Archive for the ‘Auctions’ Category

Design | Sitting on top of the 20th Century

Friday, December 11th, 2015

Gerrit Thomas Rietveld (1888 > 1964)
Steltman chairs, pair, designed 1963
(T
he second is a mirror image of the above)
Stained oak.
Estimate $80,000 > 120,000



Design Masterworks
Christie’s
Rockefeller Plaza
New York City | USA
Exhibition 12 > 16 December 2015
Auction 17 December 2015



Marc Newson (1963 >)
Lockheed Lounge, designed 1990
Fibreglass-reinforced polyester resin core,
blind-riveted sheet aluminium,
rubber-coated polyester resin.
Estimate $1,500,000 – 2,000,000



Looks can be deceiving. Amongst the rare and much sought-after items in Christie’s forthcoming Design Masterworks sale, a pair of Steltman chairs, for instance, designed by Gerrit Rietveld in 1963 – placing their production firmly in the mid-century period – are rooted in the far more remote early modernist years, while hints of the 1960s’ brutalist architectural style are also easily detected in the form.

Superficially, with its Sputnik aesthetic, Marc Newson’s three-legged Lockheed Lounge, with a blind-riveted sheet aluminium finish, also reminiscent of post-war airliners, produced as a limited edition of ten, in 1990, toward the end of the twentieth century, might well have been designed when Arne Jacobsen was sketching out his Drop chair for his SAS Radisson Blue Hotel in the late 1950s. (Incidentally, recently relaunched by Fritz Hansen, the Drop is now available with a plastic shell in a selection of colours with matching powder-coated legs.)

Arne Jacobsen (1902 > 1971)
Drop chair, designed c 1958
Copper-plated steel, leather
Estimate $20,000 > 30,000


Hans Wenger (1914 > 2007)
Easy chair, designed 1953
Oak, leather, fabric upholstery
$30,000 > 50,000



The spindly legs, of course, are always a dead giveaway, but, paradoxically, the upholstered full, rounded back and chunky armrests of Hans Wenger’s Easy chair, 1953, are strongly suggestive of the art deco period that spawned Jean Prouve’s Sanatorium armchair, whose tapered seat shape and slimmer armrests in turn foreshadow the lightness of form that would appear in late 1940s and 1950s furniture design, made possible through the use of new materials and improved production techniques brought about by advances in technology.

Jean Prouvé (1901 > 1984)
Sanatorium armchair, c 1932
Painted metal, leather, stretched canvas
Estimate $140,000 > 180,000



Although more chair designs, notably by Gio Ponti and Finn Juhl are included, Design Masterworks at Christie’s isn’t confined to seating. The tightly-edited series of lots, each with impeccable provenance and stand-alone individuality, flying in the face of chronological categorisation, features a striking c 1930 wall light from the palace of the Maharaje of Indore made by Max Krüger, Flavio Poli’s Valva siderale internally-decorated glass vase, 1954, and Carlo Mollino’s anthropomorphic maple, tempered glass and brass An Occasional Table made around 1950.

All images courtesy and © Christie’s


Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us that we think might interest you.

The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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Auction | I Buy & Sell Therefore I Am

Friday, October 9th, 2015

Roberto Capucci
The Butterfly Dress, Haute Couture, 1985
Full-length gown in pleated and
stiffened silk taffeta.
Estimate £3,000 > 5,000



A Visual Odyssey
Selections from LAC
(Lambert Art Collection)
Staged by Jacques Grange
Christie’s, King Street
London | UK



Gordon Coster
Fashion for Marshall Field, c 1934
Gelatin silver print
Estimate £600 > 800



Of collectors, Baroness Marion Lambert once said: ‘[They're] hoarders, and probably fodder for shrinks. I’m no exception, although with the years I have learned to control myself, while weeding out the mediocre and superfluous from the essential and best…’. Doyenne of the art, and particularly photography collecting world, she has also learned exactly when to buy and how best to sell. On Friday 14 October, around 300 items from the Lambert Art Collection, which she amassed with encouragement from her late husband Baron Philippe Lambert of the Belgian banking family, will be sold in London via a groundbreaking sale by Christie’s in association with Simon de Pury.

The baroness achieved certain notoriety in 2004, when, having pioneered the collecting of photography as an art form since the early 1980s, she named her collection Veronica’s Revenge, after the patron saint of photographers (and, incidentally, laundry-workers). Roman Catholics, apparently, believe that a woman called Veronica, later canonised, wiped the face of Jesus when he fell under the weight of the cross on the way to Calvary, leaving an image of his face on the cloth, thus creating the first example of image transfer. Lambert’s intention had been to hang her collection in the new headquarters of the Bank Brussels Lambert Suisse in Geneva. However it contained, among other works deemed perhaps understandably by the bank’s senior executives as too shocking for their clients, Larry Clark’s Tulsa, (1971), a portfolio of ten prints of naked teenagers playing with guns and injecting amphetamine.

Giving up on that idea, shortly afterwards, with the help of Swiss auctioneer de Pury – once described for his flamboyant auctioning style and jet-set lifestyle as ‘the Mick Jagger of art auctions’, then chairman of Phillips de Pury & Company – the 300 works were sold for a total of $9.2m in a record-breaking 100% sell-out, single-owner New York sale that far exceeded the $6.3m estimate. When the last item, Barbara Kruger’s iconic 1983 image, I Shop Therefore I Am, fetched $601,600, spontaneous applause erupted in the saleroom.

Marilyn Minter
Twins, 2005
Chromogenic print
Estimate £20,000 > 30,000



Erwin Blumenfeld
La Pudeur, 1937
Gelatin silver print
Estimate £8,000 > 12,000



It was Baroness Lambert, always keen to try out new ideas, who again and more recently approached de Pury – his having left Phillips in 1997, set up his own company which later merged with Phillips, which he once more had left, now running an art consultancy de Pury & de Pury with his wife – asking him if he would be prepared to embark on an internet-only auction of the collection she had built up in the intervening years. He accepted the challenge, but in the end a hybrid solution was agreed upon, which involved his teaming up with Christie’s.

Not a company to stint on its sale pitch, no less than eleven videos, each an introduction to artists or other aspects of what became the Visual Odyssey event appear on the Christie’s website, the first being an introduction by Simon de Pury and Christie’s Chairman and Head of Postwar and Contemporary, Francis Outred, who talks about this sale as being an evolution of the legendary 2004 auction. Describing the main difference between that and next week’s sale, Outred, who praises Lambert’s ever-restless eye, is that although it contains a good deal of photography, A Visual Odyssey, spanning three centuries, and which includes objects that are as diverse as a wonderfully minimal Donald Judd desk and two chairs from 1989, to a 1953 Fiat 500 C Topolino, is about how to acquire a variety of great things and how you can successfully put them together. To that end, and as if the idea of Simon de Pury teaming up with Christie’s wasn’t going to turn a enough heads, exalted French interior designer Jacques Grange – his customers included Yves Saint Laurent and Pierre Bergé, Isabelle Adjani, Princess Caroline of Monaco, Alain Ducasse, Valentino, Karl Lagerfeld and Paloma Picasso – he owns and lives in Colette’s former Palais Royal home – was invited to stage the exhibition, assembling all of the items together for twelve preview days at Ely House in London’s Dover Street.

A Visual Odyssey: Selections from LAC (Lambert Art Collection), the sale, takes place on 14 October at Christie’s, King Street, London, the first day of Frieze Week 2015. It will be presented on both the de Pury and Christie’s websites.

All images courtesy Christie’s


Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us that we think might interest you.

The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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Exhibitions | Reminder: Don’t Miss These…

Saturday, August 1st, 2015

McDermott & McGough, Those Moments, 1955, 2010
Tricolour carbon print. Courtesy the artists and Cheim & Read, New York.
On show at The Hammer Museum in Los Angeles, see below



The Blog team return next week.
Whether you’re staying at home or travelling,
here’s our selection of some of the best
of what’s on show this summer >>>



Doug Aitken, Sunset (black and white), 2011
Hand carved foam, epoxy with LED lights and hand silk-screened acrylic.
Courtesy the artist, 303 Gallery, New York, Galerie Eva Presenhuber, Zurich, Victoria Miro Gallery, London and Regen Projects, LA. Photo © Brian Forrest.
On show at the Schirn Kunsthalle Frankfurt, see below



>>> Until 23 August 2015
Coop Himmelb(l)au
Frankfurt Lyon Dalian

DeutschesArchitekturmuseum (DAM)
Frankfurt | Germany
Vienna-based architectural practice with the long-winded name Coop Himme(l)blau Wolf D Prix & Partner, long-time player on the international architecture scene, founded in 1968 in response to the predominance of rectilinear grids, set out to liberate architecture from its functional confines by rendering space more dynamic and buildings gravity-defying. The exhibition presents three of the studio’s latest projects: the new European Central Bank building (2015) in Frankfurt am Main, Germany, the Musée des Confluences (2014) in Lyon, France, and the Dalian International Conference Centre in China (2012), see image below.

>>> Auction 28 Aug 2015
Japanese Whisky
Christie’s
Admiralty | Hong Kong
Featuring Hanyu Ichito’s Full Cards Series of 54 bottles of the spirit, each with beautifully-designed individual labels on a playing card theme, which are expected to sell for HK$1.8 m > 2.4 m / £150,000 > 200,000 / US$230,000 > 310,000.

>>> Until 28 August 2015
Joana Vasconcelos:
Material World

Phillips
(Selling exhibition)
London | UK

Forty works representing various periods of sculptor and installation artist Joana Vasconcelos’s career to date, coinciding with the publication of her monograph by Thames & Hudson.

>>> Until 13 September 2015
Perfect Likeness:
Photography and Composition

The Hammer Museum
Los Angeles | USA

Having reached a point when everyone thinks he / she is a photographer, and where photography of every possible style and quality pervades every corner of our daily lives, this exhibition looks at the carefully composed images of fine art photographers such as Thomas Demand, Andreas Gursky, McDermott & McGough and Jeff Wall.

>>> Until 13 September 2015
Design Derby:
The Netherlands – Belgium (1815 > 2015)

Museum Boijmans
Van Beuningen

Rotterdam | Netherlands

Like for like Dutch and Belgium design objects – from sumptuous and elegant Belgian art nouveau to the more austere Dutch version, and from the contemporary tours de force of Belgium design to the level-headed Dutch design of today – confront one other in friendly competition.

>>> Until 25 October 2015
Fast Fashion
The Shadowy Side of Fashion

Museum für Kunst und
Gewerbe Hamburg

Hamburg | Germany
A critical glimpse behind the scenes of fashion – consumerism, economic interests and ecological issues – throwing light upon fashion and its victims; poverty and affluence; global and local effects; wages and profits; garments and chemicals; clothes and ecology; as well as new fibre technologies.

>>> Until 26 September 2015
Larry Bell 2D-3D:
Glass & Vapor

White Cube, Mason’s Yard
London | UK
Larry Bell (b 1939, Chicago) is a leading exponent of the California ‘Light and Space’ movement. The exhibition includes three early glass installations as well as collages on paper and new, kinetic Light Knot sculptures. To coincide with a major presentation of a Standing Wall installation of thirty-two, six foot square glass panels (c1989 >2014) currently on show at the Chinati Foundation, Marfa, Texas, USA, at White Cube, Bell has installed 6 x 8 An Improvisation.

>>> Until 27 September 2015
Doug Aitken
Schirn Kunsthalle Frankfurt
Frankfurt | Germany
Following on from his Station to Station: A 30 Day Happening extravaganza at London’s Barbican, The Shirn dedicates its entire exhibition space, inside and out, to the impressive work of American multimedia-artist Doug Aitken, in the most comprehensive solo presentation of his film, music, architecture, performance and sculpture in Germany and elsewhere to date, see image above

>>> Until 27 September 2015
Germaine Krull
A Photographer’s Journey

Jeu de Paume
Paris | France
The idea of the female career photographer – rather than dabbler or dilettante – didn’t properly materialise until free-spirited women such as Gertrude Krull (1897 > 1985) thrust herself headlong into the male-dominated mêlée in the 1920s.



One-sheet poster for Sullivan’s Travels, directed by Preston Sturges, 1941
Poster art direction by Maurice Kallis. Courtesy Sikelia Productions.
On show at MoMA in New York, see below

Dalian International Conference Centre, China, by
Coop Himmelb(l)au Wolf D Prix & Partner, in Vienna, Austria

Photo © Duccio Malagamba.
On show at the Deutsches Architekturmuseum, Frankfurt, see above



>>> Until 27 September 2015
What is Luxury?
V&A
London | UK
The world’s biggest museum of the decorative arts and design has a permanent, historic collection of over 4.5 million objects. By definition it is a museum of things, many of which are extremely valuable and considered to be luxurious items. With over 100 objects, ‘From a diamond made from roadkill to a vending machine stocked with DNA, a golden crown for ecclesiastical use to traditional military tailoring, this exhibition addresses how luxury is made and understood in a physical, conceptual and cultural capacity.’

>>> Until September 30
Scorsese Collects [film posters]
Museum of Modern Art
New York City | USA
In celebration of director Martin Scorsese’s enduring commitment to the preservation of international film culture, MoMA presents 34 works from his collection, centred around a rare, billboard-size poster for the 1951 film Tales of Hoffmann. The exhibition will be accompanied by the film series Scorsese Screens throughout August.

>>> Until 4 October 2015
From Bauhaus to Buenos Aires:
Grete Stern & Horacio Coppola

Museum of Modern Art
New York City | USA
The first major exhibition of the German-born Grete Stern and the Argentinean Horacio Coppola, two leading figures of avant-garde photography who, in the 1930s, established themselves on both sides of the Atlantic.

>>> Until 18 October 2015
The 80s. Figurative
Painting in West Germany

Städel Museum
Frankfurt | Germany
Shedding light on the new and dynamic figurative painting that developed in the 1980s almost simultaneously in Berlin, Hamburg and the Rhineland. Works by among many other artists, Martin Kippenberger, Albert Oehlen, and Salomé.

>>> Until 25 October 2015
Barbara Hepworth: Sculpture
for a Modern World

Tate Britain
London | UK
Retrospective of one of Britain’s greatest artists, Barbara Hepworth (1903 > 1975), one of the few women artists to achieve widespread recognition and international prominence, featuring many of her most significant sculptures in wood, stone and bronze alongside her rarely seen works that exemplified modernism from the 1920s onwards.

>>> Until 25 October 2015
Gilbert & George:
The Early Years

Museum of Modern Art
New York City | USA
‘It’s not a collaboration. . . We are two people, but one artist,’ say the inseparable British artists, Gilbert and George, who have been creating art together for almost fifty years. This exhibition focuses on their early years, from 1969 to 1975, when the art world around them was largely engaged in pop, minimal, and conceptual work, while the pair developed a wholly unique vision.

>>> Until 26 October 2015
Radikal Moderne Planen
und Bauen im Berlin
der Sechziger Jahre

/ Planning and Building
in Berlin in the 1960s

Berlinische Galerie
Berlin | Germany
Via 300 known works and recently rediscovered material representing 30 architects, planners, photographers and artists, this is the first detailed examination of a decade in architecture and urban planning that shaped a city divided not only by a wall, but also by political ideologies.

>>> Until 31 October 2015
Stone Fenoyl (1945 > 1987).
An Imaginary Geography.
A Documentary Record

Château de Tours
(in association with Jeu de Paume)
Tours | France

Famous for his ability to discover and nurture new photographers, and for his admiration of anonymous 19th century photographs, iconographer, curator, art buyer, gallery and Vu agency (now Viva) founder, Pierre de Fenoyl was the first director of France’s National Foundation Photography in 1976. Champion of the work of Brassai, Henri Cartier-Bresson, Duane Michals and André Kertész, alongside prints, documents, films and publications, this retrospective also shows the black and white landscape photography he created himself from 1984.

>>> Until 1 November 2015
Fotografia Futurista
Galleria Carla Sozzani
Milan | Italy
With over one hundred original photographs, representing the work of over thirty photographers, this exhibition demonstrates how, over a fifty-year period, the futurists took possession of the photographic language and used it as a medium to capture the pulse of early 20th century life. In so doing, they transformed photography into the dynamic, potent and multifaceted force it became in both art and commerce in the twentieth century.

>>> Until 31 January 2016
Shoes: Pleasure and Pain
V&A
London | UK
Exploring the euphoria and obsession they can inspire, more than 200 pairs of historic and contemporary shoes from the V&A’s unrivalled international collection, worn by or associated with high profile figures including Marilyn Monroe, Queen Victoria, Sarah Jessica Parker and the Hon Daphne Guinness are on display. Famous shoes, such as the ballet slippers designed for Moira Shearer in the 1948 film The Red Shoes, are exhibited alongside footwear by 70 named designers including Manolo Blahnik, Christian Louboutin, Jimmy Choo and Miuccia Prada.



Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us that we think might interest you.

The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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Exhibitions | This Summer, Don’t Miss These…

Friday, July 24th, 2015

McDermott & McGough, Those Moments, 1955, 2010
Tricolour carbon print. Courtesy the artists and Cheim & Read, New York.
On show at The Hammer Museum in Los Angeles, see below



The Blog team is away.
Whether you stay at
home or go travelling,
h
ere’s our selection of
some of the best of what’s
on show this summer >>>



Doug Aitken, Sunset (black and white), 2011
Hand carved foam, epoxy with LED lights and hand silk-screened acrylic.
Courtesy the artist, 303 Gallery, New York, Galerie Eva Presenhuber, Zurich, Victoria Miro Gallery, London and Regen Projects, LA. Photo © Brian Forrest.
On show at the Schirn Kunsthalle Frankfurt, see below



>>> Until 23 August 2015
Coop Himmelb(l)au
Frankfurt Lyon Dalian
DeutschesArchitekturmuseum (DAM)
Frankfurt | Germany
Vienna-based architectural practice with the long-winded name Coop Himme(l)blau Wolf D Prix & Partner, long-time player on the international architecture scene, founded in 1968 in response to the predominance of rectilinear grids, set out to liberate architecture from its functional confines by rendering space more dynamic and buildings gravity-defying. The exhibition presents three of the studio’s latest projects: the new European Central Bank building (2015) in Frankfurt am Main, Germany, the Musée des Confluences (2014) in Lyon, France, and the Dalian International Conference Centre in China (2012), see image below.

>>> Auction 28 Aug 2015
Japanese Whisky
Christie’s
Admiralty | Hong Kong
Featuring Hanyu Ichito’s Full Cards Series of 54 bottles of the spirit, each with beautifully-designed individual labels on a playing card theme, which are expected to sell for HK$1.8 m > 2.4 m / £150,000 > 200,000 / US$230,000 > 310,000.

>>> Until 28 August 2015
Joana Vasconcelos:
Material World
Phillips
(Selling exhibition)
London | UK
Forty works representing various periods of sculptor and installation artist Joana Vasconcelos’s career to date, coinciding with the publication of her monograph by Thames & Hudson.

>>> Until 13 September 2015
Perfect Likeness:
Photography and
Composition
The Hammer Museum
Los Angeles | USA

Having reached a point when everyone thinks he / she is a photographer, and where photography of every possible style and quality pervades every corner of our daily lives, this exhibition looks at the carefully composed images of fine art photographers such as Thomas Demand, Andreas Gursky, McDermott & McGough and Jeff Wall.

>>> Until 13 September 2015
Design Derby:
The Netherlands – Belgium (1815 > 2015)
Museum Boijmans
Van Beuningen
Rotterdam | Netherlands

Like for like Dutch and Belgium design objects – from sumptuous and elegant Belgian art nouveau to the more austere Dutch version, and from the contemporary tours de force of Belgium design to the level-headed Dutch design of today – confront one other in friendly competition.

>>> Until 25 October 2015
Fast Fashion
The Shadowy Side of Fashion
Museum für Kunst und
Gewerbe Hamburg

Hamburg | Germany
A critical glimpse behind the scenes of fashion – consumerism, economic interests and ecological issues – throwing light upon fashion and its victims; poverty and affluence; global and local effects; wages and profits; garments and chemicals; clothes and ecology; as well as new fibre technologies.

>>> Until 26 September 2015
Larry Bell 2D-3D:
Glass & Vapor

White Cube, Mason’s Yard
London | UK
Larry Bell (b 1939, Chicago) is a leading exponent of the California ‘Light and Space’ movement. The exhibition includes three early glass installations as well as collages on paper and new, kinetic Light Knot sculptures. To coincide with a major presentation of a Standing Wall installation of thirty-two, six foot square glass panels (c1989 >2014) currently on show at the Chinati Foundation, Marfa, Texas, USA, at White Cube, Bell has installed 6 x 8 An Improvisation.

>>> Until 27 September 2015
Doug Aitken
Schirn Kunsthalle Frankfurt
Frankfurt | Germany
Following on from his Station to Station: A 30 Day Happening extravaganza at London’s Barbican, The Shirn dedicates its entire exhibition space, inside and out, to the impressive work of American multimedia-artist Doug Aitken, in the most comprehensive solo presentation of his film, music, architecture, performance and sculpture in Germany and elsewhere to date, see image above

>>> Until 27 September 2015
Germaine Krull
A Photographer’s Journey
Jeu de Paume
Paris | France
The idea of the female career photographer – rather than dabbler or dilettante – didn’t properly materialise until free-spirited women such as Gertrude Krull (1897 > 1985) thrust herself headlong into the male-dominated mêlée in the 1920s.



One-sheet poster for Sullivan’s Travels, directed by Preston Sturges, 1941
Poster art direction by Maurice Kallis. Courtesy Sikelia Productions.
On show at MoMA in New York, see below

Dalian International Conference Centre, China, by
Coop Himmelb(l)au Wolf D Prix & Partner, in Vienna, Austria
Photo © Duccio Malagamba.
On show at the Deutsches Architekturmuseum, Frankfurt, see above



>>> Until 27 September 2015
What is Luxury?
V&A
London | UK
The world’s biggest museum of the decorative arts and design has a permanent, historic collection of over 4.5 million objects. By definition it is a museum of things, many of which are extremely valuable and considered to be luxurious items. With over 100 objects, ‘From a diamond made from roadkill to a vending machine stocked with DNA, a golden crown for ecclesiastical use to traditional military tailoring, this exhibition addresses how luxury is made and understood in a physical, conceptual and cultural capacity.’

>>> Until September 30
Scorsese Collects [film posters]
Museum of Modern Art
New York City | USA
In celebration of director Martin Scorsese’s enduring commitment to the preservation of international film culture, MoMA presents 34 works from his collection, centred around a rare, billboard-size poster for the 1951 film Tales of Hoffmann. The exhibition will be accompanied by the film series Scorsese Screens throughout August.

>>> Until 4 October 2015
From Bauhaus to Buenos Aires:
Grete Stern & Horacio Coppola

Museum of Modern Art
New York City | USA
The first major exhibition of the German-born Grete Stern and the Argentinean Horacio Coppola, two leading figures of avant-garde photography who, in the 1930s, established themselves on both sides of the Atlantic.

>>> Until 18 October 2015
The 80s. Figurative
Painting in West Germany

Städel Museum
Frankfurt | Germany
Shedding light on the new and dynamic figurative painting that developed in the 1980s almost simultaneously in Berlin, Hamburg and the Rhineland. Works by among many other artists, Martin Kippenberger, Albert Oehlen, and Salomé.

>>> Until 25 October 2015
Barbara Hepworth: Sculpture
for a Modern World

Tate Britain
London | UK
Retrospective of one of Britain’s greatest artists, Barbara Hepworth (1903 > 1975), one of the few women artists to achieve widespread recognition and international prominence, featuring many of her most significant sculptures in wood, stone and bronze alongside her rarely seen works that exemplified modernism from the 1920s onwards.

>>> Until 25 October 2015
Gilbert & George:
The Early Years

Museum of Modern Art
New York City | USA
‘It’s not a collaboration. . . We are two people, but one artist,’ say the inseparable British artists, Gilbert and George, who have been creating art together for almost fifty years. This exhibition focuses on their early years, from 1969 to 1975, when the art world around them was largely engaged in pop, minimal, and conceptual work, while the pair developed a wholly unique vision.

>>> Until 26 October 2015
Radikal Moderne Planen
und Bauen im Berlin
der Sechziger Jahre
/
Planning and Building
in Berlin in the 1960s

Berlinische Galerie
Berlin | Germany
Via 300 known works and recently rediscovered material representing 30 architects, planners, photographers and artists, this is the first detailed examination of a decade in architecture and urban planning that shaped a city divided not only by a wall, but also by political ideologies.

>>> Until 31 October 2015
Stone Fenoyl (1945 > 1987).
An Imaginary Geography.
A Documentary Record
Château de Tours
(in association with Jeu de Paume)
Tours | France
Famous for his ability to discover and nurture new photographers, and for his admiration of anonymous 19th century photographs, iconographer, curator, art buyer, gallery and Vu agency (now Viva) founder, Pierre de Fenoyl was the first director of France’s National Foundation Photography in 1976. Champion of the work of Brassai, Henri Cartier-Bresson, Duane Michals and André Kertész, alongside prints, documents, films and publications, this retrospective also shows the black and white landscape photography he created himself from 1984.

>>> Until 1 November 2015
Fotografia Futurista
Galleria Carla Sozzani
Milan | Italy
With over one hundred original photographs, representing the work of over thirty photographers, this exhibition demonstrates how, over a fifty-year period, the futurists took possession of the photographic language and used it as a medium to capture the pulse of early 20th century life. In so doing, they transformed photography into the dynamic, potent and multifaceted force it became in both art and commerce in the twentieth century.

>>> Until 31 January 2016
Shoes: Pleasure and Pain
V&A
London | UK
Exploring the euphoria and obsession they can inspire, more than 200 pairs of historic and contemporary shoes from the V&A’s unrivalled international collection, worn by or associated with high profile figures including Marilyn Monroe, Queen Victoria, Sarah Jessica Parker and the Hon Daphne Guinness are on display. Famous shoes, such as the ballet slippers designed for Moira Shearer in the 1948 film The Red Shoes, are exhibited alongside footwear by 70 named designers including Manolo Blahnik, Christian Louboutin, Jimmy Choo and Miuccia Prada.


Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us that we think might interest you.

The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier



Share this post
Facebook Twitter Linkedin

Home | Contemporary Complementary

Friday, July 17th, 2015

Harry Callahan
Chicago (Trees In Snow), 1950
Gelatin silver print, printed later
Est $10,000 > 15,000



Gaetano Pesce
Up4 sofa, c 1969
Polyurethane foam and stretch fabric upholstery
Est $3,000 > 5,000





Sotheby’s
Contemporary Living
– Photographs, Prints & Design

New York City | USA
Exhibition 18 > 25 July 2015
Sale 22 July 2015





George Nakashima
Mira chair, c 1956
Property of a New Jersey family
American black walnut
Est $700 > 900



If you bought everything in this sale you could probably only furnish one Soho House. But what about your own house, your own apartment? Unless you approach sales like this one with a plan, you’re likely to end up taking home a disparate group of expensive items that are neither use, nor ornament. The combinations might seem endless, but if you’re clever you’ll select individual pieces and assemble groupings that dovetail so easily together that they simply belong that way and couldn’t be better arranged.

You could go for the set of four Captain chairs by George Nakashima and use them with the Trestle table by the same designer. If necessary, Nakashima’s wonderfully sculptural, stand-alone Mira, three-legged chair could be pulled up to the table for an unexpected guest. For a more eclectic mix, there’s a set of six Brazilian dining chairs that would complement the same table. There again, especially for a small dining space that needs to fulfil other uses, Ludwig Walser’s industrial-looking, stackable fibre cement garden seats for Eternit would work on a wood floor indoors, paired with Paul Kjaerholm’s Academy desk, designed for the School of Architecture, Royal Academy, Copenhagen. Another option might be to invite your guests to squat down, Japanese-style, on the floor and to serve dinner on Sergio Rodrigues’s Mucki long bench, in which case you’d need to source a nice, complementary rug from elsewhere.

Ludwig Walser
Four garden seats, c 1960s
Fibre cement
Est $5,000 > 7,000



Alfred Hendrickx
Cabinet, c 1960
Rosewood and chromium-plated metal
Est $ 3,000 > 5,000



Robert Motherwell
Red Sea II (Walker Art Center 242), 1979
Etching and aquatint printed in colours,
on German etching paper, framed plate
Est $5 > 7,000



Poul Kjaerholm
Academy desk for The School of Architecture,
Royal Academy, Copenhagen, c 1955

Oregon pine and chromium-plated steel
Est $3,000 > 5,000



For cosiness Gaetano Pesce’s UP4 sofa, designed in 1969, that reference’s Salvador Dalí’s famous Mae West Lips sofa (1937) will add warmth to your seating area and sit well with Sergio Rodrigues’s Coffee table. The light and airy feel of Fernando and Humberto Campana’s Poltrona Cone chair made from clear polycarbonate and chromium-plated metal would contrast well with the sofa. You’d have to put a graphic print, or strongly coloured cushion on it to prevent it from looking too cold. If you went down this route, perhaps exchanging the glass-topped coffee table for Greta Magnusson Grossman’s wooden Low Bench that could be used for the same purpose would be a good idea. Having done this, it could be worth bidding for Magnusson Grossman’s matching Flip-Top dining table as well, bearing in mind that there’s only a single dining chair of hers in this sale, so you’d have to either shop around, or opt for the six Brazilian dining chairs, which would need to be re-upholstered in a colour that doesn’t clash with the red sofa. But, there again you could select an alternative sofa, like Joaquim Tenreiro’s Sofa, which would require an injection of nearby colour – say, Homage to the Square: ten framed screenprinted works by Joseph Albers, that could be used en masse as a backdrop. If that’s all a bit too colourful, or you need an energy injection, there’s always Robert Motherwell’s Red Sea II (Walker Art Center) print.

André Kertész
Chez Mondrian, Paris, 1926
Gelatin silver print, printed later
Est $5,000 > 7,000



Joe Colombo’s Spider ceiling light would be nice for mood lighting with any of the above, and there are a couple of 1940s Italian table lamps, either one of which would sit happily on top of Alfred Hendrickx rosewood cabinet, with Harry Callahan’s minimal, starkly monochromatic Chicago (Trees in Snow) hung on the wall above it, the linear organic shapes softening the geometry of the Albers, should you decide to go for them. Then again, there’s photographer André Kertész’s atmospheric Chez Mondrian, Paris black and white photograph that you could design an entire house around…

… But this is just us thinking out loud while scrolling through the 249 lots in Sotheby’s Contemporary Living – Photographs, Prints & Design sale. If you happen to be in New York on the viewing days, go along and see the free exhibition, where you’ll get a far better idea of the relative sizes of the various pieces, how they might work together, and whether they’ll fit your home or suit your lifestyle.

Photographs courtesy Sotheby’s


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Fashion | Vintage Couture Sale You Can’t Afford to Miss

Friday, July 3rd, 2015

Chanel haute couture, 1963
Black sequined cocktail dress from the wardrobe of Romy Schneider
Estimate €1,500 > 2,500



Rencontres Couture à Paris
de la Collection Didier Ludot
/
Paris Encounter with Couture
from the Didier Ludot Collection
Sotheby’s
Paris | France
Exhibition 4 > 8 July 2015
Sale 4:00 CEST 8th July 2015



Thierry Mugler, S/S 1990
‘Rainbow jacket’ in gabardine wool
Estimate €500 > 700



A stone’s throw from the Louvre, in Paris’s premier arrondissement, in the prestigious Palais Royale, La Petite Robe Noire is dedicated to original haute couture versions of the little black dress. ‘A magical garment which exacerbates the femininity of a woman,’ according to Didier Ludot, who was so besotted with it that he opened the shop in 1999, designed his own line that is also sold there, and went so far as to publish a book on the subject. La Petite Robe Noire is one of three shops, the first established in 1975, all owned by Ludot, around the Palais Royal, one specialising in evening couture, the other in ready-to-wear, where – although you may not be able to afford to buy anything – you can touch, feel, and even try on some of the most extraordinary, and impeccably-detailed items of clothing ever produced. Chanel, Dior, Yves Saint Laurent, Balenciaga, Givenchy, Balmain, Lanvin, John Galliano, Yohji Yamamoto and Hermes, are among the many other famous names in couture that appear on the labels.

Yves Saint Laurent haute couture, A/W 1977 > 1978
Velvet strapless sheath, edged in spiralling flounces of shot wine and green taffeta
Estimate €1,500 > 2,500



Pierre Cardin haute couture, 1966
Pink wool cape with circlet armholes and glass bauble buttons
Estimate €1,200 > 1,800



Schiaparelli haute couture, S/S 1938
‘Circus’ collection. Silk crepe gown printed with designs after Marcel Vertès
Estimate €2,000 > 3,000



Each piece is carefully selected for its technical skill, its beauty, the trademark style of the couturier who created it, and often simply for the elegance of the woman or man – Ludot also stocks menswear – who wore it. Ludot’s vintage collection provides a comprehensive overview of 20th century fashion, and is a tribute to the expertise of the designers, tailors, embroiderers, leatherworkers, feather merchants and lace makers responsible for its creation.

Elegant dressers themselves, Ludot’s mother and grandmother’s wardrobes were always fit to burst with clothes they diligently copied from haute couture. As a small boy, he had attended the fittings and has been specialising and dealing in the fashion business himself for over 40 years. He also curates exhibitions, using his exclusive shop windows as gallery space.

Balenciaga haute couture, A/W 1965 > 1966
Evening dress in satin covered in ostrich feathers
Estimate €6,000 > 8,000



Commes des Garçons by Rei Kawakubo A/W 2000 > 2001
‘Punk’ collection. Tartan jacket with tousled, tasselled hem
Estimate €700 > 900



Needless to say, Ludot’s much written about shops are a mecca for the international fashion crowd, among them American Vogue’s Hamish Bowles, who is a fellow collector and loves to compare notes with him. The rich and famous are discreet visitors, too, but a selection of Ludot’s vintage haute couture is also available to buy in the luxury department stores: Printemps, London’s Harrods and New York’s Barneys. And now, his private collection having grown so large, he has decided to sell over 170 exceptional items via auction at Sotheby’s in Paris, in their Rencontres Couture à Paris de la Collection Didier Ludot sale, next week. ‘Sotheby’s is very chic,’ he told Style.com at the auction house, ‘the first couture show I ever saw was right in this very spot, around 1970.’

All images courtesy Sotheby’s Paris, © Sotheby’s Paris


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Design | Functional Sculpture

Friday, May 15th, 2015

Philippe Hiqily,
Henri Samuel chair,
designed 1975,
2004 edition

Sotheby’s estimate:
€20,000 > 30,000



Christie’s
Design, Vent du soir /
Design Day Sale
Paris | France
Exhibition 15 + 16 + 18 + 19 May 2015
Sale 19 May 2015

+

Sotheby’s
Design 20e siècle /
20th Century Design

Paris | France
Exhibition 16 + 18 May 2015
Sale 21 May 2015



Charlotte Perriand,
Free form table / desk,
designed 1956.
Steph Simon edition c 1960
Solid saple wood.
Christie’s estimate:
€120,000 > 180,000



Along with everyone else in the Sculpture Garden at MoMA, you can sit, looking cool – imagining you’re a sculpture yourself – on sculptor Harry Bertoia’s sculptural Side chairs. But you can’t do it indefinitely, because, if we’re being completely honest, they aren’t really that comfortable, especially if the little pad that prevents the supermarket trolley style grid from embedding itself into your bottom, is missing. On the Knoll website – they produce and market Bertoia’s furniture – it says that Harry, who was primarily a sculptor, ‘found sublime grace in an industrial material, elevating it beyond its normal utility into a work of art.’ But surely, since chairs, and, for that matter, any other item of furniture must be functional, the Side chair is disqualified from ‘art’ status. Does it matter one way or the other?

Georges Jouve,
Mirror, c 1955
Glazed ceramic.
Christie’s estimate:
€8,000 > 12,000

Jean Prouvé,
Table, c 1939
Painted and folded sheet steel.
Christie’s estimate:
€80,000 > 100,000



It would seem that Donald Judd, who created sculpture that looked like furniture and furniture that might be art, thought it did. An extract from a 1993 Judd essay called It’s hard to find a good lamp reads: ‘…[S]omeone asked me to design a coffee table. I thought that a work of mine, which was essentially a rectangular volume, with the upper surface recessed, could be altered. This debased the work and produced a bad table, which I later threw away. The configuration and the scale of art cannot be transposed into furniture and architecture. The intent of art is different from that of the latter, which must be functional. If a chair or a building is not functional, if it appears to be only art, it is ridiculous… A work of art exists as itself; a chair exists as a chair itself.’

Serge Mouille,
Pair of wall sconces with
Saturn motif, c 1957
Black + white lacquered metal
Sotheby’s estimate:
€4,000 > 6,000

Pierre Chareau,
Desk MB 405 + stool SN 3, c 1928
Wrought iron and rosewood
veneer desk + wrought
iron and rosewood stool
Sotheby’s estimate:
€250,000 > 350,000



On the other hand, as Design Museum Director Deyan Sudjic said in his 2008 obituary about the great Italian designer/architect Ettore Sottsass: ‘We live in a world which values the useless ahead of the useful, which celebrates art, untainted by the least hint of utility, above the ingenuity of design that is burdened by function, and creates a cultural hierarchy to match. It was perhaps the greatest achievement of Sottsass’s long and remarkable career that he made this distinction irrelevant.’

Zaha Hadid’s designs for amorphous benches and stools are intended to blur the line between utility and sculpture. Like her architecture, their streamlined curvaceousness isn’t purely functional, nor is it merely decorative. They are functional pieces, in that they are meant to be sat on, but just having them around enlivens a space and raises the spirits, rendering them objects of desire.


Eugène Printz,
Modernist console, c 1931
Palm wood veneer
Sotheby’s estimate:
€30,000 > 50,000



Many of the – in theory – functional, and sought after items being sold in the forthcoming Christie’s ParisDesign, Vent du soir /Design Day Sale, and in Design 20e Siècle / 20th Century Design at Sotheby’s Paris, including those shown here, were designed in the modern period, but, ironically, their sculptural qualities a result of their creators’ uncompromising searches for authenticity, they could easily be taken as examples of the rule-breaking that came to be a defining characteristic of postmodernism.

All images courtesy Christie’s and Sotheby’s, respectively.
Donald Judd quote © Judd Foundation.


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Design | Modernist Posters

Friday, May 1st, 2015

Paul Rand,
Minute Man, 1974
Estimate $1,000 > $1,500



Modernist Posters
Swann Auction Galleries
New York City | USA
Exhibition May 2, 4, 5, 6, 7
Sale 7 May 2015
13.30 EST / 18.30 GMT



Pentagram,
AIA New York
Group of ten posters,
1990s > 2000s
Estimate $2,000 > $3,000



Richard Avedon,
The Beatles
One of four posters
and a banner, 1967
Estimate $2,000 > $3,000



If you punch ‘American posters’ into Google search, and click the Images option, page upon page of disordered, unsifted stuff will come up. There’ll be a few great designs you recognise instantly. Just a few. Much of it will be mediocre. A lot of it will be rubbish. You’ll wonder what some of it is doing there. If you refine your search and put in, say, ‘American film posters’, the first few pages at least will roughly match the subject, but it’ll be a random selection of everything with those key words attached. You could do the same for American music posters, or advertising posters. If you happen to  find a couple of items that you like, even if the colour is reasonably accurate, they’ll probably be in low resolution, so the detail will be fuzzy, which means you won’t get more than a general idea of what the original poster is like. If you feel like buying a poster, you’ll be lucky to find an original, and, if it’s more than a few years old, you’ll most likely have to put up with a copy, having little idea of the quality until it arrives.

Now that bidding online is commonplace, sales like next week’s Modern Posters at New York’s Swann Auction Galleries are open to a worldwide market, which is great for them, but in turn also allows us to look at a vast amount of original, often rare examples of graphic design on our computer monitors, or mobile devices, in fairly decent image resolution. The beauty is that all of the material has been examined by experts, and usually comes from private or corporate collections. These days, the sale catalogues, available in book-form for most auctions that can be ordered in advance on-line, are usually very well-researched and well-produced, and contain detailed information on each item, its provenance and general state. Sometimes the catalogues themselves become, over time, collectable.

Kenneth D Haak & Paul Smith,
Get All The News / And Get It Right /
The New York Times, c 1951
Estimate $1,000 > $1,500



George Maciunas,
USA Surpasses All The
Genocide Records!, 1969
Estimate $400 > $600



Often, just as on eBay, you can bid up to a certain deadline, but taking part in the live sales is more fun. With a bit of savvy and a few deft clicks, you can buy a design classic at a good price and arrange to have it delivered direct to your door. Better still, even if you have no intention of buying, but happen to be in the right place – in this instance, New York – you can stroll around the viewing exhibition inspecting any or all of the lots for free, returning as often as you want before the sale starts.

Swann’s auction includes archive Swiss, Polish, German, French and Japanese posters, as well as many by British artists. There’s a 1907 poster by Munich secessionist artist Franz von Stück, and a Peter Behrens design for the Deutsche Werkbund exhibition, 1914. Swiss polymath Max Bill is represented by an advertising poster (1932) for the modernist furniture company Wohnbedarf. No less than seven Cassandre posters are in this sale, including his famous Dubonnet (c1956) work, estimated at $2,000 – $3,000. Nine single lot Edward McKnight Kauffer posters range in estimated price from $500 > $18,000, while three Abram Games WWII works will also be sold. There’s a Massimo Vignelli (1963) poster for Pirelli, and a square poster by Gerit Rietveld.

Andy Warhol,
Fifth New York Film Festival /
Lincoln Center, 1967

Estimate $1,500 > $2,000



Tomi Ungerer,
The Voice / The Magician, 1968,
for The Village Voice
Estimate $500 > $750



Constantly exposed to a lot of American TV and films, and some American magazines – up until recently, unless we visited America, had access to the Art Director’s Club annuals, or specifically searched for them on the internet, Britons and Europeans rarely had the opportunity to see a representative selection of original American posters, let alone buy them. Comprising roughly 50% of the total number of lots, a small sample of these accompany this post.

The Modern Posters sale at Swann Auction Galleries also includes rare non-poster items, such as Herbert Bayer and Walter Gropius’s Staatliches Bauhaus in Weimar 1919 – 1923, bound volume, and Bayer’s Austellung / Europäisches Kunstgewerbe exhibition catalogue (a copy of which is in the MoMA collection), both with bold and uncompromising typographic cover treatments. There’s also a group of 7 copies of bauhaus, the school’s magazine, first published in 1926, with cover designs by Herbert Bayer, Joost Schmidt and Hannes Meyer, from the 1928-29 period, for which bidding is expected in the $3,000 > 4,000 bracket. A group of 8 issues of the magazine Vanity Fair, published between 1930-35 is estimated at $700 > 1,000.

Images Courtesy Swann Auction Galleries



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Auction | Hockney Etched & Aquatinted

Friday, April 24th, 2015

The Enchantress with Baby Rapunzel,
Plate 14, Rapunzel,
Six Fairy Tales from the Brothers Grimm, 1969
Estimate €500 > 600



Interiors
Christie’s
Paris | France
Exhibition 25 > 28 April 2015
Sale 28 > 29 April 2015



Bizarrely, this sale, taking place over two days in Paris, next week, under the catch-all heading ‘Interiors’, includes ‘fine decorative arts and highlights collectible automobiles’. Ironically, these sorts of events have been described as ‘up-market garage sales’, but, once in a while – this being one of those occasions – the big auction houses – and they all do it – put on a sale that includes a whole heap of items that are almost impossible to categorise or group in any meaningful way.

Cold Water about to hit the Prince,
Plate 28, The Boy who left Home to learn Fear,
Six Fairy Tales from the Brothers Grimm, 1969
Estimate €700 > 1,000



The Boy hidden in a Fish,
Plate 4, The little Sea Hare,
Six Fairy Tales from the Brothers Grimm, 1969
Estimate €1,000 > 1,500



The black Cat leaping,
Plate 25, The Boy who left Home to learn Fear,
Six Fairy Tales from the Brothers Grimm, 1969
Estimate €700 > 1,000



If you have the patience to trawl through the lot lists, however, it’s often possible to find real gems like this cache of 17 David Hockney (b 1937) prints, each being sold separately, and two colour photographs, selling as one lot.

The photographs, Sea view from living room, c1970, and Hollywood Window, April 1974, both share a sombre, empty feel, although a shaded figure appearing in the latter, imbues it with a tentative optimism. The first image probably relates to the break up of Hockney’s relationship with Peter Schlesinger, the second is possibly suggestive of the new boyfriend he took up with in 1974.

The Princess in her Tower,
Plate 2, The little sea hare,
Six Fairy Tales from the Brothers Grimm, 1969
Estimate €1,500-2,000



Five of the prints are coloured etchings and aquatints from Hockney’s The Blue Guitar series (1976 >1977), while the remaining 12 are from his earlier series, Six Fairy Tales from the Brothers Grimm (1969), a selection of which are shown here. Their sparseness influenced by the reductive aspects of the minimalism he would have encountered in America, that no doubt struck a chord with his strict methodist upbringing, their subject matter stemming from his studious appetite for literature, they demonstrate a maturity of drawing and mastery of technique that render his 1961 > 1963 reworking of William Hogarth’s A Rake’s Progress (1733), crude in comparison. Representing some of his finest work in the medium, these prints in Christie’s Paris Interiors auction would certainly sit better on the walls of one’s home than propped up against one in someone else’s garage.

FYI, Six Fairy Tales from the Brothers Grimm with Illustrations by David Hockney was first published in book form by the Royal Academy of Arts in 1970, with a later edition appearing in 2012.

All images are etchings with aquatint on wove paper,
published by Petersburg Press, London, 1969.
All images courtesy Christie’s



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Photography | Lee Friedlander’s Little Screens

Friday, March 27th, 2015

All images by Lee Friedlander from The Little Screens series
Estimate $200/300,000



Sotheby’s
New York City | USA
Photographs
Exhibition until 31 March 2015
Sale 1 April 2015



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Paul Strand’s unique and beguiling Rebecca platinum print will lead Sotheby’s New York’s April 1st Photographs sale. The auction also includes a complete up-to-date set of Nicholas Nixon’s extended portrait series The Brown Sisters – 40 photographs taken annually between 1975 and 2014 in 8 x 10 inch format. However, Lee Friedlander’s The Little Screens – a suite of 38 photographs selling as a single lot – steals the show.

In our post, Lee Friedlander: America By Car / The New Cars, about the 2011 exhibition at London’s Timothy Taylor Gallery, we observed that, ‘The compositional references suggest the montages of Richard Hamilton.’ The Little Screens is a good illustration of the artists’ singular approaches to the creation of images of similar situations with comparable subject matter, and the way in which their perspectives differed. Hamilton’s colourful collage, Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956), in which the living space around the body-builder male figure and his pin-up, parasol-hatted partner, is choc-full with up-to‑the-minute furniture and contemporary household must-haves: the vacuum cleaner, tinned ham, a tape recorder, the tropical plant and of course the TV, with its black and white image. For The Little Screens series Friedlander reverses the emphases, depopulating each snatch and broader portion of otherwise banal, dimly lit American interior, making the bright, close-cropped image on the TV the star, and only sign of life. It’s interesting to note too, that, although all-colour prime-time television became available throughout the USA in 1966, Friedlander – who would, in the 1980s, choose to shoot a series on Japanese cherry blossom in monochrome – stuck resolutely to black and white photography for The Little Screens, which he created throughout the course of the 1960s.


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European Modernism is also well-represented in Sotheby’s Photographs in works by László Moholy-Nagy, Man Ray and Pierre Dubreuil. A print of Richard Avedon’s Marilyn Monroe will feature alongside Irving Penn’s Rock Groups. Among a long and varied list of lots, contemporary works by Robert Rauschenberg, Larry Sultan and Olafur Eliasson will also be sold. A selection of 38 images from The Little Screens – the largest group ever to come to auction and a far greater number than appear on Lee Friedlander’s gallerist, the Fraenkel Gallery’s website, which otherwise carries a substantial cross-section of the photographer’s work – are included in the sale and viewing exhibition.

All images from the Collection of C David & Mary Robinson. Courtesy Sotheby’s



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The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances whatsoever, fall due, must be borne by the source supplier



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