi-oval lampshade that resembles the cap of a mushroom, as well as by the circular foot that rises slightly in its central area to join with the cylindrical shaft. It was published by Tramo (Trabajos molestos), a company founded by the iconic Catalan designer Miguel Milá. Joan Antoni Blanc was one of the founders of the Eina school and one of the main advocates of the need to incorporate technological knowledge and to orient design in industrial applications. He specialized in the field of design, specializing in furniture and lighting applied to the domestic, urban and office environment, although he has also developed several designs related to nautical, motoring and motorcycling. In 1972 he created "Estudi de Disseny Blanc", incorporating as assistant Pau Joan Vidal, an industrial designer trained at the Massana and Elisava schools, who later became his partner. He was also president of the Association of Professional Designers between 1986 and 1989 and participated in the creation of BCD. Among the products developed by Blanc, the "Cónica" lamp (Delta de Oro ADI-FAD in 1965), the "Cubiform" system of cabinets and drawers, the "semi-spherical" lamp (Delta de Oro ADI-FAD in 1966), the "Torre de Babel" set of expandable elements, the "globe" lamp (Delta de Oro ADI-FAD in 1966), and the "Torre de Babel" set of expandable elements (Delta de Oro ADI-FAD in 1966), the "Globe" lamp (Delta de plata ADI-FAD in 1968), the "Perfils" shelving and container system, the "Sinclina" lamp (Delta de plata ADI-FAD and prize for the best Spanish design at the Madrid fair in 1991), the "Prima 1000" shelving system and the "Escala" lamp. The Barcelona Design Museum is the repository of part of its documentary collections and three pieces designed by Joan Antoni Blanc: the "Cubiform" cabinet and the "Escala" and "Sinclina" floor lamps. The "Seta/Tulip" lamp is distinguished by its semi-oval lampshade that resembles the cap of a mushroom, as well as by the circular foot that rises slightly in its central area to join the cylindrical shaft. It was published by Tramo (Trabajos molestos), a company founded by the iconic Catalan designer Miguel Milá. Joan Antoni Blanc was one of the founders of the Eina school and one of the main advocates of the need to incorporate technological knowledge and to orient design in industrial applications. He specialized in the field of design, specializing in furniture and lighting applied to the domestic, urban and office environment, although he has also developed several designs related to nautical, motoring and motorcycling. In 1972 he created "Estudi de Disseny Blanc", incorporating as assistant Pau Joan Vidal, an industrial designer trained at the Massana and Elisava schools, who later became his partner. He was also president of the Association of Professional Designers between 1986 and 1989 and participated in the creation of BCD. Among the products developed by Blanc, the "Cónica" lamp (Delta de Oro ADI-FAD in 1965), the "Cubiform" system of cabinets and drawers, the "semi-spherical" lamp (Delta de Oro ADI-FAD in 1966), the "Torre de Babel" set of expandable elements, the "globe" lamp (Delta de Oro ADI-FAD in 1966), and the "Torre de Babel" set of expandable elements (Delta de Oro ADI-FAD in 1966), the "Globe" lamp (Delta de plata ADI-FAD in 1968), the "Perfils" shelving and container system, the "Sinclina" lamp (Delta de plata ADI-FAD and prize for the best Spanish design at the Madrid fair in 1991), the "Prima 1000" shelving system and the "Escala" lamp. The Barcelona Design Museum is the repository of part of its documentary collections and three pieces designed by Joan Antoni Blanc: the "Cubiform" cabinet and the "Escala" and "Sinclina" floor lamps.

Estim. 800 - 900 EUR

Lot 15 - JOAN ANTONI BLANC (Tortosa, 1940) for Tramo. Floor lamp "Cigüeñal", 1968. Chromed metal. White methacrylate lampshade. Cigüeñal of foot adi-fad (extensible raises and lowers). Measurements: 150 cm (minimum height); 195 cm (maximum height); 36 cm (lampshade diameter). The "Cigüeñal" lamp is distinguished by its ingenious rotation system that allows it to be fixed in multiple positions, as well as by the delicate balance achieved between the thin chromed metal shaft and its large white methacrylate lampshade. It was published by Tramo (Trabajos molestos), a company founded by the iconic Catalan designer Miguel Milá. Joan Antoni Blanc was one of the founders of the Eina school and one of the main advocates of the need to incorporate technological knowledge and to orient design in industrial applications. He specialized in the field of design, specializing in furniture and lighting applied to the domestic, urban and office environment, although he has also developed several designs related to nautical, motoring and motorcycling. In 1972 he created "Estudi de Disseny Blanc", incorporating as assistant Pau Joan Vidal, an industrial designer trained at the Massana and Elisava schools, who later became his partner. He was also president of the Association of Professional Designers between 1986 and 1989 and participated in the creation of BCD. Among the products developed by Blanc, the "Cónica" lamp (Delta de Oro ADI-FAD in 1965), the "Cubiform" system of cabinets and drawers, the "semi-spherical" lamp (Delta de Oro ADI-FAD in 1966), the "Torre de Babel" set of expandable elements, the "globe" lamp (Delta de Oro ADI-FAD in 1966), the "Torre de Babel" set of expandable elements, the "globe" lamp (Delta de Oro ADI-FAD in 1966) and the "Torre de Babel" system of cabinets and drawers, the "Globe" lamp (Delta de plata ADI-FAD in 1968), the "Perfils" shelving and container system, the "Sinclina" lamp (Delta de plata ADI-FAD and prize for the best Spanish design at the Madrid fair in 1991), the "Prima 1000" shelving system and the "Escala" lamp. The Barcelona Design Museum is the repository of part of its documentary collections and three pieces designed by Joan Antoni Blanc: the "Cubiform" cabinet and the "Escala" and "Sinclina" floor lamps.

Estim. 1 500 - 1 600 EUR

Lot 17 - JAVIER MARISCAL (Almazora, Castellón, 1950) for Akaba. Garriris" chair, 1987. Chrome-plated square steel tube frame with aluminum, plywood seat and red leather upholstery. In very good condition. This model is in important collections and museums such as the Victoria & Albert Museum in London, and the Museu del Disseny in Barcelona. It was exhibited at the George Pompidou in Paris for the Nouvelles Tendances exhibition in 1987. Measurements: 97 x 44 x 60 cm. The Garriris chair assimilates the animated character Mickey Mouse with the iconic ears on the backrest and his characteristic shoes. Renowned industrial designer, cartoonist and comic artist, Javier Mariscal has lived and worked in Barcelona since 1970. He studied design at the Elisava School in Barcelona, but soon abandoned his studies to learn directly from his surroundings and follow his own creative impulses. He began his career in the world of underground comics in publications such as "El Rrollo Enmascarado" or "Star", along with Farry, Nazario and Pepichek. After making his first own comics in the mid-seventies, in 1979 he designed the Bar Cel Ona logo, a work for which he began to be known by the general public. The following year the Dúplex opened in Valencia, the first bar signed by Mariscal, together with Fernando Salas, for which he designed one of his most famous pieces, the Dúplex stool, a true icon of design in the eighties both inside and outside our borders. In 1981 his work as a furniture designer led him to participate in the exhibition of the Memphis Group in Milan. In 1987 he exhibited at the Georges Pompidou Center in Paris and participated in the Documenta in Kassel. Two years later his design Cobi is chosen as the mascot for the 1992 Barcelona Olympic Games, controversial at first but now recognized as the most profitable mascot in the history of the modern Games. In 1989 he created Estudio Mariscal and collaborated on various projects with designers and architects such as Arata Isozaki, Alfredo Arribas, Fernando Salas, Fernando Amat and Pepe Cortés. Among his most outstanding works are the visual identities for the Swedish Socialist Party, the Onda Cero radio station, the Barcelona Zoo, the University of Valencia, the Lighthouse design and architecture center in Glasgow, the GranShip cultural center in Japan, and the London post-production company Framestore. In 1999 he received the National Design Prize, awarded by the Spanish Ministry of Industry and the BCD Foundation in recognition of his entire professional career.

Estim. 1 800 - 2 000 EUR

Lot 20 - ROSS LOVEGROVE (Wales, 1958) for ARTEMIDE. Table lamp "Aqua Cil tavolo", 2007. Die-cast aluminum base and structure. Steel shaft. Diffuser in hydroformed and mirror-treated aluminum. Measurements: 40 x 30 x 30 cm. The "Aqua Cil" series is distinguished by its wavy lampshade simulating the swaying of water, which contrasts with the sobriety of the die-cast aluminum shaft. It reflects the light to the outside in a wide but soft way. This series was presented at Euroluce 2007 in Milan. The designer Ross Lovegrove studied industrial design at Manchester Polytechnic, and later took a master's degree in design at the Royal College of Art in London, completing his training in 1983. From then on he worked for Frog Design in Germany, on products such as Walkmans for Sony, computers for Apple, etc. He then moved to Paris to work for Knoll International, where he was the author of the successful Alessandri office system. Later he was invited to participate in the Atelier de Nimes with Jean Nouvel and Philippe Stark, advising, among others, Cacharel, Louis Vuitton, Hermès and Dupont. He returned to London in 1986, and completed projects for Airbus Industries, Kartell, Ceccotti, Cappellini, Idee, Moroso, Luceplan, Dirade, Peugeot, Apple, Issey Miyake, Vitra, Alias, Tag Heuer and others, as well as for Japan Airlines and Tokyo Ito Architects in Japan. Throughout his career, Ross Lovegrove has won major international awards, and his work has been widely published, and exhibited in such prominent venues as MoMA and the Guggenheim in New York, the Axis Center in Japan, the Pompidou in Paris or the Design Museum in London, where since 1993 he has had his first permanent collection.

Estim. 500 - 550 EUR

Lot 21 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for KNOLL. 'Conversation chairs', model 710. Designed in 1972. Dark chrome-plated steel frame, loose cushions upholstered in black leather. Armrests with leather accents. Interior upholstery with logo. Made in Walter Knoll, with manufacturer's labels. Measurements: 78 x 72 x 78 cm. Seat height 42 cm. Small marks of use. Preben Juul Fabricius trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design with Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who would later become his long-time 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. They were looking for an ideal that was timeless in its simplicity. 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. Soon after, they made the international breakthrough at the 1966 Cologne 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 seven-year period in which they produced numerous designs that are now considered classics, such as the FK 6725 Tulip Chair, the FK 87 Grasshopper and the Scimitar. During this period, their furniture was also part of important international exhibitions, held at such prominent centers as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, Kastholm and Fabricius' designs 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 in 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 22 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for KNOLL. A pair of "Conversation Chairs", model 710. Designed in 1972. Dark chromed steel frame, black leather upholstery. Made at Walter Knoll, with manufacturer's labels. Measurements: 78 x 72 x 78 cm. Seat height 42 cm. Small marks of use. As a true classic, Fabricius tells the story of the 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 supporting structure frame the sliding seat. The result is lightness and simplicity. Whether alone or together, it is made for living rooms, foyers and lounges. Preben Juul Fabricius trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design with Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who would later become his long-time 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. They were looking for an ideal that was timeless in its simplicity. 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. Soon after, they made the international breakthrough at the 1966 Cologne 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 seven-year period in which they produced numerous designs that are now considered classics, such as the FK 6725 Tulip Chair, the FK 87 Grasshopper and the Scimitar. During this period, their furniture was also part of important international exhibitions, held at such prominent centers as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, Kastholm and Fabricius' designs 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 in 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 24 - VITTORIO DASSI (Italy, 1893-1973). Dining table, 1950s. Calacatta marble and mahogany wood. In good condition according to its age and use. Measurements: 77 x 134 x 91 cm. Spectacular table designed by Vittorio Dassi, prestigious Italian designer active in the middle of the last century. Made of mahogany wood with an oval-shaped calacatta marble top. Simple structure, with a single foot that supports, in the central area, the top. This tulip foot is made of carved and lacquered mahogany, which gives it great sumptuousness. Its shape is flared towards the floor, emphasized by the grooves. It rests on an oval-shaped marble base that matches the top. Underneath the top, the structure is again made of wood. With its unique features and meticulous attention to detail, this table is a testament to Vittorio Dassi's innovative vision and artistic sensibility. Vittorio Dassi's furniture, made in the 1940s and 1950s, is distinguished by the choice of fine woods such as rosewood, cherry, ash and walnut, often decorated with inlaid panels and glass signed by great master glassmakers. Elegant in design without losing functional quality, his furniture can be compared to the refined style of Gio Ponti, to whom Vittorio was linked by important collaborations after taking over from his father at Dassi Mobili Moderni in Lissone. One of the factory's most important projects was the creation of furniture for the rooms of the Hotel Royal in Naples, designed by Ponti in the mid-1950s, a period that marked Dassi's turn towards more schematic forms and teak wood for the production of modular furniture.

Estim. 3 500 - 4 000 EUR

Lot 25 - MARCO ZANUSO (Milan, 1916 - 2001) for ARFLEX. Sofa "Lady", 1950s. Metal and velvet. In good condition according to its age and use. Measurements: 94 x 134 x 89 cm. The iconic Lady sofa is a symbol of style, material and technological innovation. Presented at the IX Milan Triennale in the same year, where it won the gold medal, it has a metal structure and is upholstered in emerald green. The Lady sofa was a milestone both technologically and in terms of the materials used. Zanuso developed the manufacturing of the pieces separately, each with a foam of different densities. They are then individually upholstered and then assembled. The result is an ergonomic seat that adapts to the shape of the body: the backrest is slightly curved, offering good support for the back, and the armrests are wide and soft, ideal for relaxing. The slender, thin metal legs emphasize the lightness of the design. Its social context responds to the fact that, once the Fascist regime had fallen from grace (1948) and a new Italy had emerged from its ruins with a modern and cosmopolitan image, it was time to abandon the vestiges of classicist Art Deco that characterized the taste of the Mussolinian elites. Thus arose the Italian Bel Design or "Good Design", characterized by bringing to the influence coming from the United States, a plus of elegance that did not forget the millenary national artistic tradition. The Politecnico di Milano became a breeding ground for creators and the names of Alberto Rosselli, Marcello Nizzoli, Franco Alboni and Marco Zanuso joined Ponti. At the same time, dynamic professional associations were created and the department store La Rinascente awarded the Compasso d'Oro prize to reward these leading lights of design. Bel Design fever was a fact. Italian architect and designer Marco Zanuso is the author of the Olivetti complexes in São Paulo and Buenos Aires, in which he used spherical triangular modules covered by a concrete shell. As a designer, he has created furniture such as the 1964 Fourline armchair, a series of children's furniture in plastic and lacquered wood, the Locarno and Mastro tables, as well as radio and television sets and a wide variety of industrial products. A professor at the Polytechnic School of Milan, in 1966 he was appointed president of the Industrial Design Association. In 1994 he received the San Carlo Borromeo Award for his entire career.

Estim. 3 000 - 3 200 EUR

Lot 26 - Daybed BONACINA. Italy, 1950s. Bamboo, wicker and fabric upholstery. Newly upholstered. Very good condition. Measurements: 77 x 204 x 90 cm; 48 cm (seat height). Giovanni Bonacina started his business in 1889 in Lurago d'Erba, located in the north of Milan, an area known as Brianza. Combining two traditional crafts practiced in the area, basketry and furniture making, using the local materials of cane and reed, with rattan from Southeast Asia, Bonacina launched one of the most recognized companies dedicated to the design and creation of furniture. Over time, the management of the business passed into the hands of Vittorio Bonacina, who continued and expanded what his father had passed on to him, taking the company a step further. With an eye on the revolution in design and art that was taking place in the 1950s, a new era in the company's future began, made possible by the winning combination of production expertise, visionary collaboration with talented designers and the intention to push materials and shapes into new expressive forms. For over a century the company has followed the styles and trends of the times while keeping its quality and design characteristics intact. Today Vittorio Bonacina and Pierantonio Bonacina join forces in Bonacina1889. The company remains faithful to the natural raw materials that defined most of its culture, while consolidating its know-how in the outdoor world. Now as then, each piece is handcrafted by specialized craftsmen who carefully and finely bend the rattan canes, weave and bind the rattan core, giving rise to projects by architects and designers, carrying out an international dissemination process. The fourth generation, building on its heritage, looks to the future, constantly evolving and innovating with a dynamic and passionate spirit.

Estim. 3 500 - 4 000 EUR

Lot 29 - GEORGE NELSON (United States, 1908 - 1986) for HERMAN MILLER. Pair of armchairs 5681, 1960s. Steel frame. Fabric upholstery. Original condition with hardened foam. It is recommended to reupholster. Measurements: 72 x 80 x 82 cm; 40 cm (seat height). This pair of armchairs is in the midcentury design of the sixties, with a metal frame that houses soft seats and backrests. The design is fully modern but still conceived through dialogue with classic furniture. Worthy continuators of the international style. George Nelson graduated in architecture from Yale University (1928), and later studied art in Rome. He specialized in industrial, interior and exhibition design, and was, along with Charles and Ray Eames, one of the founding fathers of American modernism. While in Italy he traveled the length and breadth of Europe, meeting a number of pioneers of the modern movement, including Mies van der Rohe. In 1935 he joined the editorial staff of "Architectural Forum", a magazine of which he would first become associate editor until 1943, and then editorial advisor until 1949. During this period he worked with Frank Lloyd Wright on a special issue of the magazine, which marked Wright's return to the scene at the time. Nelson defended, sometimes fiercely, the principles of the modern movement, even irritating many of his colleagues who, as industrial designers, made, according to Nelson, too many concessions to the commercial forces of industry. The American believed that the work of a designer should serve to improve the world because, in his view, nature is already perfect, and man spoiled it by creating things that did not really follow natural rules. In 1945 Nelson began working for the firm Herman Miller, and it was then that he really began to design furniture, occupying the position of design director. That same year Nelson's first collection for the firm was published, beginning a collaboration that would result in some of the most famous furniture designs of the 20th century. Today his designs can be seen in the Vitra Museum of Design (he began collaborating with the firm in 1957) and the MoMA in New York, among many other public and private collections.

Estim. 3 500 - 4 000 EUR

Lot 33 - MARCO ZANUSO (Milan, 1916 - 2001) for ARFLEX. Three-seater sofa "Regent", 1960s. Leg bases in walnut. Newly upholstered in Kvadrat steelcut fabric. Size: 83 x 195 x 90 cm. The iconic Regent sofa is a symbol of style, material and technological innovation. Its high tufted backrest adds elegance and sophistication. It rises on cylindrical legs supported by walnut glides that lighten the height of the piece of furniture. Its social context responds to the fact that, once the Fascist regime had fallen in disgrace (1948) and a new Italy emerged from its ruins with the intention of giving a modern and cosmopolitan image, it was time to abandon the vestiges of classicist Art Deco that characterized the taste of the Mussolinian elites. Thus arose the Italian Bel Design or "Good Design", characterized by bringing to the influence coming from the United States, a plus of elegance that did not forget the millenary national artistic tradition. The Politecnico di Milano became a breeding ground for creators and the names of Alberto Rosselli, Marcello Nizzoli, Franco Alboni and Marco Zanuso joined Ponti. At the same time, dynamic professional associations were created and the department store La Rinascente awarded the Compasso d'Oro prize to reward these leading lights of design. Bel Design fever was a fact. Italian architect and designer Marco Zanuso is the author of the Olivetti complexes in São Paulo and Buenos Aires, in which he used spherical triangular modules covered by a concrete shell. As a designer, he has created furniture such as the 1964 Fourline armchair, a series of children's furniture in plastic and lacquered wood, the Locarno and Mastro tables, as well as radio and television sets and a wide variety of industrial products. A professor at the Polytechnic School of Milan, in 1966 he was appointed president of the Industrial Design Association. In 1994 he received the San Carlo Borromeo Award for his entire career.

Estim. 8 000 - 8 500 EUR

Lot 34 - After "LE CORBUSIER" (Switzerland, 1887 - France, 1965), years 80-90. LC4 chaise lounge. Metal structure and leather upholstery. Measurements: 90 x 55 x 160 cm. The LC 4 chaise lounge, presented at the 1929 Salon d'Automne du Design, is the best known of Le Corbusier's furniture. It is a purist, radical design that won critical acclaim in its time and is still a classic of 20th century design today. This modern edition seeks greater comfort by presenting the upholstery with more padding than the original design. Architectural theorist, architect, designer and painter Swiss, naturalized French, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the twentieth century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the garden-terrace, the "pilotis", the longitudinal window and the free facade. Among his most outstanding architectural projects are the Swiss Pavilion of the Cité Universitaire de Paris, the Unité d'Habitation in Marseille and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier made his first creations with Pierre Jeanneret and Charlotte Perriand, obtaining the definitive impulse in the Paris Decorative Arts Exhibition of 1925. Already his first chairs and armchairs were conceived in terms of comfort, and based on anthropometric studies that guarantee a total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterized by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He would continue to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionize the mass production of modern furniture. We must also highlight the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all rooms of the house, and so they created pieces like the LC9, a stool for the bathroom, very simple, with fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently edited by the Italian company Cassina, and are present in important collections such as the MoMA in New York or the Victoria & Albert in London.

Estim. 1 000 - 1 200 EUR

Lot 36 - ROSS LITTELL (New York, 1924-2000) for ICF of Padova, Milan, ca. 1960. Pair of armchairs. Steel and camel-colored leather. Reupholstered. Measurements: 83 x 51 x 61 cm. Set of two armchairs designed by Ross Littell for the Milanese company ICF. It is possible to relate its design with other similar ones that the New Yorker made for the same brand, such as the Luar Lounge armchair. Both are inspired by the slipper chair, elegantly stylizing its lines. The curved frame is prolonged by two legs on trestles that extend horizontally, and the seat is joined to the back with camel-colored leather fabric that provides comfort and flexibility. Ross Littell was a distinguished American designer. He co-founded the design firm Littell & Kohn with his partner, Nan Kohn. In the 1950s. Littell began his career working for several interior design firms, including those of Dorothy Draper and William Pahlmann. In 1954, he co-founded Littell & Kohn, which quickly became a successful and prestigious firm in the interior design world. Over the years, Littell has worked on numerous prestigious projects, including the renovation of the Waldorf Astoria Hotel in New York and the design of the Plaza Hotel ballroom. He has also worked on residential projects for high-profile clients, such as the Kennedy and Rockefeller families. In addition to interior design, Littell also had a passion for furniture and accessory design. He created several furniture, fabric and wallpaper collections throughout his career. Ross Littell was honored for his work on several occasions, including the Pratt Institute Award of Merit and the Society of Interior Designers Award of Merit. He died in 2000 at the age of 76.

Estim. 1 200 - 1 400 EUR

Lot 37 - Table lamp; Fase President model by GEI (Gabinete de Estudios Industriales), 1960s. Metal and wood. Electrified. In working order. In good condition. With signature on the base. Measurements: 44 x 60 x 30 cm. Spanish lighting manufacturer Fase was founded in Madrid in 1964 by industrial designer Pedro Martín. Martín sold his self-produced lamps first in markets, before successfully establishing a factory in Torrejón de Ardoz, on the outskirts of Madrid. In the 1970s, Fase was a major player in the Spanish manufacturing industry, contributing to an economy struggling with oil crises and a difficult transition to democracy. Fase sold lighting for more than three decades to 32 different countries, with its largest markets being the United Kingdom, France, Italy, Germany, United Arab Emirates, Japan, Canada and the United States. Despite Fase's commercial success, information about the company and its history is scarce and sources often contradictory. Early Fase designs are considered modern, with original combinations of metals such as chrome and steel, with marble and wood, in a range of bright colors. Often, the fixtures could also be moved thanks to a sophisticated swivel system devised by early Fase designers, which soon became a trademark along with their glass diffusers. Important Fase designs include Boomerang 64, Boomerang 2000, 520, Faro and President, all of which are believed to have been designed in the 1960s. Beginning in the 1970s, Fase introduced modern Italian and Bauhaus-inspired designs to a Spanish public that, emerging from the Franco period, was unfamiliar with the most iconic styles of the 20th century. In addition to combining traditional materials such as wood with a modernist aesthetic, Fase created many lamps in a thoroughly modernist style. Lamps from this period include the Tharsis and the Babylon, both in chrome but with single and double lamps respectively, as well as the Harpoon and the stainless steel Impala (all from the 1970s). Fase's lighting designers and workers remain largely anonymous, resulting in many lamps being falsely advertised as being produced by the Spanish manufacturer, giving rise to a whole genre of "Fase-type" lighting, which can be seen in lamps produced by Madrid-based lighting manufacturers Lupela, GEI (Gabinete Estudios Industriales) and Ma-Of. Authentic Fase lamps can be identified by the company name or logo, usually found on the lamp base or socket. In the 1980s, Fase began manufacturing halogen lamps. Although these lamps were very popular and novel at the time, the break with tradition was unsuccessful and ultimately contributed to the company's demise.

Estim. 800 - 1 000 EUR

Lot 38 - Table lamp; Fase President model by GEI (Gabinete de Estudios Industriales), 1960s. Metal and wood. Electrified. In working order. In good condition. With signature on the base. Measurements: 44 x 60 x 30 cm. Spanish lighting manufacturer Fase was founded in Madrid in 1964 by industrial designer Pedro Martín. Martín sold his self-produced lamps first in markets, before successfully establishing a factory in Torrejón de Ardoz, on the outskirts of Madrid. In the 1970s, Fase was a major player in the Spanish manufacturing industry, contributing to an economy struggling with oil crises and a difficult transition to democracy. Fase sold lighting for more than three decades to 32 different countries, with its largest markets being the United Kingdom, France, Italy, Germany, United Arab Emirates, Japan, Canada and the United States. Despite Fase's commercial success, information about the company and its history is scarce and sources often contradictory. Early Fase designs are considered modern, with original combinations of metals such as chrome and steel, with marble and wood, in a range of bright colors. Often, the fixtures could also be moved thanks to a sophisticated swivel system devised by early Fase designers, which soon became a trademark along with their glass diffusers. Important Fase designs include Boomerang 64, Boomerang 2000, 520, Faro and President, all of which are believed to have been designed in the 1960s. Beginning in the 1970s, Fase introduced modern Italian and Bauhaus-inspired designs to a Spanish public that, emerging from the Franco period, was unfamiliar with the most iconic styles of the 20th century. In addition to combining traditional materials such as wood with a modernist aesthetic, Fase created many lamps in a thoroughly modernist style. Lamps from this period include the Tharsis and the Babylon, both in chrome but with single and double lamps respectively, as well as the Harpoon and the stainless steel Impala (all from the 1970s). Fase's lighting designers and workers remain largely anonymous, resulting in many lamps being falsely advertised as being produced by the Spanish manufacturer, giving rise to a whole genre of "Fase-type" lighting, which can be seen in lamps produced by Madrid-based lighting manufacturers Lupela, GEI (Gabinete Estudios Industriales) and Ma-Of. Authentic Fase lamps can be identified by the company name or logo, usually found on the lamp base or socket. In the 1980s, Fase began manufacturing halogen lamps. Although these lamps were very popular and novel at the time, the break with tradition was unsuccessful and ultimately contributed to the company's demise.

Estim. 800 - 1 000 EUR

Lot 39 - NICOLAS MORIN (1959). Blown glass vase, 1997. Signed and dated on the base. Measurements: 14 x 16 x 16 cm. Nicolas Morin began working with glass in the family workshop in 1973. He traveled to Holland and Scandinavia in 1980, 81 and 82, where he had numerous contacts with glass artists (Wilhem Heessen, Sybren Valkema, Asa Brandt, Ulla Forsell, Ann Wolf, Wilke Adolfson, Monika Guggisberg and Philipp Baldwin, etc). He participated in the first International Symposium of Glass in France, in Sars Poteries, in 1982. He graduated from the School of Architecture of Marseille Luminy in 1984. He participated in the symposium "Art Verre Vin" in Saint Emilion 1984. He traveled to the United States in 1986. Exhibited at the "West Springfield Craft Fair". Collaborated with William Morris and Dale Chihuly in 1986. Held his first solo exhibition in Paris in 1987. He traveled to Scandinavia in 1992, where he visited in particular Finn Lingaard and Mikko Merikallio and Estonia to meet Vivii Ann Kerdo and Kaï Koppel, the first independent workshop in Eastern Europe. Participated in the International Symposium of blown glass in L'viv (UKR-1992) discovery of the Slavic part of the world of glass with the help of Catherine Sintès - Creation of a new line of sculptures with Catherine Sintès. Participated in the International Glassblowing Symposium of L'viv (UKR-1995). Participated in the Glass Symposium in Haapsalu (EST) in 2003, meetings with glass artists from the Baltic countries and the International Symposium of blown glass in L'viv (UKR-2004). He traveled to Japan with the presentation of Yoko Kuramoto and Makoto Ito in February 2005. He participated in the International Festival of Glass Stourbridge (UK, summer 2008).

Estim. 300 - 400 EUR

Lot 40 - ARNE JACOBSEN (Denmark, 1902 - 1971) for Fritz Hansen. Rare armchair "Gaviota" or "FR 3207", Italy. Chromed tubular steel frame. Newly upholstered in brown leather. Provenance: original interior of the town hall of Mainz, Germany. Die-cut stamps on the base. The plastic frame that acts as a base has visible breakage in the photograph. Measurements: 78 x 61 x 52 cm. With his focus on simplicity of form and innovative function over trends, architect and designer Arne Jacobsen was a pillar of mid-century modern design. The model on tender has its roots in the Lily™ chair, which was originally known as the Series 8 and was designed for the Danish national bank. The first armless model (3108) debuted in 1968. The design was introduced with arms (3208) in 1970 at the Danish Furniture Fair. The chair design has also been called "Seagull". 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.

Estim. 3 000 - 3 200 EUR

Lot 50 - IB KOFOD-LARSEN (Denmark, 1921 - 2003). Armchair, ca. 1960. Teak wood, fabric upholstery. Needs refinishing. Measurements: 80 x 72 x 72 cm. Armchair made of teak wood with fabric upholstery. Design by Niels Koefoed, refined and clearly modern, with a certain organic air typical of Danish design of the period. The wood, simply polished, is expressed in all its natural beauty. The body has a high, straight, sloping backrest, separated from the closed arms, with right-angled upper armrests. Danish furniture designer and factory owner Niels Koefoed created a wide range of dining furniture in the typical Danish mid-20th century modern style. The KoefoedsHornslet furniture factory, named after the town in which it was located, was founded by Koefoed's father, Einar Koefoed, in the 1920s. The town of Hornslet had three furniture producers at the turn of the 20th century, each specialising in different areas of the design industry: fine furniture, upholstery and joinery. KoefoedsHornslet was dedicated to the production of fine furniture, although Niels' most popular designs were dining chairs. In 1964, Koefoed designed the modernist Eva Chair, which featured three vertical slats in the backrest, and was produced by Koefoeds in a choice of teak or rosewood. The "Eva" chair was part of a series of three dining chairs, the other two being the highly organic "Ingrid" chair (1960s) and the ladder-back "Lis" chair (1961), all of which are believed to be named after important women at Koefoed's. In 2004, KoefoedHornslet moved production to Thailand, where it continues today.

Estim. 1 200 - 1 400 EUR

Lot 56 - Puff; Missoni; 20th century. Woodstock cylinder square with iconic Missoni Home Textiles print. It presents an excellent state of conservation. Measurements: 30 x 41,5 cm. Puff of round structure, it presents a decoration based on parallel bands, varying in width, decorated some with simple geometric elements and others with bands of colors that overlap. Ottavio and Rosita Missoni established in 1953, a small knitwear workshop in Gallarate, Italy. They presented their first collection under the Missoni label in Milan in 1958. The business flourished, with the support of fashion editor Anna Piaggi, and then in Arianna magazine. Rosita met French stylist Emmanuelle Khanh in New York in 1965, which led to a collaboration and a new collection the following year. In April 1967, they were invited to show at the Pitti Palace in Florence. Rosita told the models to take off their bras, supposedly because they were the wrong color, and showed through the thin lamé blouses. The material became transparent under the lights and caused a sensation. The Missonis were not invited the following year, but business grew; a new factory in Sumirago was built in 1969. Missoni designs were promoted in the U.S. by Diana Vreeland, editor of American Vogue, and a Missoni boutique was opened in Bloomingdales. Missoni reached the height of its influence in the fashion world in the early 1970s, so much so that today the firm continues as an established brand. It has a zipper closure.

Estim. 600 - 700 EUR

Lot 58 - PERE COSP (Barcelona, 1907-2007). Wall or table lamp, 1948-1949. Rusty, perforated iron (decorated with vegetal fretwork and salamanders). Coloured paper inside. Use marks. Damaged fabric lampshade (loose from the base and frame. The lampshade is superimposed on the base and has no other support). Provenance: House in Llavaneras (Barcelona) with an interior designed entirely by Pere Cosp in 1948-1949, referenced on the website dedicated to the author, perecosp.wordpress.com, which lists the most important interior designs he made for individuals and companies. Measurements: 19,5 x 19,5 x 10 cm.(wall lamp); 26 x 31 x 15 cm.(screen). Pere Cosp was an interior designer from Barcelona. With a largely self-taught background, Pere Cosp redirected the family craft workshop towards interior design and integral decoration. The profession served him to give free rein to his creative talent, intentionally distanced from the fashions and trends of the time. Proof of the non-conformist and restless personality that defined him are the designs of his furniture, which still retain an innovative and transgressive spirit. Cosp attended the Escuela de Artes y Bellos Oficios (School of Arts and Crafts), as well as the perspective classes of Professor Arola. But more important for him was the practical part: entering the family workshop and experiencing at first hand all the trades that were carried out there: gilding, mouldings and all kinds of restoration work. He also worked with the furniture maker Alonso and the decorator Parcerises. Pere Cosp was a pioneer in the use of materials that could be called humble, such as pine wood, chipboard, raffia, etc., which he elevated to a higher level through their treatment and use. He often collaborated with other trades: in the field of metalwork, he worked with Biosca y Botey and Pere Peronella. In this line of collaborations, he produced screen feet, wall sconces, outdoor furniture for gardens, an extensive collection of knobs and handles. The decoration of these elements or the final finishing was always done in the workshop. He made combinations of great beauty: stone, marble - Terra Passani was the main supplier - mosaic, in collaboration with Bru, glass, Granell, enamel, Morató, lacquer, according to drawings by his daughter Guillermina, parchment, with which he made wonderful small tables, doors, bed headboards, etc,

Estim. 600 - 800 EUR

Lot 59 - PERE COSP (Barcelona, 1907-2007). Double bed, 1948-1949. In walnut wood with skay upholstery. Two electrified side sconces. Original period mattress, with soiling. Marks of use. Needs refinishing. Provenance: House in Llavaneras (Barcelona) with interior designed entirely by Pere Cosp in 1948-1949, referenced on the website dedicated to the author, perecosp.wordpress.com, which lists the most important interior designs he made for individuals and companies. Measurements: 172 x 200 x 170 cm; 40 cm. mattress height. Double bed in walnut designed by Pere Cosp. On low legs sits the ribbed waist structure. The headboard, upholstered in beige skay, is accompanied by two side light fixtures, attached to a metal curtain. Cosp was unique in his designs, freely engendered by his imagination and a deep knowledge of the possibilities of each material. Pere Cosp was an interior designer and designer from Barcelona. With a largely self-taught background, Pere Cosp redirected the family craft workshop towards interior design and integral decoration. The profession served him to give free rein to his creative talent, intentionally distanced from the fashions and trends of the time. Proof of the non-conformist and restless personality that defined him are the designs of his furniture, which still retain an innovative and transgressive spirit. Cosp attended the Escuela de Artes y Bellos Oficios (School of Arts and Crafts), as well as the perspective classes of Professor Arola. But more important for him was the practical part: entering the family workshop and experiencing at first hand all the trades that were carried out there: gilding, mouldings and all kinds of restoration work. He also worked with the furniture maker Alonso and the decorator Parcerises. Pere Cosp was a pioneer in the use of materials that could be called humble, such as pine wood, chipboard, raffia, etc., which he elevated to a higher level through their treatment and use. He often collaborated with other trades: in the field of metalwork, he worked with Biosca y Botey and Pere Peronella. In this line of collaborations, he produced screen feet, wall sconces, outdoor furniture for gardens, an extensive collection of knobs and handles. The decoration of these elements or the final finishing was always done in the workshop. He made combinations of great beauty: stone, marble - Terra Passani was the main supplier - mosaic, in collaboration with Bru, glass, Granell, enamel, Morató, lacquer, according to drawings by his daughter Guillermina, parchment, with which he made wonderful small tables, doors, bed headboards, etc,

Estim. 1 800 - 2 000 EUR

Lot 61 - CHARLES EAMES (USA, 1907 - 1978) AND RAY EAMES (USA, 1912 - 1988) for VITRA. Office chair model EA-119, design 1958. Height adjustable and with tilt function. Black leather upholstery, armrests and five-spoke chrome-plated aluminum base with casters. Measurements: 114 x 58 x 56 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 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. Charles Eames studied architecture for two years at the University of Washington, and 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. There he would end up teaching, heading the industrial design department. Together with Eero Saarinen, 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 fellow Cranbrook artist 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. 1 400 - 1 600 EUR

Lot 64 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. Hang it all" coat rack. Lacquered steel and wood. Measurements: 50 x 37 x 17 cm. Vitra editor itself defines its coat rack as "a cheerful alternative to traditional coat racks (and not only for the children's bedroom)". The combination of shapes and colors encourages children to hang all their things, literally. Thanks to the even distance between the balls, several hangers can be mounted together for more space. 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. Charles Eames studied architecture for two years at the University of Washington, and 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. There he would end up teaching, heading the industrial design department. Together with Eero Saarinen, 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 fellow Cranbrook artist 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. 300 - 350 EUR

Lot 70 - 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 71 - 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 72 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Ottoman for the "Egg Chair", model 3127, design 1958. Early 1960s edition. Unlabelled. Square base of profiled cast aluminium. Upholstered in brown wool. With signs of ageing. Porous filling. Upholstery with wear and stains. Measurements: 43 cm (height). The Egg chair was designed in 1958 by Arne Jacobsen for the Radisson SAS Royal hotel in Copenhagen, and was published by the Danish firm Fritz Hansen. It soon became a symbol of modern design, starring in some of the scenes of the futuristic film "2001: A Space Odyssey". Among Arne Jacobsen's other designs for SAS Royal are the "Egg Chair", "Swan Chair", "Swan Sofa", "Series 3300" and "Drop Chair", furniture with which Jacobsen has written the history of Danish design all over the world. The Danish architect was one of the pioneers of the time in using new methods in furniture design, the Egg Armchair being a clear example of this. The iconic sofa consists of a one-piece, concave moulded polyurethane shell with fibreglass reinforcement, which has been covered with an elegant upholstery. The shell has an adjustable tilt mechanism, which can be adjusted to the weight of the individual user. The tilt mechanism is made of steel, while the adjustment handle is made of polished stainless steel. The result, a distinguished, pointed and unique timeless design that will stand the test of time. Architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others. The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the Egg Chair and Swan chair, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers Piet Hein and Poul Kjaerholm.

Estim. 1 800 - 2 000 EUR

Lot 73 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. "Egg Chair, model 3316, design 1958. Early edition from the early 1960s. Unlabelled. Upholstered in black leather. The leather is complete, without holes, and shows very good patina. Needs refinishing. Swivel base with four solid profiled aluminium feet. The seat cushion is damaged and has some loss of inner material. In need of restoration. Measurements: 107/36 cm (height). The Egg chair was designed in 1958 by Arne Jacobsen for the Radisson SAS Royal hotel in Copenhagen, and was published by the Danish firm Fritz Hansen. It soon became a symbol of modern design, starring in some of the scenes of the futuristic film "2001: A Space Odyssey". Among Arne Jacobsen's other designs for SAS Royal are the "Egg Chair", "Swan Chair", "Swan Sofa", "Series 3300" and "Drop Chair", furniture with which Jacobsen has written the history of Danish design all over the world. The Danish architect was one of the pioneers of the time in using new methods in furniture design, the Egg Armchair being a clear example of this. The iconic sofa consists of a one-piece, concave moulded polyurethane shell with fibreglass reinforcement, which has been covered with an elegant upholstery. The shell has an adjustable tilt mechanism, which can be adjusted to the weight of the individual user. The tilt mechanism is made of steel, while the adjustment handle is made of polished stainless steel. The result, a distinguished, pointed and unique timeless design that will stand the test of time. Architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others. The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the Egg Chair and Swan chair, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers Piet Hein and Poul Kjaerholm.

Estim. 5 000 - 6 000 EUR

Lot 74 - Pair of JACOB & JOSEF KOHN rockers. Austria, second half of the 19th century. Walnut wood. With marks of use. Active xylophages. With remains of labels. Measurements: 105 x 55 x 92 cm. The legs and armrests of this pair of rocking chairs are made up of a single curved structure of organic inspiration. The backrests, for their part, are based on a play of straight and openwork shapes. They were manufactured by the company J & J Kohn, founded by Jacob Kohn (1791-1868) and his son Josef (1814-1884) in 1867 in Wsetin (Moravia), in the territory of the Austro-Hungarian Empire. Kohn challenged the privilege of exclusive production of bent furniture held by Thonet, its creator, since 1856; a privilege which, in view of a negative ruling by the authorities, Thonet did not attempt to renew. Kohn soon became a strong competitor in the bent beech wood sector, in which it is a historical benchmark alongside the Thonet brothers. The company's early prominence was demonstrated by its highly acclaimed participation in the Vienna World Exhibition in 1873. From then on, Jacob &Josef Kohn exhibited at the expositions in Philadelphia (1876), Paris (1878, silver medal), Barcelona (1888), Glasgow (1901), Turin (1902), St. Louis (1904), Milan, London and Bucharest (1906) and Buenos Aires and Munich (1910). She was also awarded the Grand Prix at the Universal Exhibition in Paris in 1900. Kohn teamed up with renowned architects and designers of the day, with Otto Wagner, Josef Hoffmann, Koloman Moser and Hans Prutscher producing designs for her. After an initial phase dedicated to the production of curved chairs in the Thonet line, the company developed, during the eighties, an extensive historicist production. With the turn of the century came the stylistic evolution, focusing since then on the new trends in the decorative arts. In this sense, the chair that Adolf Loos (1870-1933) designed for Kohn in 1899, destined for the Café Museum in Vienna, stands out as the main reference point. Today, works by Jacob & Josef Kohn can be found in museums and institutions all over the world, such as the Museum of Modern Art in New York and the Orsay Museum in Paris.

Estim. 3 000 - 4 000 EUR

Lot 75 - 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 76 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Set of six Oxford chairs. Fritz Hansen publisher, Denmark, 1976. Metal and leather, swivel. The current edition of this model is marketed at 2000€ per piece. They show signs of use. The upholstery has cracked leather. Measurements: 87 x 46 x 55 cm. Set of six Oxford chairs, a design by Arne Jacobsen. With metal structure and body entirely upholstered in black leather. It is a minimalist design, with a structure reduced to its essence, functional and at the same time elegant due to its harmonious combination of straight lines and soft curves. The original design of the Oxford chair was created by Jacobsen for the professors at St. Catherine's College, Oxford, in 1963, when he was commissioned to build a new wing for their building. An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the Danish National Army in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.

Estim. 2 700 - 2 900 EUR

Lot 78 - In the style of JOSEF HOFFMANN (Brtnice, Czech Republic, 1870 - Vienna, 1956). Pair of armchairs. Walnut wood. Fabric upholstery with floral decoration. With signs of wear and tear. With xylophages. The wood needs to be reworked. Measurements: 73 x 55 x 47 cm. Pair of armchairs of Central European style, framed within the Viennese Secession, with structure in walnut wood with structure of parallel bands, functional and of refined volumes. An architect and industrial designer, Josef Hoffmann studied at the Academy of Applied Arts in Vienna, where he was a disciple of Carl Freiherr von Hasenauer and Otto Wagner, whose theories of functional, modern architecture would profoundly influence his work. He won the Prix de Rome in 1895, and the following year he joined Wagner's office, collaborating with Olbrich on some projects for the Metropolitan. He established his own office in 1898, and taught at the School of Decorative Arts in Vienna between 1899 and 1936. He was also a founding member of the Viennese Secession. In 1900 he travelled to London, where he came into contact with the English school and discovered Mackintosh. On his return, he set up a workshop for the production of objects based on designs by Secession artists, and the Wiener Werkstätte was born, a workshop which had a great influence on 20th-century industrial design. By 1903, production began on an international scale. In the course of his life, Hoffmann produced a variety of projects for buildings and furnishings, and exhibited his creations all over the world. He is currently represented in the MAK and the Leopold Museum in Vienna, the Metropolitan and MoMA in New York, the Brohan in Berlin, the Courtauld Institute in London and the Victoria & Albert in London, among many others.

Estim. 800 - 1 000 EUR

Lot 79 - LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. "Barcelona" chair. Chromed 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 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 entirely 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. 6 000 - 7 000 EUR

Lot 80 - JOHANNES FOERSOM (Denmark, 1947). Set of four chairs. Aluminium legs and leather upholstery (quince-coloured back, grey seat). They show signs of use. Measurements: 96 x 63 x 57 cm. The design of these chairs responds to the assimilation and renovation of the Scandinavian avant-garde language, bringing it back to contemporary tastes. The rectangular backrest harmonises with the cylindrical seats. The ensemble is defined by its formal purity, elegantly proportioned geometry and comfort. Johannes Foersom is a renowned furniture designer in contemporary Scandinavian design. The aim of his creations is to give them lasting value, stimulating healthy development for people and their surroundings. He has often worked in duo with designer Peter Hiort-Lorenzen. The couple strives for the highest quality in cooperation, process and product, and believes that knowledge and innovation are fundamental to the successful development of the firm. The exceptional use of flexibility makes the furniture appear as small architectural marvels. Throughout their careers, both designers have received numerous awards, among them: The Danish State Art's Fund (190,1972 and 1977), Kröyer's Memorial Award (1974, 1975), the Nationalbanken's Jubilee Fund (1980), the Annual Award of the Danish Furniture manufacturers (1985), Design Zentrum Nordrhein Westfalen's Prize for high design quality (1992, 1994, 1995, 1999), the Forsnäs Prize (1994), Bo Bedre's Design Award (1995, 1996, 1997), the Best of Neocon (1995)); Bruno Mathsson Award (1998), the Excellet Swedish From the Table Atlas (2000) and the Finn Juhl Prize (2005).

Estim. 2 000 - 2 500 EUR

Lot 81 - 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 82 - LE CORBUSIER; PIERRE JEANNERET (Genoa, 1896-1967), CHARLOTTE PERRIAND (France, 1903-1999) for CASSINA. Armchair LC 2, design 1928. Chrome-plated tubular steel frame, loose cushions upholstered in brown leather. Stamp and serial number engraved on the frame. Minor signs of wear. Frame with small marks. Measurements: 67/47 cm (height). The LC2 armchair was designed by Le Corbusier and Charlotte Perriand for Cassina (1928) and, like the contemporary LC3 series, was defined by its creators as a "basket of cushions", and conceived as a response to the traditional armchair, which inverts the dialogue between structure and cushions, leaving the former visible. Architectural theorist, architect, designer and painter, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Exposition des Arts Décoratifs in 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.

Estim. 3 500 - 4 000 EUR

Lot 84 - LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. Chair "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 87 - BØRGE MOGENSEN (Denmark, 1914 – 1972). Birch. Upholstery in ecru colour fabric. Birch. Measurements: 84 x 60 x 47 cm. Pair of Danish armchairs with a birch structure. Light in structure, its legs have a cylindrical section, wider in the center, and the armrests have a markedly curved, flattened format. Børge Mogensen was one of the most prominent representatives of the generation of designers who gave rise to the concept of Danish design, today known throughout the world. He began his career as a cabinetmaker in 1934, and two years later he began his studies at the Copenhagen School of Arts and Crafts, where he had Kaare Klint as a teacher. He then entered the Royal Academy of Fine Arts, graduating as an architect in 1942. That same year he began working as design director for FDB, finally setting up on his own in 1950. Functional is the word that best describes Mogensen's design. ; Most of his creations were conceived for industrial production, and are characterized by solid and simple lines, studied in an almost scientific way to be as functional as possible. His clean, highly functional aesthetic resulted in affordable and practical designs, his favorite material being wood. The client portfolio for which he worked includes Fredericia Stolefabrik, Fritz Hansen and Søborg Møbelfabrik, among others. Notable projects include Spokeback Sofa (1945) and Spanish Chair (1959), as well as a variety of shelving and storage designs. He was honored with the Eckersberg Medal in 1950, the Copenhagen Woodworking Guild's annual award in 1953, and the C.F. Hansen Medal in 1972.

Estim. 2 000 - 2 500 EUR

Lot 88 - 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 90 - 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 91 - 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 92 - 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 94 - "LE CORBUSIER"; CHARLES ÉDOUARD JEANNERET-GRIS (Switzerland, 1887 - France, 1965). LC1 chair. Chrome-plated metal structure and ponyhide upholstery. It shows marks of use and the passage of time. Measurements: 64 x 59 x 64 cm. The first design created by Le Corbusier, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928. Le Corbusier, Jeanneret and Perriand sought to design furniture for all rooms of the house, and so they created pieces like the LC9, a very simple stool for the bathroom, with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as the MoMA in New York or the Victoria & Albert in London. Architectural theorist, architect, designer and painter Swiss, naturalized French, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the twentieth century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the garden-terrace, the "pilotis", the longitudinal window and the free facade. Among his most outstanding architectural projects are the Swiss Pavilion of the Cité Universitaire de Paris, the Unité d'Habitation in Marseille and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier made his first creations with Pierre Jeanneret and Charlotte Perriand, obtaining the definitive impulse in the Paris Decorative Arts Exhibition of 1925. Already his first chairs and armchairs were conceived in terms of comfort, and based on anthropometric studies that guarantee a total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterized by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He would continue to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionize the mass production of modern furniture. We must also highlight the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all rooms of the house, and so they created pieces like the LC9, a stool for the bathroom, very simple, with fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently edited by the Italian company Cassina, and are present in important collections such as the MoMA in New York or the Victoria & Albert in London.

Estim. 2 500 - 2 800 EUR

Lot 96 - 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
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