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9th September - Design: Avant-garde furniture

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Lot 101 - LUIS PEREZ DE LA OLIVA (Spain, mid-20th century) for FASE. FASE 520C table lamp, ca. 1966. Metal, chrome and glass. Measurements: 40 cm (height); 30 cm (shade diameter); 22 cm (base diameter). 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 sold his self-produced lamps first 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. 1 100 - 1 200 EUR

Lot 103 - HARRY BERTOIA (Italy, 1915 - USA, 1978) for Knoll. Pair of "Diamond" armchairs, ca. 1950. Chromed frames. One of them with burgundy upholstery. Measurements: 76 x 84 x 74 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. 2 500 - 2 800 EUR

Lot 104 - OLIVIER MOURGUE (Paris, 1939) for Airborne. Pair of "Joker" armchairs, design 1968. Metal frame. Cream upholstery. Measurements: 69 x 61 x 71 cm. French designer Olivier Mourgue, remembered for his futuristic and innovative designs, designed this iconic armchair in 1968 for the French house Airborne. Its structure is light and essential, based on straight, flat metal uprights and crosspieces. The backrest and seat are formed by two independent cushions. Olivier Mourgue studied interior design at the Ecole Boulle and furniture design at the Ecole Nationale Supérieure des Arts Décoratifs in Paris, graduating in 1960. Between 1958 and 1961 he worked for Nordiska Kompaniet in Stockholm, and from 1963, with the French manufacturer Airborne International. In this company Mourgue designed his famous Djinn chairs (1965), a symbol of the 60s for appearing in Stanley Kubrick's film "2001: A Space Odyssey" in which Kubrick recreated a futuristic Hilton Hotel, located in space, where these chairs appeared. While designing for Airborne International, he also worked as an interior designer designing for Agence d'Architecture Interieure Gautier-Delaye. In 1966, Mourgue established his own design studio in Paris. In his own design studio, Olivier Mourgue created furniture for French companies such as Renault, Prisunic and Mobilier National. Mourgue also designed store interiors and a factory. In 1968 he created a chair which he called "Cubique" and which won the International Design Award (IDA); however, the most fabulous, but still the most unknown, interior design project was for Bayer AG's Visiona. In 1971, Bayer AG hired Olivier Mourgue for the entire interior design of Visiona. Before him, from 1968 to 1972, Bayer AG hired the most talented designers to create a futuristic vision on board a ship in Cologne (Germany) and every year a different designer was hired.

Estim. 3 500 - 4 000 EUR

Lot 105 - MIGUEL MILÁ (Barcelona, 1931) for Tramo. Floor lamp TMC. 1958. Chromed metal. Delta de Oro ADI-FAD Award 1961. Measurements: 169 cm (height) x 29 x 40 cm; 30 cm (lampshade diameter). The TMC (Tramo Móvil Cromada) is undoubtedly the most iconic design of Miguel Milá's fruitful career. Its history began in 1956 with the design of a variable-height lamp for the interior design project of his aunt Nuria Sagnier's studio, and it has undergone numerous revisions and modifications over more than fifty years. The first definitive design to be marketed was in 1960, produced by the publishing company Tramo (Trabajos molestos), a company founded by Milá himself. The TMC is an ingenious floor lamp design that allows the height of the light to be chosen by means of a handle with seven anchor points, which acts both as a support for the circular white methacrylate shade and as a regulation system through the chromed shaft, the latter attached to a second structural half with four black-painted iron blades that form the base. An exercise of intelligent and balanced design that endows the TMC with simplicity and functional efficiency. When nobody in Spain knew what it meant to be a designer, despite the fact that, as we all know now, any object is designed (with or without a signature behind it), Miguel Milá was already a designer, that is, he tried to make everyday objects make our lives easier and happier, which are the basis of all innovation. To innovate is to set in motion an imaginative and productive chain: to imagine new forms and new uses and to make it possible, through craftsmanship and industry, to bring them to fruition, choosing the right materials and techniques. He did it from the beginning, that's why he is a master. Many of his pieces were born predestined to become iconic, such as the Cesta (1962), TMM and TMC (1961) lamps.

Estim. 2 000 - 2 200 EUR

Lot 113 - AXEL EINAR HJORTH (Sweden, 1888-1959). Lovö chair. Wood. Presents marks of use and slight damage. Measurements: 93,5 x 48 x 48,5 cm. Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 30's, when he was chief designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938. Architect and industrial designer Axel Einar Hjorth was one of the leading figures of the Swedish design culture that began to be recognized internationally in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at Högre Konstindustriella Skolan, later to be known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this era were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the assembly section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, along with his contemporaries, Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer for Nordiska Kompaniet (NK) of Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, which featured the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces blended craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs-from the sumptuousness of neoclassicism to the severity of functionalism-are very different in style, materials, and character. Unlike many of his contemporaries, however, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colors and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become a fairly unknown entity in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden. It presents marks of use and slight flaws.

Estim. 2 000 - 3 000 EUR

Lot 117 - MARCEL BREUER (Hungary, 1902 - United States, 1981). Office table in oak and chromed metal. It presents patina and marks of use, normal for the passage of time, and oxidations in the chrome. On the sides, it has sliding trays, which lengthen the usable part of the table laterally. Measurements: 77 x 157 x 80 cm. Oak wood desk table that stands out for its marked natural character, with exposed wood, unpolished, accentuating the grain of the material and the beauty of the handcrafted process. The tradition of the wood contrasts with the tubular lines of chrome, as well as with the handles of the same material. It presents a structure of refined lines, softened by simple contours, which give the forms a certain organic aspect without renouncing the expressive power of geometry. This formal conception will be characteristic of Scandinavian design in the central decades of the twentieth century, as well as the appreciation of wood in its natural state, without paint, carvings or applications that detract from it as a noble material. Marcel Breuer was a Hungarian architect and designer, one of the main masters of the Modern Movement, very interested in modular construction and simple forms. He studied at the Bauhaus in Weimar at the time when it was directed by Walter Gropius, and later he would take charge of the furniture workshop of this school. There he designed the B3 chair, later known as the Wassily chair, made in 1925, the first tubular steel chair in history, which combined the flexible conditions of this material with its ease of large-scale industrial production. Breuer would continue at the Bauhaus until 1928, when he settled in Berlin to devote himself to architecture. However, with the rise of Nazism he had to leave Germany, because of his Jewish origin, and moved first to England in 1933, and later to the United States, where he lived for the rest of his life, from 1937. Today his furniture designs are part of the most important collections in the world, including the MoMA in New York and the Victoria & Albert in London.

Estim. 5 000 - 5 500 EUR

Lot 118 - VERNER PANTON (Denmark, 1926 - 1998) for VITRA. Cone" chair, design 1959. Edition 2003. Satin stainless steel. Upholstered in orange fabric. Work referenced and reproduced in "Verner Panton, The collected works, Vitra design museum", p. 30-34. With publisher's label. Measurements: 81 x 58 x 56,5 cm. Originally designed for a Danish restaurant in 1958, the Cone Chair has the shape of a well-known geometric figure, the cone, to which it owes its name. With a swivel structure, it has a four-spoke stainless steel star base. It is a swivel base furniture characterized by its backrest and armrests facing upwards, thus offering an exceptionally comfortable seat. This is an iconic piece from the Space Age period. 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. 1 200 - 1 300 EUR

Lot 119 - KAZUHIDE TAKAHAMA (Nobeoka-Japan, 1930 - Bologna, 2010) for Sirrah. Floor lamp "Sirio T". Italy, ca. 1977. Metal. It has dimmer or dimmer. Measurements: 186 x 45 x 36 cm. Halogen floor lamp designed by Kazuhide Takahama and produced by Sirrah around 1977. Faithful exponent of the formal equlibrium and simplicity of the works of the Japanese designer. The lamp is equipped with a dimmer switch. Settled in Italy since the late 1950s, Takahama collaborated closely with leading firms, becoming one of the main promoters of Italian design. Kazuhide Takahama Japanese architect and designer. Born in 1930, he studied architecture in Tokyo and after graduating he joined Kazuo Fujioka's studio. In 1957 he went to Italy to supervise the architectural layout of the pavilion with which Japan participated for the first time in the XI Triennale di Milano, where he met the designer and businessman Dino Gavina (1922-2007) with whom he began a professional collaboration that would last a lifetime. Consequently, in 1964 he moved to Bologna and went to work as a designer of furniture and lamps in the factory of San Lazzaro.in 1968 Gavina sold his company Gavina SPA to Knoll International, with its Foligno plant designed by Achille Castiglioni , and founded together with Maria Simoncini (1927-2010) the manufacturer Simon International (later acquired by Cassina ) and a year later the exhibition and commercial center bearing the name of Marcel Duchamp was inaugurated in Bologna with the participation of the famous Dadaist painter and photographer Man Ray .In these new offices, Takahama was able to collaborate with the famous architect and designer Carlo Scarpa and in the following years he developed an intense professional activity that led him to the creation of various types of furniture and lamps, which still constitute so many works of art, always characterized by a great simplicity and formal cleanliness and very often rigorous as Zen compositions.His colleagues said he was so quiet that they called him "the man of stone", but his presence was clearly perceptible.Takahama continued to develop his activity as a designer until his death in 2010.

Estim. 1 000 - 1 100 EUR

Lot 120 - BOREK SIPEK (Prague, Czech Republic, 1949-2016) for Maletti. Chair "Maletius", 1980's. Metal frame, upholstered seat, blue plastic back, wooden armrests. Swivel. Measurements: 80 x 60 x 56 cm. The Czech designer and architect Boris Sipek developed in the eighties and nineties a collection of luxury chairs for hairdressing salons with his unmistakable neo-baroque and postmodern flavor, daring and ingenious in its unusual combination of materials and aesthetic formulas. The chair shown here is part of this peculiar series produced by Maletti. Borek Sipek trained in interior design at the School of Arts and Crafts in Prague. He completed his studies in Architecture at the University of Applied Arts in Hamburg and Philosophy at the Technical University of Stuttgart, later establishing his design studio in Amsterdam in 1983. In the 1980s he began collaborating with Driade, for whom he designed furniture and objects characterized by their tremendous originality, a collaboration that was decisive for the success of his career. At Driade he became one of the brand's main collaborators alongside Philippe Starck, Oscar Tusquets and Antonia Astori. He was later one of the initiators of the construction of the Ajeto glass factory to support the traditions of Bohemian glassblowing, where the best craftsmen were dedicated to the creation of high-end pieces. He firmly entered Milan's design circles, where he was invited to collaborate with Alessi, Cleto Murani, Sawaya & Moroni, Wittmann and the Swiss brand Vitra. In the late 1980s, he traveled to Asia, where he became acquainted with the Japanese polychrome lacquer technique: he created an atypical Urushi Arai collection, where his usual techniques for glass were rendered in wood. Throughout his career he has received numerous awards, including the honorable mention in the German Architecture Prize (1983), the Dutch Kho Liang Le Dutch Kho Liang Design Award (1989), La Croix Chevalier dans l'ordre des Arts et Lettres by the French government (1991), the Prince Bernhard Fonds Award for Architecture and Applied Arts of the Netherlands (1993) and the Talent De L'Originalite" - Le Sommet du Luxe et de la Creation award, among others. Between 1990 and 2003 he held the title of court architect of Prague Castle appointed by Václav Havel, president of the former Czechoslovakia, later the Czech Republic.

Estim. 1 000 - 1 100 EUR

Lot 125 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. Soft-Pad high back office chair, model EA-219. Polished aluminum base and armrests, black leather upholstery, backrest with hopak, five-axis foot with casters. Adjustable height and tilt function. Made in Vitra 2006, with label. It has slight marks of use. Measurements: Height 100-115 cm. Width 58 cm. Dep. 43 cm. Seat height 44-59 cm. The Soft Pad office chair by Charles and Ray Eames was created in 1958 for Vitra. It features 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 would eventually teach there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Award, given by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they would remain for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House," now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fiberglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 2 800 - 3 000 EUR

Lot 126 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. Medium "Oxford" chair. Black leather upholstery. Height adjustable and with tilt function. Produced by Fritz Hansen 2017, with label. Brown label. In good condition. Measurements: 100-114 cm (height) x 62 x 60 cm. Seat height 42-56 cm. Oxford model chair with aluminum frame and body upholstered in black leather, with medium height backrest. It is a minimalist design, with a structure reduced to its essence, functional and at the same time elegant for its harmonious combination of straight lines and soft curves. The original design of the Oxford chair was created by Jacobsen for the professors at St. Catherine's College, Oxford, in 1965. An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. Among his most outstanding architectural works are St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the Danish National Army in the same city, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also called "Chair number 7", of which more than five million copies were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the movie "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and today we can find them in collections such as those of the Victoria & Albert Museum in London or the MoMA in New York, among many others.

Estim. 1 500 - 1 600 EUR

Lot 127 - JORGEN KASTHOLM (Denmark, 1931 - 2007) and PREBEN FABRICIUS (Denmark, 1931 - 1984) for LANGE PRODUCTION. Chaise longue "Grasshopper", Model FK-87, design 1967. Chrome-plated steel, canvas fabric, loose cushions and neck cushion upholstered in cognac aniline leather. Laced armrests in harness leather. Lange Production Editor. Brand new, Delivered in original packaging. With photos of the model. Measurements: 81 x 150 cm. This design was created by designers Preben Fabricius and Jørgen Kastholm, consisting of a lightweight chromed steel structure, whose shape resembles a grasshopper, and a stretched fabric that serves as a support for the cushion that is loose on it, plus a cognac-colored leather headrest. Its sober, light and elegant design, with simple lines, results in a timeless product that at the same time captures the genuine spirit of the era. It is a piece of furniture that brings together design, quality materials and functionality in a single object. Danish architect and designer Jørgen Kastholm began his training as a blacksmith, but soon left to pursue furniture design. He attended the Copenhagen School of Interior Design, where he was taught by Finn Juhl. There he also met cabinetmaker Preben Fabricius, who would later become his partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Federicia furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly thereafter, they made the international breakthrough at the 1966 Cologne trade fair, where they exhibited a complete series of home and office furniture, developed from ten of their original designs. Their minimalist creations, at once attractive and comfortable, were generally steel and leather furniture. The two creators worked together between 1961 and 1968, a seven-year period in which they produced numerous designs now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 or the Scimitar. Also during this period, their furniture was part of important international exhibitions, held in such prominent centers as the MOMA in New York (1967) or the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 7 000 - 8 000 EUR

Lot 128 - CHARLES EAMES (USA, 1907 – 1978) & RAY EAMES (USA, 1912 – 1988) for VITRA Editor. A set of eight Soft Pad armchairs, model EA-208. Designed in 1969. Full-leather edition with newly upholstered black aniline leather. Swivel base and armrests in chromed aluminium. Made at Vitra, with labels. Slight marks of use. Measurements: 85 x 58 x 58 cm. The Soft Pad office chair by Charles and Ray Eames was created in 1969 for Vitra. It has an argonomic shape that adapts easily to the contours of the body, and is in keeping with the elegant language developed by the Eames couple in the fifties and sixties. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 12 000 - 14 000 EUR

Lot 129 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. A low back Oxford office armchair with dark brown leather upholstery, chrome-plated frame and armrests, on five-star swivel base with castors. Height adjustable and with tilt-function. Brown label. Produced by Fritz Hansen. With certificate. In good condition. Measurements: 88/104 x 60 x 56 cm. 44-60 cm. (seat height). It is a minimalist design, with a structure reduced to its essence, functional and at the same time elegant for its harmonious combination of straight lines and soft curves. The original design of the Oxford chair was created by Jacobsen for the professors at St. Catherine's College, Oxford, in 1965. An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. Among his most outstanding architectural works are St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the Danish National Army in the same city, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also called "Chair number 7", of which more than five million copies were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the movie "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and today we can find them in collections such as those of the Victoria & Albert Museum in London or the MoMA in New York, among many others.

Estim. 1 400 - 1 600 EUR

Lot 130 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for VITRA Editor. A set of six Soft Pad armchairs, model EA-208. Designed in 1969. Full-leather edition with seat and backrest newly upholstered in cognac coloured aniline leather. Swivel base and armrests in chromed aluminium. Made at Vitra, with labels. Slight marks of use. Measurements: 83 x 58 x 60 cm. The Soft Pad office chair by Charles and Ray Eames was created in 1969 for Vitra. It has an argonomic shape that adapts easily to the contours of the body, and is in keeping with the elegant language developed by the Eames couple in the fifties and sixties. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 8 000 - 10 000 EUR

Lot 131 - POUL HENNINGSEN (Denmark, 1884-1967) for Louis Poulsen. PH 3/2 table lamp, Limited Edition. Blown white opaline glass shades. Brushed brass frame. New, brand new. Delivered unassembled in its original box. Photos of the final model. Measurements: 47.2 x 29 x 29 cm. The table lamp PH 3/2 was designed by Poul Henningsen for Louis Poulsen. It is a variant created from his 1958 PH Artichoke and, like the former, is characterized above all by the quality of a design that contributes visibly to beautify the architectural space in which it is placed. The overlapping sheets of blown glass that make up its screen use the hallmarks of light to avoid glare and create an aesthetic effect of great beauty; they redirect and reflect light, resulting in a unique and distinctive illumination. Danish designer, architect and critic, Poul Henningsen was one of the key figures in the cultural life of Denmark in the interwar period. He studied architecture between 1911 and 1917, but never graduated, as he decided to become an inventor and painter. Nevertheless, he worked as an architect and became one of the most prominent advocates of functionalism. In his career as a designer, his most famous creation was the "PH Artichoke" lamp, a simple lamp that used hallmarks of light to avoid glare and create an aesthetic effect of great beauty. Its success enabled Henningsen to finance his later work. He is currently representing at the Danish Museum of Art and Design, the MoMA in New York and the Victoria & Albert in London, among many others. New, brand new. Delivered disassembled in its original box .

Estim. 1 700 - 1 900 EUR

Lot 133 - CHARLES EAMES (USA, 1907 – 1978) AND RAY EAMES (USA, 1912 – 1988) for VITRA. A high-back office armchair, model EA-119. Height adjustable and with tilt function. Original black leather upholstery, backside with black hopsak, armrests and five-star base in clome-plated aluminium, with castors. Designed in 1958. Slight traces of wear. Measurements: 102/115 x 58 x 58 cm; 43/56 cm. (seat height). Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He would eventually teach there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Award, given by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they would remain for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House," now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fiberglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 2 400 - 2 600 EUR

Lot 135 - DONALD CHADWICK (1936) & WILLIAM STUMP (1936-2006) for HERMANN MILLER. Aeron multi-adjustable office chair, 1992 design. Latest generation with leather upholstered armrests. Made of polished aluminum and recycled plastic. Made from 66% recycled material, 94% of the chair is recyclable. With Herman Miller label. Unused. In original packaging. Packaging dimensions: 107 x 69 x 69 cm. Size. B. The Aeron chair, designed by William Stump and Donald Chadwick, brings together material innovation and ergonomics in a thoroughly thought out and studied manner. It was especially known for changing people's perception of what an office chair could be, and in doing so soon found a place in popular culture. It is, consequently, a piece of furniture that seeks positivity for health, cross-performance, inclusive size and sensitivity to the environment. The result is a comfortable chair without the standard use of foam, fabric or leather. As editor Hermann Miller herself states, "While its iconic form has remained largely unchanged, the Aeron chair has been remastered from the pitchers to meet the needs of today's work. With the help of the original co-designer, Don Chadwick, the chair has been carefully updated based on the latest research around the science of ergonomics and advances in materials, manufacturing and technology." William Stump (William Eugene "Bill" Stumpf, 1936-2006) and Donald Chadwick (also known as Don Chadwick, born 1936) teamed up to create one of Herman Miller's best-known designs. In designing the Aeron chair, Chadwick and Stumpf took on a major challenge, making an office chair that truly supports the human form, and resulted in a chair without a single straight line.

Estim. 2 000 - 2 200 EUR

Lot 136 - FRANK OWEN GEHRY (Toronto, 1929) for Knoll. Hat Trick armchair in bent and interlocking maple wood strips. Manufactured by Knoll International, USA, with stamp. Light marks of use. Measurements: 85 x 59 x 56 cm. Seat height 46 cm. Frank Gehry was born in Toronto and moved with his family to Los Angeles in 1947. He graduated from the University of Southern California in 1954 and began working full time with Victor Gruen Associates, where he had been apprenticing part-time while still in school. He was admitted to Harvard Graduate School of Design to study urban planning. When he returned to Los Angeles, he rejoined Gruen where he stayed until 1960. In 1961 he moved to Paris, where he worked in the studio of André Rémondet. He remained in the French capital for a year, during which time he studied the works of Le Corbusier and other French and European architects, as well as existing Romanesque churches in France. In 1962 Gehry returned to LA and opened his architectural practice in L.A. With magnificent buildings such as the Guggenheim Bilbao Disney Concert Hall in Los Angeles and the new Foundation Louis Vuitton in Paris, Gehry has changed the nature and spirit of contemporary architecture. Yet the world’s best-known living architect has also enjoyed a prolific career as a designer of artful and functional objects, ranging from furniture to jewelry, that even at smaller scale are as lively and captivating as his architectural designs. In 1972 Gehry introduced a series of corrugated cardboard furniture under the name Easy Edges. The Easy Edges were a great success and brought Gehry overnight fame as a furniture designer. Frank Gehry came to Knoll in 1989 with an idea for a new generation of bentwood furniture inspired by the simple bushel basket. After three years of experimentation and exploration, the collection was debuted in the Frank Gehry: New Furniture Prototypes show at The Museum of Modern Art in New York. Each piece is named after a different hockey term such as Power Play, Cross Check and Hat Trick. Inspired by the surprising strength of the apple crates he played on as a child, Frank Gehry created his thoroughly original collection of bentwood furniture. The ribbon-like designs transcend the conventions of style by exploring, as the great modernists did, the essential challenge of deriving form from function. Frank Gehry has taught at several American art academies, design schools and universities and in 2011 he became a professor at the University of Southern California - and has received several honorary doctorates.

Estim. 2 000 - 2 200 EUR

Lot 137 - PREBEN FABRICIUS (Denmark, 1931 - 1984) for KNOLL. ‘Conversation Chairs’, model 710. Designed in 1972. Dark cromed steel frame, loose cushions with black leather upholstery. Armrests with leather details. Underclothing with logo. Manufactured at Walter Knoll, with makers labels. Measurements: 78 x 72 x 78 cm. Seat height 42 cm. Minor marks from use. As a genuine classic, Fabricius tells the story of furniture. The "Conversation chair" combines Scandinavian design tradition and functional aesthetics with the charm of casual seating comfort. Precise metal processing, superior surface quality: the armrests and the supporting structure frame the sliding seat. The result is lightness and simplicity. Whether as a soloist or as an ensemble, it was made for lounges, foyers and living rooms. Preben Juul Fabricius was trained as a cabinetmaker with master carpenter Niels Vodder and also studied at the School of Interior Design under Finn Juhl in the mid-1950s. There he also met cabinetmaker Jørgen Kastholm, who later became his long-term partner. The two shared a common vision of furniture design, based on minimalism and quality and inspired by the creations of Charles Eames and Mies van der Rohe. Their quest was to achieve an ideal that, by its simplicity, would be timeless. In 1961 they set up a studio together in Gentofte, and four years later they presented their first designs at the Fredericia Furniture fair, where they attracted the attention of the German furniture manufacturer Alfred Kill. The latter offered them a lucrative contract that allowed them to work freely, so Kastholm and Fabricius moved to Stuttgart with their first designs to start production in Kill's factory. Shortly afterwards, they made the international breakthrough at the 1966 Cologne trade fair, where they showed a complete series of home and office furniture, developed from ten of their original designs. The two designers worked together between 1961 and 1968, a period of seven years in which they produced numerous designs that are now considered classics, such as the Tulip Chair FK 6725, the Grasshopper FK 87 and the Scimitar. During this period, their furniture also formed part of important international exhibitions, held in such prominent centres as the MOMA in New York (1967) and the Musée d'Art Moderne in Paris (1967). Today, designs by Kastholm and Fabricius can be seen at the MACBA in Barcelona, the MOMA in New York, the Musée d'Art Moderne in Paris, the Ringling Museum in Florida, the Art Museum of Brasilia, the Design Center in Stuttgart, the Haus Industriform in Essen, the Neue Sammlung in Munich, the Staatsgemäldesammlung Bayer in Munich, the Kunstindustrimuseum in Berlin, the Kunststofmuseum in Düsseldorf, the World Import Mart Museum and the History + Folkways Museum in Japan and the Museum für Angewandte Kunstgeschichte in Cologne.

Estim. 2 000 - 2 200 EUR

Lot 138 - POUL KJÆRHOLM (Denmark, 1929 - 1980) for FRITZ HANSEN. PK-22 lounge chair, designed 1955. Steel frame. Upholstered in black leather. Made at Fritz Hansen in 1991, with label from here. Shows minor signs of wear and patina due to age. Measurements: 72 x 63 x 62 cm. Seat height 33 cm. The PK22 series of chairs are excellent examples of Poul Kjaerholm's ability to work with exquisite, minimalist materials. In the search for the ideal form they were created in a combination of elegant luxury and comfort. Poul Kjærholm was a Danish designer trained at the Danish School of Arts and Crafts in Copenhagen, where he entered in 1952 after having started his apprenticeship with the cabinetmaker Gronbech in 1948. From the mid-1950s he worked for his friend EjvindKoldChristiansen, a businessman who always gave him total creative freedom. His earliest creations, such as his plywood furniture series PKO, already reveal his strong personality. In 1958 he attracted international attention with his contribution to the "Formes Scandinaves" exhibition in Paris, and in the same year he won the Lunning Prize for his PK 22 chair. In 1957 and 1960 he was awarded the Grand Prix at the Milan Triennale, and in 1959 he was admitted to the Royal Danish Academy of Fine Arts. In 1973 he was appointed director of the Danish Design Institute, where he taught from 1976. His designs are now held in leading design collections, including those of the Victoria & Albert Museum in London and the MOMA in New York.

Estim. 2 200 - 2 400 EUR

Lot 139 - POUL KJÆRHOLM (Denmark, 1929 - 1980) for FRITZ HANSEN. PK-22 lounge chair, designed 1955. Steel frame. Upholstered in black leather. Made at Fritz Hansen in 1991, with label from here. Shows minor signs of wear and patina due to age. Measurements: 72 x 63 x 62 cm. Seat height 33 cm. The PK22 series of chairs are excellent examples of Poul Kjaerholm's ability to work with exquisite, minimalist materials. In the search for the ideal form they were created in a combination of elegant luxury and comfort. Poul Kjærholm was a Danish designer trained at the Danish School of Arts and Crafts in Copenhagen, where he entered in 1952 after having started his apprenticeship with the cabinetmaker Gronbech in 1948. From the mid-1950s he worked for his friend EjvindKoldChristiansen, a businessman who always gave him total creative freedom. His earliest creations, such as his plywood furniture series PKO, already reveal his strong personality. In 1958 he attracted international attention with his contribution to the "Formes Scandinaves" exhibition in Paris, and in the same year he won the Lunning Prize for his PK 22 chair. In 1957 and 1960 he was awarded the Grand Prix at the Milan Triennale, and in 1959 he was admitted to the Royal Danish Academy of Fine Arts. In 1973 he was appointed director of the Danish Design Institute, where he taught from 1976. His designs are now held in leading design collections, including those of the Victoria & Albert Museum in London and the MOMA in New York.

Estim. 2 200 - 2 400 EUR

Lot 141 - 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 142 - 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 143 - 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 144 - BØRGE MOGENSEN (Denmark, 1914 – 1972) for FREDERICIA FURNITURE. A pair of lounge chairs, model 2207. Upholstery in black leather, teak legs. Produced at Fredericia Furniture. Minor marks from use. Measurements: 78 x 70 x 81 cm. 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. 1 600 - 1 800 EUR

Lot 145 - LE CORBUSIER (Switzerland, 1887 - France, 1965) for CASSINA. LC4 chaiselong, black lacquered frame, black leather upholstery. Designed in 1928. Produced by Cassina. With stamps and identification number. With marks of use. Measurements: 65 x 160 x 58 cm. The LC 4 chaise longue, presented at the 1929 Salon d'Automne du Design, is the best known of Le Corbusier's furniture. It is a purist, radical design that won critical acclaim in its time and is today a classic of 20th century design. This modern edition seeks greater comfort by presenting the upholstery with more padding than the original design. Swiss architectural theorist, architect, designer and painter, naturalised French citizen, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Decorative Arts Exhibition of 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.

Estim. 2 200 - 2 500 EUR

Lot 146 - BØRGE MOGENSEN (Denmark, 1914 – 1972) for FREDERICIA FURNITURE. Three-seater sofa with upholstery in black leather, teak legs, model 2209. Produced at Fredericia Furniture. Minor marks from use. Measurements: 78 x 185 x 85 cm. 43 cm. (seat height). Børge Mogensen was one of the most prominent representatives of the generation of designers who gave rise to the concept of Danish design, today known throughout the world. He began his career as a cabinetmaker in 1934, and two years later he began his studies at the Copenhagen School of Arts and Crafts, where he had Kaare Klint as a teacher. He then entered the Royal Academy of Fine Arts, graduating as an architect in 1942. That same year he began working as design director for FDB, finally setting up on his own in 1950. Functional is the word that best describes Mogensen's design. ; Most of his creations were conceived for industrial production, and are characterized by solid and simple lines, studied in an almost scientific way to be as functional as possible. His clean, highly functional aesthetic resulted in affordable and practical designs, his favorite material being wood. The client portfolio for which he worked includes Fredericia Stolefabrik, Fritz Hansen and Søborg Møbelfabrik, among others. Notable projects include Spokeback Sofa (1945) and Spanish Chair (1959), as well as a variety of shelving and storage designs. He was honored with the Eckersberg Medal in 1950, the Copenhagen Woodworking Guild's annual award in 1953, and the C.F. Hansen Medal in 1972.

Estim. 1 500 - 1 800 EUR

Lot 147 - CHARLES EAMES (USA, 1907 - 1978) AND RAY EAMES (USA, 1912 - 1988) for VITRA. Lounge chair with seat and back shells moulded in american cherry plywood veneer, upholstery in black leather, five star swivel-base in blackpainted polished aluminium. Produced by Vitra, with labels. Designed in 1958. Measurements: 83 x 85 x 83 cm. Seat height 40 cm. Charles and Ray Eames created The Lounge Chair in the 1950s with the vision of uniting aesthetic elegance with unrivaled 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. 4 500 - 5 000 EUR

Lot 148 - LE CORBUSIER (Switzerland, 1887 - France, 1965); PIERRE JEANNERET (Genoa, 1896-1967); CHARLOTTE PERRIAND (France, 1903-1999) for CASSINA. A pair of LC2 armchairs. Designed in 1928. Chrome-plated tubular steel frame, loose cushions upholstered in black leather. Stamped Cassina. With certificates. With signs of wear due to age and use. Measurements: 65 x 75 x 70 cm. 47 cm. (seatheight). The LC2 armchair was designed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand in 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. 6 000 - 7 000 EUR

Lot 149 - LE CORBUSIER (Switzerland, 1887 - France, 1965) for CASSINA. LC4 chaiselong, chromed steel frame, black leather upholstery. Designed in 1928. Produced by Cassina. With stamps and number. With marks of use. Measurements: 65 x 162 x 58 cm. The LC 4 chaise longue, presented at the 1929 Salon d'Automne du Design, is the best known of Le Corbusier's furniture. It is a purist, radical design that won critical acclaim in its time and is today a classic of 20th century design. This modern edition seeks greater comfort by presenting the upholstery with more padding than the original design. Swiss architectural theorist, architect, designer and painter, naturalised French citizen, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Decorative Arts Exhibition of 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.

Estim. 2 200 - 2 500 EUR

Lot 150 - VERNER PANTON (Denmark, 1926 - 1998) for VITRA. Amoebe high-back lounge chair, red wool upholstery. Designed in 1970. Produced by Vitra. With minor spots. Measurements: 130 x 61 x 85 cm. Verner Panton was famous for his exuberant forms and this chair is a wonderful example. The Amoebe lounge chair was designed in 1970 for the Visiona exhibition. Considered one of the most influential personalities of late 20th century furniture design, Verner Panton created a variety of innovative and futuristic designs during his career, especially constructed in plastic and brightly colored. Most of his best-known designs are still in production. Verner attended the Odense Technical School and then studied architecture at the Royal Academy of Fine Arts in Copenhagen, graduating in 1951. In the early years of his career, between 1950 and 1942, he worked in the architectural office of Arne Jacobsen. In 1955 he opened his own architecture and design studio, becoming famous with his furniture based on geometric shapes, manufactured by the company Plus-linje. In the late 1950s his chair designs, with no legs and no discernible back, became increasingly unconventional. In the 1960s Panton began his collaboration with the firm Vitra, which has been very close ever since, culminating in 2000 with the Panton retrospective exhibition held at the Vitra Design Museum. He is currently represented at the DesignMuseum in London and the MoMA in New York, among many others.

Estim. 1 800 - 2 000 EUR

Lot 151 - LE CORBUSIER (Switzerland, 1887 - France, 1965); PIERRE JEANNERET (Genoa, 1896-1967); CHARLOTTE PERRIAND (France, 1903-1999) for CASSINA. LC3 three-seater sofa. Designed in 1928. Chrome-plated tubular steel frame, loose cushions upholstered in black leather. Produced by Cassina. With stamps and identification number. With signs of wear due to age and use. Marks and stains on leather at one side. Measurements: 67 x 180 x 70 cm. 46 cm. (seatheight). The LC3 sofa was designed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand in 1928 and like the contemporary LC2 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. The LC armchair and sofa series was designed based on the principle of not hiding the construction in a piece of furniture. Therefore, the LC3 sofa is designed with the metal frame visible, and as a supporting part of the design. 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. 6 000 - 7 000 EUR

Lot 152 - CHARLES EAMES (USA, 1907 - 1978) AND RAY EAMES (USA, 1912 - 1988) for VITRA. Lounge chair with seat and back shells moulded in american cherry plywood veneer, upholstery in black leather, five star swivel-base in blackpainted polished aluminium. Produced by Vitra, with labels. Designed in 1958. Measurements: 83 x 85 x 83 cm. Seat height 40 cm. Charles and Ray Eames created The Lounge Chair in the 1950s with the vision of uniting aesthetic elegance with unrivaled 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. 4 500 - 5 000 EUR

Lot 154 - ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN. High-back "Oxford" armchair. Black leather upholstery. Height adjustable and with tilt function. Produced by Fritz Hansen 2016, with label. Brown label. With wear on the seat. Measurements: 124-138 cm (height) x 62 x 60 cm. Seat height 42-56 cm. Oxford model chair with aluminum frame and body upholstered in black leather, with medium height backrest. It is a minimalist design, with a structure reduced to its essence, functional and at the same time elegant for its harmonious combination of straight lines and soft curves. The original design of the Oxford chair was created by Jacobsen for the professors at St. Catherine's College, Oxford, in 1965. An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. Among his most outstanding architectural works are St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the Danish National Army in the same city, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also called "Chair number 7", of which more than five million copies were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the movie "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and today we can find them in collections such as those of the Victoria & Albert Museum in London or the MoMA in New York, among many others.

Estim. 1 500 - 1 800 EUR

Lot 155 - POUL HENNINGSEN (Denmark, 1894 - 1967) for LOUIS POULSEN. Ceiling lamp "Koglen" (Artichoke). Designed in 1957-1959 for the Langeliniepavillonen in Copenhagen. With 72 copper leaves placed on 12 chrome-plated steel arches. Complete with chrome-plated aluminum housing, wire suspension, white fabric rope, suspension pulley and canopy. Supplied with 1 x 200 watt bulb. Made by Louis Poulsen. Presents marks of use. Measurements: 60 cm (diameter). The ceiling lamp 'Koglen' -or Artichoke- consists of 72 leaves in brushed steel, placed on 12 chromed steel arches, which protect the light source, redirect and reflect the light on the underlying leaves, providing a unique and distinctive illumination free of reflections in its 360 degrees. Complete with chrome-plated aluminum socket. Suspension is wire, white fabric cable, suspension braid and canopy. Supplied with 200-watt bulbs. Poul Henningsen began his prolific career in lamp design in the early 20th century. In 1924, after 10 years of scientific study, he began working with Louis Poulsen on his unique shade system that was intended to provide a soft, warm, non-dazzling light. The original Koglen shades were developed for the Langelinie Pavilion restaurant in Copenhagen. The PH Artichoke is a classic icon of 20th century Scandinavian design. Danish designer, architect and critic, Poul Henningsen was one of the key figures in Danish cultural life 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. 7 000 - 7 500 EUR

Lot 157 - CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for Vitra. Stool "Time Life", model C. Designed in 1960 for Rockefeller Centre, New York. Solid walnut. Manufactured by Vitra. Certificate included. Exhibition model. Minimal signs of wear. Measurements: H. 38 cm. Diam. 33 cm. Time Life stool models are designed by the Eames couple, whose suggestive turned shaft structure has given them alternative names such as "chess pieces". They allow versatile use as a seat or side table. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He would eventually teach there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Award, given by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they would remain for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House," now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fiberglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Estim. 1 000 - 1 200 EUR

Lot 158 - WARREN PLATNER (Baltimore, 1919 - Connecticut, 2006) for KNOLL. Lounge Chair model 1725A, design 1966. Nickel-plated steel frame and black velvet upholstery. Cataloged in: Charlotte and Peter Fiell. "1000 Chairs" p. 400-401. In original packaging. In good condition. Measurements: 78/50 cm (height) x 95 x 70 cm. 83 x 86 x 72 cm (original packaging). In 1966, Platner designed for the American publisher Knoll an innovative concept: to achieve the chair without legs, a rational design while aesthetic. The Platner chair, the main element of the collection, was conceived to envelop and complement the person sitting in it. The pieces of the Platner collection, distributed by Knoll, are composed of hundreds of individual welds, all hand-welded, following traditional processes to achieve that delicacy and purity in the piece. It was the collection of furniture designed for the Knoll brand that made Platner recognized worldwide. The collection in question, named after its designer, is an icon of modern furniture. Platner personally formulated production techniques for each chair, which feature more than a hundred steel rods. In 1966, Platner designed for the American publisher Knoll an innovative concept: to achieve the chair without legs, a rational and at the same time aesthetic design. The Platner chair, the main element of the collection, was conceived to envelop and complement the person sitting in it. The pieces in the Platner collection, distributed by Knoll, are composed of hundreds of individual welds, all hand-welded using traditional processes to achieve the delicacy and purity of the piece. Warren Platner studied at Cornell University, graduating in 1941 with a degree in architecture. He worked with legendary architects Raymond Loewy, Eero Saarinen and I. M. Pei before opening his own studio. Notable contributions throughout his career in architecture include the Georg Jensen Design Center and the Windows on the World restaurant at the World Trade Center, both in New York. It was the collection of furniture designed for the Knoll brand that brought Platner worldwide recognition. The collection in question, named after its designer, is an icon of modern furniture. Platner personally formulated production techniques for each chair, which feature more than a hundred steel rods.

Estim. 5 000 - 6 000 EUR

Lot 159 - WARREN PLATNER (Baltimore, 1919 - Connecticut, 2006) for KNOLL. Lounge Chair model 1725A, design 1966. Nickel-plated steel frame and black velvet upholstery. Cataloged in: Charlotte and Peter Fiell. "1000 chairs" p. 400-401. In original packaging. In good condition. Measurements: 78/50 cm (height) x 95 x 70 cm. 83 x 86 x 72 cm (original packaging). In 1966, Platner designed for the American publisher Knoll an innovative concept: to achieve the chair without legs, a rational design while aesthetic. The Platner chair, the main element of the collection, was conceived to envelop and complement the person sitting in it. The pieces of the Platner collection, distributed by Knoll, are composed of hundreds of individual welds, all hand-welded, following traditional processes to achieve that delicacy and purity in the piece. It was the collection of furniture designed for the Knoll brand that made Platner recognized worldwide. The collection in question, named after its designer, is an icon of modern furniture. Platner personally formulated production techniques for each chair, which feature more than a hundred steel rods. In 1966, Platner designed for the American publisher Knoll an innovative concept: to achieve the chair without legs, a rational and at the same time aesthetic design. The Platner chair, the main element of the collection, was conceived to envelop and complement the person sitting in it. The pieces in the Platner collection, distributed by Knoll, are composed of hundreds of individual welds, all hand-welded using traditional processes to achieve the delicacy and purity of the piece. Warren Platner studied at Cornell University, graduating in 1941 with a degree in architecture. He worked with legendary architects Raymond Loewy, Eero Saarinen and I. M. Pei before opening his own studio. Notable contributions throughout his career in architecture include the Georg Jensen Design Center and the Windows on the World restaurant at the World Trade Center, both in New York. It was the collection of furniture designed for the Knoll brand that brought Platner worldwide recognition. The collection in question, named after its designer, is an icon of modern furniture. Platner personally formulated production techniques for each chair, which feature more than a hundred steel rods.

Estim. 5 000 - 6 000 EUR

Lot 164 - 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 166 - 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 167 - 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 169 - 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 171 - 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 172 - 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 173 - 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 174 - 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
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