20th-Century Decorative Arts
Six cataloged auctions each year
From Art Nouveau to Art Deco to modern design, the decorative arts from the late 19th century to the present day are the focus of a dedicated department at Ader. The arabesques, curves, and naturalistic motifs of Art Nouveau, which emerged in the late 18th century, stand alongside the lines and forms directly inspired by Cubism and characteristic of the Art Deco style, whose name derives from the Exposition des Arts Décoratifs et Industriels Modernes held in Paris in 1925. Interior designers and decorators at that time were committed to coordinating every aspect of interiors—furniture, lighting, and accessories... These pieces of furniture, sometimes preserved as part of their original sets, are enjoying growing popularity among buyers. Ader’s auctions stand out for the extensive documentation provided for each lot offered at auction and for the traceability of the provenance and major collections from which the pieces originate.
A Word from the Expert
“Auctions of 20th-century decorative arts offer an opportunity to rediscover works from this period that have been completely forgotten or overlooked, and to bring important artists back into the spotlight—such as the cabinetmaker Christian Fjerdingstad, a Danish-born artist to whom we recently paid tribute. This event helped raise awareness of Fjerdingstad’s name and his influence on the Art Deco movement, particularly through his use of noble materials, such as amber and ivory, as well as the freedom and fluidity of his lines. The holy grail in this field is also to find complete sets of furniture, which shed a little more light on the decorator’s style and spirit. For example, we sold the furniture from an apartment in Neuilly-sur-Seine that was entirely decorated by the designer Jean-René Prou and had remained completely intact since the late 1950s.”
Contacts
Xavier Dominique:
xavier.dominique@ader-paris.fr
Apoline Michelot:
apolline.michelot@ader-paris.fr
Expert:
Emmanuel Eyraud
3 Rue Favart, 75002 Paris
Phone: +33 (0)1 53 40 77 10
Past Sales
Successful Auctions
1 - REMBRANDT BUGATTI (1884-1916) - FORMER ALAIN LESIEUTRE COLLECTION Small elephant at rest, the model designed around [1912], our numbered proof (8) A sculpture. Proof in bronze with a richly shaded, semi-transparent dark brown patina (Renaissance type). Lost-wax casting by Albino Palazzolo. Early edition by Adrien-Aurélien Hébrard. Signed R. BUGATTI, stamped Cire perdue A.A. HEBRARD and numbered (8) in a corner on the terrace. Height: 20.5 cm - Length: 19 cm - Depth: 11 cm Terrace: 18 x 10 cm Provenance : - Mme Boudon Collection. - Alain Lesieutre Collection. - SaleAder-Picard-Tajan, Hôtel George V, Paris, December 13, 1989 : Collection Alain Lesieutre. Our work presented under catalog number 202 and reproduced on page 117. - Private collection, Paris. Acquired at the previous sale. Exhibitions of our sculpture model: - Rembrandt Bugatti, retrospective - Galerie Adrien-Aurélien Hébrard, Paris, 1913. A proof of Le Petit éléphant au repos presented at this event. - Exhibition of Rembrandt Bugatti's last works 1884-191[5] - Galerie Adrien-Aurélien Hébrard, Paris, 1922. A proof of Le Petit éléphant au repos presented at this event. - Animal sculpture by R. Bugatti - Abdy 1 Co Galleries, London, 1929. A proof of Le Petit éléphant au repos presented at this event. - Rembrandt Bugatti ; sculpture - Sladmore Gallery, London, 2004. A proof of Le Petit éléphant au repos presented at this exhibition. Bibliography : - Véronique Fromanger - Rembrandt Bugatti sculpteur - Une trajectoire foudroyante - Répertoire monographique - Les Éditions de l'Amateur, Paris, 2016. A bronze proof of Petit éléphant au repos reproduced on page 364 and referenced in the Répertoire des éditions en bronze under number 300; number (8) listed in the chapter Anciennes collections répertoriées. - Bernard Lamarche-Vadel, Bernard Dufour and Anna Lamparska-Rivet - Bugatti, les meubles; Bugatti, les sculptures; Bugatti, les autos - Éditions de la Différence/Galerie Beaubourg Paris, 1995. A bronze print of Petit éléphant au repos is reproduced on page 199. Rembrandt Bugatti - Elephants Rembrandt Bugatti devoted most of his life to the meticulous observation of animals, capturing their posture, movement and energy and translating them into sculpture1. His varied repertoire includes domestic animals from his daily life, as well as wild species seen in zoos. Based in the 13th arrondissement of Paris, the artist spent fifteen years assiduously visiting the menagerie at the Jardin des Plantes, where he studied many exotic mammals - such as elephants, which were to occupy a central place in his sculptural work. Later, his exile in Antwerp enabled him to work at the Jardin Zoologique, then one of the most renowned in the world. Here, too, he observed with fascination these imposing pachyderms, whose power and majesty he succeeded in capturing in sculptures imbued with a sensitive realism. The combination of power, grace and vulnerability of these majestic animals was an inexhaustible source of inspiration for Bugatti. He created several sculptures of elephants, in each of which, despite the variety of poses and dimensions, he summoned the very essence of this imposing yet delicate animal. He translated their expressions and emotions with a certain plastic vitality, in which relief and light played an essential role. Using his thumb as his main tool, and working with malleable materials such as plastiline, he approached the animals' attitudes with a synthetic approach that favored intuition and observation over strict anatomical study. Also, with our Little Elephant at Rest, it's interesting to note the distinctive modelling of the skin's surface. of the animal's thick, wrinkled, cracked, moving skin, which he treats with synthesis and geometric volume. This gives our work, and all his sculptures in general, an unrivalled dynamism and sensitivity. [This unique approach sets Bugatti apart from other animal sculptors]2. 1- Source for the elements cited in this text: Véronique Fromanger - Rembrandt Bugatti sculpteur - Une trajectoire foudroyante (Rembrandt Bugatti, a sculptor). Une trajectoire foudroyante - Répertoire monographique - Les Éditions de l'Amateur, Paris, 2016. 2- Ibid, p. 40.
33 - DIEGO GIACOMETTI (1902-1985) - FROM THE SUCCESSION OF Mr. AND Mrs. B. Biche, Arbre et Renard à l'affût, 1976-1978, variant of a model created for James Lord circa [1972]. Console sculpture. The base in antique-green bronze with a brownish tint (known as the Diego patina); the title decoration on the central strut. The top is lined with fabric (original). Glass top. Signed DIEGO and monogrammed on the left side spacer bar. Height: 85 cm - Length: 116.5 cm - Depth: 36.5 cm Important note: This work has been authenticated in accordance with the process established by the Diego Giacometti Estate. Provenance and history : Estate of Mr. and Mrs. B, Île-de-France. Acquired directly from the artist. Mr. and Mrs. B. were introduced to Diego Giacometti by Pierre Josse, to whom they were close friends. Mrs. B., of Belgian origin, was a painter and engraver in her spare time, and had a youthful friendship with the artist Colette de Sadeleer. The latter introduced the Bs to her sculptor uncle Pierre Josse, whose full-length portrait she had painted. Pierre Josse was also a close friend of Alberto and Diego Giacometti; three portraits of Pierre Josse by Alberto from the 1960s are known to exist. Several photographs by Henri Cartier-Bresson taken between 1960 and 1965 reveal the friendship between the two men. So it was only natural that Pierre Josse, also a close friend of Mr. and Mrs. B, put them in touch with Diego Giacometti in the mid-1970s. Mr. and Mrs. B were painting and printmaking enthusiasts who frequented Parisian galleries, and in the 1960s and 1970s acquired numerous original prints by major artists of the École de Paris (Villon, Estève, Hartung, Bram van Velde, ZaoWou Ki, Vierada Silva and Alechinsky, etc.). The commission for this console, Biche, Arbre et Renard (à l'affût) and a Torsade coffee table, was a brilliant addition to the ensemble and the high point of the project. Their son still remembers, even though he was around twelve years old at the time, going with his parents to Diego's workshop on rue Hippolyte Maindron in the 14th arrondissement of Paris to collect these works. Archives : Our console is described on page 1 of an inventory drawn up at the request of Mr. and Mrs. B. to establish insurance values by APPAP on June 29, 1982. Bibliography and related works: - Michel Butor, Jean Vincent (photographs) - Diego Giacometti - Éditions Adrien Maeght, Paris, 1985. A variant of our work, the console made around 1972 for James Lord, reproduced on page 126. - Daniel Marchesseau - Diego Giacometti - Éditions Hermann, Paris, 1986. A variant of our work, the console made around 1972 for James Lord, reproduced on page 92. - Le bestiaire de Diego Giacometti - Exhibition catalog, Galerie L'Arc en seine, Paris, September 24 to December 20, 1997, gallery edition. A proof of our model of Biche reproduced on page 25 and described on page 24. - François Baudot - Diego Giacometti - Éditons Assouline, Paris, 1998. A proof of our model of Biche reproduced in this book (book of photographs). - Christian Boutonnet and Rafael Ortiz, preface by James Lord 6 Diego Giacometti - Exhibition catalog, Galerie L'Arc en seine, Paris, 2003, Les Éditions de l'Amateur, 2003. A proof of our Arbre model reproduced on page 98; a proof of our Biche model reproduced on page 105. Please note: Resale rights for this work are the responsibility of the purchaser. Diego Giacometti's bestiary Full catalog entry PDF : https://cdn.drouot.com/d/catalogue?path=97/157064/679-cat-2024_12_04-N-MD.pdf
55 - PAUL DUPRÉ-LAFON (1900-1971) Slight variation with lacquered wood sliding shutter of the model dated (on plan) March 1, 1929. Modernist quarter-circle desk in black lacquered wood. The right-hand side features a pedestal opening with three drawers. The curved left-hand side features visitor-side niches. The belt opens with a drawer. The top features trap doors: two long ones can be opened with a sliding flap, one with compartments, the other closed by a panel covered in fawn leather, and one square section, closed by a panel covered in fawn leather and housing a removable mahogany pencil holder. The desk pad and the inside of the trap doors are covered in fawn leather. Nickel-plated metal grips on the drawers and sliding flap. Circa 1930. Used condition, restorations, non-original black lacquer, non-original leather parts, nickel plating redone. Height: 79cm - Length: 137cm - Depth: 73cm Please note: We would like to thank Laure Tinel Dupré-Lafon, the artist's successor, for confirming the authenticity of this work. A certificate from the successor in title will be given to the buyer, at his request and expense. Provenance: - Art Nouveau - Art déco - Sale by Me Boisgirard, Hôtel Drouot, October 22, 1986. Our desk was presented at this sale under catalog no. 151. - Galerie Couvrat Desvergnes. Work acquired at the previous sale. - Private collection, Neuilly-sur-Seine. Acquired from Galerie Couvrat Desvergnes during the first exhibition devoted to Paul Dupré-Lafon, held from April 29 to September 15, 1987. Bibliography: Thierry Couvrat Desvergnes - Paul Dupré-Lafon, décorateur des millionnaires - Les Éditions de l'Amateur, Paris, 1990. Our desk reproduced on page 42, details reproduced on pages 44 and 45, an identical desk shown in archive photographs reproduced on pages 94 and 113, the variant with sliding metal shutter reproduced on page 97 on an archive photograph and its plan, dated March 1, 1929, reproduced on page 96. Paul DUPRÉ-LAFON (1900-1971) Paul Dupré-Lafon is an exceptional figure in twentieth-century decorative arts. Beginning his career in the 1920s, at the height of Art Deco euphoria, he succeeded in imposing a personal vision that balanced the trends of the time. Far from homogeneous, the artistic revival of the period was dominated by traditionalists anxious to follow in the footsteps of great French craftsmanship and pursue a quest for refinement, on the one hand, and by modernists in search of rationality and functionality, on the other. Armed with the knowledge of his contemporaries' diverse proposals, the decorator decided to draw the best from them, imagining interiors and furniture that met the criteria of innovation, ergonomics, elegance and luxury. This unique approach has resulted in rigorous, comfortable and refined creations, in which the preoccupations of both modernity and tradition can be seen. Working alone, refusing to have his work published or presented in the salons of the day, Paul Dupré-Lafon imagined his unique creations independently and autonomously. Conceived as elements of a whole, each piece is part of a global vision. Following an approach analogous to the idea of microcosm-macrocosm, each isolated work embodies the reflection of an overall conception of his interior fittings, driven by a fundamental search for dynamism and harmony. At Dupré-Lafon, nothing is incidental. Every design, down to the smallest detail, serves the useful and the beautiful. Balance, harmony, continuity, uniqueness: these are the hallmarks of his distinctive work. His creations reflect the importance of choosing raw materials and the apparent simplicity of lines and shapes. High-quality leathers, woods, lacquered woods, stones and metals alternate on his furniture pieces, which are modelled to the essential. An alternation of ruptures and continuities animates each element he creates. Colors and materials respond to each other, natural tones contrast with the black of lacquered woods, organic materials cohabit with metals, flat surfaces and natural facings follow one another. Far from serving a purely aesthetic purpose, these works are skilfully constructed. Their articulations, often metallic, visually punctuate their lines and enhance their practicality. The interplay of mechanisms reveals hidden functionalities and singularly develops the appearance of these pieces; together or on their own, they demonstrate a definite presence and great power stemming from the way they are put together.
73 - MANDATORY PRE-REGISTRATION WITH THEÈS DE L'ÉTUDE NO INTERNET BIDDING POSSIBLE FOR THIS LOTONLINE BIDDING SERVICES ARE NOT AVAILABLE FOR THIS LOT JEAN PROUVÉ (1901-1984) - COLLECTION OF THE CROUS (REGIONAL CENTER FOR UNIVERSITY AND SCHOOL WORKS) OF THE ACADEMY OF VERSAILLES Central table, long version, commonly called Trapeze, long version, the design of the model initiated in [1952], our example made in 1956 for the Jean Zay University Residence in Antony Large rectangular table intended for the refectory of the restaurant of the University Residence of Antony. The foot in folded sheet metal, welded and lacquered black. The top, with a chamfered edge, is made of lath covered with black melamine, called black laminate. Height : 73 cm - Length : 332 cm - width : 72 cm Provenance : Jean Zay university residence in Antony. Work sold to the profit of the CROUS (Regional Center of the University and School Works) of the academy of Versailles. Works in connection and public collections: - Center Pompidou, Paris - An identical table (Central model known as Trapèze, long version) is kept in the collections of this institution under the inventory number 2012-1-4 (gift of the CROUS of the academy of Versailles). - Musée des Arts Décoratifs, Paris - An identical table (Central model known as Trapèze, long version) is kept in the collections of this institution under the inventory number 2002.69.5 (gift of the CROUS de l'académie de Versailles). - Musée des Beaux-arts de Nancy - An identical table (Centrale model called Trapèze, long version) is kept in the collection of the CROUS of the academy of Versailles under the inventory number D.2011.6.1. Bibliography : - Jean Prouvé/Serge Mouille - Catalogue of the exhibition organized in May 1985 at the De Lorenzo Gallery in New York and then in the fall of 1985 at the Alan and Christine Counord Gallery in Paris, Éditions De Lorenzo Galllery/Galerie Alan et Christine Counord, Pairs 1985. Variant (small model) reproduced on pages 36-37, 74, 75. - Patrick Favardin - Le Style 50 - Un moment de l'art français - Éditions Sous le Vent-Vilo, Paris, 1987. Variant reproduced on page 27. - Yvonne Brunhammer and Guillemette Delaporte - Les styles des années 30 à 50 - Les Éditions de l'Illustration, Baschet & Cie, Paris, 1987. Variant reproduced on page 110. - Patrick Favardin - Les Décorateurs des années 50 - Éditions Norma, Paris, 2002. An identical table reproduced on page 11. - Peter Sulzer - Jean Prouvé complete works, vol.3, 1944-1954 - Éditions Birkhäuser, Basel, 2005. Variations of the table model Centrale called Trapèze reproduced on page 231 (ill. 1220.5.4) and page 232 (ill. 1220.5.b); drawings and plans of variants of the table model Centrale called Trapèze reproduced on page 231 (ill. 1220.5.1, 1220.5. and 1220.5.3) - Jean Prouvé - Editions Galerie Patrick Seguin, Paris & Sonnabend Gallery, New York, 2007. Variant reproduced on page 427. - Patrick Favardin - Les Décorateurs des années 50 - Éditions Norma, Paris, 2002. An identical table reproduced on page 11. This lot is presented in collaboration with Ader Entreprises & Patrimoine, Nicolas Nouvelet, auctioneer, the CROUS of the Académie de Versailles and the DNID (Direction Nationale d'Interventions Domaniales). Sale costs in addition to the auction price for the works of the CROUS de l'académie de Versailles: 24% inclusive of tax. Resale rights payable by the buyer: progressive with a maximum ceiling of 12,000 euros.
43 - ALBERTO GIACOMETTI (1901-1966) - FORMER PAROUÏR BEGLARIAN COLLECTION (THEN BY DESCENT) Figure commonly known as Tête de femme, the model created around [1933-1934]. Floor lamp base. Proof in bronze with a rich brown patina shaded with antique green. Monogrammed and numbered AG077 on the stack by the Giacometti Committee on the back of the base towards the power supply. Height: 155cm Important notice: This work has been included in the artist's catalog raisonné and referenced in the Alberto Giacometti Database under number AGD 4618 by the Giacometti Foundation. A document from the Giacometti Foundation for the inclusion of this work in the artist's catalog raisonné and its referencing in the Alberto Giacometti Database will be given to the purchaser. Provenance: - Parouïr Beglarian. Businessman (Société des Pétroles d'Outre-mer; owner of a fleet specializing in the transport of hydrocarbons), major collector (and lender to institutions) of 20th-century art, particularly Surrealist works by Alberto Giacometti, Joan Miró and others. A close friend of Diego Giacometti, as Daniel Marchesseau points out in his book on the Swiss artist, and of Christian Bérard, as evidenced by a drawing dedicated by the artist (who died in 1949) with the words: À Parouïr de tout cœur. This eternally curious art enthusiast was interested in the work of Eduardo Chilida and Simon Hantaï (cf. Ader sale May 17, 2024) and, more generally, in most of the avant-garde pictorial movements of the 1950s to 1980s. Client of Galerie Maeght and Galerie Fournier, member of the Association pour la défense des vitraux de France founded by Bazaine, Manessier, Bertholle, Hartung, Soulages and others. - By descent. Bibliography: - Art et Décoration - N°3 of 1936. Identical model reproduced on page 98 in an article devoted to Jean-Michel Frank by Waldemar George. - Mobilier et Décoration - N°3, April 1953. Identical model reproduced on page 40. - Léopold Diego Sanchez - Jean-Michel Frank - Éditions du Regard, Paris, 1980. Identical model reproduced on pages 107 and 204. - Michel Butor - Diego Giacometti - Éditions Adrien Maeght, Paris, 1985. Identical model reproduced on page 125. - Daniel Marchesseau - Diego Giacometti - Éditions Hermann, Paris, 1986. Identical model reproduced on page 11. - François Baudot - Diego Giacometti - Éditions Assouline, Paris, 1998. Identical model reproduced on page 34. - Françoise Francisci - Diego Giacometti; catalog de l'œuvre, volume I - Éditions Éolia, Paris, 1986. Identical model reproduced in this work without pagination. - Christian Boutonnet and Rafael Ortiz - Diego Giacometti - Éditions de l'Amateur/Galerie L'Arc-en-Seine, Paris, 2003. Identical model reproduced on page 34. - Pierre-Emmanuel Martin-Vivier - Jean-Michel Frank - Éditions Norma, Paris, 2006. Identical models reproduced on pages 143, 198, 199 and 250.
101 - CHARLOTTE PERRIAND (1903-1999) Forme libre, commonly known as Feuille, the model designed in [1953], the edition by Steph Simon initiated in [1956]. Rare and important table in sapele. The very thick, title-shaped top is assembled with a chamfered edge featuring false tongues and circular plugs to conceal the screw holes. The entablature rests on two cylindrical legs and an airplane-wing-type leg, each mounted by a bolted lag screw. Circa 1956-58. Used condition, stains on the top, discoloration at the base of each leg. Height: 71cm - Length: 236.5cm - Width: 108cm Top thickness: 7.5cm Provenance: - M. X., Paris; Work purchased circa 1956-1958. - Mrs Y., Île-de-France. Purchased from the previous owner. Bibliography: - Aujourd'hui; Art et Architecture - N°12 of April 1957. Identical model reproduced on page 91. - Aujourd'hui; Art et Architecture - N°12 March-April 1959. Identical model reproduced on pages 86, 87 and 88. - Jacques Barsac - Charlotte Perriand - L'œuvre complète, volume 3, 1956-1968 - Éditions Archives Charlotte Perriand/Norma, Paris, 2015. Identical models, with variations in essence, reproduced on pages 41, 83 (as a drawing on a Galerie Steph Simon brochure), 84-85, 86, 87 and 294. - Jacques Barsac - Charlotte Perriand - Un art d'habiter - Éditions Archives Charlotte Perriand/Norma, Paris, 2005. Identical models, with variations in essence, reproduced on pages 437 and 438-39. - Yolande Amic - Le mobilier français 1945-1964; Intérieurs series - Éditions Via/Les Éditions du Regard, Paris, 1983. An identical model in another wood type is reproduced on page 67. - Patrick Favardin - Le Style 50; un moment de l'art français - Éditions Sous le Vent-Vilo, Paris, 1987. An identical model in another wood type is reproduced on page 67. - Patrick Favardin -Les Décorateurs des Années 40- Éditions Norma, Paris, 2002. Identical model reproduced on page 141.
114 - LINE VAUTRIN (1913-1997) Soleil à torsades, very large version, the model created around [1955]. Very large mirror with central circular frame in embossed black Talosel. The circumference of the central circle, also in black Talosel, receives amber-tinted mirror parts, modeled and inlaid. The twisted tips, also in black Talosel, are modelled and inlaid with amber-tinted mirrored parts; Circa 1950-1960. Restorations, flat mirror, back and back fabric replaced (original 6mm-thick flat mirror available). Signed Line VAUTRIN and stamped II on the back of the crown. Diameter: 79cm Bibliography: Patrick Mauriès - Line Vautrin - Miroirs - Éditions Le Promeneur & Galerie Chastel-Maréchal. Paris 2004. An identical model, smaller in diameter, can be seen in an archive photograph reproduced on page 40.
34 - DIEGO GIACOMETTI (1902-1985) - FROM THE SUCCESSION OF Mr. AND Mrs. B. Torsade, model created circa [1965], our work realized circa 1976-1978 Sculptural coffee table. The base in shaded brown patinated bronze; the title decoration on the central brace. Glass top. Signed DIEGO, in cursive lettering on each bar of the high leg links and on three bars of the X-brace. With glass: Height: 39.8 cm - Length: 119.8 cm - Width: 72.8 cm Bronze foot alone: Height: 39.8 cm - Length: 117 cm - Width: 78.2 cm (A slight chip on two corners of the top). Important note: This work has been authenticated in accordance with the process established by the Diego Giacometti Estate. Provenance and history : Estate of Mr. and Mrs. B, Île-de-France. Acquired directly from the artist. Mr. and Mrs. B. were introduced to Diego Giacometti by Pierre Josse, to whom they were close friends. Mrs. B., of Belgian origin, was a painter and engraver in her spare time, and had a youthful friendship with the artist Colette de Sadeleer. The latter introduced the Bs to her sculptor uncle Pierre Josse, whose full-length portrait she had painted. Pierre Josse was also a close friend of Alberto and Diego Giacometti; three portraits of Pierre Josse by Alberto from the 1960s are known to exist. Several photographs by Henri Cartier-Bresson taken between 1960 and 1965 reveal the friendship between the two men. So it was only natural that Pierre Josse, also a close friend of Mr. and Mrs. B, put them in touch with Diego Giacometti in the mid-1970s. Mr. and Mrs. B were painting and printmaking enthusiasts, and frequented Parisian galleries, acquiring numerous original prints by major Ecole de Paris artists in the 1960s and 1970s (Villon, Estève, Hartung, Bram van Velde, ZaoWou Ki, Vierada Silva and Alechinsky, etc.). The commission for this Torsade coffee table and a Biche, Arbre et Renard console table (à l'affût) was a brilliant addition to the ensemble and the high point of the project. Their son still remembers, even though he was around twelve years old at the time, going with his parents to Diego's workshop on rue Hippolyte Maindron in the 14th arrondissement of Paris to collect these works. Archives : Our coffee table is described on page 3 of an inventory drawn up at the request of Mr. and Mrs. B. to establish insurance values by APPAP on June 29, 1982. Bibliography and related works : - Daniel Marchesseau - Diego Giacometti - Éditions Hermann, Paris, 1986. Another example of the Torsade coffee table is reproduced on page 65. - Collectif - Diego Giacometti - Catalogue de l'œuvre - Éditions Eolia, Paris, 1986. Another example of the Torsade coffee table, square format, reproduced in this work (without pagination); a detail also reproduced on the following double page. - Christian Boutonnet and Rafael Ortiz, preface by Jales Lord 6 Diego Giacometti - Catalogue d'exposition, Galerie L'Arc en seine, Paris, 2003, Les Éditions de l'Amateur, 2003. Another copy of the Torsade coffee table, gold patina, reproduced on double page 67-68. Please note: Resale rights for this work are the responsibility of the purchaser.
92 - DIEGO GIACOMETTI (1902-1985) - FORMER COLLECTION GÉRARD CHIERRONI (1938-2018) Cradle, the second version, the model created around [1970] Coffee table. Proof in bronze with a rich antique green patina shaded with brown and red. The oblong glass top. Signed DIEGO and monogrammed DG on the heap on a low longitudinal crosspiece; the "tensioners" numbered from 1 to 4 on the heap below, the crosspieces numbered and paired 1 and 2 on the heap below. Year 1970. Foot alone : Height : 37,5 cm - Length : 117 cm - Width : 43 cm With glass top: Height: 37,5 cm - Length: 146,5 cm - Width: 43 cm Provenance: - Gérard Chierroni Collection (1938-2018) - Private collection. Bibliography: - Michel Butor, Jean Vincent (photographs) -Diego Giacometti - Éditions Adrien Maeght, Paris, 1985. A cradle coffee table, second version, reproduced on page 142. - Collective - Diego Giacometti - Catalogue of the work - Editions Eolia, Paris, 1986. A Berceau coffee table, second version, reproduced in this work (without pagination). - Daniel Marchesseau - Diego Giacometti - Éditions Hermann, Paris, 1986. A Berceau coffee table, second version, reproduced on page 67. - François Baudot - Diego Giacometti - Éditons Assouline, Paris, 1998. The detail of a Berceau coffee table, second version, reproduced in this work (book of photographs).
134 - EUGÈNE PRINTZ (1889-1948) & JEAN DUNAND (1877-1942) Lignes brisées montées en chevrons, damiers, filets et pointillés, meuble facturé le 18 mai 1934 Exceptionnel et rare meuble de salon en placage de bois de palmier. Le corps quadrangulaire du meuble s’ouvre par deux portes parées chacune d’une plaque en dinanderie de laiton aux motifs titres réalisés en incrustations d’argent coulé ; les deux vantaux formant une seule composition décorative. La base est constituée d’un socle entièrement paré de laiton oxydé à l’éponge accueillant un piétement mouvementé, également en laiton oxydé à l’éponge, recevant des motifs décoratifs de lignes brisées montées en chevrons, rappelant ainsi le décor de la partie basse des portes. La partie soutenant l’arrière du meuble, terminée concave à ses extrémités, est entièrement plaquée de laiton oxydé à l’éponge. L’intérieur, muni d’étagères, est exécuté en placage de bois clair blanchi. La cage intérieure de la serrure réalisée en laiton oxydé à l’éponge. Clé d’origine en bronze (dé)patiné. État d’usage, meuble restauré il y a une dizaine d’années à l’initiative de son propriétaire actuel, fils du commanditaire initial. Estampillé E. P. au fer à froid dans un cartouche circulaire en marqueterie de bois debout sur le montant droit du corps du meuble. Hauteur : 92,5 cm – Longueur : 113 cm – Profondeur : 41 cm Provenance : - M. & Mme X., amis intimes d’Eugène Printz. Œuvre issue d’une décoration d’intérieur complète réalisée par Eugène Printz pour leur propriété. - M. X., fils des précédents. Œuvre détenue par voie de succession. Important : Une copie (biffée) de la facture d’origine de notre meuble, établie par E. Printz et datée du 18 mai 1934, sera remise à l’acquéreur.
108 - PABLO PICASSO (1881-1973) & ATELIER MADOURA Tête de femme couronnée de fleurs, model created on [March 20, 1954], our proof numbered 10/50. Pichet. Authentic replica, produced in an edition of fifty, all numbered and made at Madoura. Proof in white earthenware; white. Signed PICASSO (by the artist himself) in the brush towards the base, dated 20.3.54 in the hollow towards the base, numbered 10/50 in the brush and 10 in the hollow below the base. Height: 24 cm Bibliography Alain Ramié - Picasso, catalog de l'œuvre céramique édité 1947-1971 - Éditions Madoura, 1988. Identical model reproduced on page 126 under catalog number 236.
58 - PABLO PICASSO (1881-1973) (AFTER) & MARIE CUTTOLI (1879-1973) - MYRBOR ÉDITEUR - FORMER COLLECTION THÉRÈSE BONNEY (1894-1978) After Verre et pipe, oil and sand on canvas, 1917, work always remained the property of Pablo Picasso, today held by the Succession Picasso, our carpet made between 1927 and 1929, very probably unique Knotted stitch carpet. Colored wools. Condition and restorations of use. Marked MYRBOR, in stitches on the reverse. 144 x 200 cm Provenance: - Thérèse Bonney (1894-1978) Collection (Mabel Bonney, known as). Photographer (often called Photographer of modernity) of American origin. Arrived in Paris in 1918, her name is associated by her photographs, in the 1920s and 1930s, with the works of avant-garde artists. During the Second World War, she was a very famous war photographer-correspondent. - Important 20th Century Decorative Art & Design, including Property from the Thérèse Bonney Bequest University of California, Berkeley Art Museum - Christie's sale, New York, December 8, 2004. Our work presented under the number 50 of the catalog (without the author of the cardboard being identified). - Private collection, Paris. Work acquired from the previous one. Exhibition: Aren't they lovely? An exhibition of the Bequest of Thérèse Bonney, class 1916 - Berkeley Art Museum, Berkeley University of California, from June 27 to September 13, 1992. Our carpet presented at this event. Archives : The carpet after Pipe, 1918, by Pablo Picasso, published concomitantly to our carpet by Marie Cuttoli (Myrbor), appearing on a photograph of Thérèse Bonney dated around 1929 and kept at the Médiathèque du patrimoine et de la photographie in Charenton-le-Pont under the inventory number BNN02115. Bibliography and related works : - Christian Zervos - Pablo Picasso, volume 3, works from 1917 to 1919 - Éditions Cahiers d'Art, Paris, 1949. The work Verre et pipe, 1917, oil and sand on canvas, reproduced on page 41 and referenced under number 120; described (under the same reference) at the end of the book. - Presentation of Maurice Matet - Modern Carpets - Editions Ernst, Paris, 1929. The carpet after Pipe, 1918, by Pablo Picasso, published concomitantly to our carpet by Marie Cuttoli (Myrbor), reproduced on plate 23 with a color stencil. - Dominique Paulvé - Marie Cuttoli - Myrbor and the invention of modern tapestry - Norma Editions, Paris, 201. The carpet after Pipe, 1918, by Pablo Picasso, published at the same time as our carpet by Marie Cuttoli (Myrbor), shown in an archive photograph on page 39. PABLO PICASSO AND MARIE CUTTOLI : A long friendship and a possibly unique carpet Marie Cuttoli, a fervent supporter of the avant-garde and collector of Pablo Picasso's works, met the artist in the 1920s. This was the starting point of an unwavering friendship that would continue until their death in 1973. Between 1927 and 1929, Pablo Picasso, very interested in Marie Cuttoli's project to publish carpets based on works or cartoons by modern artists, entrusted her with two of his paintings, Verre et pipe, an oil and sand on canvas from 1917, and Pipe, an oil on canvas from 1918, so that she could transcribe them into a woolen carpet. This choice by the painter demonstrates his artistic confidence in his friend since the 1917 painting Verre et pipe will always remain with her and is still in the Picasso Estate today. Following this first collaboration, some fifteen works followed from the 1930s to the 1960s, mainly tapestries, Minotaure, Confidences, La Fermière, etc.; Verre et pipe and Pipe remaining the only two examples properly called cubist. The carpet after Verre et pipe of 1917 was apparently never photographed at the time; only the carpet after Pipe of 1918 appears at the foot of the platform of the exhibition room at Myrbor's in a photograph taken by Thérèse Bonney around 1929, also visible in another photograph at the foot of one of the staircases (probably after being moved). At the same time, the 1918 Pipe carpet was illustrated as a color stencil in a collection entitled Tapis Modernes published by Ernst in Paris in 1929. It is impossible for us to know the number of copies woven for each of these two carpets; Marie Cuttoli planned, for her editions in general, a maximum of three prints. However, we are obliged to note that neither model has appeared on the art market, except for our carpet, which was presented at a public sale in 2004 without the author of the cardboard being identified and which was acquired on this occasion by the current owner. We also note that this work was the property of Therese Bonney, famous for her proximity to the avant-garde of the 1920s and 1930s, including Marie Cuttoli and Pablo Picasso. Also, it is a possibility that each of
28 - REMBRANDT BUGATTI (1884-1916) The Storks at Rest, one lying down, the model designed around [1907], our bronze proof made in 1907, unique piece Proof in bronze with a dark brown patina richly shaded. Lost wax casting by Albino Palazzolo. Early edition by Adrien-Aurélien Hébrard. Signed R. BUGATTI, mentioned Unique piece and bears the stamp of Cire perdue A.A. HEBRARD on the terrace, bears an old paper label with the mention handwritten 1080 in ink inside. Height : 27,5 cm - Length : 45,8 cm - Depth : 16,5 cm Provenance: - David-Weill Collection (inv. A.-A. Hébrard 1080). - Private collection, Paris. Important : A certificate of authenticity established by Mrs. Véronique Fromanger, world specialist in the work of Rembrandt Bugatti and author of the monographic repertory of the artist, will be given to the purchaser. Exhibition: - Rembrandt Bugatti, sculptor - Galerie Adrien-Aurélien Hébrard, Paris, May 16 to June 15, 1907. Our work presented at this exhibition. - Salon des peintres divisionnistes italiens - Galerie Alberto Grubicy, Milan, 1907. Our work presented at this event. - VIIIth Biennial of Venice - Esposizione Internationale d'Arte della città di Venezia, 1909 - Our work presented at this event. - Prima esposizione Internationale d'Arte della Secessionne - Rome, from March to June 1913. Our work presented at this event. - Europa 1900 - Museum of Fine Arts, Ostend, 1967. Our work presented at this event. - Rembrandt Bugatti, der Bildhauer - Alte Nationalgaleire, Berlin, March to July 2014. Our work presented at this event. Bibliography: Véronique Fromanger - Rembrandt Bugatti sculpteur - Une trajectoire foudroyante - Répertoire monographique - Les Éditions de l'Amateur, Paris, 2016. Our work reproduced on pages 133 and 322 and referenced in the Répertoire des éditions en bronze under number 187.
74 - PAUL DUPRÉ-LAFON (1900-1971) - FORMER COLLECTION MARIA DE BEYRIE Exceptional modernist table, which can form a flat desk, in walnut veneer. Each polyhedral block-foot is flanked, on its base, by triangular prisms plated with thick brass leaves. The central floor spacer has a slightly curved top. Each end has a slightly curved sliding support leg and two side rails on slides to receive, once pulled out, one or two extensions. The rectangular top has a thick belt. Presented with two original walnut veneer extensions (two missing). Circa 1927-29. Condition of use, two missing extensions. Without extension : Height : 72 cm - Length : 216 cm - Width : 110 cm With two extensions : Height : 72 cm - Length : 306 cm - Width : 110 cm Provenance: - Maria de Beyrie Collection. - Private collection. - Art nouveau - Art déco - Sale Poulain - Le Fur, Hôtel des ventes du Palais (des Congrès), Paris, 23 November 2000. Our work presented under the number 197 of the catalog. - Private collection, Paris. Work acquired during the previous one. Bibliography : - Pierre Kjellberg- Art déco - Les Maîtres du mobilier - Le Décor des paquebots - Les Éditions de l'Amateur, Paris, 1986. Our work reproduced on page 66. - Thierry Couvrat Desvergnes - Paul Dupré-Lafon, decorator of millionaires - Les Éditions de l'Amateur, Paris, 1990. Identical model, possibly in a different wood species or lacquered, reproduced on page 112.
47 - JEAN DUNAND (1877-1942) The model designed around [1912/14] Spectacular vase in stretched shell; the annular neck in wide overflow and finished hemmed. Proof in nickel silverware entirely hammered and black patinated. The surface finished in a very fine and light hammering. The bottom weighted with lead inside. Work of the years 1910-20. Signed twice with the stamp of the artist and bears the number 4118 on the reverse. Height : 53,5 cm Provenance: - Important 20th century decorative art & Design - Christie's sale, New York, December 16, 2008. Our work presented under the n° 238 of the catalog. - Private collection, Paris. Bibliography and related works: - Conferencia - N° 9 of April 15, 1926. Work to bring closer reproduced page 445 in an article titled The new face of art: At Mr Jean Dunand under the pen of Liliane Sarcey. - Art and Industry - N° 8 of May-June 1935. Work to bring closer reproduced page 14. - Jean Dunand/Jean Goulden - Catalogue of the eponymous exhibition organized from May to July 1973 at the Galerie du Luxembourg, Paris, Éditions de la Galerie du Luxembourg, Paris, 1973. Work to be compared reproduced on page 63. - Félix Marcilhac - Jean Dunand, vie et œuvre - Les Éditions de l'Amateur, Paris, 1991. Variations of our vase reproduced on pages 298 to 301.
112 - JEAN PROUVÉ (1901-1984) F.P. 11, the model designed around [1945-47], the following version named Fauteuil Direction pivotant n° 353, our seat realized in the Ateliers Jean Prouvé at the end of the 1940s, an identical model presented at the Salon des Arts Ménagers, Paris, 1948 Swivel office chair. The original black lacquered tubular metal structure; the part under the seat is cruciform. The armrests in original oak; the flat tops. The seat upholstered in brick imitation leather and finished in piping; complete with its reverse in isorel. The backrest also upholstered in brick imitation leather and finished in piping; the back is studded. The foot consists of a cylindrical shaft in original black lacquered metal resting on a cruciform base in pressed and lacquered black steel sheet. Condition of use, jumps and wear to the lacquer, oxidation. Height : 76 cm - Width : 66 cm - Depth : 60 cm Provenance: Private collection, near Nancy (Meurthe-et-Moselle). Exhibition : Salon des Arts Ménagers, Paris, 1948 - An identical model was presented at this event. Bibliography : - Le Décor d'Aujourd'hui - N° 43 of 1948. An identical model, behind a desk Direction, reproduced page 33 in an article dedicated to the Salon des Arts Ménagers. - Les meubles des Ateliers Jean Prouvé - Brochure distributed by Steph Simon (52 avenue des Champs-Élysées Paris 8) then exclusive dealer of Ateliers Jean Prouvé, circa 1950. A swivel desk chair is featured twice (behind a Presidency desk and a Management desk) in this publication. - Peter Sulzer - Jean Prouvé Complete Works, vol.3, 1944-1954 - Birkhäuser Editions, Basel, 2005. Identical models and variants and plans reproduced on pages 64, 65, 214 and 215. - Yolande Amic - Le mobilier français 1945-1964, collection Intérieurs - Le Éditions du Regard, Paris, 1983. An identical model shown in an archive photograph reproduced on page 69.
72 - MANDATORY PRE-REGISTRATION WITH THEÈS DE L'ÉTUDE NO INTERNET BIDDING POSSIBLE FOR THIS LOT ONLINE BIDDING SERVICES ARE NOT AVAILABLE FOR THIS LOT JEAN PROUVÉ (1901-1984) - COLLECTION OF THE CROUS (REGIONAL CENTER FOR UNIVERSITY AND SCHOOL WORKS) OF THE ACADEMY OF VERSAILLES Central table, long version, commonly called Trapeze, long version, the design of the model initiated in [1952], our example made in 1956 for the Jean Zay University Residence in Antony Large rectangular table intended for the refectory of the restaurant of the University Residence of Antony. The foot in folded sheet metal, welded and lacquered black. The top, with a chamfered edge, is made of lath covered with black melamine, called black laminate. Height : 73 cm - Length : 332 cm - width : 72 cm Provenance : Jean Zay university residence in Antony. Work sold to the profit of the CROUS (Regional Center of the University and School Works) of the academy of Versailles. Works in connection and public collections: - Center Pompidou, Paris - An identical table (Central model known as Trapèze, long version) is kept in the collections of this institution under the inventory number 2012-1-4 (gift of the CROUS of the academy of Versailles). - Musée des Arts Décoratifs, Paris - An identical table (Central model known as Trapèze, long version) is kept in the collections of this institution under the inventory number 2002.69.5 (gift of the CROUS de l'académie de Versailles). - Musée des Beaux-arts de Nancy - An identical table (Centrale model called Trapèze, long version) is kept in the collection of the CROUS of the academy of Versailles under the inventory number D.2011.6.1. Bibliography : - Jean Prouvé/Serge Mouille - Catalogue of the exhibition organized in May 1985 at the De Lorenzo Gallery in New York and then in the fall of 1985 at the Alan and Christine Counord Gallery in Paris, Éditions De Lorenzo Galllery/Galerie Alan et Christine Counord, Pairs 1985. Variant (small model) reproduced on pages 36-37, 74, 75. - Patrick Favardin - Le Style 50 - Un moment de l'art français - Éditions Sous le Vent-Vilo, Paris, 1987. Variant reproduced on page 27. - Yvonne Brunhammer and Guillemette Delaporte - Les styles des années 30 à 50 - Les Éditions de l'Illustration, Baschet & Cie, Paris, 1987. Variant reproduced on page 110. - Patrick Favardin - Les Décorateurs des années 50 - Éditions Norma, Paris, 2002. An identical table reproduced on page 11. - Peter Sulzer - Jean Prouvé complete works, vol.3, 1944-1954 - Éditions Birkhäuser, Basel, 2005. Variations of the table model Centrale called Trapèze reproduced on page 231 (ill. 1220.5.4) and page 232 (ill. 1220.5.b); drawings and plans of variants of the table model Centrale called Trapèze reproduced on page 231 (ill. 1220.5.1, 1220.5. and 1220.5.3) - Jean Prouvé - Editions Galerie Patrick Seguin, Paris & Sonnabend Gallery, New York, 2007. Variant reproduced on page 427. - Patrick Favardin - Les Décorateurs des années 50 - Éditions Norma, Paris, 2002. An identical table reproduced on page 11. This lot is presented in collaboration with Ader Entreprises & Patrimoine, Nicolas Nouvelet, auctioneer, the CROUS of the Académie de Versailles and the DNID (Direction Nationale d'Interventions Domaniales). Sale costs in addition to the auction price for the works of the CROUS de l'académie de Versailles: 24% inclusive of tax. Resale rights payable by the buyer: progressive with a maximum ceiling of 12 000 euros.
87 - GEORGES JOUVE (1910-1964 )Unfired, circa 1954Rare sculpture of free form. Proof in black glazed ceramic. Original stone base. Signed JOUVE, and the monogram A. P. (with intertwined letters) for Apollo, mark known as the Alpha, under the enamel at the base of the ceramic part. Total height : 45,5 cmHeight of ceramic alone : 39,5 cmProvenance : Succession X., Gisors (Eure). Bibliography : - Michel Faré - Jouve céramiste - Éditions Art et Industrie, Paris, 1965 . Similar work reproduced on page 82 - Philippe Jousse and Norbert Pierlot - Georges Jouve - Éditions Jousse Entreprise, Paris, 2005 . Similar works reproduced on pages 219 and 236.
92 - VALENTINE SCHLEGEL (1925-2021) The Heart, circa 1957-58Sculpture . Proof in white sandstone chamotte. Small restorations. Signed V. SCHLEGEL, incised under the base. Height : 41,5 cmProvenance : Collection of Mrs X., Paris. Close friend and collaborator of Valentine Schlegel. Work received as a present from the artist.
1 - LOUIS MAJORELLE (1859-1926) & DAUM NANCY Branch of magnolia in flower and bud, the model designed around [1902-04] and presented at the Salon de la Société Nationale des Beaux-Arts, Paris, 1904 Very rare and important salon lamp in the naturalist style. The foot, evoking a branch and buds, in gilt bronze. The flower and the flower bud are made of aniseed green tinted glass, slightly opalescent, blown and modelled. Art nouveau period. Alterations and oxidations to the gilding. Height : 61 cm Exhibition: Majorelle : un art de vivre moderne - Exhibition organized by the City of Nancy and the Musée de l'École de Nancy at the Galeries Poirel, from May 2nd to August 30th 2009. Another proof of our lamp model presented during this event under the n° 94 of catalogue. Bibliography : - Clotilde Bacri - Daum- Éditions Michel Aveline 1992. Identical model visible on an archive photograph reproduced on page 143. - Noël Daum - Daum master glassmakers - Edita - Denoël Editions, Lausanne-Paris, 1980. Identical model visible on an archive photograph reproduced on page 147. - Janine Bloch-Dermant - L'Art du verre en France, 1860-1914 - Edition Edita et Denoël, Lausanne, Paris, 1974. Identical model reproduced on page 138. - Alastair Duncan - Luminaire Art nouveau Art déco - Éditions de l'Office du livre, Fribourg, 1980. Identical model reproduced on page 115 (ill. 63). - Alastair Duncan - The Paris Salons 1895-1914- Volume V : Objets d'art & Metalware - Edition Antique Collectors' Club, 1998. Identical model reproduced on page 396. - Alastair Duncan - Majorelle - Éditions Flammarion, Paris, 1991. Identical model visible on archive photographs reproduced on page 146 and page 215 (ill. 164). - Roselyne Bouvier, Valérie Thomas, Blandine Otter - Majorelle: un art de vivre moderne - Catalogue of the exhibition organised by the City of Nancy and the Musée de l'École de Nancy at the Galeries Poirel, from 2 May to 30 August 2009, Éditions Nicolas Chaudun and Ville de Nancy, 2009. An identical model is reproduced on page 99 (ill. 94).