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Michael's Picks
Director, Design - New York
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One of French designer Jean Royère's decorative innovations was revitalizing a traditional French material and discipline-la ferronnerie
, the working of iron-and integrating it into modern environments. While other contemporary designers focused on the possibilities in new materials, Royère reinvigorated the old, formulating a new postwar classical modern that avoided the heaviness common in Gilbert Poillerat's metalwork of this period. The present lot, an iron and brass screen or room divider circa 1955, features a pattern that Royère returned to a number of times in the 1950s: in living room commissions in Paris and Saint-Nazaire around 1953, in the Saint-Georges Hotel salon in Beirut in 1955, and in his own Parisian apartment in the late forties. As opposed to other site-specific examples of the pattern, this screen is bordered with straight iron side rails, allowing for multiple integrated and
freestanding installation possibilities.
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Hans Harald Rath took over management of the famed Viennese glassmaker J. & L. Lobmeyr in 1938 from his father, and was responsible for some of the firm's most recognizable postwar designs. In the 1960s, none was more celebrated than the chandeliers Rath designed for the New York Metropolitan Opera at Lincoln Center. Working with architect Wallace K. Harrison, the stunning modernist crystal and metal chandeliers Lobmeyr produced for the theatre were a gift from Austria to the United States. Though Sputnik and constellation motifs had become common in the decorative arts by the late 1950s, Rath's Metropolitan Opera chandeliers were of such considered design, such exacting quality, and employed such luxurious materials, they became emblematic of sixties optimism as reflected in high-end
design. The present example is being offered by its original owners, who purchased it directly from Lobmeyr's agents in New York in the late 1960s.
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American sculptor and designer Paul Evans started working with Directional in 1964, and this partnership of artist and furniture manufacturer spread Evans' reputation far beyond the southeastern Pennsylvania surroundings from which he worked. While Evans created several distinct lines for Directional that remain popular with collectors today, this set of six chairs from the Sculpted Bronze collection are a far cry from both the streamlining of Evans' Cityscape collection and the modeled woodwork of his contemporaries in the New Hope studio craft movement. Working in reinforced bronzed resin, Evans transmuted the brutalist impulse in 1960s architecture and sculpture into functional decorative arts items in a way that no other designed succeeded in doing. The property of an Ohio Private
Collection, these chairs are offered alongside a round dining table and wall mirror from the same family collection; all three lots were acquired by current owner's parents new from Directional around 1970.
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These monumental sconces are another example of a legacy European craft tradition finding its way in the tumultuous postwar years of recovery, growth, and renewal. Made by the famous Venetian glassmakers Salviati & C. (who have been in continuous operation since 1859), the sconces are composed of cascades of hollow squared Murano glass tubes. Colored in gentle midcentury green, orange, pink, and clear glass, the fixtures are one example of the various tubular lighting systems that Venice's glassmakers had been iterating since before the Second World War. While Salviati is best known in this period for its massive institutional lighting commissions (including a 22-meter chandelier for the Chamber of Commerce in Parma), these sconces (at approximately 65 inches long) are large enough to
make a statement in a residential setting while small enough to be accommodated in a low-ceilinged space. The tubes are designed to be rearranged, and the lot includes more than a dozen additional tubes if a longer fixture is desired.
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Samantha's Picks
Director, Decorative Arts & Design - Chicago
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Designed for Eleanor Roosevelt on the occasion of her husband's reelection as New York governor, Viktor Schreckengost's Jazz Bowl has become an icon of American Art Deco, a "must have" for museums and private collectors alike. With its bold form, stylized sgraffito decoration, and vibrant electric Egyptian blue glaze, it depicts stylized figures and forms - skyscrapers, cocktail coupes, and elements of jazz culture, all rendered in a fluid, almost rhythmic manner - and captures the energy of 1930s New York City as a result. This piece, consigned by a member of the Schreckengost family, was executed circa 2006 under the authority and direction of Viktor Schreckengost. It bears an original signature of the artist, as well as an applied foundation inventory tag numbered
VSFsn3715.
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This rare and important example of "sculpture-for-use" by Isamu Noguchi has all of the qualities that top collectors look for. The recently rediscovered table was executed by Noguchi between 1945-1947, during an experimental and prolific period of his career. One of only four known unique examples of the elusive, enigmatic model, it features a biomorphic marble top with elliptical aperture, three individually shaped wood legs, and a "well for foliage," consisting of a mass-manufactured metal bowl - a "found object" - with welded flanges. The recorded history of this example makes it a standout. Archival research conducted by Heritage's Design team and Amy Auscherman, Director of Archives and Brand Heritage at MillerKnoll, revealed that this example debuted at the Herman Miller showroom at
Chicago's Merchandise Mart on July 5, 1948. An employee of Marshall Field's subsequently acquired the table, and it has remained in the living room of the original owner's family until now, providing a central gathering point for decades of holiday celebrations and quiet evenings at home. After more than 60 years of stewardship by an average American family, it is now time for this significant work to find its new home.
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Known for his mastery of glassblowing and his ability to manipulate glass into intricate, organic forms, William Morris often explores themes of nature, transformation, and the human condition. Drawing on ancient glass traditions and modern methods, Morris's sculptures often feature complex textures and dramatic color contrasts, creating a sense of fluidity and movement. Throughout his career, Morris has been deeply committed to the artistic potential of glass, elevating the medium from traditional craft to fine art, and his works are held in prestigious collections worldwide, cementing his position as one of the leading contemporary glass artists. This monumental Petroglyph
vase, which depicts figures and animals based on prehistoric rock art, demonstrates Morris's diverse historical and cultural references and technical prowess.
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Christianne's Picks
Cataloguer, Fine & Decorative Arts - Dallas
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This wall desk, designed by Jean Prouvé and Jules Leleu for the Sanatorium Martel de Janville in Plateau d'Assy, France, is part of a unique history of furniture created for medical institutions. In response to the rise of tuberculosis at the beginning of the 20th century, architects and designers sought to prioritize hygiene and functionality, using easy-to-clean materials, and creating airy, practical spaces, without sacrificing aesthetic value. The seven-piece furniture suite designed by Jean Prouvé and Jules Leleu to furnish the roughly 170 rooms of the sanatorium, dedicated to the treatment of Air Force officers, is a sleek and elegant example of functionalist design. The enameled steel wall-mounted desk was particularly brilliant, as its wipeable surface and legless design
facilitated easy cleaning and sweeping. This is a rare opportunity to own a historical work of 20th century design from two legendary designers.
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These two lots are not only remarkable examples of Art Espenet Carpenter's craftsmanship but also a reflection of his ability to create functional, client-focused designs. When the current owners discovered Carpenter's workshop in Bolinas, California, during a bike ride, they commissioned a set to become the heart of their home. Their vision: a large table surrounded by enough armchairs (no side chairs!) to accommodate all their beloved friends. When the meal ended and the table was cleared, guests could simply push back from the table and rest into their chairs without disrupting the flow of conversation. Since 1978, the set has served this purpose; the smoothness and durability of the beautifully figured hyedua wood, very pleasing to the touch, combined with the comfort of Carpenter's
iconic wishbone chairs, provided the perfect setting for social gatherings. Now, this rare set is ready to continue its legacy in a new home.
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We are very lucky to have an astonishing six works by master flameworker Paul Stankard. To me, his works are pure magic, inexplicable in the perfection in craftsmanship and the vibrancy of Stankard's imagination. These intimate and meticulously crafted creations reward close looking - look deep into the leaves on lot 67154, and you'll see the entangled bodies of Stankard's "root people," or marvel at the wings of the hovering honeybee on lot 67159, so realistic they could be moving. For me, the standout is
lot 67154
. A tiny miniature world of ants, root people, and even the occasional word inscribed in murrina are nestled among the lifelike blossoming vines.
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Samantha Robinson
Director,
Decorative Arts & Design
Chicago
SamanthaR@HA.com
(214) 409-1784
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Christianne Teague
Cataloguer, Fine &
Decorative Arts
Dallas
ChristianneT@HA.com
(214) 409-1932
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