Null 18K 金镶铂金、玫瑰式切割钻石、珐琅和直径 1.5 - 4 毫米的养殖珍珠。银色金属安全链。长 49 厘米。重 4.8 克。珐琅上有轻微脱落。
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18K 金镶铂金、玫瑰式切割钻石、珐琅和直径 1.5 - 4 毫米的养殖珍珠。银色金属安全链。长 49 厘米。重 4.8 克。珐琅上有轻微脱落。

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18K 金镶铂金、玫瑰式切割钻石、珐琅和直径 1.5 - 4 毫米的养殖珍珠。银色金属安全链。长 49 厘米。重 4.8 克。珐琅上有轻微脱落。

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

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

源于 "LE CORBUSIER"(1887 年,瑞士 - 1965 年,法国),80-90 年代。 LC4 躺椅。 金属结构和皮革装饰。 连接结构和椅套的一个皮革挂钩破损。铁质底座上有锈迹。 尺寸:90 x 55 x 160 厘米。 LC 4 chaise longue 是勒-柯布西耶最著名的家具,曾在 1929 年的 Automne du Design 沙龙上展出。它是一款纯粹、激进的设计,在当时赢得了一致好评,至今仍是 20 世纪设计的经典之作。这款现代版家具的软垫比原来的设计更多,因而更加舒适。 勒-柯布西耶是建筑理论家、建筑师、设计师和画家,瑞士人,入籍法国,被认为是现代建筑运动最明确的代表人物之一,也是 20 世纪最具影响力的建筑师之一。他提出的新建筑理念基于五个要点,而这五个要点是这门学科日后发展的关键:自由平面、花园露台、"pilotis"、纵向窗户和自由立面。他最杰出的建筑项目包括巴黎大学城瑞士馆、马赛住宅区和龙尚圣母教堂。作为一名家具设计师,勒-柯布西耶与皮埃尔-让内雷(Pierre Jeanneret)和夏洛特-佩里扬(Charlotte Perriand)合作完成了他的第一批作品,并在 1925 年的巴黎装饰艺术展上获得了最终的推动力。勒-柯布西耶的第一把椅子和扶手椅就以舒适为出发点,并以人体测量学研究为基础,保证了对人体的完全适应性。勒-柯布西耶与让内雷(Jeanneret)和佩里安德(Perriand)共同设计的第一把椅子是 LC1,于 1928 年展出,其特点是靠背高度可调,使用者可以选择最舒适的姿势。在 1929 年的设计沙龙(Salon d'Automne du Design)上,他推出了 LC4 长椅,这是一款纯粹而激进的设计,如今已成为经典之作。同样著名的还有他的 LC2、LC3 和 LC5 设计,这些单座、双座和三座沙发的设计彻底改变了现代家具的批量生产。我们还必须强调凳子和餐椅的设计,如在 1929 年沙龙展上展出的 LC7 或 LC8。勒-柯布西耶、让纳雷和佩里安德希望为家中的所有房间设计家具,因此他们设计了像 LC9 这样的作品,这是一款用于浴室的凳子,非常简洁,带有织物座椅。勒-柯布西耶还设计了其他类型的家具,如桌子和架子。他的设计目前由意大利 Cassina 公司编辑,并被纽约现代艺术博物馆或伦敦维多利亚与艾伯特博物馆等重要机构收藏。

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