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9th September - Design: Avant-garde furniture

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Lot 2 - OSVALDO BORSANI (Varedo 1911- Milan 1985) for Tecno. Chaise-longue P40, design 1955. Structure in black metal, original red fabric upholstery. Brass details and handles. With Tecno logo. Measurements: 90 x 70 x 129 cm; 40 cm (seat height). The versatile and comfortable P40 armchair was designed by Osvaldo Borsani in 1955 for Tecno. It features a multitude of conveniences: the chair can be adjusted in more than 400 positions; the backrest can be reclined to different angles, the headrest moves up and down, the flexible rubber armrests can be folded, and the chair has a folding legrest with extendable metal footrest. Trained from a very young age in the family furniture company, Osvaldo Borsani participated in 1933 in the V Milan Triennale, with the "Minimal House" project, which was awarded the silver medal. After graduating from the Milan Polytechnic, he met and collaborated with important artists such as Lucio Fontana, Agenore Fabbri, Aligi Sassu, Roberto Crippa, Fausto Melotti, and Arnaldo Pomodoro. In 1953, together with his brother Fulgencio, he founded Tecno, a project to which he would dedicate his entire life. His first industrial design works were the P40 variable-tilt armchair (1953) and the D70 sofa with invertible seat. In 1968 he created the Graphis office system (together with Eugenio Gerli, which was distributed worldwide in a million copies), thanks to which Tecno became an internationally renowned manufacturer of office design products. At the end of the sixties, Osvaldo Borsani created the Tecno Project Center with Marco Fantoni and Valeria Borsani.

Estim. 4 500 - 4 700 EUR

Lot 3 - HARRY BERTOIA (Italy, 1915 - USA, 1978) for Knoll. Pair of "Diamond" chairs. Chrome base and fabric upholstery. Good condition. With Knoll stamp engraved. Measurements: 75 x 85 x 75 cm. The structure of the Diamond chair has an openwork design that gives it a light and airy aesthetic. The seat features slightly upturned sides that complement the slightly pointed lines of the backrest, creating the shape of a diamond. The slender metal legs contribute to the minimalist look. A painter, graphic artist, sculptor, university professor and furniture designer, Harry Bertoia emigrated to the United States at the age of fifteen, and it was there that he developed his training and career. He studied at the Detroit Society of Arts and Crafts and later at the Cranbrook Academy of Art in Bloomfield, Michigan, where he later became a teacher and created the department of metalwork. During these years he began to experiment with the forms of jewelry, and to explore ideas that would later emerge in his sculpture and designs. In 1943 he began his collaboration with designer Charles Eames, with whom he worked until 1946. After a period working for Point Loma Navel Electronics as a creator of equipment manuals, in 1949 he joined Hans Knoll at Knoll Associates. His first sculpture exhibition took place at the Knoll Showroom in New York in 1951, and the following year Knoll would patent his most famous furniture design, the welded rod "Diamond" chair. Bertoia's designs are now in the collections of major design and contemporary art museums, including MoMA in New York and many others.

Estim. 3 000 - 3 200 EUR

Lot 6 - VLADIMIR KAGAN (Worms, 1927-Florida, 2016). Set of four chairs model VK 101A, 1950s. Leather back. With minor signs of use but in very good condition. Measurements: 63 x 62 x 95 cm; 45 cm (seat height). These chairs with their elegantly arched frame feature a leather back that flows from the top of the back rail to the padded leather seat. The slight backward angle of the legs and the elegantly sculpted seat and arm accentuate both comfort and Kagan's signature "less is more" design style. Although of German origin, Vladimir Kagan grew up in the United States. He studied architecture at Columbia University before joining the New York woodworking shop of his father, master cabinetmaker and art collector Illi Kagan. Between 1950 and 1960, Kagan partnered with textile designer and printer Hugo Dreyfuss. Kagan's decidedly modern and sculptural furniture was quickly successful. His projects include the cocktail lounges for delegates at the first United Nations headquarters in Lake Success, New York (1947-48); the curvaceous Serpentine sofa (1949); and the iconic Omnibus seating collection (c. 1970), among others. From 1990 to 1992 he was president of the New York chapter of the American Society of Interior Designers (ASID). In 1998 he reintroduced some of his classic designs at the International Contemporary Furniture Fair (ICFF) in New York, formally relaunching his career. In 2008, he launched the Vladimir Kagan Couture Collection, which includes a selection of designs from the 1950s through the 21st century. And in 2015, Kagan designed a collection of limited-edition art furniture for Carpenters Workshop. The designer's work is in numerous private and public collections, including the Vitra Design Museum in Weil am Rhein, Germany, the Metropolitan Museum of Art in New York, Die Neue Sammlung in Munich, the San Francisco Museum of Modern Art, and the Victoria and Albert Museum in London, among others. In 1980, the Fashion Institute of Technology in New York paid tribute to Kagan with a thirty-year retrospective exhibition: Vladimir Kagan: Three Decades of Design. In 2002, the Brooklyn Museum of Art presented him with a Lifetime Achievement Award; in 2001, the Pinnacle Award from the American Society of Furniture Designers; and in 2000, the Lifetime Achievement Award from the American Society of Furniture Designers.

Estim. 18 000 - 20 000 EUR

Lot 8 - ILMARI TAPIOVAARA (Finland, 1914-1999) for La Permanente Mobili Cantù. Set of four chairs. Dark beech wood and cognac leather. In good condition with signs of use and age. Measurements: 48 x 60 x 92 cm. These sturdy chairs by Ilmari Tapiovaara feature markedly geometric structures for the seat and back. The joints are highly visible, which enhances their handcrafted character. Ilmari Tapiovaara was a pioneer of the new design that emerged after World War II, which ceased to be a cultural luxury and spread to society as a whole.He studied at the Helsinki School of Applied Arts, where he came into contact with Functionalism, the furniture designs of Alvar Aalto and the Modern Movement. Later, his internship at Le Corbusier's studio completed his training. The close contact with nature that he enjoyed in his youth would also influence his orientation: "Nature is the best and closest manual for the industrial designer. Tapiovaara had to face the new pragmatic challenges posed by modern industrial design: assembly of serialized parts, rational packaging for transport and export, solidity, ergonomics and exploration of techniques and materials. The result was ironic and persuasive designs, which subtly alluded to tradition and at the same time were transgressive and timeless, seeking the poetics of form. Ilmari Tapiovaara died after laying the foundations for the development of incipient industrial design. A characteristic of Tapiovaara was the exploration of his work through multiplicity: of each important piece he created numerous versions and multiform re-editions. This was the case with pieces such as the Fanett-Mademoiselle chair (1957); the famous Domus chair (solid birch and lacquered plywood), created in 1946 to form part of the furniture of the Domus Académica student residence, later produced by Knoll as FinnChair and of which multiple versions were made over the decades, or the Trienna table (1954); the Lukki chair, made of curved tubular steel and plywood, stackable in different versions in 1954 and 1956; the Otto cutlery (1986), or the Maija Mehiläinen lamp for Asko (1957), later published by Santa & Cole.His interior design projects in Finland, the United States and Europe, such as the OKO Bank in Helsinki, the Olivetti showrooms, the Intercontinental Hotel, etc. Tapiovaara also devoted part of his professional career to teaching (in the USA and Finland). He believed that designers should be taught philosophy, for without ideas there is no design, and was of the opinion that "Leonardo was the most famous and perhaps the best product designer in history."

Estim. 3 200 - 3 400 EUR

Lot 24 - JULES WABBES (Belgium, 1919- 1974). Coffee table, 1960s. Bronze and glass. It shows slight wear according to use and age. Measurements: 43 x 120 cm (with glass); 40 x 79 cm (without glass). Throughout his life, Wabbes showed a great interest in art and design. He studied architecture at the Academy of Fine Arts in Brussels and graduated in 1943. However, after completing his studies, the artist decided to focus on furniture and object design, leaving architecture aside. In his early days, Jules Wabbes worked as an interior designer and theater set designer. But, in the 1950s, he began to stand out in the design of furniture and lighting, creating pieces of great quality and aesthetic beauty. His creations, characterized by clean and functional lines, were very popular both in Belgium and in other countries. Wabbes made use of his ability to work with fine woods and other high quality materials, which allowed him to create furniture and lamps that combined elegance and functionality. His designs were timeless and perfectly suited to different styles and spaces. Throughout his career, Jules Wabbes also had the opportunity to work on several large-scale projects, such as the creation of furniture for Belgian embassies in different countries and for several emblematic buildings in Belgium. Despite his success and recognition in the design world, Wabbes kept a low profile and was known for his humility and dedication to his work. He passed away on May 10, 1974, leaving an important legacy in furniture and lighting design, and being remembered as one of the great masters of Belgian design.

Estim. 6 000 - 7 000 EUR

Lot 25 - PIERRE JEANNERET (Geneva, 1896-1967). Box Chair or model PJ-SI-53A, 1960. Frame in solid Indian teak. Cane seat and back. Numbered. Measurements: 75 x 51 x 51 cm. The Box Chair was also known as the "Office Chair with Cane Seat and Cane Back" when it was part of the furniture at Panjab University in Chandigarh around 1960. Its name was due to the distinguishing feature of this design is the set of asymmetrical double box style legs that also serve as armrests and bases. It is worth noting that the backrest is slightly inclined and curved is separate from the seat. Born in Geneva in 1896, Pierre Jeanneret studied at the Ecole des Beaux-Arts. In 1922, he began working in his new workshop in rue de Sèvres, Paris, with his cousin, fellow designer Le Corbusier, with whom he shared research projects and design criteria thanks to a deep professional relationship. In October 1927, the two decided to incorporate into their project a young architect who had already begun to make a name for herself on the architectural scene of the time: Charlotte Perriand. The collaboration of the three personalities lasted until 1937 and was extremely fruitful, especially in the field of furniture design. It was a very significant cooperation, both in terms of the cultural interest of their achievements and in terms of professional success. It was together with Charlotte Perriand that they tackled the innovative project for "l'équipement de la maison", the result of which was of great intellectual value and considerable commercial success. In 1951, Le Corbusier suggested a new project to celebrate India's independence and the opening of the nation to modernity, which consisted in the design of a city, Chandigarh, the capital of Punjab. Chandigarh, in northern India, is a city built from nothing. Designed by Le Corbusier, it was born as an icon of freedom from the colonialism of the past. Pierre Jeanneret is considered - despite the absence of documentation to prove it - the author of most of Chandigarh's furniture. The result is universally known designs, made with respect for the techniques used in the original products, manufactured in India by local craftsmen. Pierre Jeanneret's experience in India lasted until the end of his days in 1967 and his close and continuous contact with the local territory led his furniture to incorporate essential forms with simple materials. Today, Jeanneret's work can be found in museums such as the Museum of Modern Art (MoMA), the Vitra Designs Museum, the Museum Boijmans van Beuningen, the Museum for Gestaktung Zurich, the Museums of India and the Perre Jeanneret Museum.

Estim. 5 000 - 6 000 EUR

Lot 30 - PERE COSP (Barcelona, 1907-2007). Pair of shoehorn chairs, 1948-1949. Walnut wood. Marks of use. Upholstery damaged and soiled. In need of refinishing. Old xylophages. 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: 72 x 43 x 47 cm. Pair of shimming chairs designed by Pere Cosp, with sabre back legs and openwork backrest. The handcrafted finish is combined with a modern concept, characteristic of the author. 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 metal, 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 carried out combinations of great beauty: stone, marble - Terra Passani was the main supplier - mosaic, in collaboration with Bru, glass, Granell, enamel, Morató, lacquers. Over the course of his 50-year career, he transformed around a hundred private homes into modern dwellings, often ahead of their time. His personal stamp impregnated every corner of the home: he distributed spaces, designed the furniture and decided even the smallest decorative detail.

Estim. 300 - 400 EUR

Lot 33 - SERGIO ASTI (Milan, 1926-2021) for Zanotta. Pair of Navy folding chairs, 1969. Light wood frame. Upholstered upholstery in high quality natural leather. Measurements: 87 x 57 x 60 cm. Pair of folding armchairs with open structure made of wood with seat and backrest upholstered in high quality natural leather. The X-shaped scissor legs fold in such a way as to facilitate the storage of the chairs and at the same time give them a distinctive look. Sergio Asti studied at the Politecnico di Milano and began his career in the 1950s working for industrial design companies such as Kartell, Cassina, Knoll, Poltronova, Gabbianelli and Olivetti. Asti is known for his minimalist, elegant style and use of simple geometric shapes and bright colors. He opened his studio in 1953, becoming one of the first Italian industrial designers and one of the founding members of the ADI (Association for Industrial Design). Some of his most famous designs are the "Daruma" lamp for FontanaArte, the "Siesta" chair for Gabbianelli, the "Cobra" lamp for Martinelli Luce and the "Valentine" typewriter for Olivetti. From his beginnings, he was also active in the design of public and private buildings, interiors and equipment, including: the Fiat showroom (Milan, 1964), the offices of the FISI presidency (Milan, 1976). He also taught at the Istituto Superiore d'Arte in Venice and at the Istituto Sperimentale Superiore in Shizuoka (Japan). In 1956 and 1960 he was awarded the Compasso d'Oro. His work is currently held at the MoMA in New York and the Musée des Arts Décoratifs in Paris, among other public and private collections.

Estim. 1 100 - 1 200 EUR

Lot 35 - Attributed to PIETRO CHIESA (Milan, 1892-1948) for Fontana Arte. Lamp, 1950s. Brass and perforated metal shade. Two points of light. In good vintage condition. Measurements: 42 x 32 x 32 cm. This lamp responds to mid-century Italian design and proportions, with refined touches such as the small knob on the top. The patina it has acquired over time is magnificent and enhances the piece. It rises on a polished circular foot on which rests the tubular shaft, reinforced in the middle by a fluted structure. The perforated and dome-shaped screen completely covers the light sources. Considered one of the leading exponents of Italian art deco, Pietro Chiesa worked as an apprentice in the studio of furniture designer and interior decorator Giovan Battista Gianotti in Milan. In 1921 he opened the Botega di Pietro Chiesa in Milan. In 1925 the Milanese designer showed his work at the "Exposition Internationale des Arts Décoratifs et Industriels Modernes" in Paris. In 1927 he joined Gio Ponti, Michele Marelli, Tomaso Buzzi, Emilio Lancia and Paolo Venini to found Il Labirinto, where high-quality furniture in the Novecento style was manufactured. There he concentrated mainly on glass design. In 1933 Chiesa became artistic director of Fontana Arte, the firm founded by Gio Ponti and Luigi Fontana. Fontana Arte began by concentrating on furniture and glass, but later became known for lighting. Pietro Chiesa treated glass as a valuable material, fragmenting it and using special cutting techniques. At the same time he created pure forms, such as the glass table of 1932, made from a single folded strip of clear glass. In 1933 he designed "Luminator", an elegant flute-shaped floor lamp made of lacquered brass tube, which provided indirect light.

Estim. 700 - 750 EUR

Lot 38 - JUUL KRISTENSEN (Denmark) for Glostrup Møbelfabrik. Armchair, 1960's. Teak, upholstered in fine wool. With label of the firm. Measurements: 100 x 80 x 79 cm. Armchair designed by Juul Kristensen and manufactured in Denmark by Glostrup Møbelfabrik in the 1960s. The teak wood structure, with the arms and legs (the later ones oblique) carved in an organic form, as well as the openwork backrest, show an exceptional work, genuinely Nordic in the handcrafted treatment of the finishes. Edges have been avoided in the structure as a whole, which gives it fluidity in its lines and warmth in its appearance. The seat and back cushions are covered with fine wool fabric. Juul Kristensen began his career working for Danish design and furniture companies such as Fritz Hansen and Rosendahl A/S. In 1969 he founded his own design company, Juul Kristensen Design, which produced furniture, lighting and home accessories. Throughout his career, Kristensen has received numerous awards and prizes for his design achievements, including the Prix d'Excellence from the Danish Design Foundation in 1974 and the Grand Danish Design Award in 1987. His designs are often characterized by their simplicity and functionality, and by the use of natural materials such as wood and leather. His best-known creations include the "Kilin" armchair for Fritz Hansen and the "Diva" desk lamp for Le Klint. Juul Kristensen is considered one of the most influential Danish designers and helped shape the modern Scandinavian design aesthetic. He passed away in 2016 at the age of 79.

Estim. 1 900 - 2 200 EUR

Lot 39 - ALFRED ALTHERR JUNIOR (Wuppertal, 1911-1972). Sideboard, Switzerland, 1950's. Partially polychromed wood in red and cerulean blue. Metal legs. Collector's item. Original. Measurements: 120 x 45 x 72 cm. Sideboard designed in the fifties by Alfred Altherr. This is an original, vintage piece. The functional minimalism, its ingenious approach to structural simplicity and the good taste of the finishes bring together elements characteristic of the work of this Swiss architect and designer. The sideboard has sliding doors with handles in the form of slanted profile moldings. The natural wood of the rectangular body and the handles are combined with the red and mauve or cerulean blue of the doors. The interior is compartmentalized with shelves. The structure is raised on black metal hairpin legs, typical of 1950s aesthetics. It is also worth noting the excellent finish thanks to the use of high quality materials. The design of this piece is in keeping with the style advocated by the stellar figures of the time, such as Charlotte Perriand and Jean Prouvé: the elimination of all superfluous ornamentation, resulting in minimalist and practical designs; adaptability, craftsmanship, functionality and clean forms. Alfred Altherr was a professor at the Schule für Gestaltung in Zurich, where he taught interior design and architecture. His educational approach promoted a combination of functionality and aesthetics, an essential characteristic of modern Swiss design. He is also known for his furniture designs, which stand out for their simplicity, functionality and use of high-quality materials. Many of his designs reflect an influence of the modern movement, with clean lines and careful attention to ergonomics. Throughout his career, Altherr worked on a variety of architectural and interior design projects. His work ranged from residential space planning to the creation of innovative furniture. Altherr's furniture: Landi Bench, with Charles Hoch, for the 1939 Swiss National Exhibition; Furniture for FREBA. Publications: New Swiss Architecture. New Swiss Architecture. Gerd Hatje, Stuttgart 1965; Three Japanese architects. Mayekawa. Tange. Sakakura. Published by Niggli, Teufen 1968. Alfred Altherr left a lasting mark on Swiss and European design. His contributions can be seen in the widespread adoption of modern design principles in furniture and architecture in Switzerland. In addition, his influence as an educator helped train new generations of designers and architects, who continued to develop the principles of functional and aesthetic design.

Estim. 5 000 - 6 000 EUR

Lot 40 - VINCENT MARTINEZ BURJASSOT (Valencia, 1949) for Punt Mobles. Halley" table. Black metal and wood. The wooden top has been made to order. In very good condition. This vintage producer has no defects, but may have slight wear marks. Liero wear commensurate with use and age. Measurements: 72 x 90 x 90 cm. The Halley table is distinguished by its precise and linear geometry that seeks in its constructive contradiction to recall the projection of a kite. Its materiality is shaped by combining wood and metal. It received recognition from the Staatliches Museum für Angewandte, Munich, Germany. "The moment when thought becomes an object is exciting, projects are first and foremost ideas. Ideas are unreal until action inserts them into the real. The user as a referent. Designing for a world where the quality of life of all people is better," says Vicent Martínez. The importance of Vicent Martínez is reflected in his presence in museums such as the Museu d'Arts Decoratives. Barcelona, Spain: La Torre bookshelf, Anaconda table, Concert modular collection and Literatura Classic bookshelf. 1994; the personal and professional archive 1965-2010 deposited in the Arxiu Valencià del Disseny. 2019; the Museum Fur Musem fur Angewandte Kunst. Cologne, Germany: Shelves Literatura Classic and La Torre. 1992 and the Staatliches Museum für Angewandte. Munich, Germany: Halley and Magic Tables. 1992. Throughout his career as an artist he has participated in the IVAM. Valencian Design 2009-2019 Alcoi Venue. 2020; 30 Years of Classic Literature. School of Art and Design of Valencia. 2015 as well as in other important exhibitions.

Estim. 500 - 600 EUR

Lot 41 - AFRA SCARPA (Montebelluna, 1937 - Treviso, 2011) & TOBIA SCARPA (Venice, 1935). Artona desk. Root wood and leather. Measurements: 83 x 250 x 43 cm. The "Artona" series is one of the most coveted and sought after by the Scarpa couple. It is characterized by the magnificent finish of its woods, as well as by the delicate treatment of the brown leather that covers and completes the pieces. This desk has a markedly horizontal structure with simple and rounded volumes. At the front, it is organized into two vertical side doors connected by two drawers. Tobia Scarpa's beginnings were as a glass designer in Venini's Murano glass factory, until in 1960 Tobia and Afra, his wife, decided to open their studio. Among their clients were Gavina, B&B Italia, Cassina and Meritalia. In 1964, they collaborated with the Benetton clothing company to design the firm's first textile factory. Afra and Tobia Scarpa were in charge of the interiors of the company's offices in Paris, Fribourg and New York. Afra and Tobia Scarpa were awarded the Compasso d'Oro in 1969 and the International Forum Design in 1992. Their furniture has been published in articles in magazines such as L'ŒIL, and from 2004 to 2007, the couple collaborated on numerous restoration projects for historic buildings such as the Palazzo della Ragione in Verona, Italy. Since 2002, Tobia has been teaching in the Department of Design at the Università Iuav di Venezia in Venice, Italy. Some of Afra and Tobia Scarpa's designs can be found in institutions such as the MOMA, the National Museum of Design in New York, the Philadelphia Art Museum, the Louvre Museum or the Victoria and Albert Museum, among other institutions.

Estim. 3 200 - 3 500 EUR

Lot 42 - HANS J. WEGNER (Denmark, 1914 - 2007) for ANDREAS TUCK. Table model "at10", 1960s. Teak and oak wood. Measurements: 50 x 160 x 50 cm. Low table made of teak and oak, except for the lower shelf, openwork, in grille. It is a light design, with geometric roots and clean straight lines, softened by curved angles, typical of Danish design of the fifties and sixties. It consists of a rectangular tabletop molded on its outer perimeter and four cylindrical legs. Hans J. Wegner was a leading figure in furniture design, whose ideas contributed to the international popularity of Danish design in the mid-20th century. His work belongs to the modern school, characterized by a special emphasis on functionality. He began his training at a very young age, as an apprentice to the cabinetmaker H. F. Stahlberg. He soon discovered a special taste for the use of wood, and his work in the cabinetmaking workshop allowed him to experiment with different types and designs. At the age of seventeen he completed his apprenticeship, although he remained in the workshop for another three years, until he joined the army. After his military service he entered a technical school, and then the Danmarks Designskole, where he was taught by O. Mølgaard Nielsen, and the Academy of Architecture in Copenhagen. In the Danish capital he came into contact with the Furniture Exhibitions of the Carpenters' Guild, where he began to show his creations in 1927. During these years Wegner collaborated with master cabinetmakers such as J. Hansen, L. Pontoppidan, N. Vodder, J. Kjaer, A. J. Iversen, Moos and R. Rasmussen, as well as with the most prominent Danish architects of the time, among them K. Klint, V. Lauritzen and V. Lauritzen. Klint, V. Lauritzen. O. Wanscher and M. Voltelen. The annual exhibitions would give the young cabinetmaker experience of what could be achieved with the combination of design and craftsmanship, which led him to devote himself fully to design. Already in his early pieces, Wegner showed his interest in the concept of "stripping antique chairs of their outer style and showing them in their pure structure." Throughout his career, the designer was awarded prizes such as the Lunning Prize in 1951, the Grand Prix de Milan at the Milan Triennale of the same year, the Prince Eugene Medal in Sweden and the Danish Exkersberg Medal. In 1959 he was appointed honorary royal designer for industry by the Royal Society of Arts in London. Currently his designs are present in collections such as the MoMA in New York or Die Neue Samlung in Munich.

Estim. 1 800 - 2 000 EUR

Lot 43 - JORDI VILANOVA (Barcelona, 1925-1998). Coffee table, 1960's. Walnut veneer and plaster. Incorporates wheels, hidden. Measurements: 100 x 100 x 43 cm. In Jordi Vilanova's most notable pieces, his admiration for Nordic design is evident. In this coffee table with drawer unit and interior shelf, he achieves a paradoxical combination of robustness and lightness: the volume, chamfered at the corners and raised from the floor (it hides casters), is lightened in a natural way. It also establishes a geometric play that essentializes the forms and integrates in its design the square handles (metallic) and the circular black plaster mat that protects the top. Catalan interior designer and cabinetmaker, Jordi Vilanova entered the Escuela de Trabajo y Oficios Artísticos de la Lonja in 1939. He completed his training in the workshop of Busquets, and between 1940 and 1953 he collaborated in the studio of Lluís Gili. Jordi Vilanova was founder and promoter of the Catalan art magazine "Questions d'Art" (1967-74). In 1974 he opened premises with a permanent exhibition of furniture and upholstery of his own design, forming part of the Official College of Interior Decorators and Designers of Barcelona and the SAD. His modern furniture and his way of resolving spaces were initially aimed at a large public of limited economic resources and, consequently, homes with less living space. However, this great majority did not understand his proposal. Instead, it was the Catalan bourgeoisie, eager to break with outdated stylistic canons, who embraced his work. His specialty was furniture for children, such as the Delta stool, which won the Delta de Plata Prize awarded by the ADI/FAD in 1964. He held exhibitions of his work in Scandinavia. Among his most representative designs are the Tiracord and Billar chairs (1961), the Montseny MP bunk bed (1961), the Tartera (1966) and Petit (1978) rocking chairs and the Z magazine rack (1987) designed together with his son Pau Vilanova Vila-Abadal. It is currently represented in the Design Museum of Barcelona.

Estim. 1 800 - 2 200 EUR

Lot 45 - YRJÖ KUKKAPURO (Finland, 1933) for Haimi. Pair of "Pressu" armchairs, design 1972. Canvas covered with polyurethane. Tubular structure in chromed steel. Measurements: 66 x 72 x 72 cm. Yrjö Kukkapuro designed the Pressu chair for Haimi in 1972. The name of the model refers to the textile material used, a highly resistant and waterproof polyurethane-coated canvas. Connoisseurs of mid-century design will be able to relate the model in bidding to Alvar Aalto's Paimio chair. Considered one of the most important figures in Scandinavian design of all time, Yrjö Kukkapuro has worked as a freelance creator and interior architect from his earliest works in 1957 to his most recent in 2007. His works are characterized by a strict control of form and extreme attention to detail, as well as a search for ergonomic forms. From 1974 to 1980 he also worked as a professor of Art and Design. His creations include the "Sirkus" office chair, the "Remmi" chair, the "Fysio" office chair (which has won numerous international awards) and the "Karuselli" armchair (1965). He has also been chief designer for companies such as Haimi, Lepokalusto and Avarte. Today Yrjö Kukkapuro continues to work and designs mainly for the company Avarte. One of his most recent works is the Element collection from 2007. Currently his works are part of collections such as the Victoria & Albert Museum in London; the MoMA in New York and the Vitra Design Museum in Weil am Rhein (Germany) among others.

Estim. 2 000 - 2 200 EUR

Lot 51 - FOLKE OHLSSON (Sweden, 1919 - 2003) for Dux Möbel AB. Pair of USA 75 armchairs. American walnut frame. Beige velvet. One button missing from one cushion. Measurements: 70 x 77 x 73 cm. Folke Ohlsson was the author of prestigious models of chairs and armchairs that account for the taste of the post-war mid-century school for soft lines, light, organic and comfortable appearance. The ones we now present are a pair of armchairs with a solid structure made of American walnut wood and seat and back upholstered in beige velvet, contrasting with this structure of soft, flowing lines. The absence of stridency and the use of noble materials such as walnut wood are inextricable elements of the Scandinavian character and the natural environment of these countries. The Swedish designer Folke Ohlsson, based in the United States since 1953, was very popular from the late fifties and especially in the sixties, and throughout his career he was awarded more than thirty prizes, including the Milan Triennale and the "Good Design" exhibition at the Museum of Modern Art in New York. Founder of the internationally recognized firm DUX, he was the author of timeless designs but at the same time a true reflection of his time, and in fact his pieces are among the most copied to this day. Ohlsson made an important contribution to the dissemination and popularization of modern Scandinavian furniture in the United States, and in 1964 he was awarded the Royal Order of Vasa by King Gustav VI Adolf of Sweden in recognition of his work.

Estim. 3 200 - 3 500 EUR

Lot 53 - 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 55 - 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. 1 300 - 1 500 EUR

Lot 56 - 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. 1 600 - 1 800 EUR

Lot 57 - MICHEL DUCAROY (Lyon, 1925 - 2009) for Ligne Roset. Sofa "Togo", France, c. 1970. Black leather. Composed of three modules and a pouff. Interior lining with Ligne Roset print. It has tears and one of the pieces has a tear. Measurements: 70 x 174 x 110 cm (corner); 70 x 110 x 110 x 110 cm (normal); 70 x 85 x 110 x 110 cm (small); 33.5 x 90 x 95 cm (pouff). Ducaroy has designed pieces that have become legendary, such as the Togo sofa, whose composition gives it a unique comfort. Trained at the Ecole Nationale Supérieure des Beaux-Arts in Lyon, after his studies, Ducaroy joined the family's contemporary furniture manufacturing company. In 1954, he began working for the company Ligne Roset, located in the Ain region, where he headed the design department until the end of his career. During the 1960s and 1970s, new materials emerged in which Ducaroy became interested: foam, wadding, thermoformed plastic, new materials that allowed him to give life to new designs, creating creations that were both modern and timeless. The legendary Togo sofa was presented the year of its launch at the Salon des Arts Ménagers in Paris, winning the Renè-Gabriel Prize in 1973. French in origin, it was founded by Antoine Roset in 1860 in Montagnieu. In 1936, the company began manufacturing upholstered furniture and today designs and manufactures home furnishings, lighting, accessories and textiles with a team of 50 European designers. Today, Ligne Roset is internationally recognized thanks to its unlimited world of inspiration and collaboration with designers such as Didier Gomez, Pascal Mourgue, Peter Maly or Pierre Paulin. It has tears and one of the pieces has a tear.

Estim. 8 000 - 9 000 EUR

Lot 60 - Table lamp; Fase President model by GEI (Gabinete de Estudios Industriales), 1960s. Metal and gray lacquered. Electrified. In working order. In good condition. With signature on the base. Measurements: 46 x 54 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. Electrified. In operation. In good state of conservation.

Estim. 800 - 1 000 EUR

Lot 61 - WILLY RIZZO, (Naples, 1928-Paris ,2013). Table lamp; Italy, ca. 1970. Designed for Luminica. Base in brass and lacquered in black, and shade in nude-toned fabric. Holds three bulbs. Electrified. In working order. In good state of conservation. Measurements: 70 x 15 x 15 cm (base), 85 x 76 x 75 cm (complete lamp with shade). Designer and photographer, Willy Rizzo began his career in Paris, carving since then a solid career in the world of photography. His activity as a designer began in 1966, when he moved with his wife to a small apartment in the center of Rome, which he renovated himself, also designing the furniture. Although his intention was never to become a designer, his friends soon began to commission him after seeing his house. In fact, he has counted among his clients such prominent figures as Salvador Dali and Brigitte Bardot. Rizzo always admired beautiful things, both modern and antique, so he focused his aesthetic experimentation on creating modern furniture that fit perfectly with the antique. His style marked an era within Italian design, being recognized as the designer of the Dolce Vita. The demand for his pieces reached such magnitude that in 1968 he decided to create his own company, with which he has since created numerous pieces, always handmade, combining noble materials such as travertine or bronze with other distinctly modern ones such as steel. He eventually opened stores in Paris and other European cities, as well as in New York, Miami and Los Angeles. In 1978 Rizzo sold his company and refocused his career on photography, tired of the business life. During the ten years that he designed furniture, Rizzo, a great admirer of Mies van der Rohe, Le Corbusier and Ruhlmann, developed a style that is easily recognizable even today. His are pieces of clean lines and geometric shapes, made of carefully selected materials. He always remained faithful to the traditional and artisanal use of materials, rejecting the mass production system and the use of plastic. Some of his designs have been exhibited at the Metropolitan Museum in New York, and more recently at the Madison Mallet Gallery in London. Electrified. In operation. In good state of conservation.

Estim. 800 - 1 000 EUR

Lot 62 - Table lamp; Fase President model by GEI (Gabinete de Estudios Industriales), 1960s. Metal and lacquered in gray and beige. Not working. Needs to be reworked. In good condition. With signature on the base. Measurements: 46 x 54 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. It does not work. Needs overhaul. In good state of conservation.

Estim. 800 - 900 EUR

Lot 63 - Table lamp; Fase President model by GEI (Gabinete de Estudios Industriales), 1960s. Metal and black lacquered. Electrified. In working order. In good condition. With signature on the base. Measurements: 46 x 54 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. Electrified. In operation. In good state of conservation.

Estim. 800 - 1 000 EUR

Lot 66 - WILLY RIZZO, (Naples, 1928-Paris ,2013). Table lamp; Italy, ca. 1970. Designed for Luminica. Base in brass and lacquered in black, and shade in nude-toned fabric. Holds three bulbs. Electrified. In working order. In good state of conservation. Measurements: 70 x 15 x 15 cm (base), 85 x 76 x 75 cm (complete lamp with shade). Designer and photographer, Willy Rizzo began his career in Paris, carving since then a solid career in the world of photography. His activity as a designer began in 1966, when he moved with his wife to a small apartment in the center of Rome, which he renovated himself, also designing the furniture. Although his intention was never to become a designer, his friends soon began to commission him after seeing his house. In fact, he has counted among his clients such prominent figures as Salvador Dali and Brigitte Bardot. Rizzo always admired beautiful things, both modern and antique, so he focused his aesthetic experimentation on creating modern furniture that fit perfectly with the old. His style marked an era within Italian design, being recognized as the designer of the Dolce Vita. The demand for his pieces reached such magnitude that in 1968 he decided to create his own company, with which he has since created numerous pieces, always handmade, combining noble materials such as travertine or bronze with other distinctly modern ones such as steel. He eventually opened stores in Paris and other European cities, as well as in New York, Miami and Los Angeles. In 1978 Rizzo sold his company and refocused his career on photography, tired of the business life. During the ten years that he designed furniture, Rizzo, a great admirer of Mies van der Rohe, Le Corbusier and Ruhlmann, developed a style that is easily recognizable even today. His are pieces of clean lines and geometric shapes, made of carefully selected materials. He always remained faithful to the traditional and artisanal use of materials, rejecting the mass production system and the use of plastic. Some of his designs have been exhibited at the Metropolitan Museum in New York, and more recently at the Madison Mallet Gallery in London. Electrified. In operation. In good state of conservation.

Estim. 800 - 1 000 EUR

Lot 68 - Pair of rocking chairs. Style VLADIMIR KAGAN (Worms, 1927-Florida., 2016). Rosewood, with fabric seats and backrest. Shows marks of use and wear. Needs refinishing. Measurements: 73 x 75 x 105 cm. Pair of rocking chairs. They follow Vladimir Kagan's models, which can be appreciated in the handmade finish and in the contrast between the geometric purity of the double triangle in rosewood that forms the structure and the organicity of each of the sides. Although of German origin, Vladimir Kagan grew up in the United States. He studied architecture at Columbia University before joining the New York carpentry shop of his father, master cabinetmaker and art collector Illi Kagan. Between 1950 and 1960, Kagan partnered with textile designer and printer Hugo Dreyfuss. Kagan's decidedly modern and sculptural furniture was quickly successful. His projects include the cocktail lounges for delegates at the first United Nations headquarters in Lake Success, New York (1947-48); the curvaceous Serpentine sofa (1949); and the iconic Omnibus seating collection (c. 1970), among others. From 1990 to 1992 he was president of the New York chapter of the American Society of Interior Designers (ASID). In 1998 he reintroduced some of his classic designs at the International Contemporary Furniture Fair (ICFF) in New York, formally relaunching his career. In 2008, he launched the Vladimir Kagan Couture Collection, which includes a selection of designs from the 1950s through the 21st century. And in 2015, Kagan designed a collection of limited-edition art furniture for Carpenters Workshop. The designer's work is in numerous private and public collections, including the Vitra Design Museum in Weil am Rhein, Germany, the Metropolitan Museum of Art in New York, Die Neue Sammlung in Munich, the San Francisco Museum of Modern Art, and the Victoria and Albert Museum in London, among others. In 1980, the Fashion Institute of Technology in New York paid tribute to Kagan with a thirty-year retrospective exhibition: Vladimir Kagan: Three Decades of Design. In 2002, the Brooklyn Museum of Art presented him with a Lifetime Achievement Award; in 2001, the Pinnacle Award from the American Society of Furniture Designers; and in 2000, the Lifetime Achievement Award from the American Society of Furniture Designers.

Estim. 1 000 - 1 200 EUR

Lot 71 - Attributed to PIERRE GUARICHE (Paris, 1926-Bandol, France, 1995). Armchair, ca. 1960. Iron frame. Upholstered in white. In very good general condition. New upholstery and iron structure with a nice patina typical of the passage of time. Measurements: 85 x 70 x 85 cm; 40 cm (seat height). Upholstered armchair with armrests attributed to the iconic French architect and designer Pierre Guariche and produced in the sixties. The straight-lined frame and legs combine perfectly with the thick seat and back cushion, creating an elegant ensemble accentuated by the contrast between the black legs and the white upholstery. It is definitely a design with a markedly modern and timeless character. Pierre Guariche was a French designer, interior decorator and architect best known for the residential lamps he designed for Pierre Disderot in the 1950s, but he was also an innovative furniture designer and architect. He studied at the École nationale supérieure des arts décoratifs. He later joined the studio of another of his teachers, Marcel Gascoin. He began to exhibit his works at the Salon des Arts Ménagers and the Salon des Artistes Décorateurs, avant-garde places where the most prominent designers of the time showed their works. René-Jean Caillette, Joseph-André Motte, Jean Prouvé, Charlotte Perriand, Antoine Philippon and Jacqueline Lecoq were some of the designers who exhibited their experimental works in the salons of the time. After World War II, interest in the use of new methods and materials for the mass production of furniture increased. In 1951, Guariche began collaborating with Steiner, another important furniture manufacturer. He designed the innovative "Tonneau" chair, with a plastic and aluminum version in 1953 and a curved plywood version in 1954. At the same time, Guariche made numerous models for lighting manufacturer Pierre Disderot, seeking a modern, simple and economical alternative to the opulence of traditional French designs.

Estim. 1 200 - 1 500 EUR

Lot 78 - JOSEF HOFFMANN (Brtnice, Czech Republic, 1870 - Vienna, 1956) for Wittman. Sofa "Kubus". Black leather upholstery. In good condition. Measurements: 72 x 166 x 77 cm. Designed by Josef Hoffmann in 1910, the avant-garde Kubus sofa is characterized by its cube-shaped upholstery. It is a timeless model that reflects the designer's strict geometric lines. An architect and industrial designer, Josef Hoffmann studied at the Academy of Applied Arts in Vienna, where he was a disciple of Carl Freiherr von Hasenauer and Otto Wagner, whose theories of functional, modern architecture would profoundly influence his work. He won the Rome Prize in 1895, and the following year joined Wagner's office, collaborating with Olbrich on some projects for the Metropolitan. He established his own office in 1898, and taught at the Vienna School of Decorative Arts from 1899 to 1936. He was also a founding member of the Viennese Secession. In 1900 he traveled to London, where he came into contact with the English school and discovered Mackintosh. On his return he set up a workshop for the production of objects based on designs by artists of the Secession, and thus the Wiener Werkstätte was born, a workshop that exerted a great influence on the industrial design of the twentieth century. By 1903, production began on an international scale. Throughout his life, Hoffmann realized various projects for buildings and furnishings, and exhibited his creations all over the world. He is currently represented in the MAK and the Leopold Museum in Vienna, the Metropolitan and MoMA in New York, the Brohan in Berlin, the Courtauld Institute in London and the Victoria & Albert in London, among many others.

Estim. 5 000 - 5 500 EUR

Lot 80 - 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 82 - ADO CHALE (Brussels, 1928). Pair of "Pin" bowls. Bronze. In good condition. Measurements: 4,5 x 15 x 13 cm and 4 x 9,5 cm. With his creations in bronze and aluminum, Ado Chale develops new forms and surfaces, while seducing the contemporary market. Self-taught, as a young man, Ado Chale worked as a blacksmith and in a sheet metal workshop. His passion for mineralogy began in the 1950s during a trip to Germany. Later, in 1962, he opened a gallery in Brussels where he exhibited the first cement boards inlaid with small marcasites collected at the foot of the cliffs of northern France. In the late 1960s he traveled the world (Arizona, India, Afghanistan, Pakistan, Madagascar, France) in search of semi-precious stones. Among his favorite materials were fossilized sequoia, malachite, chalcedony agate, carnelian, rhodochrosite, lapis lazuli, jade, hematite, tiger's eye, jasper, turquoise or amethyst, elements that were cast in epoxy resin, a new material at the time that allowed him to expand the aesthetic possibilities: the trays are enlarged and completely covered with diamond-polished stones. From the 1960s to the 1980s his success multiplied and even the Belgian Court was enraptured by his designs. He exhibited at the Galliera Museum in Paris, at the Papal Palace in Avignon and at the Museum of Fine Arts in Nancy. In 1988 he was invited to exhibit his work in Japan, at the famous Seibu luxury store in Tokyo. There he attracted the Asian market. In 2002 he exhibited at the Parisian gallery of Yves Gastou, which meant an increase in international clientele that would open the way to numerous collaborations with Belgian interior designers, but also world-renowned ones such as Alberto Pinto, Peter Marino and Jacques Grange.

Estim. 3 000 - 3 200 EUR

Lot 83 - GEORGE NELSON (United States, 1908 - 1986) for VITRA. Set of four "Perch" office chairs, ca. 1990. Dark brown leather seat and back, chrome base, Height adjustable and swivel seat. In good condition, practically new. Measurements: 70 x 70 x 102 cm. Pair of office chairs "Perch" raised on black plastic wheels supporting a five-spoke chromed steel base. Seat and backrest upholstered in black leather, height adjustable and swivel. George Nelson graduated in architecture from Yale University (1928), and later studied art in Rome. He specialized in industrial, interior and exhibition design, and was, along with Charles and Ray Eames, one of the founding fathers of American modernism. While in Italy he traveled the length and breadth of Europe, meeting a number of pioneers of the modern movement, including Mies van der Rohe. In 1935 he joined the editorial staff of "Architectural Forum", a magazine of which he would first become associate editor until 1943, and then editorial advisor until 1949. During this period he worked with Frank Lloyd Wright on a special issue of the magazine, which marked Wright's return to the scene at the time. Nelson defended, sometimes fiercely, the principles of the modern movement, even irritating many of his colleagues who, as industrial designers, made, according to Nelson, too many concessions to the commercial forces of industry. The American believed that the work of a designer should serve to improve the world because, in his view, nature is already perfect, and man spoiled it by creating things that did not really follow natural rules. In 1945 Nelson began working for the firm Herman Miller, and it was then that he really began to design furniture, occupying the position of design director. That same year Nelson's first collection for the firm was published, beginning a collaboration that would result in some of the most famous furniture designs of the 20th century. Today his designs can be seen in the Vitra Museum of Design (he began collaborating with the firm in 1957) and the MoMA in New York, among many other public and private collections.

Estim. 3 500 - 4 000 EUR

Lot 86 - MARIA PERGAY (Romania, 1930-France, 2023). Pair of lamps, ca. 1970. Unique pieces. Black lacquered resin decorated with asymmetrical golden and chromed metal rods. In working order. In good condition. Used, with slight marks of use. Measurements: 71 x 7 x 7 x 7 cm; 108 cm (total height). Of Russian parents but born in Romania, Maria Pergay emigrated to Paris in 1937, when she was only 7 years old. She was educated at the French Institute of Cinematographic Studies, where she studied dressmaking and scenography, during which time she also attended the academy of the Russian sculptor Ossip Zadkine. Her artistic career began designing metal objects for the window of a Haute Couture store in Paris, which allowed her to make her way as a designer of objects for Hermès and Dior (for whom she designed letter openers, candlesticks, etc.). Known from that moment on as "Madamme Steel" because of her predilection for this material, Pergay received a proposal from Uginox, the leading French steel manufacturer, to fully immerse herself in the creation of objects made of this material. It is worth noting that when Maria Pergay started with her creations, the post-war French Modern Movement was in full swing, trying to make them due to the high level of consumerism in French society. Two of her first creations, the Ring Chair and the Flying Carpet, were first exhibited at the Parisian gallery Maison et Jardin. Today his work has influenced artists such as Salvador Dalí, Pierre Cardin, Givenchy and even Jordi Labanda. His work is kept at the Metropolitan Museum of Art in New York; the New York gallery Demisch Danant hosted his first retrospective in 2006. His installation Metamorphosis was exhibited at the Design 2013 Miami Fair.

Estim. 8 000 - 9 000 EUR

Lot 87 - ALDO TURA (Italy, 1909-1963). Bar cabinet, ca. 1960. Lacquered wood, rosewood and brass. Includes key. Measurements: 154 x 80 x 40 cm. This highly personal piece of bar furniture shows the confluence of interests that motivated Aldo Tura's creations and gave them a singular stamp, such as experimentation with different materials or unorthodox surface treatments: see here the attractive patina achieved with the brownish lacquering of the two semicircular doors, outlined with studs and attached to the furniture with attractive hardware. Aldo Tura absorbed the precepts of Art Deco, but he went beyond its minimalist legacy in search of a more dynamic style, with historicist echoes. The rectangular-bodied sea cabinet, which houses a glazed interior, sits on a turned base with a globular belly. The doors open with brass handles in the form of turnstones. Aldo Tura began his career in experimental furniture design in the 1930s. After the sharp, angular forms of Art Deco, wood began to be used in free forms, full of curves, and Tura saw in this new taste a new direction for furniture design. His work is a significant combination of free and uninhibited forms, sometimes exceptionally ironic. His designs are also examples of the highest craftsmanship, often being produced in limited edition series, and even just a prototype. In the 1950s, Tura discovered the evocative charm of furniture painted with Venetian architectural views, and also began to experiment with various materials, such as eggshell, parchment, goatskin or wood veneers.

Estim. 4 500 - 5 000 EUR

Lot 93 - PINO SIGNORETTO (Favaro Veneto, Italy, 1944-Murano, 2017). "Horse head". Glass and metal. Measurements: 75 x 47 x 46 cm. Born in the Venetian town of Favaro Veneto, the glass artist Pino Signoretto began his career when he was only ten years old, in 1954, when he went to work in a lamp factory. Four years later he began to train artistically with the master Alfredo Barbini, and also with others like Livio and Angelo Seguso or Ermanno Nason. He finally became a master glassmaker in 1960. Between 1961 and 1977 he worked in a factory and achieved a deep understanding and a complete technical knowledge of glass working, and finally in 1978 he opened his own studio in Murano. From that date until 1984, he collaborated with artists and architects of prestige, such as Dali, Dal Pezzo Dal and others. In 1985 he travels to Japan, the first of many visits to this country. Four years later he gave a demonstration of his work in front of the Japanese imperial family, and several of his works became part of the permanent collection of the Museum of Venetian Art in the city of Otaru. Since then Signoretto has developed a brilliant career, collaborating with important contemporary art figures such as Jeff Koons and holding important exhibitions all over the world. He has also received important awards, such as the Gallo d'Oro di Murano (2002). Currently his works are present in museums such as the Glass Museum of Corning (New York) and Nagoya, as well as in important private collections around the world.

Estim. 3 500 - 3 700 EUR

Lot 94 - JOAN ANTONI BLANC (Tortosa, 1940) for Tramo. Cilindro table lamp, 1967. White methacrylate. In good condition with light marks of use. Measurements: 40 x 20,5 cm. The one we now present is a lamp with a great purity of lines based on elementary forms and materials, consisting of a molded white methacrylate cylinder with a perforated circle through which the light is projected and a thin metal strip that allows the lamp holder to be attached. 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. 1 000 - 1 100 EUR

Lot 95 - VINCENT MARTINEZ BURJASSOT (Valencia, 1949) for Punt Mobles. Halley" table, 1986. Metal and lacquered wood. Glass top. Measurements: 72 x 90 x 90 cm. The Halley table is distinguished by its precise and linear geometry that seeks in its constructive contradiction to recall the projection of a comet. Its materiality is shaped by combining wood and metal. It received recognition from the Staatliches Museum für Angewandte, Munich, Germany. "The moment when thought becomes an object is exciting, projects are first and foremost ideas. Ideas are unreal until action inserts them into the real. The user as a referent. Designing for a world where the quality of life of all people is better," says Vicent Martínez. The importance of Vicent Martínez is reflected in his presence in museums such as the Museu d'Arts Decoratives. Barcelona, Spain: La Torre bookshelf, Anaconda table, Concert modular collection and Literatura Classic bookshelf. 1994; the personal and professional archive 1965-2010 deposited in the Arxiu Valencià del Disseny. 2019; the Museum Fur Musem fur Angewandte Kunst. Cologne, Germany: Shelves Literatura Classic and La Torre. 1992 and the Staatliches Museum für Angewandte. Munich, Germany: Halley and Magic Tables. 1992. Throughout his career as an artist he has participated in IVAM. Valencian Design 2009-2019 Alcoi Venue. 2020; 30 Years of Classic Literature. School of Art and Design of Valencia. 2015 as well as in other important exhibitions.

Estim. 1 200 - 1 500 EUR

Lot 99 - JORDI VILANOVA (Barcelona, 1925-1998). Pair of suspension lamps "Campana", 60s. Stainless steel and methacrylate lampshade. Measurements: 55 x 35 x 35 cm. From three arms of polished stainless steel a conical screen of methacrylate of great dimensions is sustained, remembering the set to the form of a bell. All this is assembled by means of different handcrafted stainless steel pieces that give the lamp an elegant finish. It is a good example of Vilanova's combination of traditional materials and techniques with new industrial materials. Catalan interior designer and cabinetmaker, Jordi Vilanova entered the School of Work and Artistic Trades of La Lonja in 1939. He completed his training in the workshop of Busquets, and between 1940 and 1953 he collaborated in the studio of Lluís Gili. Jordi Vilanova was founder and promoter of the Catalan art magazine "Questions d'Art" (1967-74). In 1974 he opened premises with a permanent exhibition of furniture and upholstery of his own design, forming part of the Official College of Interior Decorators and Designers of Barcelona and the SAD. His modern furniture and his way of resolving spaces were initially aimed at a large public of limited economic resources and, consequently, homes with less living space. However, this great majority did not understand his proposal. Instead, it was the Catalan bourgeoisie, eager to break with outdated stylistic canons, who embraced his work. His specialty was furniture for children, such as the Delta stool, which won the Delta de Plata Prize awarded by the ADI/FAD in 1964. He held exhibitions of his work in Scandinavia. Among his most representative designs are the Tiracord and Billar chairs (1961), the Montseny MP bunk bed (1961), the Tartera (1966) and Petit (1978) rocking chairs and the Z magazine rack (1987) designed together with his son Pau Vilanova Vila-Abadal. It is currently represented in the Design Museum of Barcelona.

Estim. 2 000 - 2 100 EUR
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