This Longitude Chaise by Maya Lin was sold at Phillips as Lot 38 for $3,250. It had an estimate of $5,000 – 7,000. It belonged to her “the Earth is (Not) Flat” series.
In 1981, at age 21 and while still an undergraduate, Maya Lin won a public design competition for the Vietnam Veterans Memorial, beating 1,441 other competition submissions. The black cut-stone masonry wall, with the names of 57,661 fallen soldiers carved into its face, was completed in late October 1982 and dedicated on November 13, 1982. It is granite and V-shaped, with one side pointing to the Lincoln Memorial and the other to the Washington Monument.
Lin’s conception was to create an opening or a wound in the earth to symbolize the gravity of the loss of the soldiers. The design was initially controversial for what was an unconventional and non-traditional design for a war memorial. Opponents of the design also voiced objection because of Lin’s Asian ethnicity, her being female, and her lack of professional experience. The memorial has since become an important pilgrimage site for relatives and friends of the American military casualties in Vietnam, and personal tokens and mementos are left at the wall daily in their memory. In 2007, the American Institute of Architects ranked the memorial #10 on their list of America’s Favorite Architecture.
Lin believes that if the competition had not been “blind”, with designs submitted by number instead of name, she “never would have won”. She received harassment after her ethnicity was revealed. Prominent businessman and later third party presidential candidate Ross Perot called her an “egg roll” after it was revealed that she was Asian. Lin defended her design in front of the United States Congress, and eventually a compromise was reached. A bronze statue of a group of soldiers and an American flag was placed off to one side of her design.
A video from her lets you think about the environment:
Sold at Phillips on December 13, 2016: Four side chairs by Joaquim Tenreiro. Sold for $16,250.
About Joaquim Tenreiro
Joaquim Tenreiro (1906-1992) is the pioneer of modernist Brazilian furniture making. A forerunner in the use of rediscovered raw materials as well as the creator of a new formal language in 20thcentury Brazilian furniture design, he drew on the lessons of past furniture making as a vital source, not only in the mastery of technical and constructive solutions, but also in the aesthetic experience, craftsmanship, and the cultural meaning of his production. His exquisitely crafted pieces evoke a refined coexistence of traditional values and modern aesthetics, strongly bound to the Brazilian cultural milieu.
Born in Portugal to a family with a great tradition in furniture making, he moved to Brazil in 1928 at the age of 22. He embarked on a career as a designer by working at various furniture manufacturers such as Leandro Martins, Francisco Gomes and Laubisch & Hirth, which catered to wealthy Brazilian families eager to buy furniture with a conservative design that imitated traditional European styles. Tenreiro’s vast experience in arts and crafts as well as furniture design was naturally contrary to such bourgeois expectations. Explicitly reacting against what he perceived as provincialism of a colonized society, Tenreiro proposed a contemporary language and advocated the idea that Brazilian furniture should be “formally light…A lightness which has nothing to do with weight itself, but with graciousness, and the functionality of spaces.”
In the early 1940s, Tenreiro founded his own furniture studio, Langenbach & Tenreiro Ltda, where his work began to gain more recognition. However, it was not until the 1950s that he began to be recognized as a master furniture designer in Brazil. His design philosophy found a great response with architects who supported modernism. Tenreiro found in Oscar Niemeyer his greatest client, designing furniture for his houses and completely breaking away from the virtuosity of antique styles. He developed a language adapted to the country’s heat, using wicker and Brazilian hardwoods in abundance.
In spite of his success and his professional recognition, Tenreiro closed his furniture studio in 1967 and decided to devote himself exclusively to fine arts, taking up once again a path that he had discontinued long before. During the next following decades until his death in 1992, his works were included in many art and design exhibitions held at renowned galleries and museums in Rio de Janeiro and São Paulo. A forerunner in the truest sense of the word, the “father” of modern furniture in Brazil left behind an unrivaled aesthetic legacy.
Via R and Company
Lathe II by Sebastian Brajkovic is for sale at Phillips on a December 13, 2016 auction in NYC. Estimate is $15,000 – 20,000.
Update: Not Sold!
About Sebastian Brajkovic
Sebastian Brajkovic investigates the notions of perspective and distortion of form through his sculptural furniture pieces. This interest in the rotation and skewing of an object originated from his childhood, when reel-to-reel tape decks and car wheels were such a source of overwhelming intrigue to the young Brajkovic that his parents wondered if he might be autistic (he was not).
As he matured his fascination manifested itself in painting and sculpture, eventually resulting in the creation of the Lathe series of tables and chairs, which have been identified as a modern classic of design and reside in the permanent collection of institutions such as the Victoria and Albert Museum (London) and the Museum of Arts and Design (New York).
Via Sebastian Brajkovic
Maria Pergay Lounge Chair
For sale: Lot 13 in a December 13, 2016 sale at Phillips NYC:
Maria Pergay Lounge chair (circa 1970)
Estimate: $15,000 – 20,000
Update: Sold for $30,000
About Maria Pergay
Born in Moldavia, Maria Pergay (b. 1930) opened her first shop in the Place des Vosges in 1960 and designed small objects in silver and special pieces on commission for fashion houses including Christian Dior and Jacques Heim. In 1968, Maria Pergay presented her first collection of stainless steel furniture at Galerie Maison et Jardin, including the now-iconic Flying Carpet Daybed (1968) and Tambour Table (1968). This seminal exhibition established Pergay as one of the most innovative French furniture designers of her time, a visionary who almost single-handedly transformed stainless steel from a commercial industrial material into a principal component of modern furniture.
Pergay has exhibited and has embarked upon significant commissions for Pierre Cardin, the World Trade Center in Brussels, the Royal Family of Saudi Arabia, and other esteemed clients. Pergay’s work is in the permanent collection of the Metropolitan Museum of Art, New York.
In her 86th year, after a half-century of creation, Pergay continues to surprise both herself and her collectors.
Source: Demisch Danant, a NYC and Paris based gallery representing Maria Pergay.
There is a design auction at Phillips in NYC on December 13, 2016. Lot 110 is this Gio Ponti 489 armchair for Cassina. Estimated $15,000 – 20,000 for the two.
Update: Sold for $37,500